Charlie Shackleton (b. 1991)

Alias:
Charlie Lyne

Birthplace:
London, England

Born:
August 15, 1991

Charlie Shackleton is a British filmmaker, multimedia artist, and film critic. He has made several films, including Beyond Clueless, Fear Itself, and the 2016 protest film Paint Drying as well as the multimedia performance piece As Mine Exactly.

Additional information:

The Search Form


Creative Consultant:
2020  The Assistant

Director:
2015  Beyond Clueless
2015  Copycat
2015  Fear Itself
2016  Blackout
2017  Fish Story
2017  Frames and Containers
2017  Missing Episode
2017  Personal Truth
2018  Access: Sheffield DocFest
2018  Lasting Marks
2019  Criticism in the age of TikTok
2020  The Assistant
2021  A Machine for Viewing
2021  The Afterlight
2022  As Mine Exactly
2024  Camera Test (King Cadbury)
2024  Lateral

Editor:
2015  Beyond Clueless
2015  Copycat
2015  Fear Itself
2015  Stand by for Tape Back-up
2016  Blackout
2016  Chicken
2017  Fish Story
2017  Frames and Containers
2017  Missing Episode
2017  Personal Truth
2018  Access: Sheffield DocFest
2018  Lasting Marks
2019  Criticism in the age of TikTok
2020  The Assistant
2021  A Machine for Viewing
2021  The Afterlight
2022  As Mine Exactly
2024  Camera Test (King Cadbury)
2024  Lateral

Executive Producer:
2015  Beyond Clueless
2015  Copycat
2015  Fear Itself
2015  Stand by for Tape Back-up
2016  Blackout
2016  Chicken
2017  Fish Story
2017  Frames and Containers
2017  Missing Episode
2017  Personal Truth
2018  Access: Sheffield DocFest
2018  Lasting Marks
2019  Criticism in the age of TikTok
2020  The Assistant
2021  A Machine for Viewing
2021  Precious Hair & Beauty
2021  The Afterlight
2022  As Mine Exactly
2024  Camera Test (King Cadbury)
2024  Lateral

Producer:
2015  Beyond Clueless
2015  Copycat
2015  Fear Itself
2015  Stand by for Tape Back-up
2016  Blackout
2016  Chicken
2016  Day After Day
2017  Fish Story
2017  Frames and Containers
2017  Missing Episode
2017  Personal Truth
2018  Access: Sheffield DocFest
2018  Lasting Marks
2019  Criticism in the age of TikTok
2020  The Assistant
2021  A Machine for Viewing
2021  Precious Hair & Beauty
2021  The Afterlight
2022  As Mine Exactly
2022  Jill, Uncredited
2024  Camera Test (King Cadbury)
2024  Lateral

Sound Designer:
2015  Beyond Clueless
2015  Copycat
2015  Fear Itself
2015  Stand by for Tape Back-up
2016  Blackout
2016  Chicken
2016  Day After Day
2017  Fish Story
2017  Frames and Containers
2017  Missing Episode
2017  Personal Truth
2018  Access: Sheffield DocFest
2018  Lasting Marks
2019  Criticism in the age of TikTok
2020  The Assistant
2021  A Machine for Viewing
2021  Precious Hair & Beauty
2021  The Afterlight
2022  As Mine Exactly
2022  Jill, Uncredited
2024  Camera Test (King Cadbury)
2024  Lateral

Writer:
2015  Another Take on… Mrs. Doubtfire
2015  Beyond Clueless
2015  Copycat
2015  Fear Itself
2015  Stand by for Tape Back-up
2016  Blackout
2016  Chicken
2016  Day After Day
2017  Fish Story
2017  Frames and Containers
2017  Missing Episode
2017  Personal Truth
2018  Access: Sheffield DocFest
2018  Lasting Marks
2019  Criticism in the age of TikTok
2020  The Assistant
2021  A Machine for Viewing
2021  Precious Hair & Beauty
2021  The Afterlight
2022  As Mine Exactly
2022  Jill, Uncredited
2024  Camera Test (King Cadbury)
2024  Lateral

About the Movie Section

Most data and links to images for the Movies section come from TheMovieDB (TMDB).

Additional data for Film Titles come from The Open Movie Database (OMDb).

At least one plug-in comes from IMDb.

Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)

While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:

  • I added "runners up" to Top 10 lists, treating them as ties where applicable and numbering them accordingly at the bottom of each list.
  • Regarding those polls wherein "franchise" movies were submitted as one project until BFI's policy changed to regard them separately, I treated them as ties and renumbered the affected lists accordingly (e.g. the Godfather films).

Regarding profile removals and data corrections:

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  • For additional corrections and profile removals, please e-mail The Open Movie Database (OMDb).

Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).

Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.

Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.