Building Memories: Behind the Scenes of The Memory Remains

Awakened with no memory of how she got here, Laura tries in vain to discover what has happened to her… what her husband has done.

At Red Robin Films, we believe that great stories deserve equally ambitious filmmaking. Our latest production, The Memory Remains, a co-production between Red Robin Films Ltd and Seven Hills Films, is a perfect example of that philosophy in action.

Produced by Kieran Lowley and Isobel Drane, written and directed by Bartek Podkowa, and shot by Matthew P. Scott, The Memory Remains is a psychological thriller that explores memory, identity, and the devastating consequences of hidden truths.

Leading the cast is Díana Bermudez as Laura, alongside Eric James Gravolin as Alex and Pollyanna Hope as Eve. Together, they bring emotional depth to a story that constantly shifts between reality, recollection, and fragmented memory.

From the earliest stages of development, Bartek envisioned a film that would visually distinguish between three separate timelines: the present day, the past, and Laura’s isolated memories. Rather than relying solely on colour grading, the creative team chose to build these worlds through lensing.

Shot almost entirely on the gorgeous Sony Venice, each timeline was assigned its own optical identity.

For the present-day sequences, Matthew P. Scott utilised Zeiss Nano Primes, delivering a clean, sharp image that perfectly complements the sterile warehouse laboratory environment where much of the story unfolds. Zeiss very kindly loaned us these beautiful lenses to support in our unique creative vision.

The past was captured using Focus Canning’s proprietary Astro Berlin primes, whose softer rendering, warmer characteristics, and dreamlike qualities help evoke nostalgia and emotional distance. These lenses proved ideal for the film’s basement laboratory sequences, where memory and reality begin to blur.

For Laura’s fragmented memories, the team turned to the Lensbaby. With its distortion, aberrations, and unpredictable focus characteristics, it created imagery that feels fractured and unstable – a visual manifestation of a mind struggling to reconstruct the truth.

The film’s ambition extended far beyond its cinematography.

Led by Production Designer Becci Mann, the art department operated on a scale rarely seen in short filmmaking. Over 2.5 days of construction, the team built two complete sets from the ground up, alongside three partial set builds to support the film’s complex chronology. Bespoke props were fabricated using a combination of 3D printing, high-grade cosplay foam, traditional scenic construction techniques, and practical finishing methods, helping to create a believable world grounded in both science and memory. Ensuring the multitude of prop builds were delivered was lead Props Maker Peter Harris, working closely with carpenter Colin Drane and the wider props team.

The same level of ambition extended to costume design. Working within the realities of an independent film budget, Costume Designer Elise Francis-Perry faced the formidable challenge of creating wardrobe continuity across multiple timelines, locations, and character states. Each of the film’s three principal characters required distinct costumes for every location and chronological period represented on screen. The result was dozens of costume combinations being sourced, fitted, tracked, and prepared for camera. It was a significant undertaking that played a vital role in helping audiences instantly understand where – and when – they were in Laura’s increasingly fragmented world.

Finding the right locations was equally crucial. With such a visually ambitious script, every environment needed to support the film’s shifting realities. Location Manager Hollybeth Gourlay was instrumental throughout the process, presenting the production team with a wealth of options and helping narrow them down to the locations that best served the story. Her persistence, organisation, and eye for detail ensured the production crossed the finish line with exactly the right spaces to bring Bartek’s vision to life.

Production took place over four shoot days at MetalCraft Studios, with an additional day dedicated to pre-lighting. At several points during the schedule, construction and filming were occurring simultaneously on different floors of the studio – a logistical challenge that demanded meticulous planning and communication between departments.

With a narrative that moves fluidly across multiple timelines and perspectives, preparation was everything. Every scene, costume change, prop, and character beat needed to be mapped with precision before cameras rolled. Thanks to the exceptional work of 1st Assistant Director Emily-Jane Sheppard, the production maintained its momentum throughout the shoot and successfully wrapped every day on schedule.

Now firmly in post-production, the team is bringing together the final pieces of Laura’s story. With editing, sound design, visual effects, and grading underway, The Memory Remains is on track for completion in mid-August.

For everyone involved, the film represents what independent filmmaking can achieve when strong storytelling is matched with ambitious craft. From custom-built sets and bespoke props to carefully curated lens choices and complex costume design, The Memory Remains showcases the passion, creativity, and dedication of the entire team.

We cannot wait to share it with audiences.