The script run through, as well as the rehearsal and final run through all took place in one day. However the say lasted from 6am to 8pm.

As we were on a very low budget, all the hair and make-up was done by me, just to add a little more to create the character of ALINA.

The style of makeup we went for initially was the innocent look, but as the film goes on, with the each god she worships her make-up becomes a little more intense, which is part of the costuming.

We used a 2 camera set up, using DSLR and the Black Magic, helping the visuals achieve very dynamic qualities.

This is benjamin, and he is a wooden carving who was the animism diety.

Due to there only being a certain number of candles, the practice and imaginary lighting was immense, before the actual shoot. happened

As there were several deities involved in the making of this film, each diety had to be specifically placed,and retouched (with paint) as they are vintage collectables.

Here we have the cinematographer Luca d'Angelo. at work practising some hand held techniques during the shoot.

The timing of the Buddhist gong had to be perfect, and required much practice because it requires a specific touch.

This was the scene that really hit home for me, as I was raised in a strict Muslim household, which I had to break away from, due to its toxicity.

Having word with Benjamin and Tanya.

Tanya Howard was a wonderful actress, able to fulfil all my requirements, one of which was to cry out with deep sorrow from within the soul.

Luca d'Angelo, looking for teh best angles.

There were some acrobatics involved, which required an improvised fall matt and a very agile actress.

some areas of the film we used redheads for intense warm lighting, with different set-ups, including keylighting.