They’re Gone Enters Post-Production

They’re Gone is in the edit. Following the completion of principal photography, Marcus Flemmings’ most ambitious feature to date has moved into post-production, ahead of a 2026 festival run.

The grade and finishing are being handled at The Finish Line — the same facility that graded White Guilt, where colourist Maggie Maciejczek-Potter turned Kent and Hertfordshire in November into the heat of the American South.

Why post-production matters on a film like this

They’re Gone moves between horror, satire and something closer to tenderness, often inside a single scene. That balance is not fixed on set. It is found in the edit — in what is held, what is cut, and how long an audience is left sitting with a moment before the film lets them off.

Flemmings has described the film as “Children of Men meets early Shane Meadows meets The Lobster — with a satirical knife twist, and the bones of Macbeth underneath.” Holding those registers together is the work now underway.

The film

In a near-future Britain that has deported all “non-British” people, a timid teenage boy hides the last Black woman in the country. When his fascist father dies, he brings her to the wake — to sing. What follows is a tightening spiral of loyalty, identity and violence.

96 minutes. UK. English. Horror and dark comedy. Directed by Marcus Flemmings, shot by cinematographer Haider Zafar.

Festival selections will be announced here as they are confirmed.