INTERVIEW: Dalila McFarlane-Martin On Her Debut Short Film 'RELOAD'
- Outside the Spotlight
- 5 days ago
- 6 min read
Set in London’s underground club scene, reload follows Dee, torn between caring for her sick grandmother and chasing a long-shelved dream. When she skips a work shift to play a last-minute DJ set, the night becomes a test of self-belief, sisterhood and joy — and as the set takes a turn, she must decide: will she come back or choose herself?
By writer and co-director Dalila McFarlane-Martin (with McKenzie Alexander), RELOAD takes place in London's underground club scene and is appropriately vibrant and music-heavy. This 12-minute-short however does not drown in its aesthetic and allows plenty of space for effective world and character-building.
Also starring Ashley Walters (Top Boy) as well as Zara Gabbidon, Tania Nwachukwu, Chem Sylvestor and McFarlane-Martin in the lead; RELOAD tackles complex themes as experienced by McFarlane-Martin during her real-life DJ career, making this a strong, bold and authentic neon-soaked debut.
Outside the Spotlight was lucky enough to speak with Dalila McFarlane-Martin about her experiences on the production of RELOAD.
RELOAD centres on a character torn between responsibility and ambition – what
drew you to that conflict, and how personal is it to you?
It’s a very real and shared experience. So many of us are navigating the tension between
survival and pursuing what we truly care about. I’ve lived that myself, working jobs I didn’t
enjoy while juggling acting auditions and DJ gigs.
In 2022, my aunt became unwell with a brain tumour, which added an entirely new layer of
responsibility. Caring for her at home and then heading straight to a club to DJ was surreal.
That contrast really stayed with me. It made me realise just how many people are holding
multiple, often conflicting roles at once. I’m drawn to telling stories that feel universal, stories where people can see themselves reflected.
The idea of ‘reloading’ suggests starting again – what does that mean within the
context of the film?
At its core, it means continuing. Life will inevitably throw setbacks our way and things won’t
always unfold how we imagined. But we have the ability to keep going, to evolve, to
redefine ourselves. I truly believe that anything is possible. The only real full stop is death. Beyond that, we have the freedom to try again, to rebuild, to push forward. It’s that idea of dusting yourself off and going again, no matter how many times it takes.
Music is such a driving force in the film – how did you approach using music and
sound to reflect Dee’s emotional state and the narrative?
Music was always central to the film. I wanted it to feel authentic and immersive, because I
think that’s something often missing in film and television right now. I tapped directly into my community, collaborating with artists who are passionate and rooted in the culture. The club mixes were designed to reflect London as it is today. I chose electronic music to take the audience on a journey and create a fully immersive club experience.
It was also important for me to honour the Windrush generation. So much of British
electronic music, from garage to drum and bass, comes from sound system culture brought
over by Caribbean communities. As someone of Jamaican descent, that legacy is something I feel deeply connected to and want to champion. Ultimately, I’m interested in merging narrative filmmaking with sonic storytelling in a way that feels both contemporary to 2026 and deeply alive and grounded.
You wore multiple hats on this project as writer, director and performer – how did
that shape the way the film and story came together?
I had a very clear vision from the start. Writing, directing, acting and even shaping the music all felt like different tools to bring that vision to life.
I don’t come from a directing background, so I made a conscious effort to study the craft. I
watched interviews and documentaries with directors I admire to understand how they
communicate and execute their ideas. Alongside that, I built detailed vision boards for each scene.
A lot of it was learning in real time, figuring out how to translate what I was feeling internally into something the team could understand. I think that clarity of vision and willingness to just go for it is what drew people in and made them want to be part of the journey.
Working with a relatively small budget, how did you prioritise what needed to be on
screen to tell the story effectively?
It came down to clarity and resourcefulness. I went through multiple drafts of the script,
constantly refining and streamlining it. I knew the concept would feel chaotic in energy, so I
wanted to maximise what we could achieve within the time and space we had. This film genuinely wouldn’t have been possible without the many favours we called in. Even small but meaningful contributions, like my mum catering and cooking rice and peas and jerk chicken for the cast and crew made a huge difference. The key was identifying what was absolutely non negotiable and then figuring out how to source everything else through community and creativity.
As a DJ yourself, was it challenging to authentically replicate London’s underground
club scene on screen?
Definitely. A lot of what I’d seen in film and TV didn’t feel true to the reality of club culture, so I was very conscious of not falling into that. I analysed what wasn’t working in those portrayals and looked at examples that felt more authentic, using that as a blueprint within my own context. London’s nightlife is incredibly diverse, so I grounded it in my own experience. I drew from growing up in East London and the energy of places like Dalston in the early 2010s. Clubs like Visions, Birthdays, The Nest and Alibi shaped that era. Interestingly, the venue we filmed in, Dalston Den, used to be Alibi, which brought an added layer of authenticity.
RELOAD is a very vibrant and colourful film – how did you approach the visual style
and use of colour?
I relied heavily on moodboards and personal references. Since most of the film takes place
inside a club, I wanted each space to feel distinct and intentional. The bar is lit in pink, the main club space in blue and the DJ booth in green. That contrast helps create a sense of movement and emotional variation within one environment. It mirrors the rhythm of the script and keeps the visual experience dynamic.
There are subtle nods to social and cultural issues in the film, particularly sexism –
was it challenging to portray that without being too overt?
I wanted it to feel real. In my experience, sexism is often subtle. It’s in the tone, the looks, the underlying assumptions, rather than something explicitly stated. I didn’t want to overstate it or let it overshadow the main narrative. Instead, it sits within the world of the film in a way that reflects how it often shows up in real life.
What do you hope audiences take away from RELOAD, especially those facing
similar doubts in their own lives?
I want people to believe in themselves and in what they’re building. To keep pushing, keep
improving, keep trying and keep moving towards what they truly care about. If someone watches this and feels encouraged to go after their dream, start something new, or take a risk they’ve been holding back from, then the film has done its job. I want people to leave feeling like they’re not limited, like they can keep going.
RELOAD is the recipient of multiple awards including:
🏆 Best Short Film - Brixton Film Festival 2025
🏆 Audience Choice - Boundless Film Festival 2025
🏆 Best Original Score - Cornershop International Film Festival 2025
🏆 Best Hair & Make-Up - Greenwich Film Festival 2025
🏆 Best Director, Best Sound Design - London Film Club 2025
🏆 Best Original Score - Inspire Cinema Fest
For more, visit the film's Instagram, IMDb and Letterboxd.
About the filmmaker
Dalila McFarlane Martin is a London based actor, DJ and writer/director working at the
intersection of club culture and cinematic storytelling. Her practice uses sound as an
emotional language, exploring how music, movement and image interact in live and
narrative contexts.
With seven years of international DJ experience and a practice built entirely through self
funding, Dalila’s work is grounded in British sound system culture and a commitment to
multidimensional creative expression. As a Black British woman working across film and
music, she is focused on expanding how sound, story and identity are experienced.
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