Leo De Haan, Jonathan Nicol, Jonay Sevillano Regalado

Brighton does something to people. The seafront, the light, the sense that anything is possible here. I’ve lived in this city for years and that feeling has never really worn off. There’s a creative energy here that is genuinely unlike anywhere else, and it finds its way into everything you do.

That energy is all over All the Colours. And this is how it all began.

“BRIGHTON SELLS JOY FOR A LIVING, WHAT IT DOESN’T ADVERTISE IS THE PRICE.”

The idea started, as all the best ideas do, with a question I couldn't let go of:

Brighton is one of the best cities in the country to be young in. It promises freedom and belonging, and a place where you can completely reinvent yourself. And for most people it delivers on that promise…

But I know that this city isn't the same for everyone, and I kept asking myself: what happens to those people when that promise doesn't work out the way they hoped?

As a filmmaker, the stories that excite me most are rooted in something real. This one grew from living in Brighton and wanting to capture its truth, but also from drawing on my own experience of things I have personally seen, heard and been around over the years.

That combination gave me Catalina. Eighteen years old, full of determination, and arriving in Brighton with nothing but the belief that things would be better (more on the story in our next post).

Before we could make the feature we knew we had to make the short film as a proof-of-concept.

A proof-of-concept short is exactly what it sounds like: a short film made to show that the bigger version is worth making. You shoot it, you show people, and if it lands it opens doors.

Ours landed.

We shot over three days in Brighton in the summer of 2024, with our four main actors: Jefferson Hall, Jamie Kenna, Charles Furness, and Lorna Dale (more on the cast in later posts), and all four brought something truly exciting to the role. When people working at that level respond so positively to your script, it gives you a huge amount of confidence in what you’re making.

The crew was mainly local, the shoot was fast and full of energy, and the city delivered everything we asked of it. The alleys, the seafront, the interiors, and that quality of night light that is entirely Brighton's own.

“THEY WERE QUIET IN ALL THE RIGHT PLACES. UNCOMFORTABLE. MOVED. THAT’S EXACTLY WHAT THIS STORY IS SUPPOSED TO DO.”

We held our cast and crew screening at the Duke of York's Picturehouse, and the response was everything we had hoped for and more. People were quiet in all the right places. Uncomfortable in exactly the right moments. Afterwards, they didn't just want to congratulate us. They wanted to keep talking about what they had seen. That is the reaction every filmmaker is truly chasing.

It told us we had something real, and it told us the feature needed to be made.

The feature version of All the Colours is now in late development, and we could not be more excited about where it is heading. It goes further in every direction: a fuller character arc, a deeper world, and more of this brilliant, complicated city laid out for the world to see. The question at the centre of it hasn't changed. But the scale of the answer has.

This blog is going to document everything from here to release. The writing, the production, and the things that surprise us along the way. If you want to follow along for the journey, you’re very welcome.

It’s going to be a good one.

All the Colours the Feature is in development as of 2026. To follow the journey, find us on our socials at @blackbullfilms.

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INTRODUCING All the Colours: A Journey From Development to Release

“BRIGHTON SELLS JOY FOR A LIVING, WHAT IT DOESN’T ADVERTISE IS THE PRICE.”

“THEY WERE QUIET IN ALL THE RIGHT PLACES. UNCOMFORTABLE. MOVED. THAT’S EXACTLY WHAT THIS STORY IS SUPPOSED TO DO.”