Swimming in it

The power of comedy in activism

 

Directed by Chris Parton

In a time when UK waterways are being relentlessly polluted by big water companies - while executives pocket massive bonuses and consumer bills continue to rise - filmmaker Chris Parton is using satire to expose the absurdity of it all. 

Swimming In It is a sharp, darkly comedic parody of an advert, holding a mirror up to a crisis that has become both infuriating and tragically routine.

Known for his impeccable casting and ability to craft comedic tension, the Manchester-born director brings his signature wit and cinematic eye to the project. Chris delves into his creative approach, the power of comedy in activism, and the importance of striking the right visual tone to make audiences laugh—while making them think.

Swimming in it uses dark comedy so well to address the grave issue of sewage discharge in the UK’s waterways. What inspired you to take a satirical approach, and how do you think humour enhances the impact of the message?

The whole situation feels comically absurd, it’s almost hard to take it seriously. It’s that feeling of your head in your hands, sort of laughing, while you ask ‘why is this being allowed to happen?’ all the while hurtling towards a dystopian future where toxic shit laps at the shore as you walk your poodle along the beach. 

I think comedy is an important tool to highlight issues that some people can shy away from. In this case we’re just showing people how it is. The comedy comes from our characters not reacting to the issues that very closely impact them.


The narration adds a distinct personality and wit to the film. What was your process for developing the voiceover, and how did you ensure it struck the right balance between humour and seriousness?


The narration continued to evolve with the edit of the film. I knew that I wanted it to sound warm and recognisable but with a certain authority that you wouldn’t want to question, so that when we see the payoff of the film you feel like ‘why do they not know better?’ I was so happy when Mark Bonnar came onboard as his voice is perfect for achieving that level of humour and seriousness, bringing his own charm and subtle wit.

The film blends dramatic, almost commercial-style shots with absurd and comedic elements. How did you collaborate with Natasha Duursma to achieve this visual style, and what role did the cinematography play in conveying the environmental message?

It was important for me for this film to have beautifully framed engaging visuals to bring the viewer into the world of an advert, one that says ‘look how amazing it is here in Britain’. I knew that Tash would be perfect, bringing her cinematic eye to crafting beautiful frames that achieve this. The choice to shoot on 35mm film meant that each image and frame had a vivid texture to it, helping us see things for how they really are. I wanted the film to be very real and honest to create more of an emotional connection to the problem.

The sound design and score play a significant role in amplifying both the comedic and dramatic elements. How did you collaborate with AJ Johnson and Michal Wilczynski on the audio, and what was your vision for its contribution to the overall tone?

It was the sound design and score that really made everything fall into place. We wanted the score to help us sink into the idyllic world of the opening shots, and then throw in some unease when it shifts into the obscure payoff. For the score I wanted to keep it melodic and minimal, Michal’s piano compositions did this perfectly. Then for the payoff we went for missed notes, keys bending out of tune and instrument clashes to make sure the viewer felt uncomfortable, if they weren’t already. AJ pulled together a masterful sound design. I wanted it to be able to work with almost no music at all, so the score is an addition and not a requirement. I really like this approach for feeling more immersed in the film's fast changing environments.

The production took you to beaches, water settings, and some less-than-ideal locations. What were some of the quirkiest or most memorable challenges you faced on set?


Other than the usual race against time we did pretty well to avoid any big challenges. The motor powered vomit machine firing off when no-one was ready was definitely a highlight. The panic that set in on peoples faces as milk and minestrone soup flew through the air towards equipment will stick with me for a while.

The choice to shoot on 35mm film meant that each image and frame had a vivid texture to it, helping us see things for how they really are.

After Swimming in it, what’s next for you as a director? Are there any other pressing social issues or creative ideas you’re eager to explore?

I have a few things in development both fiction and non-fiction. All of them dark and comedic in their own right, there is one I can’t stop thinking about so that will have to shoot soon to allow for some brain space.


Production Company - TEEPEE FILMS

Director - Chris Parton

Producer - Maddy Williams

Executive Producer - Tom Precey

Director of Photography - Natasha Duursma

Edit - Ros Bullard

Voice - Mark Bonnar

Fisherman - David Broughton-Davis

Fisherman - Maddy Williams

Swimmer - Angela Harvey

Paddle Board Woman - Lauren Pepler

Paddle Board Man - Jack Barry

RC Boat Enjoyer - Akram Arshad

Woman in Hazmat - Tara Leonard

Kid 1 - Martin Tandoh

Kid 2 - Harry Flight

1st AC Focus Puller - Jonny Lewis

2nd AC Loader - Joe Medlock

Camera Trainee - Alexia Kerwat

Gaffer - Charlie Relph

Spark - Gianni Morreale

Sound Recordist - Ryan Beauchamp

Production Manager - Tara Leonard

Production Assistant - Alexa Shaw

1st Assistant Director - Freddie Wright

2nd Assistant Director - Samad Olukunle

Art Director - Molly Hackney

Props Master - Jack Hackney

Art Assist - Masha Thorpe

Make-Up Artist - Raksha Joshi

Styling - Zelda Attard

Styling Assist - Alyciah Vendryes

Runner/Driver - Rosie Hill

BTS Photography - Ros Bullard

Lifeguard - Ian Davis

Camera Van Driver - Eugene Van Ltd

Minibus Driver - Greg Summers

Catering - Cafe Riviera

Grade House - Rascal

Grade - Tim Smith

Grade Producer - Jai Mhach Durban

Audio Post House - Locked.London

Composers - Michal Wilczynski, AJ Johnson

Sound Designer - AJ Johnson

VFX House - TK FX

VFX Coordinator / Editor - David Montoya

VFX Compositor - Salvatore Lo Cascio

Titles & Credits Animation - Ruby Cara Sandler

Processing - Cinelab

Film - Frame24

Camera Kit - Panavision

Prod Kit - Get Set Hire

Film Office - Kent Film Office

Minster Beach Huts - Mark Whitton

Special thanks and in association with

CINELAB

TK FX

 
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