Created by Mark Minors, The Pitch 2015

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Battling to save the Palliative care unit she runs, Dr. Malvin struggles to hold back the tide of media speculation and impending privatisation following suspicious deaths in the facility. Meanwhile Reddan, a meek but conscientious porter, cares dearly for Mortimor, a renowned author with only a short time to live, and his anguished wife Adelphe. As another patient dies unexpectedly, Dr. Malvin launches an internal investigation whilst Mortimor confides to Reddan that he would not want to live once the pain of his illness becomes unbearable. When Mortimor’s condition deteriorates, Adelphe pleads with Reddan to ease Mortimor’s pain. With the knowledge that any action would give the massing media a field day and prove catastrophic for Malvin, the care unit, and himself, Reddan must decide whether to shun his friends and their freedoms, or follow his heart, ignite a debate, and face the dire consequences. "Vital" is a neo-noir drama about having faith in your principles, no matter the odds. It centres on the character of Reddan, the archetypal anti-hero, who takes the morally questionable action, becomes the villain, and ultimately sacrifices himself for the greater good.

Biblical Connection

In John 11, Jesus is at the centre of a political storm. He is drawing huge public interest and is perceived as a threat by an establishment that wants to silence him at any cost. Faced with the sickness and death of his friend, Lazarus, Jesus has two options: keep a low profile, or take action. I see the resurrection of Lazarus as an act both of compassion, and of courage. Jesus refuses to be silenced, further revealing his identity and embracing controversy in an action that is ultimately the catalyst for his own trial and crucifixion.  Vital is a short film that will transplant the drama of Jesus' decision to a contemporary human situation. Taking the themes of personal sacrifice and moral courage, the stage is set with the current debate surrounding assisted dying. With empathy for both sides of the story, I want my audience to wrestle with themselves and ask the question: Would I risk acting with compassion for the person in front of me, if I knew my actions would be the catalyst for my own destruction? Would I have the courage to sacrifice myself in an act that might bring freedoms to others?