Daniel Ings and Jessica Brown Findlay Star in Olivia Grant’s Debut Short Film, "The Two Week Wait," Premiering at Indy Shorts Film Festival
Fresh from his role in the upcoming Star Wars: Starfighter, acclaimed actor Daniel Ings has joined Jessica Brown Findlay, known for her compelling performances in Peaky Blinders and Downton Abbey, in Olivia Grant’s highly anticipated directorial debut, a short film titled The Two Week Wait. The film, which delves into the emotional complexities of IVF and its impact on mental health, is set to premiere on Tuesday at the Indy Shorts Film Festival, marking a significant milestone for Grant as she transitions from a celebrated acting career to filmmaking.
The ensemble cast also features seasoned performers Fenella Woolgar (Call the Midwife), Rick Warden (Happy Valley), and Sophie Colquhoun (Captain America). They join Brown Findlay, who portrays a woman in her late thirties grappling with a series of dissociative experiences as she navigates the emotionally taxing journey of in vitro fertilization (IVF). Her on-screen partner, played by Ings, is depicted as an incompetent yet guileless boyfriend, highlighting the relational strains that can emerge during such a sensitive period.
A Deeply Personal Genesis for Grant’s Directorial Vision
The Two Week Wait is penned by Grant herself, drawing heavily from her own personal experiences with IVF. The film is a co-production between Grant’s newly established production banner, Cavalry Films, and Symphony Films, a venture helmed by actor-producers Rebecca Night (Wuthering Heights) and Harry Hadden-Paton (The Crown). This collaboration signifies a strong belief in Grant’s vision and the potent subject matter she aims to explore.
Grant, whose acting credits include memorable roles in Stardust, Lark Rise to Candleford, and Indian Summers, revealed to The Hollywood Reporter that her pivot to filmmaking was fueled by a confluence of opportune timing and a newfound sense of urgency. "I’ve wanted to make my own work for a while now," Grant explained, "and, like many actors, had a feature script I’d been quietly writing for a couple of years. But there was always enough acting work not to focus exclusively on writing, and I was ambivalent about what I would write about."
The COVID-19 pandemic, however, proved to be a catalyst. "It was COVID that changed that," she stated. "Firstly, because it cleared time to focus on generating new work, and secondly, because it coincided with my personal struggles with IVF and its mental toll. As a way to hold on to my sanity, I ended up writing a 30,000-word diary documenting the rollercoaster of grappling with my infertility and transcribing the arguments my husband and I were having, which felt very specific to the process and uniquely gendered."
Universality in Shared Struggle: Illuminating the IVF Experience
Grant’s candid account underscores the profound emotional and psychological impact of IVF. She elaborated on how her personal journey resonated with a broader audience as the world began to reopen and she reconnected with others. "It was only as the world opened up again, and I was able to reconnect with more women and couples, that it became clear that many elements of my mental anguish were remarkably universal," Grant shared. "My shame around not being able to have a child and what that meant was normal; my partner’s difficulty salving that particular wound for me was perhaps predictable, and the intense sense of dissociation that permeated that period was again part of the experience for many."
The inherent isolation often associated with fertility treatments was also a key factor. "Like a lot of women, I did not share the experience with my close friends and family and suddenly felt there was a real need to shed some light on what can be the profound interpersonal effects of this remarkably successful, albeit oft-harrowing, process," Grant added. This sentiment highlights a critical gap in public discourse surrounding the mental health aspects of IVF, a process that, while offering hope, can also be emotionally arduous and isolating for individuals and couples.
From Short Film to Feature: A Bold Leap Forward
The premiere of The Two Week Wait at the Indy Shorts Film Festival is not merely the unveiling of a directorial debut; it serves as a crucial proof of concept for a feature-length narrative project, tentatively titled Baby Mine, slated for release in 2027. Both Daniel Ings and Jessica Brown Findlay are already attached to the feature, signaling their continued commitment to Grant’s storytelling. Amy Hubbard is also on board as the casting director for the larger project, further solidifying the team’s dedication.
This strategic approach, using a short film to pave the way for a feature, is a common and effective method in the film industry, allowing filmmakers to demonstrate their vision, secure financing, and build momentum for larger projects. The success of The Two Week Wait will undoubtedly play a pivotal role in the development of Baby Mine.
Industry Acclaim and Anticipation
The project has already garnered significant praise from those involved. Daniel Ings expressed his admiration for Grant’s burgeoning talent, stating, "Olivia is a singular new voice in British filmmaking, with a lot to say on some fairly universal themes affecting many women. Getting to work with her, Nanu Segal [cinematographer], and Jessica Brown Findlay on this beautiful film was an embarrassment of creative riches. You haven’t heard the last of Olivia Grant." His endorsement speaks to the collaborative spirit and the compelling nature of the script.
Rebecca Night, co-head of Symphony Films, echoed these sentiments, describing the script as "so instantly unique, compelling, and beautiful." She elaborated on its thematic depth: "[It] deals with the choices we make, the relationships we foster, and people seeking love and connection as they journey together through life’s struggles. Full of drama, yes, but so witty and heart-wrenching too." This description suggests a film that balances emotional resonance with sharp wit and profound human insight.
Contextualizing the IVF Journey: Data and Societal Impact
The subject matter of The Two Week Wait touches upon a significant and growing aspect of modern reproductive health. According to data from the Centers for Disease Control and Prevention (CDC) in the United States, over 70,000 infants are born annually through assisted reproductive technology (ART), with IVF being the most common form. Globally, millions of cycles are performed each year. Despite its widespread use and success rates, the emotional and psychological toll on individuals and couples is often underestimated or poorly understood by the wider public.
The "two-week wait" itself is a period of intense anxiety for those undergoing IVF. It refers to the time between the embryo transfer and the pregnancy test. During this fortnight, individuals often experience a heightened state of emotional vulnerability, grappling with uncertainty, hope, and the fear of disappointment. This period can exacerbate existing mental health conditions or trigger new ones, including anxiety, depression, and dissociative episodes, as depicted in the film.
The Broader Implications: Shedding Light on a Taboo Subject
Olivia Grant’s decision to bring her personal IVF experience to the screen is a brave and necessary one. By focusing on the dissociative experiences and the interpersonal dynamics, the film aims to offer a nuanced portrayal of a journey that is often shrouded in silence and stigma. The societal implication of such a film is significant. It has the potential to foster greater empathy and understanding for those undergoing fertility treatments, encouraging open conversations about the mental health challenges involved.
Furthermore, the film’s exploration of the "uniquely gendered" aspects of the IVF struggle, as mentioned by Grant, could spark important dialogues about the differing pressures and experiences faced by men and women within heterosexual relationships undergoing fertility treatments. The film’s success at the Indy Shorts Film Festival could pave the way for broader distribution and viewership, further amplifying these important conversations.
A Timeline of Development and Future Prospects
The genesis of The Two Week Wait can be traced back to the onset of the COVID-19 pandemic, which provided Grant with the time and impetus to focus on her writing. The initial writing phase, documented in her personal diary, involved a substantial word count, indicating the depth of her exploration of the subject. This foundational work was then distilled into the script for the short film.
- Early 2020s: Grant begins writing, inspired by personal IVF struggles and the increased free time due to the pandemic.
- Mid-2020s: Development of the short film The Two Week Wait, with casting of Daniel Ings and Jessica Brown Findlay, and collaboration with Cavalry Films and Symphony Films.
- Late 2023 / Early 2024: Completion of The Two Week Wait and announcement of its premiere at the Indy Shorts Film Festival.
- 2027 (Projected): Release of the feature-length film Baby Mine, building on the success and foundation of the short.
The commitment of established actors like Ings and Brown Findlay, alongside the backing of experienced producers like Night and Hadden-Paton, underscores the significant potential of this project. The film’s premiere at a reputable festival like Indy Shorts provides a crucial platform for industry attention, critical reception, and audience engagement.
The narrative of The Two Week Wait is poised to resonate deeply with a wide audience, particularly those who have navigated or are aware of the emotional intricacies of fertility treatments. By offering a visually compelling and emotionally honest portrayal, Olivia Grant is not only launching her directing career but also contributing to a vital cultural conversation, shedding much-needed light on a deeply personal and often challenging human experience. The film’s journey from personal diary to the silver screen is a testament to the power of storytelling and the courage to share vulnerable truths.
