From a Gold Screen winner at YDA 2024 to a BAFTA nomination in 2025, Marion, Joe Weiland and Finn Constantine’s brilliant short film, continues its assault on the awards circuit. 

After picking up a Gold Screen award in the Short Film (10 minutes and over) category at last year’s YDA, for their film Marion, directors Joe Weiland and Finn Constantine were riding high.

And then, last month, they also found out that Marion had been nominated for a BAFTA in the British Short Film category, meaning they are surfing another well-deserved wave of awards elation. 

Their film is about a woman very much in a man’s world – Caroline Noguès-Larbère, France’s only female bull-jumper – who tackles themes of misogyny and feminism within the sport, and is a brilliant blend of documentary and narrative in which Noguès-Larbère plays herself in a (mostly true) story about her own life.

Marion was executive produced by Sienna Miller and Cate Blanchet, and Weiland, along with Marion‘s cinematographer and colourist, also worked on short film Gorka, which was BAFTA-nominated in 2024. Below, Weiland discusses the film, its origins and the importance of awards. 

Firstly, how does it feel to be a BAFTA-nominated director… again?

It’s just an incredible honour. To have Marion recognised at this level is surreal and deeply rewarding, not just for us but for everyone involved in bringing the film to life. 

It’s a testament to the story, to Caroline [Noguès-Larbère, France’s only female bull-jumper], and to the entire team who helped shape this project into what it became.

What did you do when you found out about the nomination?

There was a lot of disbelief at first, followed by a huge wave of excitement. I think we just kept refreshing the page to make sure it was real. It was one of the most frantic 10 minutes ever. [Finn and I] weren’t together at the time so there was a lot of shouting on FaceTime. Then it was a mix of phone calls, messages and a general state of euphoria — celebrating with the people who made this film happen.

Where and how did the idea for Marion formulate?

Caroline’s extraordinary journey sparked the initial concept for Marion. Her stirring declaration, “I don’t face the bulls, I face the men” — became the film’s driving force, reflecting her struggle to make her mark in the male-dominated world of course landaise. 

We wrote a script based on two articles we’d read about her and headed to France to find her! We turned up at her farm and, deeply moved by what she read, Caroline agreed to take on the lead role. Her life story, her journey and her unforgettable words fuelled the entire project. Although the film took several years to complete, it was an immensely gratifying process, entirely guided by Caroline’s remarkable fortitude and determination.

What was the biggest challenge when shooting the film?

Filming the live bull-jumping sequence was by far the most challenging. We had only one night to capture it, using six cameras, in a way that felt both cinematic and authentic. On top of that, the language barrier added an extra layer of difficulty but, by the end, we had developed a shorthand with Caroline that made the whole experience incredibly rewarding.

Trailer for the YDA-winning Marion, also nominated for a BAFTA at the ceremony this coming March.

Marion won a Gold Screen award at last year’s YDA; was that a special moment?

Absolutely. The YDA is such a respected award, and for Marion to be recognised there was huge. It was one of the first major acknowledgments the film received, and it gave us a real boost in confidence that the story was connecting with audiences.

Does winning an award give you encouragement to keep entering work to other awards, and how important are these shows to filmmakers?

Of course — it’s always encouraging when a film is recognised but, more than that, these awards help open doors. They put the film in front of more people, create conversations and help independent projects find their audience. 

While awards aren’t the goal, they’re an invaluable part of the journey.

What made you want to become a director?

It’s always been about storytelling. There’s something about capturing human experiences — finding the magic in real-life moments and translating them into cinema. The process of working with actors, shaping a world and crafting emotion through image and sound is something we’ve always been drawn to.

What are you working on next?

We’re developing Marion into a feature, expanding the world and delving deeper into Caroline’s story. Beyond that, there are a few other projects in the works, but the main focus right now is taking this story further and making it something even bigger. 

Interview by Danny Edwards shots