Being amidst the creative synchronicity of Vanya Gostev and George Graham, co-writers of mini-series ‘Last Resort’, is a reminder of how the human mind can sometimes meet its match, and subsequent censor.

The film-making pair’s chemistry is easy to discern; subtle body language, a gentle camaraderie…it all makes sense as they talk of their instantaneous kinship sparked after meeting on a panel, where they bonded over shared disposition and love of “dark, flawed characters”, says Graham (and, he admits, a mutual disdain for panels at the time).

Gostev later reached out with the idea for the script and this relationship became the backbone of ‘Last Resort’, their differences becoming a defining attribute.

Their storyline follows a shroomdealing father and his estranged heroin-addict son, finding themselves intertwined when life brings them back together in a clash of sensibilities.

But then came the question of how these Hackney Wick-based creatives might begin to fund the project and actually get the series made? What Gostev and Graham have done is take an intangible idea they dub “pathological optimism”, and make it feel real through unconventional means; a flyposting campaign across London directing people to the Instagram of the lead character, Allen, (@lastresortseries), who exists online in the ‘real world’.

It’s part stunt, part proof of concept, part crowd funding, all in a deliberate attempt to connect fiction and fantasy. 

“We brainstormed and we had a couple of quite mad ideas. And one of them was, let’s pretend to be our protagonist and pretend to sell drugs”, Graham says.

“Then, we were lucky enough to meet the founder of ManFromUncle, one of London’s oldest fly-posting companies,” adds Vanya, “who loved the anarchic nature of the idea and helped us get A2 posters up across London: from Tower Hamlets to Mayfair.” The response was exactly what they’d hoped for, and more.

“We heard from nature and mycelium lovers, alternative healing enthusiasts, artists, and just good people have reached out, offering support, screenings, even actor introductions,” he tells us, “not to mention a few pretty hilarious and mad exchanges.”

‘Last Resort’ could at first be misdiagnosed as yet another grim tale about the hold drugs have on the UK, but instead it opts for an approach grounded in themes of healing, repair and the human spirit. “It’s about a dreamer, a bit of a chancer, someone trying to will a better life into existence”, Gostev explains.

Quoting Albert Camus, he continues: “in the midst of darkness, I always found there was within me, some kind of light. In the midst of hate, there was within me a kindness”. It is this duality that plagues their story.

Tone is a subject they meet with nuance, admitting “it’s a very tenuous thing to find, and until you make the film you don’t fully grasp what it is”, Gostev says.

This acknowledgement displays the precision and restraint the pair share in their approach, letting the project breathe, not overindulging in ungrounded moments.

What they aimed to create was “the same internal image, trying to get everyone to picture the same thing in their heads”, Graham explains, in the hopes it can then be recognised and related to by viewers. That’s ultimately what the pair had to reckon with, the line between fantasy and reality.

“We tried to get as close to the truth as we could, but could only get away with some of the more absurd moments in the story because we’ve grounded them within things that you can emotionally relate to,” Gostev shares.

Giving their lead character autonomy and placing him at the centre of the real world via the poster campaign was a vital test, especially since their concept hinges on hope for a better world, one calling out for community.

As Gostev puts it, “there are people out there who are into this sort of world, so there’s a whole market out there for these kinds of stories.” Tangibility is a great definer when compared to today’s norm of digital ephemerality, where, as Gostev puts it, things can “wash away so fast”.

Giving something physicality “is romantic, it makes it feel like it has weight and presence in the real world”, he adds. It slows things down, and grounds the absurdity of what Graham and Gostev are attempting to pull off.

Graham notes “there’s a tension between now, and the old world of drugs.” When they reference magic mushrooms, it’s clear they understand that a new era has dawned for all things psychedelic.

Microdosing, macrodosing, meditation - there’s a growing openness to all of it, while clinical trials experimenting with medical uses for psilocybin are happening right now.

This is no longer just a substance that can challenge your own world view through intense experience, it can (or should we say might) be the key to unlock healing and change for the human mind. ‘Last Resort’ is coming at a time where the world is ready to hear this story.

It’s easy to see the parallels between their protagonist and the plight of creative freedom in today’s London scene. There’s something familiar in the idea of, as they say “idiots trying to actually do something good with their lives for the first time”.

Desire to create or change, tugging against the fear or context that might prevent it. That’s why this ambitious directing duo has the edge – they understand that.

There’s a charming authenticity to both the characters they’ve created and to Gostev and Graham themselves, who showcase that “pathological optimism” as their driving force. When paired with diligence, play and collaborators who mirror each other’s best instincts, that drive becomes unstoppable. 

To find out more about Last Resort, and to connect or collaborate with them, email: [email protected]