Ahead of screening his film ‘Framing New Brighton’ at Indy Film Library’s 2026 UK Short Film Showcase in London, Dylan Cubbin spoke to us about the memories, places, and communities which drive his distinctive brand of documentary storytelling.
How long have you been making films for now?
Just under two years, really. I’d messed around with making things before that, but I’d say I’ve only been taking it seriously for the last couple of years.
Was there ever a particular moment when you thought, “This is something I could do”?
I think Shooters (2001) was probably the first film I saw that made me think, ‘I want to try this myself.’ It’s a film which has had a mixed reception and is actually mocked at times in Liverpool, but there’s something about the energy and the way the film was made, with the use of non-actors and minimal shoot days, I just find it really inspiring as well as impressive from a filmmaking point of view. It showed me that you could make something with a strong sense of identity without needing a huge production behind you.
Are there any particular artists whose work has inspired or influenced you?
There are so many filmmakers I could name, but in terms of direct influence I’d say the work of Daniel Draper, Agnès Varda, Marc Isaacs and Frederick Wiseman. Dan has obviously been a huge influence on me personally, particularly through working with him on Liverpool Story. I learnt a lot from him, and he put me on to a lot of great films.
Alongside Framing New Brighton, you worked on Liverpool Story, and The Town I Love So Well, also explore themes of place, identity and memory on Merseyside. What keeps drawing you back to this particular geography – and what are you hoping to show about it with your focus on these particular themes?
While Liverpool Story and The Town I Love So Well aren’t my own films, I was lucky enough to work on them, and I think those experiences have naturally influenced the kind of films I want to make myself. I’m drawn back to Merseyside with my own work because it’s the place I know and have a connection to. I find there’s always something new to discover in places that you think you know well, particularly through the people who have lived there for much longer than you have.
Do you think any of those factors are behind why New Brighton also attracts so many talented photographers?
I think the seaside setting is probably a big part of it. New Brighton has a very particular character, and I think that naturally lends itself to photography. We’ve just been lucky that over the years there have been photographers who have recognised that and documented it in their own very individual ways. The interesting thing is that they can all photograph the same place but come away with something completely different.
How did you come to choose Ken, Alex, and Tom as your featured photographers? Was there something which attracted you to their stories in particular?
I came across their work separately through social media, and I was immediately drawn to their photographs. There was something about them that felt nostalgic to me, which I found quite strange because a lot of the work was documenting a time when I wasn’t even born. I also liked that they all represented New Brighton in slightly different ways, Ken through the prom and the beach, Alex through the funfair, and Tom through the nightlife. I thought that lent itself well into piecing together a broader picture of New Brighton.
Going further, you assemble a selection of people who were present when some of the photographs (especially by Tom Wood) were taken. It’s a wonderful touch to illustrate the essential human element that makes this kind of photography resonate with audiences. But was it difficult to find these additional subjects, and were they reluctant to sit in front of another camera?
Facebook was a massive help in tracking people down, as was word of mouth. We were also lucky enough to sneak our way into a reunion party at the Walker Art Gallery for Tom Wood’s exhibition, where we met a few people who helped us find others. I was definitely surprised by how generous people were with their time. Everyone seemed really happy to get involved and share their memories, which I didn’t necessarily expect at first, but once I heard their stories, it made perfect sense. They seemed to have such fond memories of that time.
While sometime photographers in your film note their subjects weren’t particularly thrilled with the picture, mostly people seem to find their antics amusing. But taking unsolicited pictures of someone in a night-club now, for example, would likely have much more concerning connotations. Have attitudes toward this kind of social photography shifted – or is there an important context where the kind of work depicted in Framing New Brighton is still accepted by the public?
I think there was probably a different attitude towards being photographed because having a camera on you wasn’t as normal as it is now. If someone was taking photographs on a night out, it could become something you looked back on afterwards, rather than just another image being uploaded somewhere. But I think the context is really important too. There’s a big difference between someone documenting a community they’re part of, and a stranger walking into a nightclub and photographing people without any connection to them. I think that relationship between the photographer, the place and the people is a big part of why the photographs in the film work.
Making a film about another genre of art which centres on the construction of image itself requires an eye for image construction. Daniel Frost does a fantastic job, capturing some spell-binding scenes of his own – but what were the worries and challenges when trying to live up to the subject-matter?
To be honest, I don’t think we were too worried about it. We took our time with the film, and I had so much trust in Daniel Frost and his eye that I never really worried about whether it was going to look good. I knew he’d capture something special. I think that trust was important, because it meant I could concentrate more on the people and the stories rather than constantly worrying about trying to make every shot live up to the photographs.
Many documentaries suffer from dry interviews that don’t have much of a personal touch. The people you film in Framing New Brighton feel so natural, so at ease – and they have a dry wit that gets bigger laughs than most comedy shorts we have screened. What is the secret to getting the most from someone in a talking-head interview?
I think a lot of it is just down to the people from Merseyside. They’re naturally very funny and down to earth, and I think that comes across really well on camera. We also had such a small crew that it never really felt intimidating for the people we were filming. It was quite relaxed, and I think that allowed them to just be themselves rather than feeling like they had to perform for the camera.
What has the reaction been like to the film from audiences? And how did the photographers feel about the film when they watched it back?
The audience reception has been surreal, to be honest. The fact that it’s sold out cinemas across the UK is something I never imagined would happen. People seem to connect with the subjects and enjoy seeing these personal experiences shared on screen. The best reaction for me has been people telling me that the film has inspired them to get into photography themselves. That’s pretty amazing to hear.
The photographers have been great too. I’ve been lucky enough to become friends with all of them through making the film, and I think we’ve almost reached the point where we’ve forgotten about the film itself. We’ve all just carried on with our lives, which I think is quite nice really
In his five-star review of Framing New Brighton, IFL’s Tony Moore compared “the budget for Framing New Brighton [of] £500” to a miracle – “in biblical terms that is up there with the loaves and fishes.” Do you have any advice for other artists engaged in low-budget filmmaking, as to how they might emulate your results?
I think the biggest thing is just to make the most of what you have. Don’t wait until you’ve got the perfect equipment or a big budget, because you can easily spend years waiting for that moment. We were lucky that we had a small group of people who really cared about the film, and we were able to take our time with it rather than rushing to get it finished. I think if you surround yourself with people you trust, use the locations and resources you already have around you, and just be willing to get stuck in and do whatever needs doing, you can achieve a lot with very little.
On August 29th, Indy Film Library will screen Framing New Brighton as part of its UK film showcase, at London’s Garden Cinema. What do you hope audiences will take away from the screening?
I’d just hope people enjoy it, have a laugh, and come away feeling like they’ve discovered something new about New Brighton and the people who have lived there. If it also inspires someone to pick up a camera or make something of their own, then that would be amazing.
Where can we follow and support your work?
You can follow my Instagram – @dylancubbin.
Indy Film Library’s UK Short Film Showcase II – featuring Dylan Cubbin’s ‘Framing New Brighton’ – takes place on August 29th, at London’s Garden Cinema. Tickets are on sale now, via the Garden Cinema website.
