Paul Andrew Williams

Paul Andrew Williams, born in 1973 in Portsmouth, England—yeah, that’s way down on the south coast where the seagulls are louder than your alarm clock—has carved out a name for himself as a filmmaker who doesn't really stick to one formula. Honestly, the guy’s work is all over the place in the best way. London to Brighton, probably his breakout, is rough, gritty, and doesn’t pull any punches. It’s the sort of crime drama that’ll leave you feeling like you need a shower afterwards, which, weirdly, is a compliment. His style’s got this raw energy, almost like he’s daring you to look away but you just can’t. Then you jump to something like Song for Marion. Total gear shift. Instead of gangsters and shady deals, you get this tender, bittersweet story about love and loss—plus a bunch of pensioners belting out pop songs. Trust me, it works way better than it sounds. Williams knows how to get under your skin, make you laugh one minute and then hit you with the feels the next. The Cottage, on the other hand, is just bonkers. It’s got horror, comedy, and enough weird twists to keep you guessing. Basically, if you’re into films that don’t play it safe, Williams’ stuff is worth a look. He’s not scared to get weird, get dark, or just get plain emotional. That’s the charm, right? Not many directors can jump genres and still keep their voice, but Williams pulls it off.