“Male attention feels like the most abundant resource in the world,” confides one of the interviewees in Abby Harri’s compelling short film Side Hustle. Set within the world of sugar babies, Harri crafts a layered portrait of a young dancer who turns to ‘paid intimacy’ to support her artistic ambitions. Blending real-life testimonies with fiction, the film becomes a quiet, introspective meditation on intimacy, offering insight into the widespread nature of this kind of sex work. It challenges our assumptions, revealing how that seemingly endless supply of “male attention” remains a form of currency for countless people across the globe.“I aimed to tell a story where there’s no imminent danger for a sex worker”Side Hustle opens with its protagonist chatting playfully into her phone, her voice and face filtered to resemble an alien – a moment of levity that sets the tone for a film grounded in authenticity rather than heightened drama. Focusing on a single sugar baby’s experience, writer/director Harri deliberately avoids sensationalism. “I aimed to tell a story where there’s no imminent danger for a sex worker,” she explains, instead exploring the delicate balancing act between financial survival and personal boundaries.The inspiration for Side Hustle came from Harri’s own post-college reality: living in an expensive city and trying to forge a creative career. When a friend began organising dinner dates between wealthy men and young women, the concept of sugaring suddenly felt closer, more tangible. “I kept hearing from unexpected sources that they were involved in this world, and I kept wanting to know more,” Harri says, reflecting on the curiosity and empathy that fuelled her desire to tell this story.Sean Edward Lewis stars alongside Eden Martinovsky in Side Hustle.With a clear vision for the kind of film she wanted to make, Harri’s next step was devising a plan to bring Side Hustle to life. She created a treatment/script hybrid – structured enough to include scenes and dialogue, but intentionally loose to allow room for spontaneity. “I wanted us all to feel inspired to catch an idea as it presented itself, to feel free to play,” Harri explains. Embracing a documentary-style approach to the shoot, she fostered an environment where improvisation could thrive, encouraging her team to “bring their artistry to the forefront“.“It’s about connecting with people on a human level”Harri cites her background in casting – where she’s collaborated with directors like Jane Schoenbrun and Savanah Leaf on their features – as a central influence on her directorial approach. It’s the performances, she explains, that she places at the heart of her work. “To me, it’s not about having some special theory or manifesto,” Harri says. “It’s about connecting with people on a human level, and figuring out what is helpful for them to hear to give their best.” Having frequently worked with first-time performers and non-actors in auditions, she’s developed a sensitivity to helping people feel safe enough to be vulnerable, coaxing out performances that are honest and emotionally resonant.That vulnerability is palpable in Side Hustle, where Harri gives space for both first-time actor Eden Martinovsky and co-star Sean Edward Lewis to deliver quietly powerful performances. Guided by curiosity, trust, and intuition, Harri’s filmmaking seeks to uncover “something honest about the world [she’s] exploring”—and Side Hustle succeeds in doing exactly that. Rather than leaning on dramatic peaks, the film finds strength in its subtlety, letting its grounded authenticity carry the emotional weight. The characters feel so lived-in, so believable, that they linger in your mind well after the film ends – and there’s something incredibly powerful in that.