We Named Our Company After a Woman
Who Chose Death Over Silence – Here’s Why
In 441 BC, Sophocles wrote a play that still terrifies tyrants.
A teenage girl stands in front of a king who holds absolute power and tells him, to his face, that his law is immoral garbage.
She has no army. No political party. No wealth. No plan B.
She has one brother’s unburied corpse, a shovel, and a conscience that will not shut up.
The king (Creon) bans the burial because the dead brother was a traitor to the state.
Antigone buries him anyway.
She gets caught.
Creon sentences her to be walled up alive in a cave.
Her last public words are not a plea for mercy.
They are an indictment of the entire system that confuses obedience with virtue.
She chooses death over silence.
And the play ends with the king destroyed, the city in mourning, and the audience forced to ask:
who was the real criminal?
We named our company Antigone Productions because that question is the only one that still matters to us when we decide what to make.
Why her, and why now?
2025 feels a lot like Thebes after the war:
- New decrees every week telling us what can and cannot be said, shown, or mourned.
- Algorithms that bury inconvenient stories faster than any tyrant ever could.
- A film industry that rewards compliance and punishes anything that might “polarise the discourse.”
We looked around and realised that the most dangerous act left in cinema is still the same one Antigone committed:
to stand in the public square and say “No. This is wrong. And I will not look away.”
Every film we produce has to pass what we privately call “the cave test.”
If the movie were the only thing we were allowed to leave behind before being sealed inside that tomb,
would we still make it exactly this way?
If the answer is yes, we’re in.
How the Antigone myth actually works inside our slate
- Moral clarity in a grey world
We don’t make movies about anti-heroes who are secretly good. We make movies about people who do the right thing even when it guarantees they will lose. - No redemption through compromise
Antigone never says, “Maybe Creon has a point.” Neither do our protagonists. They pay the price, but they never sell the truth to stay alive. - The state is not the hero
Institutions (governments, studios, platforms, guilds) are almost always the Creon in our stories. Power that demands silence is the villain. - The body matters
Antigone’s rebellion begins with a corpse she refuses to let the crows have. Our films are obsessed with bodies that are denied burial, dignity, medical care, rest, pleasure, or the right to be seen. The political is always physical. - We are willing to die in the cave
Financially, reputationally, legally—whatever the cave looks like this year. We would rather the company end than release a film that apologises for its own existence.
That is not marketing copy.
It is the only reason Antigone Productions exists.
Two thousand four hundred and sixty-six years later,
a girl with a shovel is still the most radical image we have.
We intend to keep digging.
This is who we are.
Welcome to the resistance.
Or as Antigone might say:
See you in the cave.
