The Carlie Tufnell Spark Fund is a beloved partnership between CFS and the Carlie Tufnell Charitable Trust to provide pitch-winning CFS students with essential funding for their next short film.
Recently, we had the opportunity to speak to last year's Spark Fund winner and CFS graduate, Charlotte Ainsworth. Read on to find out all about Charlotte's process for bringing her new film 'Maybrick' from concept to screen, as well as her advice for future women in screen, and much more.
Can you please start by telling us a bit about yourself and what you studied at Central Film School?
My name is Charlotte Ainsworth and I’m a writer, director, and editor originally from Northern Ireland and currently based in Liverpool. I studied on the MA Filmmaking course at Central Film School and graduated in 2024. I’m one half of ‘Lights, Camera, Action! Productions’, an all-female-led production company based in Liverpool. My co-director, Lorna Lennon-Dalziel and I set up the company in 2021 and since then have co-written, directed and produced several short films, including Little Riots, which was part of the Make Film History project and BBC 100. We love to tell stories about women made by women and invest our time in arthouse filmmaking.
How did you find the process of pitching for the Carlie Tufnell Spark Fund?
It was an intense process preparing for the pitch, but necessary as it forced us to really pinpoint the important parts of the film. It also encouraged us to think ahead about how we are going to successfully create a period short film and tell Florence’s story in a way that connects with audiences. The pitching itself was a great experience, and pitching in front of a panel felt industry-standard. No one was trying to catch us out, just acknowledge the challenges, and the panel really felt like they were prioritising artistic integrity over everything else.
Could you tell us about your film Maybrick, and the inspiration behind it?
We were given a book about Florence Maybrick, a forgotten Victorian true story and became hooked on her life. Florence was an American socialite who married a Liverpudlian cotton broker, James Maybrick and moved to Liverpool. She was incredibly popular and described as ‘the most beautiful woman in Liverpool’. However, her life became tragic when she was accused of poisoning her husband, even though there was never any substantial evidence against her. Florence’s story still feels incredibly relevant, as Florence’s case was built around her sexuality and the fact that she was having an affair. The result of this was that she was imprisoned for 15 years before being released, and she never saw her children again. We wanted to give Florence some justice and bring this lost Liverpudlian story to life.
How has The Carlie Tufnell Spark Fund helped support you in breaking into the screen industries?
The Carlie Tufnell Spark Fund really allowed me to step up as a writer and director. Having the money and support meant more time, more resources, and more talent involved in the project. It allowed me to expand my network and create something professional. Having the support of the fund has allowed an idea to materialise in a way that’s exceeded my expectations. It’s been a really essential and wonderful step in my journey as a filmmaker.
What was your favourite part of creating Maybrick?
My favourite part about creating Maybrick was getting to watch it turn from an idea into something real and into a film we’re proud of. There was a bit of pushback while creating the film, but I think the making of the film was all about surrendering and going with the flow of any problems that arose. And it all paid off in the end because we had such a distinct vision and allowed tone, mood, rhythm and performance to guide the film.
Now that Maybrick is finished, what are your plans for the film moving forward?
Lorna and I want to tour the film and get it out there to audiences. We really want to share Florence’s story with as many people as possible and celebrate everyone’s hard work that went into the project. We’re currently sending Maybrick off to festivals and hope to start a conversation about Florence Maybrick and her life.
What projects or types of work would you like to pursue next?
I’m currently in early development for a feature film named Stevi, co-written with actor and writer Maisie Blake. We made the short film back in 2022 and haven’t been able to let the story go. It’s about a woman on fire, a love triangle set in 90s Liverpool. It’s obsessive, intimate, unreliable, narcissistic, queer, and dangerous. I’m desperate to make a film about queer women as it’s something I have a lot to say on, but haven’t had the chance to yet, and I really think the world needs more films about queer women too.
Do you have any advice for women considering studying film?
I would say don’t wait for permission to make your art, just do it. Someone once told me that women will feel 99% ready to do something and will want to wait until they feel 100%. Men will feel 50% ready and do it anyway. We like to feel prepared, which is great, but it doesn't need to be perfect. We need more stories about women. On a more general note, watch as many films as you possibly can, especially world cinema.
Are there any filmmakers, past or present, whose work continues to inspire you?
My top three directors are Lynne Ramsay, Ingmar Bergman, and Wong Kar-wai. I love that each has a distinct visual style and prioritises their characters' inner worlds. They’re the type of films that stick with me. They also trust their audience with ambiguity and use visuals instead of dialogue to drive their stories.
If you could only watch one film or TV series for the rest of your life, what would it be?
Very tough question, but it would have to be In the Mood for Love by Wong Kar-wai. For me, it’s the most beautiful film ever made, and I equally love the process of how it was made; a proper collaboration between a director and actors to create something eternal.
Watch the trailer for Maybrick below:
