Joy O’ Dance, 20min., UK
Directed by Dawn Feather
Where ballet tradition meets Yorkshire spirit. Boys challenge expectations, choreography dazzles, and young performers take their final bow before a new chapter begins.

Get to know the filmmaker:

1. What motivated you to make this film?
I was actually asked to do the video marketing to promote the show the dance school was performing. I did a half day shoot, spending time with the kids and watching them rehearse. I asked them all what it feels like to dance and their answers astounded me. I was struck by how candid and articulate they were, describing their feelings. I thought… I’ve got something here. Luckily the dance school were really happy for me to continue filming when I asked if I could explore the wellbeing question further.

2. From the idea to the finished product, how long did it take for you to make this film?
It was a passion project, so although I initially spent a couple of days and evenings filming, the post production process was about 6 months, mainly because I was fitting it around my other editing work. It’s actually really unusual that I can spend such a long time on an edit, going back, reflecting and reworking. I think it’s the most creative I’ve been in post in a long time.

3. How would you describe your film in two words!?
Pure joy

4. What was the biggest obstacle you faced in completing this film?
Although initially I’d gained all the correct permissions to work with the dance school, theatre and all the participants who took part, a little faux pas on my part was to assume that because the children were performing a dance, and I’d removed all of the music performed by the show (replaced by my amazing composer’s scores), I’d neglected to look at the actual subject matter of the show, which was The Lion, The Witch & The Wardrobe. I was halfway through the edit when it suddenly dawned on me that I’d probably need the permission of the C.S. Lewis estate too. This was a bit of a panic moment! So I sought out the advice of a copyright lawyer to see what my options were. Thankfully, with their expertise and guidance, I was able to negotiate the use of the show in the film, with a few caveats. For example, we can use imagery of recognisable characters within the film itself, but not in any promotion, which is why you don’t see them in any of the promos or press kits.

5. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution. What is your favorite stage of the filmmaking process?
It has to be post production. I have a background in post so naturally I’m going to say that.

6. When did you realize that you wanted to make films?
I was 12 when I decided I wanted to be a director, but when I went through uni I realised I had an aptitude for editing and fell in love with that. I still work as an editor now. I’m also directing and producing so I can push what’s possible in the edit. It’s the most creative part of storytelling for me.

7. What film have you seen the most times in your life?
Back to the Future, or Ghostbusters. Love the 80s.

8. In a perfect world: Who would you like to work with/collaborate with on a film?
I’ve always admired the work of an editor called Christian Wagner. Most of the time an editor’s hand is invisible but their work with director Tony Scott is really creative.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It works well.

10. What is your favorite meal?
Full roast dinner with all the trimmings.

11. What is next for you? A new film?
I’ve been lucky enough to be chosen for the WFTV 2026 cohort of mentees. It’s a scheme that helps elevate mid career women in film and TV. It’s already opening doors and I’ve met some amazing women who’ve worked on some amazing shows. So I’ll continue to develop my skills as part of this scheme. I’m also in prep on a music documentary that I’m very excited about.