OMF is a not-for-profit retirement project making films to raise funds and/or awareness for specific charities. OMF is not a company and is not a charity.




One Way Traffic
108 mins
2014 & 2018


The UK Government estimated that in 2013 there were between 10,000 and 13,000 victims of human trafficking in Britain.

Other agencies dispute those figures, claiming that the real figure was much higher.

What is not in dispute is that the number has increased since, year on year.


Tina, Maggie and Goldie - three women with one dream.
But dreams don't always come true, and when they don't, lives can be ruined.
A hard hitting true to life docudrama, One Way Traffic follows three women trapped in despicable situations where they are under the complete control of traffickers and variously held captive and forced into the sex trade.

Inspired by the work of the Salvation Army and Riverside Foundation supporting victims, One Way Traffic's storyline is based on real case histories. At times it is harrowing, it is often emotional and always dramatically true to life. With core footage featuring a brilliant international cast imported from OMF's 2014 award winning Tariro allied to new filming in Cyprus in September 2018 and the UK in October 2018, One Way Traffic is a very powerful film.
MARCH 6th 2019
Within three weeks of release we were informed that One Way Traffic had been selected for screening at the prestigious Celebes International Film Festival taking place in Jakarta, Indonesia and that the minimum award level will be International Silver.
April 21st 2019
On Easter Sunday came the news that One Way Traffic had been awarded Gold in the International Film Awards then two days later we were asked for a screener for the Green Mountain Christian Film Festival in Vermont, USA

OMF exists purely to raise awareness or funds for charity. Previously that was addressed by offering free DVD and Blu-ray in return for donations.

But recently the move to direct broadcast streaming of movies and programming by the likes of Netflix, Amazon Prime and Apple has resulted in a vast reduction in DVD use while the cost of Blu-ray duplication services has increased. Donations for disks can no longer support OMF charity donations.

With the release of One Way Traffic we have changed our film offering. Temporarily the OMF Box Office has been removed from the main menu. Although our trailers remain freely available to view, VOD of a complete movie through Vimeo has been discontinued. DVD and Blu-ray remain available but are now created on-demand in-house.

Currently we are in discussion with Amazon to bring One Way Traffic into the Amazon Prime system, making it then freely available to view directly on broadcast TV by Amazon Prime subscribers and also available for either rental (24hr viewing slot) or purchase (full download) on TV, computer, tablet or phone. Discussions are continuing.

DVD & Blu-ray

DVD and Blu-ray disks are created on-demand. Click the button to order a copy of this film


Negotiations with Amazon are on-going. Return here for progress updates and availability.


No screenings are currently arranged for this film.

Zuzana Garaiova


Inna Platonova


Julia Papp


David Lonsdale


Paddy Byrne


Sinéad Douglas


Zara Miller


Adam Butcher


Charles O'Neill


Brian Wharton


Mike Keating


Gary McMahon


Joanne Sartorius


Janet Bennett


Andrew Carpenter


Chris davidson


Keith Neilson


Lisa Daintry


Paul Hilts


David Robinson


Diana Showering


Joe Rivers


Margaret Meadows


Paul McDonald


Tina Price

With intense activity through November 2018 to February 2019 and a total of more than a year in post, creating One Way Traffic was a huge build. Tariro had a big cast so it follows that many will be wondering just how that has affected their characters. During post production some scenes were combined and others deleted which meant that the complete running order changed so for clarity the following overview dispenses with scene numbers, replacing them with descriptions as ident headings.
Introduction and Titles

I felt that in many respects the Tariro introduction failed. A plane was seen landing, over which the title and opening credits ran. Title and credits were unimpressive. A woman was then seen in a car stuck in traffic where she was arguing with somebody on her mobile and shouting at the driver. The relevance of the plane was not clear, it was not known who was on the plane or where he/she was coming from, who the woman in the car was, who she was meeting or who she was phoning.

For 1WT we have shot new sequences in Cyprus which run in mono and are flagged up as a remote village in Hungary. Those shots include the original Tariro carry-on case and we continued that link with in-airport shots that also show the case.

We created a fake Hungarian passport which is scrutinised in new shots by our UK Border official filmed green screen and comped in to a UK Border cubicle created entirely in the computer using chromakey CGI. We also re-edited the car sequence to be
after the victim had been met at the airport and this works much better.

The main title and opening credits run in the middle of this sequence with an oblique cut into an animated text and graphic title. This is cut to the beat of strong orchestral music played by a full orchestra. It’s big, it’s bold and it’s loud. It does the job!
Maggie & Elaine arrive at the flat / lady with shopping is mugged
Apart from being too long, unclear character identity and a background glitch with a youngster jumping on a trampoline there wasn’t much wrong with these scenes. To make character identification more obvious and to establish that Maggie will be working for Elaine so that she can send money home to her family, audio has been lifted from another scene and dubbed over. The trampolining girl has been masked out and overall the scene has been tightened up to give it more punch.
Maggie enters flat / Tina arrives
My concern with the Tariro sequences was that the edit was too slack and with a too heavy vignette that the grade not up to muster. The edit has been tightened up and colour grade completely reworked.
Maggie working in garden / Drinks party
There were huge storyline issues with these sequences in Tariro. Where was Maggie working? Where was the drinks party? What relevance did it have?

For 1WT we have set the scene by using an existing long shot (cut from a later scene) to establish the garden as the location. Using CGI we have ‘built’ a summerhouse at the bottom of the garden into that clip. The location where Maggie is working and that there is a summerhouse is therefore established.

Before the drinks party scene we have introduced a link sequence that returns to the establishing shot. As daylight falls, lights come on in the summerhouse, people can be vaguely seen inside and a piano can be heard faintly. We cut to a closer shot looking through the window over the pianist to the party goers which zooms in to lose the window frame, then running as if inside. This establishes that the party is being held at the house where Maggie is working.
Tina sets Maggie right about Elaine’s intentions / Maggie confronts Elaine in the garden
Main issues with these scenes were a poor overall grade and a very loose edit. All have been addressed. The grade is cleaner and more realistic while the edit is much tighter.
Zorina arrives on the beach
While these scenes were overlong in Tariro, there were also budget constraints. Zorina arrives on a boat, transfers to a small tender, then walks through the shallows to meet Arthur. Unable to finance the boats, Tariro started this scene with Zorina walking through the shallows. There was no reference to how she had arrived and within the crew we later referred to this as Zuzi’s mermaid scene! The complete sequence runs in the same dusk light level.

While we still did not have the funds to shoot the boat sequences, we have resolved these issues by putting a boat bobbing up and down into the scenes, added signalling lights (in line with the later dialogue), and only introduced Zorina after she has actually reached dry land.

The edit is considerably tighter and the scenes commence in late afternoon warm light which then falls to dusk progressively through the scenes, enabling us to conclude the scene with the headlights coming on on Arthur’s car.

Zorina & Arthur arrive at house / tour of house / day after in kitchen.
As well as the slow edit there were serious continuity and sync issues. As with all scenes, for 1WT we went right back to the original camera source clips, syncing B-roll to main camera footage before editing much tighter. Sync is now correct, there are no continuity issues and the grade is more natural.
Arthur’s office a few days later / Zorina in her storeroom
In Tariro, the office scene was too long and the storeroom scene confusing. Zorina had a letter but had she received it or was she sending it? Was she happy or sad?

After a tighter office edit, Zuzi went back into the studio and recorded dialogue for the storeroom sequence. When she looks at the letter we now hear what she is reading and it is clear that she has written a letter back home to her father.
Businessmen in Arthur’s office / Gang Bang session / Zorina in her storeroom
The original office scene was excessively long and there were continuity issues in the gang bang scene. The storeroom sequence, though atmospheric and obvious, did not have enough impact.

For 1WT the businessmen office sequence has been drastically reduced in length and now gets to the point quickly. Continuity issues have been corrected. New dialogue run ‘as if in Zorina’s head’ let us know exactly what Zorina is thinking. Her desperation is emphasised by intro and tail sentences being in Slovak.
Arthur’s conversation with his accountant
Although this was extremely well acted by Paddy and Charles, I felt that the scene was mere padding and served little purpose. It has been completely deleted.
Zorina in kitchen after rape / Arthur in office / Escape
Although very successful in Tariro, these scenes still had some sound issues, the usual poor grading and a few dialogue issues.

After a new edit of the kitchen scene, tighter edit of the office sequence and subsequent escape, the complete audio has been reworked. Attention to SFX with new Foley has upgraded the initial kitchen scene, sync issues between B-roll and main camera in the office sequences have been addressed and an expletive deleted from Paddy’s exclamation in the hall.
Zorina in town / On pier / Homeless Henry & Squat
This complete set of scenes has been tightened up and the running order of some elements changed. Originally Zorina spent a long time in town before being met by Henry and taken to his squat. The squat scene was far too long and the view out of the window unconvincing.

Zorina in town and the pier sequence are both tightened up. Sync on the pier sequence is corrected. Interior of the squat is now shown before Henry and Zorina arrive. Squat scene is shortened with a new window treatment using chromakey and overlaid graphics which, though less clear, is actually more realistic.
Tina prepares Maggie for her first time on the street / Maggie is picked up / Accident
Very emotional scenes in Tariro but with some grade and FX issues.

The Tina and Maggie scene has been completely re-cut. On-the-street pickup scene now shorter and more realistic. The in-car scene and accident are now matched to the dusk grade of the on-street sequence. The actual accident has been re-worked with a slo-mo link between Maggie leaving the car and being knocked down.
Coffee shop / Charity shop warehouse / Coffee shop / TSA hall
Re worked running order. Initial coffee shop scene where volunteer characters are set is considerable shorter. Henry & Zorina arriving at the warehouse deleted and replaced by Zorina approaching past coffee shop. Warehouse scene shortened and continuity issue corrected.

Coffee shop sequence with Zorina drastically shortened for better realism.

Continuity, sync and grading issues corrected on hall scene with TSA Officer where B-roll grade did not match main camera grade and there were several sync issues. This scene also shortened.
Burial & graveyard
Shortened overall with complete re-work of the walking conversation between Tina and Elaine. Tighter edit of the burial service and improved sync on conversation. Existing solemn music, though good, replaced with a Gregorian chant style which improves the complete sequence.
We had huge problems with audio on this scene, mainly caused by excessive ambient noise at the time of shooting, as well as some continuity issues.

Inna and Zara both went back into the studio and re-recorded their dialogue. We then recut the scene to address the continuity issues and replaced the dialogue. The girls were magnificent and we have a much improved scene.
Maggie & policeman / Safehouse / Song
Generally just overlong with a poor grade, these scenes have been drastically cut.

The safe house booking-in sequence now has a no-dialogue dream treatment and the kitchen pasta sequence has been deleted. Snooker table sequence is also drastically shortened. Continuity issues on Tina’s song have been addressed.
Fun Day
The fun day scene was intended to illustrate that Zorina is now a happy person.

With that already established in the latter part of the safe house scene it was felt that the complete fun day sequence was irrelevant so it has been deleted.
Ending & credits
The brass band scene that ends Tariro worked well, particularly with Zuzi being seen with her fiancé and snow falling in its later sequence. What did not work was establishing what had happened to the other two victims or the overall purpose of the film.

Picture-in-picture clips showing Tina back working on the street and Zorina laughing (from the unused fun day shots) with associated captions and a Ken Burns zooming caption about Maggie have addressed the question of what happened to the victims.

We have added a legend directing anyone suffering from situation depicted to the Salvation Army. That is followed by the cast & crew credits.

Images under the final credits have been replaced first by a mono clip of Tina singing to her own accordion accompaniment followed by a roll of stills from the film.