 In her feature directorial debut, The Players, writer-director Sarah Galea-Davis crafts an evocative coming-of-age drama that unearths the complexities of power, manipulation, and artistic ambition. Set in the summer of 1994, the film follows Emily, a 15-year-old who is cast in an avant-garde theatre production, only to find herself entangled in the intricate social dynamics of the troupe. As the lines between personal and professional relationships blur, Emily navigates a world where authority and influence are wielded in subtle yet profound ways.
Origins and Personal Reflections “I initially set out to write a story about female friendship,” Galea-Davis explains. “But as I worked through it, the script evolved in response to the broader #MeToo moment. It made me reflect on my past in experimental theatre—experiences that had gone unexamined but shaped how I moved through the world.” Having once aspired to be an actor, Galea-Davis participated in various fringe theatre productions, where artistic freedom often came at the cost of safety and structure. “There were a lot of unspoken rules and power dynamics that I had never really questioned,” she continues. “Looking back, I realised how much of that culture I had internalised as just ‘the way things were.’” Directing with a New Perspective The industry’s reckoning with abuse and misconduct led Galea-Davis to reassess not just her past experiences but also how she wanted to lead her own set. “The way we work on film sets has changed dramatically and thankfully, quite quickly,” she says. The Players incorporated intimacy coordination for sensitive scenes, extensive rehearsals and open conversations about boundaries. “There was this fascinating dynamic on set,” she recalls. “Because we filmed in an actual theatre, the actors would gather in the green room between takes, and it naturally became a kind of sharing circle. People reflected on their own experiences, and the project took on a deeply personal resonance for many of us.” Casting Emily Finding the right actor to play Emily was a meticulous process. The team initially sought someone close to the character’s age, but practical and ethical considerations made that difficult. “We auditioned for months—doing Zoom readings because of COVID,” she shares. Eventually, Stefani Kimber, then 20, emerged as the ideal choice. “She’s incredibly mature and has been working since she was a child,” Galea-Davis says. “What really stood out was her understanding of what she needed as an actor. When you’re directing someone in every scene of a film, that kind of self-awareness is a gift.” The Psychology of Power and Belonging One of the film’s most striking elements is its nuanced depiction of Emily’s relationship with the troupe’s enigmatic director, Reinhardt. Rather than a straightforward cautionary tale, The Players delves into the allure of charismatic figures and the emotional bonds that complicate power dynamics. “There’s a moment in the film where Emily leaves but then considers going back,” Galea-Davis notes. “That was something I was encouraged to keep in early pitches. It’s a truth we don’t often see depicted—how even when we recognise something is toxic, the need for belonging can still pull us back.” Her research led her to explore cult psychology, where idealistic intentions often blur into manipulation. “A cult is just a community that’s gone bad,” she observes. “And theatre, like any creative space, has the potential to be both empowering and dangerous.” Capturing the '90s Setting the film in 1994 was more than a nostalgic choice—it was integral to the story’s themes. “That’s when I grew up,” Galea-Davis says, “and the conversations we have now about consent, power, and agency weren’t happening then.” She reflects on the contrast between then and now. “Teenagers had more autonomy but were also more naïve. Today, they’re more protected in some ways, but with the internet, they’re also exposed to so much more. The ’90s was this strange in-between space where so much was normalised that we now see differently.” A Film That Sparks Conversation As The Players embarks on its international festival run, Galea-Davis is eager to see how audiences respond. “I don’t like to be prescriptive about what people should take away,” she says. “I love films that leave space for the audience to bring their own experiences into the interpretation.” Already, she’s seen how the film resonates with those in the arts. “I’ve had people tell me they understood Reinhardt at certain moments, which is fascinating. It speaks to the complexity of these dynamics—that not everything is black and white.” With its raw honesty and layered storytelling, The Players is sure to provoke discussions about power, agency, and the search for belonging—both in art and in life. As Galea-Davis puts it, “I just want people to talk about it. That’s the most exciting part.” - Lee Hutchison The Players will screen at the Glasgow Film Festival on Thursday March 6th at 8:45pm and Friday March 7th at 3:15pm www.glasgowfilm.org/movie/the-players |
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