Harry Smith's
Written Pieces
Completed Scripts
Dead Memories (2025)
Dead Memories came from thinking about the things we try to bury rather than deal with, and how they don’t really stay buried. I was interested in that push and pull between wanting to move on and being pulled back into something unresolved. The “box” is a simple idea, but for me it represents the weight of memory and guilt we carry, even when we convince ourselves we’ve let it go. I wanted the film to start in a grounded, everyday space and slowly shift into something more psychological, reflecting how internal pressure can distort reality.
At its core, it’s about avoidance, regret, and the difficulty of facing something you’d rather not look at directly.
Read the script here:
Mourning Coffee (2025)
This script came from watching how breakups often don’t end, they just become awkward scheduling problems where two people briefly re-enter each other’s lives and immediately regret it. I was interested in how quickly something emotional can turn performative once it’s put into words.
I also wanted to lean into the comedy of emotional mismatch - one person trying to extract meaning, the other treating the entire situation like it’s already been filed away and forgotten. Most of the humour comes from that imbalance, where neither character is really speaking on the same emotional frequency.
At its core, it’s less about closure and more about how ridiculous people can become when they’re trying to act like they’ve moved on.
Read the script here:
Lunar Lounge (2026)
Lunar Lounge was inspired by my observations of workplace culture, particularly in customer service environments where there’s an expectation to stay polite, positive, and composed regardless of how you actually feel. It’s something I’ve always found slightly strange how quickly that kind of behaviour becomes automatic. I wanted to take that feeling and exaggerate it into a controlled, artificial space where performance becomes the default mode of existence. Even though the setting is heightened, it comes from something familiar: the quiet pressure to keep smiling and keep things running no matter what’s going on underneath.
At its core, the film is about the gap between how people are expected to behave at work and what they might actually be experiencing internally.
Read the script here:
Under the Mirrorball (2026)
This came from thinking about long-term relationships and how they can shift without any clear rupture. Not falling apart, just slowly moving out of alignment. I kept coming back to small moments , silence at the wrong time, conversations that don’t quite land, the feeling of sharing a space but not really connecting in it anymore. The Mirrorball became a simple way of holding onto what used to feel effortless between them.
It’s about trying to recognise someone you still love, when the version you remember them as doesn’t quite exist in the same way anymore.
Read the script here: