In coastal Ireland, a young boy makes the journey from childhood to adulthood, where the haunting memory of his best friend’s sudden death triggers a turbulent inner struggle. As he grapples with dark and existential thoughts, the young fisherman embarks on a quest for healing and redemption’. Here director Colin Hickey talks about his ambitious new film….
Congratulations on your film being released, what was your motivation behind the film.
‘The motivation for the film stemmed from a brief encounter with someone who was dying at a young age. I found myself in their home just a few weeks before they passed. Growing up, we’re conditioned to believe that everyone grows old—we see it with grandparents and neighbours—but witnessing someone once full of life slowly fade away was a surreal experience. I didn’t think much about it over the years, but it clearly left a lasting impact. Strangely, whenever I recall that moment, it always plays out in my mind in black and white.
Why did you incorporate animation into the film
I’ve always wanted to experiment with animation because it allows you to provoke and suggest ideas in ways that live action can’t. Animation offers more room to be provocative and daring in how you communicate with your audience. It opens doors to a kind of storytelling that I love; one that’s more radical.
Why did you decide on it being black and white
Firstly, filming in black and white allows your film to have a timeless quality. Just think of Scorcesse’s ‘Raging Bull’ and Boorman’s ‘The General’. For ‘Perennial Light’ stripping away the colour allowed me to focus more on the texture, contrast, and composition of each shot. Secondly, the style of Paolo Chianta’s animation, which I used, demanded it. His drawings are so offbeat that their aesthetic wouldn’t have worked alongside the colour live-action sequences.
You work differently than other directors why choose this path
I improvise through the use of both cinematography and editing to develop my ideas. I work without scripts or rehearsals with the actors, allowing for a more organic, in-the-moment creation process. This way of working feels much more alive and creatively satisfying. I’ve thought about going down a more conventional route but I’m so heavily involved emotionally in this process that there’s probably no going back.
What advice would you give to aspiring Directors
If you’re working on a low-budget film, be your own cinematographer and editor. Hiring professionals for these roles can be expensive, and doing it yourself gives you the freedom to film whenever and wherever you want, without relying on anyone else. Use what’s available to you, whether it’s locations or actors. If you’re working with non-professional actors, keep dialogue to a minimum. Many films overload their actors with dialogue they can’t carry and they quickly lose their audience. A great example of effective low-budget filmmaking is Spielberg’s Duel. He shot it in just two weeks and used one long stretch of road creatively to tell the story. Spielberg has always had an incredible sense of where to place the camera to create the most impact, and I think that’s one reason he’s been so successful.
Ireland seems to be exploding with talent and productions at the moment is it exciting to be part of it ?
It’s very exciting indeed, but it’s important to remember that while the director gets a lot of credit, filmmaking is really a team effort. Many other elements are crucial: editing, cinematography, set design and makeup. For example, a cinematographer’s work is greatly influenced by the location they’re shooting in. Even the best cinematography can be limited by a poorly chosen setting. However, when you have a skilled Location Manager who can find the perfect backdrop, it elevates everything. A well-selected location not only allows the cinematographer to shine but also amplifies the work of the set designers, hair and makeup teams, and even the actors themselves.