2026 RIIFF Filmmaker Spotlight Series: Geronto, Directed by Mark Pluck
Article Written By Roman Olavarria
Mark Pluck’s Geronto tells the story of a supposed-to-be one time encounter that turns into something much more as two characters, “Younger” and “Older,” open up to their potential insecurities regarding the unfamiliar nature of their situation: “Younger” is a man in his 20s and “Older” is a man in his 70s. Through varied cinematography that beautifully plays with focus in relation to intimacy and understanding as well as the intensely captivating acting of Noah Valentine and Jason Watkins, the film breaks down what the audience may first feel when viewing the film and reconstructs our preconceived notions and assumptions about love that shows up in “unconventional” forms. Pluck’s insights into this film add some context in how he went about filming this piece and some of his other works, especially regarding perspective and collaboration. Though the based-on-a-true story wasn’t personally his, he is able to capture what ends up becoming a pivotal moment of bonding and understanding. Additionally, congratulations to the Geronto team for winning the Alternative Spirit Award (Best LGBTQ Short) Grand Prize at the 2026 RIIFF awards!
Roman Olavarria: How did you balance your work as a creative to depicting a personal story that is not foundationally based on your own experience?
Mark Pluck: When I first read Chris’ script, I was incredibly moved. It was hard not to be. Geronto is such a personal and emotionally charged story that it could only have come from someone with direct experience of the events that unfold. But what struck me most was just how universally relatable its themes were: the very raw desire for human connection, intimacy and belonging. That became my way in.
I spent several months in the run-up to filming having very in-depth, and at times deeply personal, conversations with Chris about his experiences; in order to make sure I fully understood who his characters were and could bring them to life as authentically as possible. He was also directly involved in many of the key decisions we made during pre-production, in areas such as casting, locations and art department.
RO: What was the catalyst to begin the production of this film? Did it begin when you first worked with Christopher Sherwood in Hornbeam in 2022? Did you also work with Sherwood’s partner in the production of the film?
MP: Chris and I first met when I directed him in Hornbeam. We kept in touch afterwards and happened to bump into each other at an event a few years later, when he told me about this idea he had for a short film. I remember feeling really excited about it, as I knew straight away that it had the potential to be something very special so I offered to read the script once he had a draft and share my thoughts. A few months later the first draft landed in my inbox, and Chris introduced me to our producer Tom Taplin. I was asked if I wanted to direct the film and, of course, I said yes straight away!
RO: The cinematography of one of the most intimate moments in the film is particularly fascinating due to some of its close-ups and out-of-frame shots. Can you elaborate on the process of filming the tension-building right before the characters engage in their “first time”?
MP: I’m glad you highlighted this scene, because it’s the one I’m most proud of and I have to give a special mention to our cinematographer, Rob Wilton, editor Guy K. Ward and intimacy coordinator Olivia Heggs for their superb work in bringing it to life. When I was figuring out how I wanted to shoot the scene, I did a lot of research into how other filmmakers have used visual language to portray moments of sexual awakening. I ended up drawing inspiration from a scene in the 2024 Norwegian film Armand, by Halfdan Ullmann Tøndel — a very different scene from ours, but one that emits an incredible sense of sexual tension and threat through very specific camera work and editing. I thought it would be interesting to repurpose a similar approach but use it to a different effect in our film.
RO: What was a challenge that you and your team encountered in the filming process? What would you suggest for other filmmakers when it comes to solving similar problems?
MP: There were a few moments throughout the shoot where we simply ran out of time. That’s nothing new; it’s incredibly common — it doesn’t matter how well thought-through your schedule is, something will inevitably come up on the day that throws you off course. So my advice is to plan ahead for this eventuality. Prepare your shot list. Then take a beat and revisit it to figure out the minimum amount coverage you actually need in order to create a workable scene in the edit. Bring your editor and DOP into that conversation too, if you can, as they can be a good sounding board. I then use a traffic light system: green for shots I absolutely have to capture – otherwise there is no scene; orange for the second-most important shots; and red for the “nice to have” shots. That way, the thinking is done in advance, away from the stresses of being on set, and if you do run out of time on the day, you can relax knowing that everything will be OK!
RO: Your short film Hornbeam actually also starred Christopher Sherwood. You’ve also directed a horror short called Platform. Do you find there to be any connections between fear and anxiety with love and connection? Are these feelings showcased in Geronto in any way?
MP: Yeah, for sure. With the films I make, I’m particularly interested in people’s inner worlds — their true thoughts, feelings and desires — versus how they present themselves outwardly, and the tension between the two. Life is essentially a performance, but what is the reason behind this and what’s the cost? Love and connection often require us to expose our private worlds, but that can obviously feel really intense and frightening. Geronto deals with these ideas, but given that it also deals with the subject of gerontophilia and the significant social stigma that can be associated with it, this tension is amplified even further.
RO: As for depicting stories through film, a short that you were the writer one, The Photographer, plays into ideas of voyeurism. How important is the subject of the camera in this search of creating positive representations of things rather than exploitative works of observation?
MP: The Photographer was basically a cautionary tale about not limiting our field of vision and the importance of broadening our perspectives. As filmmakers, we choose not only what stories we want to tell, but also how we frame them. For me, it’s far more interesting to ask an audience questions rather than provide answers – which is where I think the distinction you’re referring to lies when it comes to observing a particular subject. This was very much part of the appeal for me of telling the story of Geronto: it asks questions of the audience and hopefully challenges their ideas of what authentic love and connection can look like.
RO: Do you have a favorite moment or line in the film? What makes it your favorite?
MP: I’ve always had a soft spot for what we call the “tree scene” — the one that immediately follows the pub scene — ever since the script stage. It’s so well written and beautifully nuanced: very simple on the surface, but with so many layers underneath. The specificity of the anecdote that Jason Watkins’ character tells also makes it feel incredibly real, as do the performances, which I’m really proud of.
RO: What are some projects that you have coming up? Anything that you are particularly excited about?
MP: I’m working on another short film script at the moment, which is in a totally different space from Geronto. It’s a return to my genre sensibilities, but with some dark humour and a specific commentary on a relationship dynamic that I find really interesting.
