
Documentary filmmakers follow eccentric painter John Bolton, known for dark vampire‑nude canvases that earned him a “damaged imagination” reputation. BBC’s Jonathan Ross buys a piece, prompting witty interviewer Marcus Brigstocke to probe Bolton’s process, his “monsterpieces,” and the knife he carries. The film humorously asks where artists get ideas.
Does A Short Film About John Bolton have end credit scenes?
No!
A Short Film About John Bolton does not have end credit scenes. You can leave when the credits roll.
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Read the complete plot summary of A Short Film About John Bolton, including all major events, twists, and the full ending explained in detail. Explore key characters, themes, hidden meanings, and everything you need to understand the story from beginning to end.
In a posh London gallery, Carolyn Dalgleish prepares a showing of the latest works by John Bolton: disturbing portraits of beautiful, vicious vampiric women he encountered whilst pot holing. The Interviewer [Marcus Brigstocke] collects information on Bolton, who seems to perplex those who work with him and collect his art (like radio personality Jonathan Ross playing himself).
Bolton appears to review the placement of the paintings before the opening. Eccentric and detached, Bolton is uncomfortable with the amount of attention being paid to him. Forced to give a speech at that evening’s party (where guests include the real John Bolton in a cameo appearance), Bolton quietly states that he simply paints what he sees.
paints what he sees
Following the gala, Bolton is interviewed at home by Brigstocke. Bolton again proves elusive with answers about his art, though he does (reluctantly) agree to have his work habits filmed for the first time (though only by the Interviewer, working without his crew).
As dusk approaches, Bolton takes the Interviewer to his studio, located in the basement of an ancient monastery and graveyard. As the hours drag on, Bolton shows no signs of getting started (he says he is waiting), and the Interviewer finally leaves. Filming himself as he walks out of the graveyard, the Interviewer spots two ghostly women (one with zebra stripes running up her leg) moving towards him. The camera falls to the ground, and the film closes on Bolton’s latest work: a pale woman, with zebra stripes running up her leg, feasting on human flesh.

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