Belfast-born director Kathryn Ferguson on her BAFTA-nominated short, Nostalgie
“Belfast feels like it’s on the verge of something big,” Kathryn says. “There’s a real explosion of creativity in film, music, and writing.”
Kathryn Ferguson’s debut feature documentary, Nothing Compares, received over thirty award nominations internationally, including Emmy, Critics’ Choice, IDA, and PGA Awards, and was awarded winner of Best Feature Documentary at BIFA 2022 and IFTA 2023.
Turning her hand from feature documentary to short film, Nostalgie is adapted by screenwriter Stacey Gregg from a short story written by Wendy Erskine, which appeared in her collection, Dance Move. Nominated for both an IFTA and a BAFTA, and starring an array of incredible cast members including Aidan Gillen, Jessica Reynolds and Michael Smiley, the 19-minute film distils the absurd normality of living in a post-conflict Northern Ireland.
What attracted you to the project initially, are you a fan of Wendy Erskine’s writing? What was your first impression of the story upon reading it?
After Nothing Compares was released, I started getting calls from producers about drama, which I hadn’t expected. A producer called Kath Mattock sent me fellow Belfastian Wendy Erskine’s new short story collection called Dance Move, and I read it on a flight during the festival run. I loved all the stories, but Nostalgie immediately jumped out because it felt so cinematic. It connected to something I’d been thinking about after making Nothing Compares, how an artist’s work can be taken over once it’s released, used in ways they never intended. That loss of control, combined with the story’s dark humour and its portrayal of Belfast through an outsider’s eyes, felt like a fresh and compelling way to explore our history and culture. I could see it clearly as a film.
What was it like developing the story from page to screen?
Developing Nostalgie from page to screen was a collaborative process from the start. Stacey Gregg wrote the screenplay, and I directed, but we worked closely together throughout building out the world, shaping the characters, and keeping the story’s dark humour and tension intact. We also went back and forth with Wendy Erskine to make sure we were honouring the original story while expanding it into a full cinematic experience. The biggest challenge was keeping that sharp, compact intensity of the original story while making it feel alive on screen, and Stacey’s brilliant writing was essential in making that happen.
What was it like working with the incredible cast, Aidan Gillen, Jessica Reynolds and Michael Smiley?
Amazing. I had several pinch-me moments walking onto set and seeing actors I’d admired for years. They were generous, kind, and fully committed, which made the shoot hugely enjoyable. Their professionalism quickly erased any nerves I had about transitioning from documentary to drama.
Nostalgie has been nominated for an IFTA and a BAFTA. What has it been like getting this reaction?
Surreal. The film only launched at the end of October, so we didn’t expect to be anywhere near awards season. It felt like the universe gave us a very happy, very unexpected start to 2026. Lots of fist pump emojis firing in all directions!
How does the experience of working on a short compare to a feature doc like Nothing Compares?
They’re vastly different. Nothing Compares was built from the ground up over many years, four years of production and another two of screenings, festivals, and cinema releases. It was six years of my life where I could do very little other than think about the film and ensure it reached the world safely. It was a small core team, slow and laborious. Nostalgie was much quicker. Because we had a pre-existing story, the process moved faster. The shoot days were bigger and rowdier, but I enjoyed the speed and energy of how it all came together.
Do you see more fiction features in your future? Do you have any projects lined up?
Absolutely. I found this experience exhilarating and would love to keep making work that feels like that. I’m currently working on two new features as part of the slate developed at Tara Films, the production company I run with Eleanor Emptage. One is a documentary and one is a drama; we’re really excited about both.
There’s a nod to Milkman in the film, and such great Northern Ireland actors on screen — tell us a little about Belfast as a creative hub, and the great art coming out of the North.
Belfast feels like it’s on the verge of something big. There’s a real explosion of creativity in film, music, and writing.
What was your favourite part of the process of bringing Nostalgie to life?
The shoot. After years of uncertainty, funding challenges, and waiting, the film finally came alive. When we got the green light, we had only four weeks to pull everything together and somehow it all happened. That intensity, that collective leap of faith, it was magic.
Who is someone you look up to in the world of Irish filmmaking?
I’m a huge fan of Pat Murphy’s 1981 film Maeve, which focuses on the female experience in the North. And Derry filmmaker Margo Harkin is a hero of mine. I’m also a huge fan of Aoife McCardle and Alison Millar.
What is one thing you wish everyone knew about working in film?
It can be slow, exhausting, and sometimes chaotic. But when it works, it’s pure magic and a totally expansive experience. The difference between a good set and a great set is the people, mutual respect, trust, and positive energy. No egos. No assholes.
What is one piece of advice you would give to someone hoping to have a career in filmmaking?
Be relentless. Be resilient. And don’t let anyone’s “no” stop you.
Kathryn Ferguson’s life in culture
The last thing I saw and loved… Sentimental Value, Meet me in the Good Light and Pillion. All excellent films.
I find inspiration in… my friends.
My favourite film is… All of Us Strangers.
My career highlight is… Nothing Compares and working with Sinéad.
The song I listen to to get in the zone is… ‘The Night’ by Frankie Valli & The Four Seasons.
The last piece of art I recommended is… Ooan Dobherty’s Specky Clark at Sadlers Wells.
I never leave the house without… snacks for my six year old.
The piece of art I still think about is… Love Is the Message, the Message is Death by Arthur Jaffa. I finally saw it in its entirety at the Bourse de Commerce in Paris last year and it left me speechless.
My dream project would be… working with Patti Smith.
The best advice I’ve ever gotten… No one can make you feel inferior without your consent.
My favourite moment in NOSTALGIE is… Aidan Gillen and Jessica Reynold’s scene on the ferry to Belfast.
The most challenging thing about being a filmmaker is… funding the passion projects and keeping autonomy.
After a shoot, I… lie in an epsom salt bath for a long time.
If I wasn’t a filmmaker, I would be… a gardener.
Portrait by Kat Green; on-set shots by Nathan Magee.
Also Read
