City Eye and OperaUpClose are proud to present a cinematic adaptation of The Last Bit of the Moon
A powerful exploration of grief, memory, and transformation comes to screen under the direction of Aaron James West
City Eye, in collaboration with the award-winning opera company OperaUpClose, proudly announces the release of a new film of ‘hip and edgy’ (The Independent) composer Michael Betteridge’s The Last Bit of the Moon, a haunting and poetic story of loss, memory, and redemption. Commissioned for the stage as a dramatic prologue to Vaughan Williams’ one-act sung play Riders to the Sea, with words by Antosh Wojcik and Artfulscribe’s Community Sirens, The Last Bit of the Moon is now reimagined for the screen in a compelling new format that blends evocative visuals and psychological depth.
Directed by Southampton-based filmmaker Aaron James West, the film follows Bartley, a man imprisoned by grief over the childhood drowning of his brother, Michael. Isolated in the dead of night, Bartley struggles to write but is instead consumed by voices and shadows from his past. As these Shadows take on an increasingly sinister presence, the Moon appears as a guide, offering Bartley a chance to revisit the truth of his memories and rediscover clarity within the chaos of his pain.
Since graduating from Solent University in 2017, Aaron has enjoyed a variety of freelance projects in the film industry, in particular the short thriller 'Alien: Containment,' produced in collaboration with 20th Century Fox to celebrate 40 years since the release of Ridley Scott's ground-breaking film. More recently, Aaron has overseen production for Collaborative Media, a London-based film company producing corporate video and documentary programmes broadcast on Sky Channel 182. As City Eye's Head of Production, he is keen to use his knowledge and experience to push the organisation to even greater heights through its own projects and in its support of established and developing filmmakers.
We spoke to Aaron more about his career and the inspiration behind this project:
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1. Tell us a little bit about yourself and CityEye
I am a writer and filmmaker with a background in film, photography, and production. For the last 3 years I have worked at City Eye, an independent film charity in Southampton. As Head of Production, I oversee filmmaking projects and support emerging and established talent to achieve their filmmaking goals. I champion innovation and collaboration wherever I can in the ever-evolving world of visual storytelling.
2. How did you feel about turning The Last Bit of the Moon into a film?
I was drawn to the themes of loss and grief explored in Riders to the Sea. When I learned that OperaUpClose were working to produce a prologue I was fascinated and eager to hear what they’d come up with. I found the music and words for Last Bit of the Moon moving and was inspired by director Flora McIntosh's compelling vision. The film afforded me the opportunity to experiment with film and challenged me to find a cinematic language that could complement the operatic form.
3. How did you show Bartley's memories and emotions on screen?
The film uses a mix of footage, blending stock imagery with sequences filmed in and around Southampton, including at City Eye and Calshot beach. I used various techniques - filming through glass prisms and water to create distortion effects that suggested the purgatory world of the deceased character Bartley. I also utilised a lens baby and tilt-shift lenses where possible and was keen to employ various lighting effects in-camera, as this allowed me to blend traditional narrative techniques with more abstract, poetic imagery.
4. The piece has a strong mood and setting. How did you create that atmosphere?
Everything starts with the music. Even in straight drama, for a film to have an identity it must have rhythm and pace. This is dictated by the script and from that everything follows. The captivating music and inspiring words developed for The Last Bit of the Moon evoked dramatic and ethereal imagery of a man in conflict with himself. The film attempts to furnish a beautifully crafted opera with an abstract visual narrative.
I also felt it was important to film locally, particularly because the words were crafted by local writers and people with a relationship to the sea, in much the same way as the characters populating Riders to the Sea. I grew up in a seaside town and am familiar with awe inspiring big skies and the unsettling feeling of agoraphobia an endless sea can bring.
5. What does the Moon mean in the story, and how did you use it in the film?
The moon is a romantic symbol in mythology representing eternal cycles - life, death and rebirth. In The Last Bit of the Moon, it is a guiding light offering hope in darkness. The moon is also often associated with strong feminine energy and motherhood. In Riders to the Sea, the mother character, Maurya, is a powerful embodiment of enduring grief and the inevitability of loss. Maurya mirrors the moon, bound to the tide’s cyclical rhythm as her sons are repeatedly lost to the sea. The imagery of the twin brothers riding their bicycles near water reinforces the idea of repeated cycles and inescapable doom.
6. What was it like working with OperaUpClose on this project?
It’s always exciting to engage with different creative minds. Collaborating with the team behind Riders to the Sea was an enriching experience. There was a real sense of shared purpose in bringing this prologue to life. The openness and trust within the team made it a joy to collaborate and I came away from the process feeling both challenged and inspired.
7. You usually support other filmmakers—what was it like to direct something so personal?
I am a filmmaker and have been making films for 15 years. As Head of Production at City Eye, I have mentored emerging film talent in the south-central region through programmes such as the BFI Film Academy. The Last Bit of the Moon was a unique experience that allowed me to embrace my own creative voice. It reaffirmed my belief that film should be used to express what words often cannot.
8. What do you hope people feel or think about after watching the film?
I hope the film invites people into a world they might not typically explore and that it sparks curiosity about opera. For those who did not have the chance to see the live performance, this film offers a chance to appreciate this new and original piece of work.
9. Did anything surprise you while making the film?
I was surprised by how naturally the worlds of opera and film could merge when approached with care and respect for both forms. The desire to produce an abstract film that retained the deep themes and meaning of the live performance was a challenge in itself - knowing what to show, keep or cut. I was also surprised by the wealth of compelling stock footage that could be seamlessly mixed with my own footage and not distract but enhance the overall vision.
10. How did your experience in film and photography help with this project—and what are you working on next?
My background in film and photography was invaluable in shaping the visual language of The Last Bit of the Moon. Working behind the camera has taught me how to frame emotion, use light to evoke mood or which lenses to use for various effects. I did learn a lot through the making of this film and will be taking those lessons forward into my next projects. As for what’s next, I’m continuing to develop my own creative work alongside mentoring emerging filmmakers.
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