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SUNDAY'S CHILDREN
by Reuben Hamlyn

 19min | USA | 2026
 
Desperate to become a father, a man spends a weekend falling for a woman who believes God has warned her never to have children.

​Year of production 2026
Length 19'
Country USA
Shooting Format 4K Digital
Aspect Ratio 1.78:1 
Dialogue English

Director Reuben Hamlyn
Producers Devin Carey, Sara Boutorabi, Reuben Hamlyn
Writer Reuben Hamlyn
Director of Photography Mélanie Akoka
Editor Reuben Hamlyn
Casting Director Violette Trotter
First Assistant Director Raha Amirfazli
Sound Designer David Doubtfire

Production Sound Robin Zeijlon, Liat Krongrad
Costume Designer Sara Boutorabi
Special Effects Make-Up Artist Tara Atefi
Art Director EJ Rosen
Set Decorator Jamie Kiernan O'Brien
Intimacy Coordinator Kristina Valentine
Cast Maximilian Isaacs, Blu Hunt, Kristiana Priscantelli, Christian Lorentzen, Reuben Hamlyn, Jingle & Jangle

Festival selections
Cannes Film Festival, La Cinef 2026 - World Premiere

Director's Statement
I wanted to make a dark, funny, formally playful love story about the complexity of what influences the way we envisage our life (our desires, our beliefs, experiences, material reality, estimation of our own capacities, our degree of faith in what the future will bring to the world) and the way we reductively narrate these influences to ourselves and others.
I wanted the central characters to embody opposites: Kasia,
a worn-down realist, and Dennis, a naive, entitled optimist, someone blind to the world beyond them, convinced the
future will resolve in his favour.
He struggles to recognise the autonomy of those he becomes close to, not out of malice, but because his solipsistic worldview cannot accommodate it.
Over the last few years, there’s been resistance to representing the point of view of characters who do bad things, but I have always been interested in their psychology.
I think this interest stems from a firm belief in the importance of attempting to understand everyone, no matter their crime because if we refuse someone even a modicum of empathy, it is then easy to dehumanise them.
​Granting access to Dennis is not an attempt to justify him; it is a way of examining how a vision for one's life can be built at the expense of others, how another’s agency can be disregarded when you see your own desire as destiny.
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