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Black Dog Films have signed director Katya Ganfield for UK representation.

Ganfield’s work moves between stylised realism and surreal, editorial world-building, always anchored in performance, story, and character, living in those pockets of a generation, made to feel modern yet simultaneously timeless, and still in homage.

With a deep post background, Ganfield shoots with the edit in mind, building rhythm, coverage, and performance choices on set, with a punk, female-forward energy, creating space for women to be fully themselves.

Ganfield’s creative path began early, employed by NME at just 15 years old, she went on to write for publications including The Guardian, Vice, The Line of Best Fit, and Dazed & Confused before moving into directing as digital platforms began reshaping visual culture.

Her award-winning short Mirror Mirror, written by Robert Calvert of Hawkwind, and Other Conspiracies (featured on Channel 4 as part of the ICA’s Stop Play Record series) sit alongside client work for Warner Music, Universal, Adidas, Charlotte Tilbury, and Isamaya. She was also in writers rooms for Skins (S04).

Recent projects have included music videos for Paris Paloma and Sofia & The Antoinettes, press stills for post punk band DEADLETTER, and a surreal short in conversation with musician Joseph Lawrence in collaboration with Kodak.

“Instinctive hands-on filmmaking developed my eye for cinema. RSA and Black Dog’s work supports strong voices building incredible worlds, and I’m excited to keep world-building alongside them” said Ganfield.

“We’re thrilled to welcome Katya to the roster. Black Dog has long championed bold, culture-defining work and filmmakers with distinctive voices. Katya’s work draws on timeless references, while her execution feels fresh and unmistakably contemporary. We’re looking forward to what’s next.” added Josie Juneau, MD, RSA/Black Dog.

Ganfield currently has two features in development, Three Rooms a British absurdist horror, and a narrative drama exploring the world around Marilyn Monroe.

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