Michael’s mother tells him he will outgrow his best friend.  Seventy years later, it appears she was wrong.


© Vaughan Films 
10m20s UK & France
Filmed in Occitanie, France 

Izzy Vaughan


Izzy Vaughan spent many years as a professional singer, actor and voiceover artist, performing in numerous international opera and musical theater productions. She was the Head of the Voice Department at Germany’s largest performing arts academy, The Stage School in Hamburg.

Izzy recently adapted her first novel into a film and has been writing screenplays ever since. 

vic vaughan


Vic Vaughan has directed/produced over 70 operas and musicals, from classics like Carmen and The Magic Flute, to world premiere productions including the acclaimed Feynman and Leave Me Alone! (written by and starring Harvey Pekar).

Vic co-directed the onstage video for the opera version of Lost Highway at the Miller Theatre in NYC.   She now writes and directs exclusively for film.




feature Screenplays                                      



A Time Machine propels three children back to 1680 where their parents must save them from the guillotine for a crime they didn’t commit.

(96 pages)



A hostile agent infiltrates an electronics company to spread a debilitating virus around the world and a fledgling scientist needs to get the truth out before she is taken out. 

This script’s predecessor, THE SILENT RUN, was a finalist in the 2017 NYWIFT Writers Lab.

(95 pages)



In a future world where the proof of reincarnation means a strict ‘one in, one out’ policy on life, a midwife uncovers a life insurance scam as she learns her own child is at risk of mandatory culling.

(96 pages)



Illegal deforestation, excessive trash deposits and an infestation of flies causes the disintegration of an offshore waste disposal facility and an engineer must evacuate her team before the island collapses.

(92 pages)



If your geologist husband came back from a field trip to Africa, you’d expect him to bring home a couple of rocks and a souvenir, not a meteorite and a deadly virus. And let’s say you’re a molecular biologist, you’d expect that virus to be killing him, not killing his cancer, right?​

And, you’d expect someone — anyone — to believe you.​

(108 pages)



An accomplished pianist’s dreams for success are hampered by a debilitating illness and WWII, but it is her cruel and violent husband who presents the biggest hurdle, and the ultimate cost could be her life. Based on the novel by Izzy Vaughan.

(105 pages)



An unsuspecting generic male inhales an air-borne virus launching a full scale internal attack which his body must conquer.

‘Inner Space’ meets ‘Dad’s Army’ (10 pages)


a micro-short film             

Actively pursued by HERself, SHE denounces her past and is caught in a continual spiral of subconscious denial from which she cannot escape.

Poursuivi par elle même (HER), (SHE) elle dénonce son passé et est entraînée dans une spirale constant de déni inconscient dont elle ne peut échapper.

In der bewussten Verfolgung ihres Selbst verweigert sie sich ihrer Vergangenheit und sieht sich in einer unendlichen Spirale des unbewussten Verleugnens gefangen, aus der es kein Entkommen gibt. 


Constructed as a cyclical dreamscape and inspired by Escher’s exploration of repetitive space, S-HER is a cinematic Möbius strip of perpetual and inescapable nightmare. Set inside the crumbling walls of a Medieval French Château, the female protagonist is seen running up a seemingly endless spiral of stairs, in a futile bid to escape HER previous self in a never/an ever-changing confusion of identity. As the sequence continues, the emphasis on circularity results in an unnerving repetition, establishing an atmosphere of heightened paranoia and uncertainty.

Inspired by the repetitive structure of a Chopin Prelude, the film employs a Schenkerian reading of harmonic structure for the visual placement of pivotal narrative moments. The musical score, entirely manipulated to create a perfect Golden Section in its third and final segment, exploits the natural ‘compensating rubato’ within musical performance, in which any acceleration is later accounted for when the music slows down again. By systematically increasing tension and sense of panic experienced by both character and audience, SHE becomes the dreamer and the dreamed, trapped in an unresolved narrative that is saturated with restlessness and alienation.


Tech Specs

S-HER is a 3-minute short with no dialogue

Available in DCP, MOV, H.264, DVD (PAL/NTSC)

Read more at IMDb

Rated PG for existential angst


collaborating Writer on S-HER (2017)

Amy is a freelance film journalist based in the UK.

Her monograph on Lars von Trier’s Antichrist (2009) was published in July 2015 and her upcoming book on Jonathan Glazer’s Under The Skin (2013) will be published in April 2018 (both by Auteur Publishing).

Amy has written for Time Out London, Sight & Sound, the British Film Institute and Senses of Cinema.


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