As part of our series of blogs from the mentees, we're sharing this piece by Bil-Marhamah Rahman on the making of her second film All Our Mother’s Gold supported by The Learning the Ropes Programme 2024. We’re excited about our first Learning the Rope's collaboration. Hear more from Bil below about the significance of the film and how her mentor Riffy supported her to make it.
My name is Bil-Marhamah Rahman, and I’m proud to call myself a young filmmaker, deeply passionate about storytelling and the ever-changing art of cinema. Each project I take on is an opportunity to challenge myself, refine my craft, and enrich my storytelling abilities. While cinema is my first love, I draw creative inspiration from many sources: painting, literature, theatre, exhibitions, and even the unpredictable rhythm of everyday life. These influences shape my perspective and help me identify my evolving voice as a filmmaker.
Learning the Ropes 2024 recently concluded, marking a milestone not only for me but for all of us mentees as we celebrate our collective achievements. Through this blog, I wanted to share my journey on the programme, my experience with my mentor Riffy Ahmed, and the process of conceiving and directing my film, All Our Mother’s Gold. This is my second film, following my directorial debut, The Women We Have Left Behind. Early on in my mentorship with Riffy, we mapped out my goals for the programme which included getting a full-time industry job, starting work on my second film, upskilling my technical filmmaking knowhow and maximising the networking opportunities the course provided.
I presented Riffy with the initial treatment for All Our Mother’s Gold, a short documentary exploring how gold functions as a love language in South Asian families—a symbol of heritage, sacrifice, and resilience. With Riffy's guidance, this treatment underwent several iterations, each step helping me clarify my vision.
Riffy’s mentorship was invaluable. She broke down what was working and where improvements could be made, offering insight from an industry perspective that was both constructive and inspiring. Although I had been creating treatments for personal use, organising my thoughts, and visualising my films, her input helped me elevate these documents for a professional context. What I appreciated most was her respect for my creative control—this was my passion project, and she encouraged me to find my own footing, guiding me without overshadowing my voice —. This balance was crucial as I continued to define my artistic style.
Once the treatment was polished, we worked on the practical aspects of bringing the film to life. I had already identified the participants and briefed my collaborators, but I lacked the technical resources to execute my vision. This is where the programme’s support proved instrumental. With the help of Hotcam and their generous provision of camera equipment, I was able to move forward. After presenting my treatment to Fran Plowright, the curator of Learning the Ropes, and creating a rough call sheet, everything began to fall into place.
Filming spanned two to three weeks, after which I dived into post-production. I tackled the initial rough cut myself, outlining references for the film’s sound, pacing, and aesthetic. This process helped me establish a clear vision, making it easier to collaborate with Riffy during the refinement phase. Her understanding of my intentions, having seen the project develop from treatment to rough cut, was a major asset. She provided invaluable feedback on sound design and pacing, while also encouraging me to trust my instincts when choosing shots that I loved, not just liked, and crafting the film’s rhythm. Beyond creative guidance, she also helped me improve my organisational and production skills, enhancing my efficiency as a filmmaker and knowledge of the industry workflow.
A shared cultural connection also made a difference. With Riffy being half Bahraini and Bengali and the film being deeply rooted in Bengali culture, she instinctively grasped the nuances of the narrative, making the refinement process easier and deeply resonant. Through the programme, I also had access to industry professionals like Matt Felstead and Barny Wright at No.8 London, who helped refine the colour grading I’d initially worked on. This exposure deepened my understanding of post-production and introduced me to new aspects of the filmmaking process.
Over the course of Learning the Ropes, I gained valuable insights into storytelling, technical expertise, and the many layers of production. From DOPs to sound designers, art directors to post-production specialists, the speakers and mentors enriched my understanding of the filmmaking ecosystem.
Ultimately, with the programme’s support and encouragement, I successfully created All Our Mother’s Gold. A documentary short which captures the tradition of passing down gold through generations, exploring its profound significance through the eyes of three women. Each piece of jewellery carries stories of growth, intergenerational love, and resilience, forging connections between the past, present, and future. Through their narratives, the film unravels the complex relationship South Asian families share with gold, making it not just a material asset but a profound symbol of identity and heritage.
This journey has been one of growth, challenges, and discovery, and I’m incredibly proud of the final product. None of it would have been possible without the mentorship of Riffy Ahmed and the comprehensive support provided by Learning the Ropes 2024. I’m also thrilled to share that during the programme, I also applied for and was accepted onto the competitive Channel 4 Apprenticeship Scheme – another one of my goals nailed! - which I start in January 2025 as a 4Creative Apprentice. Can’t wait to continue my storytelling journey and make films that I want to watch whilst learning how the industry works!
I hope you enjoy watching my film which can be viewed here.
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