In this exclusive interview, conducted at the London Film Festival (BFI), directors Iain Forsyth and Jane Pollard discuss the inspirations and creative challenges behind their new film, The Extraordinary Miss Flower, inspired by the captivating singer Emiliana Torrini. The film stars Emilíana Torrini and features a talented cast including Nick Cave and Sophie Ellis-Bextor.
The story is inspired by a surprising discovery—a box of letters left behind by Geraldine Florest, filled with personal memories and tales. These letters opened a doorway to a world of imagination, intrigue, and deeply personal storytelling, becoming the foundation of this captivating project.
What inspired you to work with Emiliana Torrini on this project?
Jane: Emiliana was the starting point for us. We first met her about five years ago at a dinner with a mutual friend, and she immediately captivated us. She’s a lovely person and a truly engaging storyteller. We both thought, “Wow, she could carry a film.” Then, last year, we heard the album inspired by a box of letters found after Geraldine Flower passed away. There was so much richness in the songs and in the letters that it felt like an exciting challenge to transform them into a film.
Iain, can you share more about how those letters shaped the story?
Iain: The letters took Emilíana to such a creative and playful place. They start from that box of letters but go beyond, venturing into the extraordinary. She imagines spies, Caribbean islands, and has these flights of fancy that are so vivid. For us, getting to play in that imaginative sandbox was an irresistible opportunity.
How would you describe the visual style of the film?
Jane: I think we learned that this film is very hard to describe—but hopefully easy to watch! We’ve tried to create something mesmeric, almost hypnotic, with a richly layered visual style. We used in-camera effects and projections to craft a world that feels dreamlike and imaginative, like it exists in a slightly heightened alternate reality.
Do you each have a favorite Emilíana Torrini song featured in the film?
Jane: It’s hard to pick just one, but I have a soft spot for “Dreamers.” It’s a song that starts and stops at various points in the film, then returns at the end, which makes it feel very powerful.
Iain: For me, it’s “Love Poem.” It’s based on a poem that Geraldine wrote and discovered in that same box of letters. It was the only example of Geraldine’s own writing, and we’re not sure if the poem ever made it to the person it was written for. The song that emerged from it is incredibly expansive and cosmic, and we really wanted to create a visual language that matched its beauty.
What are your thoughts on using love letters as the foundation of the film’s narrative?
Jane: Letters are such a unique form of expression. They’re not just about communicating something to another person; they’re also a way to process one’s own thoughts. Writing a ten-page letter requires real-time reflection, and there’s something cathartic about sealing it and letting it go. It makes me wonder what we lose as a society when we stop writing long letters like that.
Iain: Exactly. There used to be this phrase, “reading between the lines,” which you rarely hear anymore. With a long letter, there’s so much emotion between the lines that doesn’t come through in words but in the act of writing. Nowadays, with short emails and text messages, there’s no space for that subtlety. It’s all black and white, and we’re missing the beautiful grays.
Finally, how do you see the role of combining images and music in the narrative of this film?
Jane: For us, that was one of the most exciting aspects of the project. Music is a huge part of our lives, and we’re always looking for ways to bring music and storytelling into a more explicit relationship in our work. There’s so much untapped potential in what happens when you put visuals to music.
Iain: Exactly. Today, it feels like that potential has become more limited. Look at things like YouTube lyric videos—it’s just not pushing the boundaries of what visuals and music can achieve together. For us, the challenge was to break new ground, to find a fresh language that feels innovative and brings a renewed sense of magic to that combination.
