Oscars 2018: Rachel Shenton uses sign language in acceptance speech
Ex-Hollyoaks star won best live action short film for The Silent Child
Former Hollyoaks star Rachel Shenton has been lauded after delivering an acceptance speech in sign language following her win for best live action short film at the Oscars.
Shenton’s film The Silent Child tells the story of a girl who struggles to communicate until a social worker teaches her “the gift of communication”, says the Evening Standard. The film focuses on a deaf four-year-old girl named Libby, played by deaf actress Maisie Sly, from Swindon.
During her speech, Shenton said: “I made a promise to our six-year-old lead actress that I'd sign this speech.
Subscribe to The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.
Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
“My hands are shaking so I apologise.”
The former British soap opera star wrote, produced and starred in the film. She accepted the award with her fiance and the film’s director Chris Overton who also appeared in Hollyoaks.
Shenton was inspired to write the film after her father went deaf from receiving medical treatment when she was 12, the BBC reports.
Shenton added: “Our movie is about a deaf child being born into a world of silence.
“It's not exaggerated or sensationalised for the movie, this is happening, millions of children all over the world live in silence and face communication barriers and particularly access to education.
“Deafness is a silent disability, I want to say the biggest of thank yous to the Academy for allowing us to put this in front of a mainstream audience.”
Sign up for Today's Best Articles in your inbox
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
The Week Unwrapped: Are our phones fuelling a Congolese militia?
Podcast Plus, what's behind a spate of hate crimes in Australia? And why is carbon monoxide the new 'drug' of choice for cyclists?
By The Week UK Published
-
Peter Florence shares books that spark debate
The Week Recommends Co-founder of Hay Festival chooses works by Robert Macfarlane, Marion Turner and others
By The Week UK Published
-
Dora Carrington: Beyond Bloomsbury – a 'fascinating' exhibition
The Week Recommends First major retrospective in almost 30 years brings together a 'marvellously diverse' selection of works
By The Week UK Published
-
The Brutalist: 'haunting' historical epic is Oscar frontrunner
The Week Recommends Adrien Brody is 'savagely good' as Hungarian-Jewish architect chasing the American dream
By The Week UK Published
-
The Brutalist, AI and the future of cinema
The Explainer The use of AI in the Oscar-tipped epic has launched a fresh debate over its applications in the film industry
By Richard Windsor, The Week UK Published
-
Oscar predictions 2025: who will win?
In Depth From awards-circuit heavyweights to curve balls, these are the films and actors causing a stir
By Irenie Forshaw, The Week UK Last updated
-
Movies to watch in October, from 'Joker: Folie à Deux' to 'Saturday Night'
The Week Recommends Joaquin Phoenix as Joker, a new Jason Reitman comedy and a buzzy Palme d'Or winner
By Anya Jaremko-Greenwold, The Week US Published
-
The Outrun: Saoirse Ronan's finest performance?
The Week Recommends Irish actor tipped to finally take home an Oscar for her powerful portrayal
By The Week UK Published
-
'Oppenheimer' sweeps Oscars with 7 wins
speed read The film won best picture, best director (Christopher Nolan) and best actor (Cillian Murphy)
By Peter Weber, The Week US Published
-
The horror movies the Academy forgot
The Week Recommends For your consideration: five movies that should have made the cut
By David Faris Published
-
2024 Best Picture nominees back when they were books
The Week Recommends Every great movie has to start somewhere
By Scott Hocker, The Week US Published