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Crocodile Tears
Bournemouth, Dorset, United Kingdom
Aim
Hired to pose as a dead boy’s girlfriend, a professional mourner finds her hardest act is keeping herself from falling apart.
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Lola works as a professional mourner — a job as absurd as it sounds — and this funeral might be her strangest yet. Hired to pose as the grieving girlfriend of Theodore Walton, a young man recently deceased, she soon finds the lines between performance and reality beginning to blur.
As tensions rise, both the deceit she’s weaving, and her own personal struggles push her to the edge. Standing at the pulpit to deliver a scripted eulogy, Lola can’t help but let honesty slip through.
The eulogy becomes a turning point, drawing her deeper into the Walton family’s world and offering a chance to turn her role from a mere act into something real.
Our protagonist and professional mourner. Lola describes herself as a ‘nobody’ and a ‘catastrophic disappointment of a person’ - and to the viewer in some ways she is an enigma. We experience her emotions with her, investing in her story, but we are kept at arm's length. Her ambiguity as a character fascinates us as she redefines who she wants to be throughout the course of the film. She is curious, emotional, and completely unsure of her place in the world.
Edith, on the other hand, claims her cold, domineering nature with a hard acceptance: she knows who she is. As a result of her son's untimely death, she has twisted into the cruelest version of herself and refuses to apologize for it. She criticizes Lola unashamedly and by the end of the film, this small, dubious, troublemaking girl before her becomes someone she is truly frightened of. Lola is the unexpected in Edith’s controlled, comfortable, upper-class world.
Charles is a gentle man trapped in a world that rewards dominance. At his son’s funeral, he rejects the performative grief around him, drawn instead to Lola’s quiet pain. His lifelong passivity - his failure to protect Theodore from a controlling mother and suffocating privilege - now haunts him, making his final act of rebellion in condemning the Shakespearean Charade playing out, his final chance to demonstrate his remorse.
Beatrice is a long-time family friend of the Waltons, who embodies the appearance-obsessed world that Edith thrives in, a social sphere where worth is measured by what you have, who you know, and how convincingly you smile while judging others. She’s both comic and cruel: the kind of woman who can deliver an insult disguised as sympathy, and who takes comfort in maintaining her fragile social dominance. Beneath the polish and petty competitiveness lies a deep insecurity: a need to belong in a world that would turn on her the moment she faltered.
Some visual inspirations for Crocodile Tears:
Lola, our protagonist, is a young woman suffocated by the expectations of others. By the film’s climax, she reclaims her autonomy—using the very props meant to disguise her to forge a new identity.
This film is deeply personal, exploring both the uncomfortable and the absurd. But it’s more than one woman’s quiet rebellion; it delves into broader themes: the complexity of the parent-child relationship, the tension between appearance and reality, and the rigid expectations we impose on how others should behave.
At its heart, the film questions our assumptions about authenticity. It is deliberately ambiguous and rooted in discomfort—Lola’s, the Walton family’s, societies, and ultimately the audience’s—as an unsuspecting young woman employs questionable methods to try to do the right thing.
While the film tackles heavy themes, it also leans fully into its dark humor—embracing the absurdity of the script and scenarios to reveal truths that might otherwise be too uncomfortable to face.
The story world will feel gaudy and suffocating, set within a grand old church and contrasted with the cold exposing outside world. Inside the church, shadow and murky light engulf the congregation.
Outside, harsh daylight and unflattering close-ups peel back the veneer of politeness — lipstick on teeth, powder on collars.
The production design will be focused on creating striking flower displays, a polished coffin and transforming the church into a suffocating funeral setting.
The Waltons are wealthy, sophisticated, and reserved, starkly juxtaposing with the frazzled chaos young Lola injects into their world.
The makeup will reflect the characters' emotions, and hidden messages shall be conveyed through makeup transformations.
Crocodile Tears leaves the audience with a powerful message: that freedom is found in shaking off the expectations of others and embracing the messy, boundless possibilities of who we can be. In a world obsessed with appearances, the film could be seen as a plea for sincerity—for choosing warmth over performance, and connection over control. But it does more than that: it challenges the viewers’ assumptions of a downtrodden, unsuspecting young girl who chooses to use the machinations of a privileged family against them. She has shed the skin of a victim, but her methods are questionable and - ultimately - we are left unsettled.
Crocodile Tears is about grief, family, and most importantly, it's about finding yourself- universal themes that are understood by us all.
As a crew with all female Heads of Department, we also want to challenge the status quo and the stereotypical "boys club" mentality within filmmaking. Even in the 2020s, women comprise only 34% of film producers, 30% of editors, 27% of directors and 14% of cinematographers. We believe this needs to change, and that change begins with us. Crocodile Tears will champion diverse perspectives, both on and off-screen, and with YOUR HELP, we can continue making steps towards gender equality in filmmaking.
Crocodile Tears will also be an Albert-certified film, meaning our production will meet sustainability guidelines. By supporting us, you are supporting filmmaking that protects our environment, both now and into the future.
We need your support to help bring Crocodile Tears to life! With your help, we can cover essential production costs, such as securing a grand church to set the story in, hiring a talented ensemble cast, and crafting intricate set dressing for Theodore's funeral. All of this will ensure that Crocodile Tears feels as authentic as possible, and allow audiences to emotionally connect with our message. Every donation, no matter how big or small, is a step towards ensuring our deeply human story can be created and seen by as many people as possible!
In return, you can snap up some of our incredible rewards- including our Limited Edition Crochet Crocodile plushies, handmade by our Production Designer Ruby!
So... Where is your money going? Well, this pie chart tells you exactly that!
Your donations will help us secure a beautiful church to film in, procure elegant costumes, ensure our cast and crew are happy and fed- and much more!
Hi, I’m Lily Larkin, the writer and director of Crocodile Tears. I’ve always been fascinated by grief, especially funerals, those strange moments when people reveal their most vulnerable, sometimes unrecognizable selves. There’s something both deeply real and oddly theatrical about them, and that tension really inspires me. I love telling stories that are character-driven, a bit absurd, and emotionally honest, and Crocodile Tears gives me the chance to explore that: the dark comedy in heartbreak, the beauty in discomfort, and the messy contradictions that make us human. At its heart, this film is about how we perform, protect, and fall apart. It doesn’t try to neatly separate right from wrong — it sits in the chaos in between. I’m so lucky to be working with a passionate and imaginative crew who share this vision. Together, we want to make a film that’s funny, heartbreaking, and deeply human — something that stays with you long after the credits roll.
Hi, I’m Jess, the producer of Crocodile Tears. From the moment Lily pitched me this story, I was moved by how deeply human it felt. Grief is a universal part of the human experience, yet it is rarely portrayed authentically. Unlike glossy, stylised representations of loss typically seen on-screen, grief often drives people to act in messy, complex, and unpredictable ways, and it is this sentiment that Crocodile Tears captures.
I’m excited to collaborate with our dedicated team to realise this vision, and I look forward to our sponsors and supporters joining us on our journey!
I’m super eager to be on this project as a Co-Producer! The way the story captured the raw messiness of the human condition in an absurdist manner drew me to the project. I look forward to collaborating with the team in this exciting endeavour!
Hi! I’m Jenna, the 1st Assistant Director for Crocodile Tears!
When I first read the film’s script, the use of the funeral setting and dark comedy as a Trojan horse for the more personal, human moments was what stuck with me the most.
The delicate way that Crocodile Tears intertwines basic human experiences like grief, death, and identity creates a uniquely blended story that anyone can relate to. The film’s emphasis on these key parts of what it is to be human also highlights often-forgotten threads that connect us all, regardless of the things that divide us, making the journeys of the characters and the themes explored indefinitely relevant. This is all delivered, of course, through a visually and sonically stunning package filled with absurdity, comedy, and heart. That is what made me realise this project was the one I wanted to be a part of.
I am absolutely honoured to be involved in this project and cannot wait to work with our team to get this film onto the screen!
Being the Director of Photography for Crocodile Tears, I will ensure that the cinematography looks amazing, stunning, attractive, ravishing, eye-catching, and all other wonderful words that describe the imagery my talented camera, lighting, and grip crew will create for the audience to enjoy. I’m really excited to work on a fun, yet soulful, script that walks the line between comedy and drama, tackling sensitive topics with a comedic tone.
Working with a twisted story based on false appearances and hiding imperfections through immoral means has given me the exciting opportunity to amplify these dark themes through bleak lighting that highlight the character’s imperfections and fear of being exposed, as well as having the chance to light a church to create an overall moody and dark tone to match the nature of the piece.
I’m proud to be First AC on such an exciting project, working closely with our DoP and camera team to support the director’s vision and bring their story to life visually.
I wanted to work on Crocodile Tears from the moment I read the script. Although the story is set at a funeral and touches on heavy themes such as grief and identity, it does not fail to entertain us with unexpected twists and whimsical moments. Lola’s story is relatable to me, despite the fact that I have never faked my identity at a funeral, and it will likely be relatable to many other people as well. I am thrilled to capture this story through the lens as the camera operator of this project.
As co Production Designer I'm super excited to be working on this film with such an amazing cast and crew. I can’t wait to emphasise the dark comedic flares in this film and the important messages embedded, by connecting with the characters and beautiful storytelling.
I make things look pretty. That’s my job.
Apparently, I need to write something a little bit more in-depth. So, I can’t wait to be able to design the funeral service, especially with its quirky characters. To try and display this extravagant funeral set while keeping it realistic. I am going to enjoy treading the fine line between theatrical and realistic to make this a great film! I can’t wait to see the final film!
The story of Crocodile Tears immediately drew me in! As the location sound recordist, I’m always looking for something eccentric. The quick wit of the script, the flurry of characters and, of course, the funeral setting were an immediate win for me. Location recording, though not always the poster boy of filmmaking, allows me to build fantastic relationships with the other departments and get an intimate look at the film. Being able to co-operate on Crocodile Tears and see it through to its ultimate end (coffin and all) will be a fantastic journey!
From the moment the director pitched this film, I knew it was one I had to be a part of. As the editor, I’m bringing the story to life in post-production, shaping its rhythm and giving it its own identity. It’s a script unlike anything I’ve worked on before: longer, deeper, and a real chance to explore new creative ground. Working with a new director has been an incredible opportunity to help bring her vision to the screen, and I can’t wait for everyone to see it come together.
Hi I’m Maisie! I’m so, so excited to be the costume designer for Crocodile Tears. I loved the concept when I first read the script, and from a costume perspective, having the element of funeral attire allows me to have to think creatively about how i can represent the characters through costume without the use of colour in their clothing, which has already been a really fun process. I can’t wait to start designing!
I'm looking forward to joining the wardrobe team on Crocodile Tears and assisting with costumes on set. I’m excited to help the actors get ready for their scenes and to support the department in keeping everything organised and running smoothly. It’s a great opportunity to be part of a creative process and see how wardrobe helps tell the story.
Hi, I’m Hannah! I’m a third-year Hair and Makeup student, and I’m thrilled to be the Head of Department for makeup on Crocodile Tears! I can’t wait to lead the team and help bring this film to life through thoughtful and expressive hair and makeup design.
This project really excites me because it explores grief in such unique and powerful ways. I’m passionate about using my creative process and personal experiences to reflect those emotions on screen, revealing the hidden meanings and subtle expressions that make each character feel real and human.
I’m also so grateful to be working with such an amazing team, and I can’t wait to collaborate, share ideas, and see our collective vision come together.
You've made it to the bottom of our page! On behalf of the Crocodile Tears crew, THANK YOU for taking the time to read everything and for your support!
If you haven't already, go and check out the various rewards we are offering, from receiving a personalised headstone or crochet crocodile, to having your name in our film! Any donation you can give- even if it's £1- helps us bring our vision to life, allowing us to create an extravagant funeral, find the best actors, and ensure our crew are happy & fed!
If you're not able to donate, you can follow us and share our posts on social media: @crocodiletears.bfs on Instagram, TikTok & Facebook! Even telling your friends and family about us will massively help our team bring Crocodile Tears to the screen!
We are incredibly grateful for any help you can give- stay tuned for updates on our film!
Headshots by: @nicolahornsby & @brookecphoto
Graphic design by: @_.__becca
(Statistics on women in film cited from: European Audiovisual Observatory (2025). 27% female workforce in European film production. Parity by 2047? [online]. Available from: https://www.obs.coe.int/en/web/observatoire/-/27-female-workforce-in-european-film-production.-parity-by-2047- [Accessed 9 November 2025].)
This project successfully funded on 11th December 2025