The Power of the 16mm Constraint

With an economical but effective script written by Ruby Abbiss, Going Down was born out of a specific challenge at the National Film & Television School : create a film using only two rolls of 16mm stock.

For many directors, this would be a source of anxiety, but for Aella, the limitation became a creative engine. It forced a level of choreography and planning that Aella’s earlier
digital filmmaking hadn’t previously demanded. With only enough film for one or two takes per shot, every movement had to be perfect before the camera rolled.

This technical choice was not just about discipline; it was about texture. Aella wanted a "tangible, real-world" feel that only film could provide to ground the story’s romance.

To achieve the specific look of a "lurid" American-style motel, her cinematographer, Jake Duncan, used
hand-cut green gels to fit the corridor lights on location.

With a resourceful approach, the team transformed a standard hotel in Beaconsfield into a cinematic space on a shoe-string budget.

Navigating the Mirrored Lift

Much of the film takes place within the confines of an elevator, a setting that offered both intimacy and a technical headache. The lift used was a real, fully mirrored elevator at the NFTS. To avoid capturing the camera’s reflection in every shot, the team had to build a custom wall at the back of the lift. The physical constraints of the space meant the cast were "squashed" together, which Aella found helped create the confronting, intimate atmosphere she was after.

However, working with a live lift in a school building meant they had little control over the machinery. The concern was that someone might press the button from the outside, causing the doors to open mid-take. This "fluff"; would be frustrating given the precious nature of the 16mm stock, but it kept the cast and crew on their toes, ensuring everyone was fully geared towards
making each shot matter.

Lucy Jane Rae as Eva in Going Down

Strategy and the Art of Letting Go

When it came to post-production and distribution, Aella’s approach was equally pragmatic. While she eventually graded the film with a professional colourist, the initial edit was completed in only a few weeks. She admits that one of her favourite shots - a stunning slow-motion close-
up - had to be cut because it didn't fit the narrative flow.

Aella and her editor, Ben Sales, felt the emotional beat translated more effectively on a wide, supported by the delicate yet hopeful score composed by Rotem Frimer. Aella's advice to emerging filmmakers is clear: you have to
be willing to "kill your darlings"; if they don't serve the story’s pace or language.

"Sometimes you have to sort of kill your darlings... just because you like the shot doesn't mean that contextually when you watch the journey... it necessarily fits." - Aella Jordan-Edge

Rather than following the traditional, year-long festival circuit, Aella chose to release Going Down online relatively quickly. Having seen success with her previous film, Misnomer, which is streaming on Short Of The Week, she felt that getting eyes on the work was more important
than waiting for festival responses. This strategy clearly paid off as Going Down has had a festival life after the online release, recently winning Best British Short at the UK Film Festival and Best LGBTQ+ Short at The Big Fridge.

Aella’s subsequent work Truckload , written by Evie
Jones, took a more traditional journey, garnering major festival attention last summer by premiering at Tribeca and the Edinburgh International Film Festival. The short featured high-profile talent such as Jodie Whittaker, Joe Dempsie and Cathy Tyson. Aella is currently writing
her first feature and working with Evie to develop Truckload into a TV series.

Would you like to learn more about Aella's work? Check out her CenterFrame profile to see her latest projects and updates.

NATHAN HAINES

Co-Founder & Filmmaker | CenterFrame Team

Check his profile on CenterFrame