In the sweltering heat of a UK summer, where temperatures mirrored the intensity of a Texas heat advisory, Paul Salfen of AMFM Magazine connected with a passionate trio: director Gino Evans and stars Becky Bowe and Joe Gill. Their film, Treading Water, had just emerged from the festival circuit, carrying with it a wave of momentum that no one could have predicted. But as they chatted, laughing about on-set antics and sharing profound insights, it was clear this wasn’t just a movie—it was a lifeline thrown into the turbulent seas of human struggle.
The story at the heart of Treading Water follows Danny, freshly released from prison and grappling with the relentless pull of addiction and intrusive thoughts. Played by Joe Gill in his first leading role, Danny’s world is one of fragile recovery, where every step forward feels like treading against an unforgiving current. He reconnects with his old schoolfriend Laura—portrayed by Becky Bowe—who is ensnared in her own web of poor choices and unyielding circumstances. Together, they navigate a Manchester that’s as vibrant and chaotic as their inner lives, seeking connection amid the debris of their pasts.
“It’s heavy in many places,” Salfen noted during the interview, acknowledging the film’s unflinching look at obsessive-compulsive disorder (OCD), addiction, and the raw edges of mental health. Yet, as Evans explained, the film’s power lies in its resilience. “For me, it’s about the resilience element of the characters,” he said, quoting a poignant line from Danny: “The world’s set up for everyone, and people are born into it, and they kind of have to figure out their path and play the hand they’re dealt.” This empathy for human frailty, wrapped in British humor and heartfelt moments, has touched audiences deeply, especially those with lived experiences of OCD or addiction.
The journey to bring Treading Water to life was as manic as the film itself. Shot on a micro-budget over 30 days in real Manchester locations, the production embraced improvisation under Evans’ direction. “The way Gino works was really fun,” Bowe recalled, describing how Evans—whom they affectionately called Juno—insisted on mastering the script before tossing in curveballs. “Do the scene, but don’t say any of the words you’ve just said,” he’d instruct, leading to exhilarating takes that felt alive and honest. With handheld cameras capturing every nuance, and Evans editing the film himself, the result was a tapestry of options that could have birthed several different versions of the story.
One unforgettable night encapsulated the film’s spirit: filming atop a multistory car park in Manchester’s Printworks, the city’s pulsating nightclub hub. Liam Gallagher’s music blared in the background as the crew, delirious from long hours, captured scenes amid the chaos of a Manchester night out. “We were all a bit delirious,” Gill laughed, remembering the energy that made them feel they were creating something truly cool. Even a drunk passerby charging at them like a bull added to the lore—later, he lingered by Evans’ car, regaling the director with tales of his own “film career,” oblivious to who he was speaking to. “He should have been in the film,” Evans chuckled.
Despite the tough material, the set buzzed with camaraderie. Gill, riding the adrenaline of his lead role, worked with a stellar cast including the “brilliant” Bowe and veteran Daryl, each bringing unique depths to their scenes. “Everyone knocked it out of the park,” Gill said, praising the small but mighty crew: sound operator Andrew Layfield, cinematographers Lewis Fernandez and Cronin. “We all kept each other going,” he added, succumbing to the chaos of his character Danny in a blur of passion and fun.
As Treading Water transitioned from festivals to a UK theatrical run and eyes a US release, the responses have been overwhelming. “We’ve had some amazing responses,” Bowe shared, particularly from those affected by OCD. One viewer was “blown away” by a therapist’s line about shifting blame for intrusive thoughts, calling it a “real true telling.” Gill expressed excitement for American audiences to discover Manchester’s underrepresented grit and accents. “It’s set in England, but the themes are universal,” he said. “People in America suffer from obsessive-compulsive disorder, intrusive thoughts, addiction problems. Hopefully, they can see the heart within that.”
For Evans, who wrote the script in his early 30s but only brought it to life later after years of corporate work, the film is a testament to persistence. “You’ve just got to keep plugging away,” he advised aspiring filmmakers. “It’s never too late to just do it.” Bowe echoed the need for faith and collaboration with like-minded souls, while Gill urged loving the craft through its ups and downs. “Do it for the love of it,” he said. “Work with a collective around you… and have a laugh. Don’t take any of it too seriously.”
In the end, Treading Water isn’t just about sinking or swimming—it’s about the messy, beautiful act of staying afloat together. As Evans and his stars reflected on taking it “day by day,” living in the moment amid the chaos, their story inspires us all to empathize, connect, and keep treading forward.
