Get ready to dive into a gripping tale that challenges societal norms and sparks conversation—because this is not your average love story. British acting powerhouse Con O’Neill, known for his unforgettable roles in Happy Valley, The Penguin, and Chernobyl, is set to headline ANON, a short film that boldly explores the shadowy world of anonymous hook-up culture. But here’s where it gets controversial: this isn’t just a story about fleeting encounters—it’s a chilling thriller where a closeted taxi driver (played by O’Neill) and a young male passenger cross paths, leading to a confrontation with consequences that will leave you reeling. And this is the part most people miss: the entire film will be shot on a dash cam, adding a raw, unfiltered edge to the narrative.
Written and directed by Dylan Brady—the mind behind an episode of Netflix’s Everything Now—ANON is a passion project self-funded by Brady himself. Set in his hometown of Derby, the film doubles as a love letter to the Midlands, blending personal roots with a daring exploration of queer experiences. Brady doesn’t hold back: ‘As commissioners grow more risk-averse and censorship looms, telling authentic queer stories is under threat,’ he says. ‘Now more than ever, we need to create work that reflects the full complexity of these experiences.’
Joining O’Neill—an Olivier Award winner for Blood Brothers—is a stellar cast including Paddy Stafford (Doctor Who), Conor Deane (What It Feels Like for a Girl), Kiran Krishnakumar (Everything Now), and Guy Van Onselen. Behind the scenes, the team is just as impressive, with Nycollas Abreu (Rhoda) producing, Jack Casey (The Crow Girl) executive producing, and Michael Filocamo (A Good Girl’s Guide to Murder) handling cinematography. Paix Robinson (The History of Sound) brings the production and costume design to life, while casting directors Nathan Toth and Ollie Bazeley of Harkin & Toth (Femme) round out the crew.
But here’s the bold question: In an era where even ‘palatable’ queer stories face scrutiny, is ANON a step too far—or exactly what we need? Brady draws inspiration from transgressive narratives like What It Feels Like for a Girl and Pillion, but will audiences embrace or resist this unflinching portrayal? Production kicks off next month, and the debate is already brewing. What’s your take? Is ANON a necessary mirror to society, or does it cross the line? Let’s hear it in the comments!
