Creating a timeless feel.

In Sweetheart: Angel of the Moor, time is not just a setting, it’s a boundary we cross.

On the advice of a dear friend and past colleague - Darren Miller, we have made the bold choice to shoot the film in black and white, a decision that evokes the sense of stepping into another world. The film will open in muted colour, rooted in the modern-day landscape of Yorkshire. But as we move into the story of Mary-Jane Skaife, the world fades into shadow, quite literally, shifting into black and white as we cross into the past.

This transition is more than visual. It’s emotional. It signals that we are no longer just observers, but witnesses to something enduring, raw, and unresolved. Black and white allows us to strip the world back to its essentials: light, dark, truth, memory. It gives the moors a mythic stillness, and our characters a ghostlike poignancy.

The colour may be gone, but the emotional palette is deeper than ever.

Mary-Jane Black & White