2026 RIIFF Filmmaker Spotlight Series: Geronto, written by Christopher Sherwood
Article Written By Roman Olavarria
Basing the writing off of his personal experience, Christopher Sherwood in the film 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. Working with director Mark Pluck, Sherwood’s reflections on his experience allows the audience to peek at an intimate moment between two people who are unfamiliar with each other and their circumstances due to their relations. As the film progresses, the writing and sequencing pick up, slow down, and follow through with a moment where their vulnerabilities may allow them to be more comfortable with each other and themselves. His reflections in the interview make connections between his creative process, his creative outlook, and the capture of important moments. Additionally, congratulations to the Geronto team for winning the Alternative Spirit Award (Best LGBTQ Short) Grand Prize at the 2026 RIIFF awards!
Roman Olavarria: As the film is based on your experience, were there any moments that you found particularly difficult to film?
Christopher Sherwood: I actually stayed away from set for much of the shoot and let the actors and Mark get on with it. I felt that my presence, given it was a very personal and true story, would impose an unhealthy pressure on the actors in particular. Trust is so important in the creative process, and I felt very comfortable that we had built a team that I could absolutely trust – partly due to their undeniable talent, but also through all the ground work we had done together in preparation. Watching it back, however – that is difficult – I break every time!
RO: What was the screenwriting process like?
CS: I find writing difficult. I thought with it being a true story it would write itself, but there are still so many choices to make! The key thing was not to think too much and to just write something – create the lump of stone that you can then carve and sculpt into something rather easier on the eye. The sculpting process was very collaborative, and took a number of in-person meetings with Director, Mark Pluck and Producer, Tom Taplin to meticulously go through it and optimise every line, cut any excess, and maximise every moment… Draft 30 became our shooting script.
RO: How did your creative work in photography, acting, advertising, and playing in inclusive sports clubs inform your process?
CS: Making films, even short films, is hard and requires a lot of dedication, time management and team work. These are disciplines that a life in sport and a prior career in advertising definitely teach you. My time in inclusive sports teams definitely opened my eyes to the fact that there are many other people like me out there than I realised, and that has given me the courage and drive to share this personal story. Finally, being an actor means I have read countless short film scripts, seen sense of what works and what doesn’t, and is what really helped me to recognise that this anecdote of mine was in fact a story of perfect proportions for the short film format.
RO: What’s the story behind you starting to work with director Mark Pluck on this film? What were you most excited about in working with him?
CS: I first met Mark when he directed me in a short film called Hornbeam. I really enjoyed his approach and style, and admired him personally. I was very proud of that film. I then bumped into him at a film screening and told him about my idea for Geronto. His eyes lit up and he implored me to write it. At that stage I was going to direct it myself, but in time I recognised that the film would be better under an external eye. I also knew of Mark’s talent for writing and felt that if I asked him to direct, he would be rather more motivated to help me craft my script into something much better than it would be were I left to my own devices.
RO: What were some of the major feelings that you had while screenwriting within the frame of this personal story? Any particular reflections that you think were foundational to the film?
CS: Fear and apprehension definitely ran through it. The subject matter of this film is now totally normal to me, but I kept thinking about other people for whom the subject matter will be uncomfortable – certain friends, certain family members, lots of strangers. How will people’s perceptions of me change after seeing this? I countered these fears, however, with hopes for all those other people like me – people who have never once seen themselves represented in mainstream film or TV – people who would find comfort in this or maybe even use it to show other people and say, “This is me.” I also considered those who jump to wrong conclusions about me and others in inter-generational relationships. Perhaps this film can open their eyes to some of the possibilities. These motivations are foundational to the film, though we made a conscious effort to avoid heavy-handed delivery of ‘a message’.
RO: Your collections of street portraits picture anything from people sitting along the street to a smiling dog; from a “Vomen of Vilnius” holding flowers to an activist holding a salient political board. What do you think is at the center of the subject and the camera? How does Geronto play into these ideas of “looking into a personal moment,” especially being based on a true story?
CS: Gosh, you’ve sure done your research! I’ve always been a people watcher, often getting caught staring at people, lost in thought as I try to figure them out. My fascination with people and why they are the way they are even led me to completing a degree in Human Sciences before I became an actor. My photography is a low-budget creative outlet for this interest as I try to capture moments that are perhaps odd or amusing but also utterly relatable. This same philosophy absolutely underpins GERONTO and my creative approach to it – grounding it in realism, not shying away from what really goes on, but with an observational humour that reminds us not to take it all too seriously.
RO: September 2025, the team began the campaign with the Greenlit fund to help fund the production. A kickoff event was held with the Omyx Club. How important were these community groups in supporting the film?
CS: The Omyx club is a UK based gay networking group with an inter-generational leaning. Having been involved with them for a few years, they were an obvious group to approach with a view to finding people who may wish to donate to the film and become part of our GERONTO community. Our instincts were correct and we raised the money very quickly as a result. It was so touching to feel the enthusiasm for this film from so many people. I suppose we shouldn’t have been surprised given the total lack of representation of young people who find old people sexually attractive in the arts. These people wanted this film to be made, and they had an opportunity to help. Through their generosity, we have indeed created a wonderful community around the film that we intend to nurture and develop through the festival campaign. Indeed, we will be hosting a special private screening in December for Omyx members and have other plans afoot as well.
RO: How important is community building in the Short Film industry?
CS: One of the beauties of the short film industry is that success is less about dollar signs and more about sharing ideas, telling stories, and moving people whilst shining lights on various issues facing humans and/or humanity. At the heart of all of this is community. Short films need community and have the power to create community, so it’s really at the heart of it all.
RO: What is the power in depicting different kinds of connection or love through film that some might see as unconventional?
CS: Allowing people to experience unconventional relationships through film can open people’s minds, increasing the chances that they will respond with greater understanding and empathy when confronted by such relationships in real life. It’s also a powerful tool for providing comfort and guidance for those of us who may never have seen people like themselves on screen or indeed in real life.
RO: Do you have a favorite moment or line in the film? What makes it your favorite?
CS: As you might expect, I have a few! The climactic scene gets me every time. And a line I feel I can refer to without giving too much away is the one about rust, because it’s just so beautifully performed – not only the delivery of the line by actor Noah Valentine, but also Jason Watkins’ response to it – it’s just so real, so subtle, but so loaded. This moment also seems to draw a good, audible reaction in the cinema as well, which always reassures me that the audience are now invested.
RO: What are some projects that you have coming up? Anything that you are particularly excited about?
CS: As an actor I’m filming a small role over the next few weeks for an upcoming NETFLIX series, and have a couple of short films in post production. From a writing point of view, I’m starting to formulate an outline for a feature length version of Geronto. I’m also in the process of writing a new period comedy short film. I mean, it’s set in 18th century England. It’s not about periods.
