Creative connections that transform

Commissioned films


"This is smart work from Creevy, who is a filmmaker to watch."

The Guardian

About the film

Riz Ahmed takes the title role in Shifty, a thriller charting an action packed 24 hours in the life of a young crack cocaine dealer on the outskirts of London.

The sudden return home of his best friend sets in motion a chain of events that see Shifty’s life quickly spiral out of control. Stalked by a customer desperate to score at all costs, and with his family about to turn their back on him for good, Shifty must out-run and out-smart a rival drug dealer intent on setting him up. As his long time friend Chris (Daniel Mays), confronts the dark past he left behind him, Shifty is forced to face up to the violent future he’s hurtling towards. 


BAFTA Awards 2010

  • Nominated: Outstanding Debut by a British Writer, Director or Producer 

British Independent Film Awards 2008

  • Nominated: Best Actor
  • Nominated: Best Supporting Actor
  • Nominated: Best Achievement in Production
  • Nominated: Best Technical Achievement

Geneva Cinéma Tout Ecran 2009

  • Won: Best Actor

Stockholm Film Festival 2009

  • Won: Best Screenplay
  • Nominated: Bronze Horse

Writers' Guild of Great Britain 2009

  • Won: Best Feature Film Screenplay - Newcomer


Producer: Rory Aitken, Ben Pugh
Director: Eran Creevy
Writer: Eran Creevy Production Company: Between The Eyes

Scene study

Scene 55 is essential to the script as it’s the first time Shifty meets the main villain of the piece, Glen. The audience is given a few fundamental elements of background story, thus setting up future story arcs. It was, therefore, essential it was handled well. We start with a conversation between Shifty and Glen (Chris eavesdropping), Shifty goes over to the car with Lenny and Loretta, and then Glen approaches Chris. It’s quite complicated with regards to spatial awareness for the audience, geography of characters, and actors blocking. Because of this complexity and the possibilities of crossing the line when shooting, I carefully storyboarded the scene. This detail wasn’t essential for all scenes, and a shot list was more usual, but for moments of action and perhaps more stylistic sequences we felt it was crucial. It actually rained cats and dogs on this day; we could only shoot in short bursts, and ended up having to shoot everything in about half our normal shooting day so knowing our angles proved priceless.

Eran Creevy

Shifty scene 55 screenplay

Shifty scene 55 production schedule


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