Inside Indie Film: Community, creativity
and dinner scenes you can't unsee.
London-based filmmaker Emily Sommerfeld creates experimental, visually striking short films that blend folklore, surrealism, and psychological tension to tell deeply human stories.
When she’s not behind the camera, Emily can be found at Art House Crouch End, a family-run indie cinema that champions both established and emerging voices.
In this conversation, she reflects on the films that shaped her, the challenges of indie filmmaking, and why local cinemas like Art House are essential to London’s creative scene.
Let’s start at the beginning — where did your love of film come from?
I think I’ve probably always had it since I was a kid, but it started more intensely when I was in sixth form. I did media studies and we started dabbling in filmmaking, and I realised I really enjoyed it.
That’s when I started watching way more films, becoming a bit obsessed, and starting to play around making stuff. From then, it’s just grown. I’m very creative and film is a creative outlet for me.
Can you pick three films that have the biggest influence on your filmmaking style today?
There’s a Czech film called Daisies, an experimental piece from the ’60s by Vera Chytilová. I think it’s wonderful. It was banned because it’s about these two women being free, which wasn’t the done thing at the time.
They’re just up to no good and I love it.
Then there’s The Lighthouse by Robert Eggers. I think it’s fantastic in every way. His films, in general, have really influenced my style.
And lastly, Suspiria, you know the original by Dario Argento. I love the lighting and how dramatic it is.
What was it that gave you the confidence to become a filmmaker?
Um… I wouldn’t say there’s 100% confidence, to be honest, that’s still a work in progress. It’s a really hard industry, especially in indie film. But I love doing it, so I find a way to make it happen.
Right now, that means working extra jobs to fund my films. I just couldn’t imagine not doing it. It sounds dramatic, but it feels like a calling [laughter ensues]. But, if I wasn’t making films, I wouldn’t feel true to myself.
What advice would you give to someone who wants to make films but feels a bit intimidated?
Honestly, everyone, even people who’ve been making films for years, still feels that fear. Every film is scary to start. I’ve probably made under ten films, all shorts, and I still find it daunting every single time.
But if it’s something you love, then you’ve just got to do it! You can make a film on your own. I’ve made animations and live-action completely solo.
You don’t need fancy equipment. Your phone is enough if the passion’s there.
If you’re a writer director, you may have to compromise on what you create based on budget, but you can still make something compelling. Over time, your resources grow, and then you can do those bigger scenes you dream about.
So to fund film-making, your sideline is at Art House Crouch End. Tell me about that.
Yeah, so I’ve been there about two years, working front of house. Selling tickets, making food, that kind of thing, and it’s just such a lovely place.
It’s family-run, with this real community of people who love films and want to talk about them. Being surrounded by that all the time is such a reminder of why I do what I do.
I’ve learned about so many filmmakers through it, and met people I’ve later worked with or been inspired by. You don’t get that community feel in bigger cinemas. At Art House, even if someone’s not a filmmaker, they might act or work in the industry, or they just love film; it’s honestly just brilliant.
And they’ve supported your work too, right?
Oh yeah, totally. They run loads of events and are so supportive of local filmmakers.
If your film’s under 30 minutes, you can screen it there for free!
My film’s actually showing on Friday. You just need to spend a bit at the bar. It’s such a great way to see your work on a big screen with friends and crew.
It’s also amazing for networking. When I work events, I meet people doing the same thing as me. We’ve even had people put out red carpets and have full-on premieres. It’s a really special vibe.
Tell me about your new film – without spoilers!
Yes, so it’s called Barb Wire Fruit. It’s an experimental folk horror set on an island. It follows Tinpulse, a young boy who’s grown up isolated with his parents. Just before his 18th birthday, he’s due to go through a ritual they believe is necessary because it was done to them. He doesn’t know any different, but from the outside, it’s erm… yeah… really wrong.
I hope that explains it. It can be difficult to explain because the story’s quite loose and experimental, but this is what I love most!
Also, the parents are only ever filmed from the shoulders down – you know, kind of like Tom and Jerry… so you see it from Tim’s perspective without fully seeing them – I really like that.
How important are creative relationships with cast and crew on an indie film like this?
I’ve been so lucky. Most of the crew were people I’d never met before, but we just clicked creatively. With a small crew of about ten people, I could spend time with everyone one-on-one to make sure we were on the same page.
Even though I wrote and directed it, I see it as equally their film. You get the best out of people when they’re as invested as you are.
Working this way means sometimes the end result isn’t exactly what you pictured at the start. It’s often better!
We love the poster! Can you give a quick shoutout to the person who made it?
Oh yeah, that was Szymon from Effect Films. He’s the colourist and edit supervisor too. We went to uni together. He’s a cinematographer, editor, and graphic designer with his own production company and is super talented.
Tell us about your favourite shot or scene in the film?
So there’s this dinner scene early on where Tinpulse’s mum is cutting up this horrible, fleshy mound of food for him. Black liquid oozes out of it, and it’s just… ugh. Eventually, he faints and we jump cut to him on his mothers lap. I love this shot! I think the transition worked really well to demonstrate the hold his parents have over him.
What’s next for you? Are there any future films, ideas, or dream collaborations in the pipeline?
I actually just made a documentary in Greece about traditional shepherding. It was just me and one other person. Much more documentary than my usual surreal work, but yeah, I really enjoyed it.
Now I’m doing some writing and planning my next film, but I need to decompress from my degree a bit. I’d love to get a job on set to earn some money and get more experience while keeping my own projects going.
And finally, for any indie filmmaker or film lover reading this, why should they be showing up for places like ArtHouse Crouch End?
The community, definitely!
You’ll see films you wouldn’t see anywhere else, and you can talk to staff who genuinely love film.
We’ve got some amazing regulars, networking events, and even the odd celebrity filmmaker popping in.
Plus, it’s affordable! Like, two cocktails for £15 in London is unheard of. It’s just a lovely little hub for film lovers.
Thank you to Emily and Art House Crouch End for working with us to put this together. We find chats like these so inspiring, so it’s a pleasure to be able to share them with you, too!
Emily Sommerfeld London Based Film-Maker
As well as working on her own films, Emily is available to help bring your film project to life. Get in touch with her or find out more on Instagram
Check out behind the scenes content, crew credits and everything you need to know about Barb Wire Fruit on Insta.
For the best in indie film, exclusive screening hire and those 2-4-1 cocktails, get yourself down to Art house Crouch End!
At Griffin King Creative we help film & music creators amplify releases with storytelling, creative campaigns & branding.
Inside Indie Film: Community, creativity and dinner scenes you can't unsee.
London-based filmmaker Emily Sommerfeld creates experimental, visually striking short films that blend folklore, surrealism, and psychological tension to tell deeply human stories.
When she’s not behind the camera, Emily can be found at Art House Crouch End, a family-run indie cinema that champions both established and emerging voices.
Here she reflects on the films that shaped her, the challenges of indie filmmaking, and why local cinemas like Art House are essential to London’s creative scene.
Let’s start at the beginning — where did your love of film come from?
I think I’ve probably always had it since I was a kid, but it started more intensely when I was in sixth form. I did media studies, and we started dabbling in filmmaking, and I realised I really enjoyed it.
That’s when I started watching way more films, becoming a bit obsessed, and starting to play around making stuff. From then, it’s just grown. I’m very creative, and film is a creative outlet for me.
Can you pick three films that have the biggest influence on your filmmaking style today?
There’s a Czech film called Daisies, an experimental piece from the ’60s by Vera Chytilová. I think it’s wonderful. It was banned because it’s about these two women being free, which wasn’t the done thing at the time.
They’re just up to no good and I love it.
Then there’s The Lighthouse by Robert Eggers. I think it’s fantastic in every way. His films in general have really influenced my style.
And lastly Suspiria you know the original by Dario Argento. I just love the lighting and how dramatic it is.
What was it that gave you the confidence to become a filmmaker?
Um… I wouldn’t say there’s 100% confidence, to be honest, that’s still a work in progress. It’s a really hard industry, especially in indie film. But I love doing it, so I find a way to make it happen.
Right now, that means working extra jobs to fund my films. I just couldn’t imagine not doing it. It sounds dramatic, but it feels like a calling [laughter ensues]. But, if I wasn’t making films, I wouldn’t feel true to myself.
What advice would you give to someone who wants to make films but feels a bit intimidated?
Honestly, everyone, even people who’ve been making films for years, still feels that fear. Every film is scary to start. I’ve probably made under ten films, all shorts, and I still find it daunting every single time.
But if it’s something you love, then you’ve just got to do it! You can make a film on your own. I’ve made animations and live-action completely solo.
You don’t need fancy equipment. Your phone is enough if the passion’s there.
If you’re a writer director, you may have to compromise on what you create based on budget, but you can still make something compelling. Over time your resources grow, and then you can do those bigger scenes you dream about.
So to fund film-making, your sideline is at Art House Crouch End. Tell me about that.
Yeah, so I’ve been there about two years, working front of house. Selling tickets, making food, that kind of thing, and it’s just such a lovely place.
It’s family-run, with this real community of people who love films and want to talk about them. Being surrounded by that all the time is such a reminder of why I do what I do.
I’ve learned about so many filmmakers through it, and met people I’ve later worked with or been inspired by. You don’t get that community feel in bigger cinemas. At Art House, even if someone’s not a filmmaker, they might act or work in the industry, or they just love film; it’s honestly just brilliant.
And they’ve supported your work too, right?
Oh yeah, totally. They run loads of events and are so supportive of local filmmakers.
If your film’s under 30 minutes, you can screen it there for free!
My film’s actually showing on Friday. You just need to spend a bit at the bar. It’s such a great way to see your work on a big screen with friends and crew.
It’s also amazing for networking. When I work events, I meet people doing the same thing as me. We’ve even had people put out red carpets and have full-on premieres. It’s a really special vibe.
Tell me about your new film – without spoilers!
Yes, so it’s called Barb Wire Fruit. It’s an experimental folk horror set on an island.
It follows Tinpulse, a young boy who’s grown up isolated with his parents. Just before his 18th birthday, he’s due to go through a ritual they believe is necessary because it was done to them. He doesn’t know any different, but from the outside, it’s erm… yeah… really wrong.
I hope that explains it. It can be difficult to explain because the story’s quite loose and experimental, but this is what I love most!
Also, the parents are only ever filmed from the shoulders down – you know, kind of like Tom and Jerry… so you see it from Tim’s perspective without fully seeing them – I really like that.
How important are creative relationships with cast and crew on a indie film like this?
I’ve been so lucky. Most of the crew were people I’d never met before, but we just clicked creatively. With a small crew of about ten people, I could spend time with everyone one-to-one to make sure we were on the same page.
Even though I wrote and directed it, I see it as equally their film. You get the best out of people when they’re as invested as you are.
Working this way means sometimes the end result isn’t exactly what you pictured at the start. It’s often better!
We love the poster! Can you give a quick shoutout to the person who made it?
Oh yeah, that was Szymon from Effect Films. He’s the colourist and edit supervisor too. We went to uni together. He’s a cinematographer, editor, and graphic designer with his own production company and yeah, super talented.
Tell us about your favourite shot or scene in the film?
Ok yea so there’s this dinner scene early on where Tinpulse’s mum is cutting up this horrible fleshy mound of food for him. Black liquid oozes out of it, and it’s just… ugh. Eventually, he faints and we jump cut to him on his mothers lap. I love this shot! I think the transition worked really well to demonstrate the hold his parents have over him.
What’s next for you? Are there any future films, ideas, or dream collaborations in the pipeline?
I just made a documentary in Greece about traditional shepherding. It was just me and one other person. Much more documentary than my usual surreal work, but yeah, I really enjoyed it.
Now I’m doing some writing and planning my next film, but I need to decompress from my degree a bit. I’d love to get a job on set to earn some money and get more experience while keeping my own projects going.
And finally, for any indie filmmaker or film lover reading this, why should they be showing up for places like ArtHouse Crouch End?
The community, definitely!
You’ll see films you wouldn’t see anywhere else, and you can talk to staff who genuinely love film.
We’ve got some amazing regulars, networking events, and even the odd celebrity filmmaker popping in.
Plus, it’s affordable! Like, two cocktails for £15 in London is unheard of. It’s just a lovely little hub for film lovers.
Thank you to Emily and Art House Crouch End for working with us to put this together. We find chats like these so inspiring, so it’s a pleasure to be able to share them with you too!
Emily Sommerfeld London Based Film-Maker
As well as working on her own films, Emily is available to help bring your film project to life. Get in touch with her or find out more on Instagram
Barb Wire Fruit
Check out behind the scenes content, crew credits and everything you need to know about Barb Wire Fruit on Insta.
Art House Crouch End
For the best in indie film, exclusive screening hire and those 2-4-1 cocktails, get yourself down to Art house Crouch End!
At Griffin King Creative we help film & music creators amplify releases with storytelling, creative campaigns & branding.