A dispute has emerged behind the success of the locally produced film Omyra, with actors alleging non-payment, while the film’s director insists the project was always understood to be unpaid.
The production, which has earned international recognition on the film festival circuit, is now at the centre of conflicting claims that raise broader questions about structure, transparency, and standards within Saint Lucia’s emerging film space.
Several actors, speaking on condition of anonymity, claim they participated in the project with the expectation of receiving compensation.
“It was said during the casting call that each member would receive compensation…nothing major, but everyone would get paid,” one actor stated.
According to the actors, the issue only surfaced after filming, when inquiries about payment reportedly revealed that funds had been redirected toward the film’s release and international festival submissions. They further alleged that the project received some level of external funding, though details remain unclear.
The actors described the production as demanding, with extended filming schedules that went beyond initial timelines.
“You’re there from morning and still working at one or two o’clock the next day…it takes a toll,” one said, noting that a planned three-day shoot extended to over a week due to reshoots.
Central to their concern is the absence of formal agreements. “There were no contracts. Everything was verbal,” another actor explained, adding that future involvement in productions would require written terms.
However, director Elijah Anatole has firmly rejected claims that payment was ever promised, stating that the project was clearly communicated as a non-paying, pro bono production from the outset.
“Everybody who worked on the film knew that it was a non-paying gig,” he said. “There was no agreement for payment.”
He acknowledged that no formal contracts were signed, a lapse he described as a personal lesson, but maintained that all participants were informed verbally before auditions.
“I told them from the beginning…this is a non-paying gig, and they agreed,” he said, adding that multiple individuals present at auditions could corroborate this.
While he indicated that he had considered offering stipends to some participants, he stressed that such gestures were not contractual obligations.
The director also pushed back against suggestions that the film generated financial returns, explaining that festival recognition does not equate to revenue.
“You don’t get paid for nominations or awards,” he said. “The success is exposure — credibility for the actors, the film, and the country.”
He further noted that the production was largely self-funded, including thousands of US dollars spent on festival submissions, and positioned the project as part of a broader effort to build Saint Lucia’s film industry from the ground up.
“We don’t have a structured film industry here…no real system to fund film,” he said. “This is about proof of concept — showing that we can produce work that competes internationally.”
Despite the disagreement, both sides acknowledged the film’s impact. Actors pointed to Omyra as evidence of local talent and potential, while the director emphasized its role in opening doors for future investment and opportunities.
Still, the situation highlights ongoing challenges within Saint Lucia’s creative sector — particularly around funding, formalization, and expectations — as creatives navigate growth without established industry frameworks.
For now, Omyra stands as both a success story on the international stage and a case study in the growing pains of a developing film industry.
