Fresh off his role in the upcoming Star Wars: Starfighter, actor Daniel Ings has joined Jessica Brown Findlay in a poignant new short film titled The Two Week Wait. The project marks the directorial debut of acclaimed actress Olivia Grant, known for her captivating performances in Stardust, Lark Rise to Candleford, and Indian Summers. The film, which delves into the emotional and psychological complexities of IVF treatment, is set to premiere on Tuesday at the prestigious Indy Shorts Film Festival.
A Stellar Cast Assembles for a Powerful Debut
Daniel Ings, whose recent credits include A Knight of the Seven Kingdoms and Guy Ritchie’s The Gentlemen, stars opposite Jessica Brown Findlay, a familiar face from period dramas like Peaky Blinders and Downton Abbey. Together, they navigate the deeply personal and often turbulent journey of attempting to conceive through in-vitro fertilization. The supporting cast is equally impressive, featuring veteran actors Fenella Woolgar (Call the Midwife), Rick Warden (Happy Valley), and Sophie Colquhoun (Captain America).
The Two Week Wait centers on a woman in her late thirties, portrayed by Brown Findlay, who experiences a series of dissociative episodes as her mental health deteriorates during the arduous IVF process. Her partner, an "incompetent, albeit guileless" boyfriend, is played by Ings. The narrative promises to explore the profound emotional toll of infertility treatments, highlighting the unique pressures and anxieties faced by individuals and couples undertaking this path.
Olivia Grant’s Vision: From Personal Experience to Cinematic Expression
The genesis of The Two Week Wait lies in Olivia Grant’s own experiences with IVF. Grant, who also penned the script, revealed to The Hollywood Reporter that a confluence of timing and a "new sense of urgency" propelled her into filmmaking. "I’ve wanted to make my own work for a while now," Grant explained, "and, like many actors, had a feature script I’d been quietly writing for a couple of years, but there was always enough acting work not to focus exclusively on writing, and I was ambivalent about what I would write about."
The COVID-19 pandemic proved to be a catalyst. "Firstly because it cleared time to focus on generating new work and, secondly, because it coincided with my personal struggles with IVF and its mental toll," Grant elaborated. "As a way to hold on to my sanity, I ended up writing a 30,000-word diary documenting the rollercoaster of grappling with my infertility and transcribing the arguments my husband and I were having, which felt very specific to the process and uniquely gendered."
As the world began to reopen, Grant connected with other women and couples undergoing similar experiences. This led to a crucial realization: "It became clear that many elements of my mental anguish were remarkably universal," she stated. "My shame around not being able to have a child and what that meant was normal; my partner’s difficulty salving that particular wound for me was perhaps predictable, and the intense sense of dissociation that permeated that period was again part of the experience for many." Grant noted that the societal tendency to keep these struggles private exacerbated feelings of isolation, underscoring her desire to "shed some light on what can be the profound interpersonal effects of this remarkably successful, albeit oft-harrowing, process."
A Co-Production Fueled by Passion and Partnership
The Two Week Wait is a co-production between Grant’s newly established production banner, Cavalry Films, and Symphony Films. Symphony Films is headed by actor-producers Rebecca Night (Wuthering Heights) and Harry Hadden-Paton (The Crown). This collaboration signifies a commitment to bringing compelling, personal stories to the screen.
Rebecca Night described the script as "so instantly unique, compelling and beautiful." She further elaborated, "It deals with the choices we make, the relationships we foster, and people seeking love and connection as they journey together through life’s struggles. Full of drama, yes, but so witty and heart-wrenching too."
Building Momentum: A Proof of Concept for a Feature Film
The short film serves as a proof of concept for a feature-length narrative titled Baby Mine, which is slated for a 2027 release. Both Daniel Ings and Jessica Brown Findlay are attached to the feature project, indicating their deep investment in the story and its themes. Amy Hubbard is serving as the casting director for the film.
Daniel Ings expressed his admiration for Grant’s directorial vision. "Olivia is a singular new voice in British filmmaking, with a lot to say on some fairly universal themes affecting many women," he commented. "Getting to work with her, Nanu Segal [presumably referring to a cinematographer or key crew member] and Jessica Brown Findlay on this beautiful film was an embarrassment of creative riches. You haven’t heard the last of Olivia Grant."
The Broader Context: Infertility and Mental Health
The themes explored in The Two Week Wait resonate with a growing awareness of the significant mental health challenges associated with infertility and assisted reproductive technologies. According to the World Health Organization (WHO), infertility affects an estimated 17.5% of the reproductive-aged population globally, with approximately one in six couples experiencing it at some point in their lives. In the United States, figures from the Centers for Disease Control and Prevention (CDC) indicate that around 12% of women aged 15-44 struggle with infertility.
The IVF process, while offering hope, is known for its emotional intensity. The "two-week wait" itself—the period between embryo transfer and the pregnancy test—is a notorious time of anxiety, uncertainty, and emotional vulnerability. Studies have consistently shown elevated rates of depression and anxiety among individuals undergoing IVF. A 2016 review published in the journal Human Reproduction Update highlighted the substantial psychological burden, noting that infertility treatments can lead to stress, marital strain, and feelings of isolation.
Furthermore, the societal pressures surrounding procreation and the often-unspoken grief associated with not being able to conceive naturally can amplify these psychological challenges. Grant’s personal account of shame and her partner’s struggles to provide solace point to the deeply interpersonal nature of infertility, often impacting relationships in profound ways. The dissociative experiences described in the film are a recognized psychological response to overwhelming stress and trauma, suggesting a nuanced exploration of the mental toll of IVF.
The Rise of Actor-Led Productions and Personal Storytelling
The involvement of actor-producers like Rebecca Night and Harry Hadden-Paton in Symphony Films reflects a broader trend in the industry. Many actors, having gained experience and established networks, are increasingly venturing into producing to champion stories that resonate with them personally and to gain more creative control. This shift allows for the development of more diverse and nuanced narratives, often drawing from lived experiences.
Olivia Grant’s transition from a celebrated actress to a director-writer is also indicative of this evolution. Her decision to channel her personal journey into a cinematic work underscores the power of art to illuminate often-hidden aspects of human experience. The establishment of her own production banner, Cavalry Films, signifies her ambition to foster a platform for such stories.
Implications and Future Outlook
The premiere of The Two Week Wait at the Indy Shorts Film Festival is a significant milestone, not only for Olivia Grant and her collaborators but also for the broader conversation surrounding infertility and mental health. By bringing these sensitive themes to a wider audience, the film has the potential to:
- Reduce Stigma: Openly addressing the emotional and psychological impact of IVF can help destigmatize these experiences and encourage more open dialogue.
- Increase Empathy: The film’s narrative focus on a woman’s internal struggles and her relationship dynamics can foster greater empathy and understanding among those who have not experienced infertility.
- Promote Support: By highlighting the universal aspects of the anguish, the film might encourage greater support systems for individuals and couples undergoing fertility treatments, both from healthcare providers and from their social circles.
- Inspire Further Storytelling: The success of The Two Week Wait as a proof of concept for Baby Mine signals a growing interest in cinematic explorations of reproductive health and the complexities of family building.
The critical reception of The Two Week Wait at the Indy Shorts Film Festival will undoubtedly be closely watched, as it marks the arrival of a promising new directorial voice in Olivia Grant and offers a compelling glimpse into a deeply personal yet universally resonant human experience. The film’s journey from personal diary entries to a festival premiere, and its subsequent development into a feature film, represents a powerful testament to the impact of authentic storytelling.
