Stow Film Lounge Q&A
Stow Film Lounge is a community-driven film company with a passion for reimagining the way cinema is created, experienced, and shared. Started in 2012 by Nick Bertram, who was later joined by Marcus Shepard (both former performers at the Museum of the Moving Image, now a journalist and filmmaker, respectively) the company has spent the past few years creating unique cinematic experiences that bring people together across East London. From intimate screenings to outdoor festivals, Stow Film Lounge has showcased a wide range of films in an eclectic mix of venues. Their very first screening took place at Orford House in Walthamstow, and they’ve since become a fixture across the area, from Leytonstone Film Festival to Lanthorne Park, and soon at The Curtain as part of The Wanstead Fringe. Originally screening new and classic films, the team later expanded into crafting and showcasing their own independent work. Their debut feature entitled ‘The Tricycle Thief’, is a children’s adventure inspired by classic British cinema. Filmed in Walthamstow during the summer of 2018, it features a cast of 50 local children and actors. The film captures the grassroots, collaborative spirit that continues to define the company’s ethos. Their latest project, The Sale, is a modern British ghost story set in Walthamstow, a haunting tale grounded in familiar streets and very real contemporary community issues.
The Wanstead Fringe team caught up with Nick and Marcus to hear more about their upcoming work, the evolution of Stow Film Lounge, and what’s next for this bold and imaginative film collective.
What does it mean to you to be a film company based in the Walthamstow/East London area?
Being based in Walthamstow and East London is at the heart of who we are. We originally started out as a local film club at a time when many cinemas were closing down, and we felt a real need to bring people together through shared cinematic experiences. With backgrounds in acting, directing, DJing, and more, we combined our skills to create something unique - a grassroots cinema that celebrated the communal magic of movie-going. We began by screening films, often the timeless British classics, that echoed the golden age of cinema visits, complete with popcorn machines and all the charm of a proper night out, East London style. We’ve screened in traditional venues like Orford House and also taken cinema out into the streets - literally. We’ve had guerrilla-style projections on building walls to immersive events in unexpected places, we’ve always looked for new ways to reimagine the movie experience. During lockdown, there was even a brief period when we were the only cinema still operating in the UK. For us, film should be an event, not just something streamed at home with all those distractions, but something shared, felt, and remembered. East London gives us the energy, diversity, and inspiration to keep doing just that.
2. What’s the local/independent film scene like at the moment?
The landscape has definitely shifted. With attention spans shrinking and streaming platforms dominating, many films hardly get a run at the cinema, if at all, before they are put online. We don’t agree with that. We’re cinematic romantics at heart, and firmly believe in the power of the theatrical experience. For us, film is something to be seen and felt - in a dark room, with no distractions, surrounded by others. That shared experience can’t be replicated on a couch with a phone in you hand. We create our films with cinema in mind. They’re devised theatrically, with the big screen as their intended home. Putting them straight onto a streaming site can flatten the experience and, in many ways, devalue the work that goes into making them. At the core of everything we do is the spectacle, the exhibition, and the belief that film deserves to be more than just content - it should be an experience.Our own films are created to be on the big screen, so when you see them, you know they’ll be the best possible quality.
3. Does where you’re putting on a film dictate what you want to show?
Absolutely. Location always plays a big part in what we choose to screen. We’re all about creating a meaningful connection between the film, the space, and the audience. We think carefully about what will resonate in each setting - what feels right for the venue and for the people who’ll be watching. We’re the opposite of that subscription-driven, ‘don’t go outside’ kind of culture. We want people gathering - on big blankets, in unexpected spaces, sharing a moment together. We recently hit our 700th screening, which feels surreal when we think back to our very first one at Orford House. Now, we’ll take films anywhere we’re needed - church halls, parks, rooftops, even language school. We’ve shown The Sale recently at a language school. It’s a raw, homegrown British film, and the students absolutely loved it. It’s not just entertaining, it’s a great way for them to engage with local culture and everyday language in an authentic setting. For us, that’s what it’s all about: bringing people together and letting film do what it does best - start conversations, spark connections, and bring stories to life.
4. What is your latest film The Sale about? What drew you to create it?
On the surface, it's your classic British Ghost Story. Eerie, chilling, unsettling… It’s about a house for sale, but under the surface, there are dark secrets. But there’s also a social commentary there - it’s an unsettling look at what the housing market has become. Walthamstow has been in the national spotlight due to skyrocketing house prices, and that shift - where homes are no longer about memories or belonging but pure market value - felt like the perfect setting for something darker. We were drawn to tell this story because there’s something ominous about that transformation. The Sale taps into that anxiety through a very British lens: dry humour, unnerving moments, and that classic ‘violence with a smile’. It's not horror in the traditional sense, but it's certainly unsettling. British ghost stories are such a beloved tradition - because they are subtle, suggestive, atmospheric - and we really leaned into that, adding a homemade, handcrafted quality that reflects a new wave of indie British filmmaking. It’s a reflection of now, but with echoes of something much older.
5. Did being in E17 shape the narrative?
East London, and Walthamstow in particular, always find their way into our work. We’ve both been based here since the 1990s, and The Sale is full of local references and in-jokes that will hit home for local audiences but the themes reach further than that. We’re also very aware of East London’s horror heritage: Hitchcock was born in Leytonstone, James Herbert’s The Rats is set around here, and the area is steeped in real and fictional ghosts, from Jack the Ripper to everyday urban folklore. That atmosphere, the feeling that this place has layers, that it remembers, is deeply embedded in the film. East London shaped not just the setting, but the soul of The Sale.
6. Who or what filmmakers and films inspired The Sale?
The Sale is inspired by a mix of classic British horror and understated, atmospheric filmmaking. One of our key influences was David Lean - his mastery of silence and stillness really shaped our approach to tension. Those quiet, heavy moments that speak louder than words helped us find the emotional rhythm of the film. In terms of genre, we drew a lot from the tradition of British ghost stories - such as The Woman in Black - the original stage production. That slow-build, chilling atmosphere where the real terror lies in the unspoken - that’s the kind of horror we’re drawn to. It’s suggestive rather than explicit. We weren’t aiming for jump scares or gore; we wanted that creeping sense of dread that lingers long after the credits roll. Interestingly, the film ends at Christmas, giving it the feel of a classic ghost story for Christmas - which is a very British tradition.
7. Do you spotlight any local talent/stories in the film?
We cast many actors from the area, including some older performers who might not be working regularly anymore but still bring incredible depth and authenticity to their roles. Lola, the young actress in the film, is about to join the Brit School - this is her screen debut. We wanted to give people a chance to share their unique story, and also to capture those sort of ‘characters’ you used to see around East London, those distinctive personalities that give the area its unique flavour. For example, Lizzi from the Natural Voices Choir does so well as the hairdresser/medium - a role that feels rooted in those eccentric people in the community. The cast didn’t just perform - they shaped the film. Much like David Lean’s approach, when something happened organically on set - like a gesture, a line, or an interaction - if it felt true to the character, we embraced it and incorporated it. This collaborative, grounded approach brought the story to life in a way that’s honest, familiar, and deeply connected to East London’s spirit.
8. Are there any local spots we might recognise in the film?
The Sale is filmed in some recognisable Walthamstow Village locations - most of it in one of our houses actually. It’s in many ways a typical London house - welcoming, recognisable, lived-in. That familiarity is what we wanted to play with. Rather than relying on a stereotypical ‘haunted house’, we wanted to warp the normal and turn something ordinary into something deeply unsettling. We used sound, timing, and visual cues to create a sense of unease - making you feel like something's off. That quiet shift from homely to haunted is what gives The Sale its edge.
9. Did the final cut turn out how you’d imagined it - or did it evolve?
It definitely evolved. The final cut of The Sale is quite different from what we originally imagined. We began with a familiar trope - the ‘woman in peril’ - as a starting point. She’s slightly irritating, yes, but she’s also the one who drives the narrative forward. However, as we approached the third act, we started asking deeper questions: How would she really be feeling in that moment? What’s the emotional truth behind the fear? That shift changed everything. It brought in a sense of dread and vulnerability that hadn’t been there in the early drafts. The film became more psychologically layered, more about the internal experience of the characters. As a small, tightly knit team with an incredibly responsive cast, we had the freedom to be agile. Filming felt almost musical at times - there was a natural rhythm to the way things unfolded. In fact, some of the most powerful moments in the film came from accidents or improvisation. That’s the beauty of working this way: you’re open to the flow, and in doing so, the film finds itself.
10. What was the biggest challenge during production?
The biggest challenge came when one of our actors became seriously ill during filming. It was a real shock to all of us - and for a moment, it felt like everything might grind to a halt. But instead of stopping, that moment pushed us forward. The actor was determined to see the project through, and their strength and commitment gave the entire team a renewed sense of purpose. Given that The Sale is a film about mortality - about the fear of death and how it can shape or paralyse you - this real-life experience added an emotional layer to the process. It reminded us what the film was really about. We’ve always believed in being adaptable, and this was a powerful test of that. When things go wrong, we try not to see them as obstacles but as opportunities to learn and grow. That mindset is what kept the production alive.
11. What are the unique advantages/disadvantages to being small filmmakers outside of central London?
Being outside the mainstream film hubs gives us the space to take risks, be inventive, and tell the stories we want. We’re hands-on with everything, from writing and directing to publicity and production. This is handmade film in every sense. We come from ‘showman’ backgrounds - having worked together at the Museum of the Moving Image on the Southbank. We live and breathe cinema! That enthusiasm drives us, even when resources are limited. We’ve built up great local support and even draw on local sponsors and teams to help bring our projects to life. That said, being small and independent does come with challenges - especially when it comes to visibility. We started promoting our work with posters, trailers, and through platforms like Twitter and Facebook (which now feel practically redundant). Today, we’ve had to adapt to Instagram and TikTok to reach new audiences. We've been featured in Time Out and the Cinema Press Association, and we lean on the industry contacts we've built over the years - people like Eddie Nestor, who lives locally in Wanstead, have shouted out our work. Publicity and funding can be difficult, but we’re resourceful. We don’t really like to talk about budget, because low budget doesn’t mean amateur. It just means we’re working smarter - and staying true to the kind of cinema we believe in.
12. What do you want the audiences to come away with?
Well, it might be slipping into the eerie world of The Sale or simply sitting back with the smell of popcorn in the air, we hope to bring people back to the heyday of cinema - when going to the movies felt like a big event, not just another click on a screen. But beyond the nostalgia, we also want people to reflect. We use film to spark conversations about real, local issues - like the housing crisis, gentrification, and the way communities are changing. At that screening at the language school, someone asked if the ‘evil’ in The Sale was real. We said yes - it’s the greed, the insidious mindset where property is valued only in pounds, not in people’s lives or memories. That’s the horror we’re pointing to. We also want to inspire others - especially young people. We give talks at UEL, Wanstead High, and other schools, encouraging students to pick up a camera and tell their own stories. Anyone can make a local film. You don’t need a huge budget, just a strong idea, some passion, and a willingness to get stuck in. So if audiences leave entertained, provoked, and maybe even a bit more connected to the place they live in - we’ve done our job.
13. Can you tell us a bit about your storyboarding process?
Our storyboarding process starts with a script or premise, but it’s far from rigid. We work in a style closer to filmmaker Mike Leigh - very organic, very collaborative. It’s ensemble-based, and often it’s in rehearsal rooms where the real shape of the story begins to form. Sometimes one unscripted moment can shift the tone or direction of an entire scene, or even the film. Storyboarding is less about locking down every frame in advance and more about exploring how the emotional and visual beats flow together. We also keep the possible endings front of mind from early on, then build up to that, like reviser engineering. It’s like crafting a good joke: the punchline has to land, and everything else builds toward it.
14. Finally, what’s next for Stow Film Lounge? Could we see The Sale develop in the future?
The Sale definitely has more life in it. The story could evolve, there’s certainly real interest in the supernatural right now - especially with local figures like Danny Robins (creator of Uncanny) bringing that genre back into the spotlight - so it feels like the right time to keep pushing this story forward. We're also putting energy into marketing and visibility, making sure people know who we are and what we’re about. Part of that means putting faces to the company, telling our story, and continuing to curate meaningful cinematic experiences that bring people together.
In addition to original productions, Stow Film Lounge offers a range of bespoke film services, from trailers and promos to commissioned work and programming consultancy for festivals and private events. Their unique cinema experiences - from such ‘Cycle-In Cinema’, ‘Moving Pictures’, ‘Underground Cinema’, to ‘Green Screen’ - continue to bring the power of film to a range of places and audiences. Catch ‘The Sale’ at The Wanstead Curtain on 9th September 2025.