Olivia Grant Directorial Debut The Two Week Wait Explores IVF and Mental Health with Jessica Brown Findlay and Daniel Ings

The landscape of contemporary British independent cinema continues to expand as Olivia Grant, an established actress known for her roles in Stardust and Indian Summers, transitions behind the camera with her directorial debut, The Two Week Wait. This short film, which also serves as a proof of concept for a forthcoming feature-length project, brings together a high-profile cast led by Jessica Brown Findlay (Downton Abbey, Peaky Blinders) and Daniel Ings (The Gentlemen, A Knight of the Seven Kingdoms). The production marks a significant milestone for Grant, who also penned the script, as she explores the deeply personal and often harrowing psychological landscape of infertility and assisted reproductive technology.

Set against the backdrop of a woman in her late thirties navigating the grueling process of In Vitro Fertilization (IVF), the narrative follows Brown Findlay’s character as she experiences a series of dissociative episodes. These mental health challenges are exacerbated by the "rollercoaster" nature of fertility treatments, where hope and despair are often separated by mere days. Ings portrays her partner, described as an "incompetent, albeit guileless" boyfriend, whose struggle to provide the necessary emotional support highlights the gendered disconnect that frequently occurs within couples undergoing reproductive medical intervention.

A Narrative Born from Personal Adversity

The genesis of The Two Week Wait is rooted in the global upheaval of the COVID-19 pandemic, a period that Grant describes as a catalyst for her creative pivot. Speaking to industry outlets, Grant revealed that while she had harbored ambitions of writing and directing for several years, the consistent flow of acting work had previously prevented her from dedicating the necessary focus to her own scripts. The lockdowns of 2020 and 2021 provided the unwanted but necessary "clear time" to generate new work.

However, the creative spark was not merely a matter of available time; it was born from Grant’s own experience with IVF. During the pandemic, Grant began documenting her journey through a 30,000-word diary. This exhaustive record served as a survival mechanism, a way to maintain sanity while grappling with the physical and mental toll of infertility treatments. The diary captured not only the clinical aspects of the process but also the intimate, often strained arguments between herself and her husband. Grant noted that these conflicts felt "uniquely gendered," reflecting a specific type of interpersonal friction that is rarely depicted with nuance in mainstream media.

As the world re-emerged from the pandemic, Grant found that her private struggles were far from unique. Upon reconnecting with other women and couples, she discovered that the shame, the sense of dissociation, and the communication breakdowns she had recorded were remarkably universal. This realization transformed her private diary into the foundation for a professional screenplay, driven by a desire to shed light on the profound interpersonal effects of a medical process that is as successful as it is psychologically taxing.

Strategic Production and Future Trajectory

The Two Week Wait is not an isolated creative endeavor but a strategic entry point for a larger cinematic vision. The short film is produced under Grant’s newly formed production banner, Cavalry Films, in collaboration with Symphony Films. Symphony Films is led by the actor-producer duo Rebecca Night (Wuthering Heights) and Harry Hadden-Paton (The Crown), both of whom have extensive experience in high-caliber British drama.

The project is explicitly designed as a "proof of concept" for a feature-length narrative titled Baby Mine. Currently slated for a 2027 release, Baby Mine is expected to retain the core creative team, with both Jessica Brown Findlay and Daniel Ings already attached to the project. The casting was overseen by Amy Hubbard, a prominent casting director whose credits include The Lord of the Rings and The Hobbit trilogies, ensuring a high level of performance quality that bridges the gap between short-form and feature-length storytelling.

The short film is scheduled to make its premiere at the Indy Shorts Film Festival, a prestigious qualifying festival for the Academy Awards. This premiere serves as a critical platform for Grant to establish her voice as a director before moving into the long-form development of Baby Mine.

Contextualizing the "Two-Week Wait"

In the context of fertility treatment, the "two-week wait" refers to the period between an embryo transfer or ovulation and the time when a pregnancy test can provide an accurate result. In clinical terms, this is the luteal phase of the cycle. For many undergoing IVF, this fortnight is characterized by extreme psychological stress, hyper-vigilance regarding physical symptoms, and a state of suspended animation where life feels "on hold."

Statistical data highlights the gravity of the subject matter Grant is tackling. According to the Human Fertilisation and Embryology Authority (HFEA), the success rate for IVF in women aged 35–37 is approximately 25% per embryo transferred, a figure that drops to 19% for those aged 38–39. Given that Brown Findlay’s character is in her late thirties, the film addresses a demographic that faces significant biological pressure. Furthermore, studies published in the journal Fertility and Sterility indicate that women undergoing infertility treatment experience levels of anxiety and depression equivalent to those diagnosed with cancer or heart disease. By focusing on "dissociative experiences," Grant’s film aims to visualize these internal statistics, providing a visceral representation of the mental health "toll" that often remains invisible to those outside the process.

The Creative Ensemble and Industry Reactions

The involvement of Daniel Ings and Jessica Brown Findlay adds significant weight to the project. Ings, who has recently gained acclaim for his role in Guy Ritchie’s The Gentlemen and is set to appear in the upcoming Star Wars project Starfighter, praised Grant’s directorial vision. He characterized her as a "singular new voice in British filmmaking," noting that the film addresses universal themes with a specific, beautiful aesthetic. His comments reflect a growing trend of actors supporting peer-led directorial debuts, fostering a collaborative environment within the UK film industry.

Jessica Brown Findlay, whose career has been defined by complex roles in period dramas and contemporary thrillers, brings a necessary depth to the portrayal of mental deterioration. Her character’s struggle is supported by an ensemble of veteran British actors, including Fenella Woolgar (Call the Midwife), Rick Warden (Happy Valley), and Sophie Colquhoun (Captain America). This cast provides a robust framework for a story that oscillates between "witty and heart-wrenching," as described by producer Rebecca Night.

Night’s assessment of the script emphasizes its uniqueness in dealing with "the choices we make" and "the relationships we foster." She noted that while the film is undeniably a drama, it avoids the pitfalls of melodrama by incorporating wit and a realistic portrayal of human connection amidst struggle. This tonal balance is a hallmark of modern British independent cinema, which often blends dark humor with profound emotional stakes.

Implications for the Film Industry and Reproductive Narratives

The production of The Two Week Wait and its eventual evolution into Baby Mine signifies a broader shift in how the film industry approaches reproductive health. For decades, IVF was often treated as a peripheral plot point or a "miracle cure" in television and film. Grant’s work joins a growing movement of female filmmakers who are reclaiming these narratives to highlight the nuances of the "harrowing process."

By centering the story on the "profound interpersonal effects" and the "uniquely gendered" arguments, the film challenges the traditional depiction of the supportive, stoic partner and the purely victimized woman. Instead, it offers a more complex look at how medical trauma can create a sense of isolation even within a committed relationship.

Furthermore, the film’s development timeline—from a pandemic diary to a 2024 short and a 2027 feature—illustrates the long-term commitment required for independent filmmakers to bring personal stories to the screen. It also highlights the importance of short film festivals like Indy Shorts as vital testing grounds for narrative concepts that might otherwise be considered "niche" by major studios.

As Olivia Grant moves from the premiere of The Two Week Wait toward the production of Baby Mine, she carries with her the endorsement of her peers and the weight of a universal experience. The film stands as a testament to the power of personal documentation and the necessity of shedding light on the silent struggles that define the lives of millions. With a creative team composed of industry veterans and a narrative rooted in raw, lived reality, Grant is positioned to become a significant contributor to the next generation of British cinematic voices.