We chatted with Matthew about his feature film ‘Disremember’ which will screen as part of the London Breeze Film Festival.
Congratulations on the success of Disremember so far — how has it been to see the reaction to the film?
It’s been surreal. When I started Disremember, I didn’t know if I’d even finish it, let alone see it resonate with audiences and juries in the way it has. To have it recognised as a standalone film, not just an experiment, and to win Best Feature at every festival it’s screened at so far has been completely unexpected.
What’s been most rewarding is seeing how it’s already inspiring other filmmakers to push their own boundaries and create their own solo projects.
What prompted you to make a film?
I wanted to challenge myself. Filmmaking is collaborative when you’re working, but outside of that you can spend a lot of time waiting for the next opportunity. I wanted to explore whether it was possible, without being given permission or backing, to make a full-length feature entirely alone from start to finish, with no budget and limited resources.
The aim wasn’t to replace collaboration, but to test the limits of solo filmmaking and prove that ambition doesn’t have to be dictated by circumstance.
How did the idea for the film come about?
I’ve always been more interested in internal conflict than external plot, and the idea grew from that. The film follows a character experiencing unexplained blackouts, which he gradually realises is a defence mechanism, as his mind actively prevents him from rediscovering a suppressed trauma. And the closer he gets to understanding what’s happening, the worse the blackouts become. That paradox became the driving force of the film.
How have you found the experience of putting Disremember together?
Extremely challenging and extremely rewarding. Writing a one-person feature took years, because the script had to fully justify the single-character constraint. Filming over twenty days was utterly relentless, as there’s no downtime when you’re wearing every hat and working alone. Post-production felt like going back to school, particularly in the sound department. Every limitation forced creative problem-solving.
For those who haven’t seen the film, what can they expect?
Disremember is an intense psychological thriller set within a gritty, lived-in London apartment. The filmmaking is raw and subjective in both sound and image, placing the audience inside the protagonist’s fractured perspective.
The action is intense, and as the story unfolds you piece the truth together alongside Rob, occasionally becoming aware that the film was made by one person as you instinctively try to work out how the camera is moving.
Would you like to make more films in the future?
Absolutely. I’m currently developing my next feature, Beats Per Limit, a gritty sports drama set within the fitness world. Like Disremember, it pushes the boundaries of how the story is told, but this time on a larger scale and with a full crew.
My aim is to continue making original, boundary-pushing cinema that challenges convention and connects with audiences beyond the screen.
Disremember will be screened with a Q&A afterwards as part of the London Breeze Film Festival on the 27th January. Tickets are available here and there is a 15% discount with this code DISREM15.