Project Detail

House of Women

Synopsis

Revisiting the audition process for the character of Kanchi in Powell and Pressburger’s 1947 'Black Narcissus'. The coveted role went to actor Jean Simmons.
By auditioning only Indian ex-pat or first-generation British Asian women and non-binary individuals, filmmaker Michelle Williams Gamaker re-casts a Kanchi for the 21st Century, who crucially speaks.

Details

Year
2017
Type of project
Shorts
Running time
14 mins 6 secs
Format
16mm
Director
Michelle Williams Gamaker
Producer
Joshua Llewellyn (Somebody Nobody Productions)
Editor
Michelle Williams Gamaker
Screenwriter
Michelle Williams Gamaker
Director of Photography
Tom Wright
Sound
Martin Clarke (Sound Recordist), Sara Pinheiro (Sound Design)
Principal cast
Kelly Hunter, Krishna Istha, Jasdeep Kandola, Tina Mander, Arunima Rajkumar

Production Status

Production Company

Somebody Nobody Productions

Kennington Enterprise Centre
42 Braganza Street
London
SE17 3RJ

Page updates

This page was last updated on 12th May 2025. Please let us know if we need to make any amendments or request edit access by clicking below.

See also

You may also be interested in other relevant projects in the database.

The Bang Straws The Bang Straws

Director: Michelle Williams Gamaker

Year: 2021

An aesthetically invigorating reworking of the casting process of Sidney Franklin’s The Good Earth (1937), a film notorious for a white actor’s racist portrayal of a Chinese character. Official Selection BFI London Film Festival 2021 - Experimenta

 About an Intimate Matter About an Intimate Matter

Director: Sandeep Kumar Paul

Year: 2026

Science teacher Swarna and her partner Driti move to a suburban town for a fresh start. When a student leaks intimate photos of Swarna online, school authorities turn her private life into a disciplinary issue. Official Selection Busan International Film Festival 2026 - World premiere

Denzel Baidoo as Marcus, forlorn at the dinner table. Clocks

Director: Yv Shells

Year: 2026

When Arlo arrives to find Marcus has cooked someone else’s favourite meal, a single question begins to unravel an evening that refuses to stay in the present. Through a fractured timeline set entirely within one dining room, we move between Marcus and Arlo and the relationship that came before, with Una, the woman he met at a late-night bus stop and once talked about marrying. The same table, the same chairs, the same arguments about trust, honesty and what it means to truly see someone. As the timelines bleed together, it becomes clear that Marcus has never fully left the past, and that Una’s ghost sits at every table he sets. When Arlo asks what her own favourite meal is and he cannot answer, the film’s quiet devastation lands completely. CLOCKS is a portrait of a man who loves generously but sees poorly, and the women who carry the cost. It asks what we owe the person in front of us while we are still in love with someone we lost, and whether a feeling ever truly ends.