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What Remains of Calico Hill
Bournemouth, Dorset, United Kingdom
Aim
A young woman discovers hidden remnants of her family’s past, unknowingly unraveling a loving history of loss and sacrifice.
“A young woman discovers hidden remnants of her family’s past, unknowingly unraveling a loving history of loss and sacrifice, and the haunting legacy of wartime experiments that shaped her mother’s silent, unspoken trauma.”
Following the protagonist, “San”, a scarecrow-maker and daughter of a former war nurse, What Remains of Calico Hill is an experimental-fiction war drama that examines the enduring impact of wartime atrocities through the quiet lives of a mother and daughter in rural post-war Japan — as told across fragmented timelines of 1936, 1945, and 1965.
On “Calico Hill”, San and her mother share a house and a quiet, strained existence. Their relationship is one of absence. As San stumbles upon a box of preserved wartime keepsakes: letters, pressed flowers, a lock of hair — she begins to piece together the hidden history of her family’s past. She carefully tucks these fragments into her scarecrows, stitching a silent tribute to a father and people she never knew while her mother watches from afar. These figures, adorned with buttons, old uniforms, and personal relics, serve not just to ward off birds — but as silent memorials and stand-ins for lost loved ones. Through small, intimate rituals, they begin to bridge the distance carved by years of silence and unhealed trauma.
What Remains of Calico Hill touches on a part of history which is rarely ever spoken about, delivering it in a sentimental way through mother-daughter interactions and archived history. We want this story to illustrate how history and memories are never truly lost nor forgotten, but that they simply stand still, waiting to be rediscovered, hidden in plain sight.
The film is a quiet elegy on memory, grief, and forgotten history. Inspired by the barbarity of the Imperial Japanese Army and the silent trauma inherited both by those who are associated with it and those who came after, the film explores how war leaves its mark not only on bodies, but on families, landscapes, and rituals. The story unfolds like memory itself: fractured, nonlinear, intimate.
Through the art of scarecrow-making and the quiet resilience of women across time, the film becomes a call to remember what history tried to erase. In a world obsessed with spectacle, this is a story about silence, and the sacred power of what remains unspoken.
Set within Imperial Japan, What Remains of Calico Hill is less so to do with the straightforward portrayal of events but is an exploration on the grief of war, lost love, the generational trauma of it, and the way it impacts people beyond the immediate effect. Following the protagonists, “San” and “Naoko” (referred to as “Mother”), the film sheds light on patriotic devotion, the experiments which surrendered humanity in the name of science, and the unspoken familial love between child and parent when words no longer hold meaning.
The film deals with historical atrocity, the human experimentation and violence of the Army’s Ishii Unit (“Unit 731”) during the Second World War. It bears witness to the unspoken grief, buried truths, and the intergenerational trauma that ripples through families and time. Through visual metaphors like scarecrows, relics, and ritualistic repetition, this is not a conventional narrative. It uses nonlinear structure, silence, symbolism, and contrasting visual textures to embody the fractured way trauma lives on.
Alongside the delicate art of scarecrow-making, the film centres around unarticulated dialogue, radio frequency glitches accompanied by visual compounds, images and videos which intercut and warp between the two timelines of 1936–45 and 1965. The narrative spans three generations of trauma — the Young Mother, who experiences the direct loss of her Lover and is witness to the war; the (older) Mother, who carries the silence of the weight of loss and heartbreak of her younger self; and San, the daughter, who inherits the anguish she never lived but can feel. Her curiosity is core to the story as she desperately tries to piece together her family history.
This is our final year graduate film, the product of our hard work for the past three years at university. It's been such a great experience so far with the incredible crew's collaboration, and seeing the accumulation of our three years of study has been a delight to experience.
Since this film is the only experimental fiction occurring this year, it is our duty to ensure that the film gets enough funding to be the best it possibly can be. Especially as the film is a period piece set in post-war rural Japan, we need to ensure that we have the budget to build our set build and create the most authentic setting.
The collaboration we have experienced so far has been amazing, with partnerships within the University, finding students to help make our perks. We have also received the kind support with different societies, such as the International Shakuhachi Society, who are helping us record traditional Japanese instrumentals for the film, the Bristol Japanese Cultural society, and JETAA South.
All we need is your help, whether you know one of the students on the film, or you are interested in the film's complex subject matter. Every donation or share counts to ensure that this film can be a reality and truly be the best film it can
To achieve the ambitious art direction in line with historical accuracy, about 44% of our budget will be going to the Art Department (Production Design, Costume, Make Up). Due to the time and place of the story, acquiring time and location accurate props and set dressing will be our biggest challenge, of which we will need most of our funds for.
Mya Akhina – Writer, Director
"Growing up, my understanding of culture and history as a child was told to me through words of mouth. Stories, tales, and legacies were shared across the dinner tables from generation to generation. As one’s history can only be discovered through spoken words and folktales, I wanted to explore what happens when there is a lack of it. Mother and San’s story is one about the reclamation of history and the disconnection between parent and child. In a world where things are left unspoken, one can only deal with grief and trauma through suppressed silence. With my love for experimental filmmaking and the abstract, I look forward to bringing my story to motion."
Ruby Cilliers – Producer
"I’m honoured to have been involved in this project since one of the first drafts, witnessing Mya develop the script to make it the poetic story of war, love, and loss it's become. I can't wait to ensure this ambitious project can come to a reality, and look forward to working with our lovely crew to bring the story to life."
Chrystal Yoon Hyung Kim – Co-Producer
"As a Co-Producer, I'm thrilled to be a part of such an ambitious project reflecting on history. I was struck by the way Mya delicately weaved between the brutality of war and the quiet mundanity of human relationships that are often forgotten in the grand tapestry of history. It piqued the History minor part of myself and the exploration of such a dark part of history through the craft of art and storytelling spoke to me deeply."
Coco John-Baptiste – Co-Producer
"A piece that contains no words, a piece that follows the themes of love, grief and identity, a piece of visual art. I recall when it was first pitched I was deeply intrigued on this untold story, and at the time, I was really excited to watch it. Many months later and here I am now, working alongside such a wonderful, dedicated team. And I must say how greatful I am to have the opportunity to be a part of this film."
Jess Mills – 1st Assistant Director
"I’m so thrilled to be Assistant Directing such a special, meaningful project. The way the unspoken bond between San and Mother is depicted really struck me and it feels extremely unique to this story. It’s going to be such a joy to help streamline the process of bringing Mya’s voice to life."
Emma Stefanescu – Director of Photography
"When presented with the script for this film, I was immediately captivated by how intricate the story is, contrasting elements of beauty and stillness with real historical horrors to create such a moving account. I am thrilled to be part of the creative team that will bring it to life and I can’t wait to immerse you all within this abstract, compelling and visually hypnotic film that is ‘What Remains of Calico Hill’."
Edmund Breckenridge – Gaffer
"Working together on ‘What Remains of Calico Hill’ with such a talented crew has already been a rewarding and enriching experience. The scripts poetic and subtle characters, alongside the reverence for history and culture makes this a film that is sure to rise above. As Gaffer I’m excited to work with our incredible production designers and cinematographer to light and bring to life our beautiful sets."
Emily Jupp – Co-Production Designer
"Immediately I was struck by the heavy themes of What Remains of Calico Hill, with its exploration of dark parts of history which manifest into such a unique story. I was particularly drawn to the project because of its distinctive setting and my love of experimental cinema, which offers ample opportunities for production design."
Oliver Leung – Co-Production Designer
"An ambitious and expansive project, What Remains of Calico Hill struck me immediately for its bold and uncensored approach. Its lean into abstraction appeased my love for experimental works by Brakhage and Tscherkassky. While its period setting and unapologetic subject matter offers a wealth of opportunity for meaningful designs within set design and props. This will be a challenging but ultimately rewarding design process."
Esme Glenister – Costume Designer
"I’m so excited to be costume designing for What remains of calico hill. I was gripped by Mya’s experimental vision behind the script and how beautifully it reflects the themes of love, loss and trauma within San and her mother’s relationship. I can’t wait to help develop this project through costume!"
Isabella Willett – Makeup Designer
"I’m thrilled to be the Makeup Designer and Supervisor for this incredible film and work alongside so many other talented, creative individuals. I was captivated by the films silent storytelling and touching relationship between San and the Mother, and I cannot wait to bring these characters to life and amplify the story with striking makeup designs. I’m passionate about creating, expressive makeup transformations that will help the audience connect more deeply with the characters and world the incredible team are building on screen."
Calvin Mansfield - Editor
"As an editor this project is so exciting! The story and structure of this film allow for so much experimentation and creativity, the project has so much passion behind it. The dedication shown for the creative vision of this film can already be seen and I’m so happy to be a part of it! Being able to take the incredible work this team will produce and piece it together into its final form is something I truly can’t wait for!"
Finlay Williamson – Sound Designer
"As the production sound mixer and sound designer, I am eager to emphasise the thematic, symbolic and historical qualities of this non-linear narrative through the sound. From the melancholic ambience of the Workshop to the overt harshness of the White Box, this film tackles both the intimacy of love and the scale of generational guilt, making it an exciting creative opportunity. I am looking forward to working with the editor and director to bring together a powerful and unique vision."
If you made it to the end, thank you so much for your interest in our project! You can find out more about us on our Instagram!
This project successfully funded on 11th December 2025