Assistant Editor Dev Murray dives into Jane Finds the Sea Frightening, with writer/director Jason Figgis.
Jane Finds the Sea Frightening is the latest psychological horror from Irish director Jason Figgis, a filmmaker known for his genre-spanning body of work. The plot revolves around Laura Taylor (Peter Pamela Rose), an actress grieving the recent loss of her mother. According to Jason, “Laura Taylor retreats to her late mother’s home in Wales, where she had cared for her until her death. Alone in the house, Laura begins to hear voices—her mother Lydia (voiced by Lesley Manville), her estranged lover Tina (voiced by Alison Halstead), and a mysterious young girl named Hetty (voiced by Luciana Akpobaro). These eerie encounters force her to confront old wounds, lingering guilt, and a long-buried loss. With encouragement from her longtime agent and confidant Germaine (voiced by Toby Jones), who urges her to make a comeback, Laura is pushed to confront profound questions of identity—whether she can reclaim herself and her craft, or if the past has too strong a grip.”
For Figgis, the cast ticked all the boxes: accomplished talent Lesley Manville, Toby Jones, and Alison Halstead, alongside rising talents like Luciana Akpobaro. But how did this feature secure this ensemble? Figgis recounts how a past collaboration laid the groundwork. “I had just wrapped a dark psychological thriller, The House at the End of the Lane, starring Patrick Bergin, where Peter Pamela Rose played a central role and also served as co-producer,” Figgis explains. “Peter and I very much enjoyed working together on that film, and we were eager to find another project to collaborate on—so I mentioned a script I’d been developing titled Jane Finds the Sea Frightening. The title alone piqued her interest, and when I shared the story, she was immediately drawn to it.”
Once the screenplay was finalised, Figgis and Rose set the film in motion. “We drew up a dream list, placing Lesley Manville and Toby Jones right at the top,” he says. “To our delight, both responded positively to the script and signed on. Their involvement, along with performances from Luciana Akpobaro (The Worst Witch) and Alison Halstead (Dune 2), brought incredible depth and resonance to the film.”
The decision to keep these characters offscreen was deliberate, Figgis mentions. “My choice to have these characters exist as unseen voices was very intentional. It enhances Laura’s isolation and creates a haunting, almost claustrophobic intimacy. The film lives in that liminal space between memory and madness. It’s an emotional ghost story with one of the real ghosts being regret.”
Drawing inspiration from his conversations with actors, Figgis wanted to explore the limitations they often face. “The inspiration for the character came from discussions with actor friends who felt frustrated by the narrow scope of roles available to them—many felt they were only being ‘seen’ for one type of part. That creative dissatisfaction became central to Laura’s journey. She’s a woman reckoning with personal and professional disappointments, trying to find clarity in a fog of unresolved emotion.”
In terms of production Figgis remarks on how the production also went strikingly smooth. “Surprisingly, the production was one of the most harmonious I’ve ever experienced. We filmed in a stunning coastal location in Wales, and conditions were ideal—both technically and creatively. Everything went according to plan, and we even wrapped ahead of schedule. That gave us the luxury of a calm final day, which is rare and something I’m very grateful for.”
Known for his work in horror and psychological thrillers, Figgis reflects on why the genre continues to draw him in. “I initially gravitated toward horror and psychological thrillers as a practical path into filmmaking—these genres have a strong track record for distribution, particularly across DVD and digital platforms. But over time, I found they offered something deeper: a way to explore human stories through heightened emotional and symbolic terrain.” The driving force is always character, and he adds “What truly interests me is character. I’m heavily influenced by the kitchen sink realism of British cinema in the 1950s and ’60s—those emotionally honest, grounded portrayals of life. Marrying that realism with the surreal or uncanny can be a powerful way to explore internal conflict, which is at the heart of Jane Finds the Sea Frightening.”
With the edit looming, the next chapter in the film’s life is beginning. “We’re moving into post-production at the end of May, and we expect to release a trailer shortly after that,” says Figgis. “It’s a busy time—alongside Jane, I’m currently directing the stage show Moonlight: The Philip Lynott Enigma at Vicar Street and wrapping two documentary features: Jack the Ripper: The City of Dreadful Night and Olivia Hussey: The Girl on the Balcony.”
Two more Figgis-directed features—The House at the End of the Lane and Code Red: Spain—are also in the pipeline. But Jane Finds the Sea Frightening stands out in his eyes. “Jane holds a unique emotional resonance for me. It’s subtle, atmospheric, and anchored in a deeply personal performance by Peter Pamela Rose. We believe it will resonate deeply with audiences drawn to psychologically rich, emotionally layered storytelling—and we’re excited to share it with the world soon.”
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