Film Focus #09

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WEST EUROPE EDITION BRUSSELS 2021 ISSUE: 06

BEHIND EVERY STORY Sophia LouisA LeeLIES A In VISIONARY FILMMAKER The Creative Flow Turn To Page 4 For An In-Depth Interview With This Extraordinary Scriptwriter, Filmmaker & Artist

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Welcome to our West Europe International Film Festival: Online Edition 2021.

Our previous location for our West Europe event was of course the wonderful Belgium capital Brussels. We would have loved to have hosted physically and to have been meeting and enjoying the company of all the filmmakers and scriptwriters who would have made the trip to join us but, we have created an online environment once again where we can come together to connect, collaborate and celebrate.

We are delighted to be hosting online networking events along with a wonderful selection of industry panels. Thank you to Distribution Expert Paul Eyres, The Film Festival Dr Rebekah Louisa Smith & BAFTA member Alex McCall who will be there to offer their expert advice with Free panels across the week.

Also don’t forget to drop by for the 4th instalment of Dan’s ever popular Quiz Night!!

The last 18 month has taught us so much about determination, sensitivity, adapting and the power of community and support. These are all attributes that we know creative’s have in abundance and take with them to any project. Now more than ever our wonderful industry needs to remain positive and showcase the talent of all genres to the world so we can see independent film thrive and as many people reached as possible.

We’ve made it our mission to support, encourage and to connect creative minds from across the globe and to bring them together at festivals across Europe.

Independent filmmakers and creative’s need independent film festivals and film festivals certainly need you so your support is truly appreciated.

As always, the films, scripts and creative entries that were submitted to this festival have been of the highest quality, so very well done for your official selection and the quality of work that you entered. We know how much effort and dedication goes into every aspect of making a film or script writing and this is why we recognise such a wide range of categories with our festival nominations.

We have been fortunate enough to connect with a number of industry professionals ranging from UK and international

FILM FOCUS IS PUBLISHED BY FUSION FILM & MEDIA EUROPE LIMITED Steve Grossmith Editor & Co-Director steve@fusionfilmfestivals.com Dan Hickford Festival Coordinator & Co-Director dan@fusionfilmfestivals.com Stephen Mina Graphic Designer/Illustrator & Head of Technical mina@fusionfilmfestivals.com

All rights reserved, no part of this publication may be stored in a retrieval system or transmitted in any form or by any other means including (but not limited to), electronic ,mechanical, photocopying, recording or otherwise without the express prior permission of the publisher. Whilst every effort has been made to ensure that the information contained in this publication is accurate and up-to-date, the publisher takes no responsibility for errors or omissions. All supplied articles – including adverts – that are published in this magazine whether printed or in digital form are not necessarily the views or opinions of

the publisher and it is the sole responsibility of the supplier of this said material to ensure that they have the right to use all text and images that we use. By publishing in this magazine you agree to indemnify and hold harmless Fusion International Film Festivals and Fusion Film & Media Europe Limited and their agents, from and against any and all claims, liabilities, losses, damages, and expenses (including but not limited to all legal fees, and any and all court costs) which may be incurred by reason of any claim involving copyright, trademark, credits, publicity, screening, defamation, slander & disputed data.

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distributors, expert marketing consultants, production houses, VOD platforms and Film Commissions who are keen to support our network of filmmakers at festivals whether physical or virtual.

Thank you to our Festival Jury for supporting us and our wonderful filmmakers, script writers and media and content creators. Their feedback and diligent work allows us to recognise our winners in an honest and transparent way.

With Fusion, our hearts and passion for what we do is immeasurable and we would like to thank Stephen Mina who has taken on such a huge role in adapting our Fusion brand for an online event. We have been producing festival interviews, podcasts, Fusion + profiles, Green Room interviews, Film Focus, online screenings and all of our online visuals. Stephen is the huge cog that gets all that in place, we thank you greatly.

Our small team here at Fusion have worked hard to keep positive and keep focused. The main source of that focus and energy is working as hard as we can for each and every one of you. You might not know it but you truly have been and continue to be our saviours. Without you we wouldn’t have the dreams and aspirations we have.

Colin and Laura Graham our festival ambassadors - we thank you eternally for sharing our passion and supporting us in our adventure.

We hope that you enjoy your virtual time with us and hope soon that we can finally meet again in person and share some wonderful festival memories.

Take care and all of the best for the future!

Dan & Steve

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M.O.B. Writer, actress, producer, director, painter and now, drawing on her own personal experiences, Sophia Louisa Lee has produced an outstanding award winning/writer of the year feature script as her latest project. With the most incredible drive we were fascinated to chat to this gifted artist.

A Script

By Sophia Louisa Lee

Please can you tell us about your background?

I’m from Douglas, Arizona, a small border town .When Douglas was in its “hey day”, my Grandmother’s Great Aunt owned two hotels along the border. Rumor had it; she ran guns for Pancho Villa during the Mexican Revolution. She was all about the people. Quite the woman! She and her husband would take in orphaned children and made sure they received an education, too. The stories I heard were so exciting and inspiring. I’ve outlined a script called Dancing with Pancho.

From Arizona, I moved to California as a young bride and became a stepmom to two children. Love swept me off my feet, redirecting my dream of being a dancer. The grandeur of Broadway came to a screeching halt! Funny how love does that. Instead I became part of an instant family and ended up going to paralegal school. I’ve been working for various law firms since I was 19.I’m grateful, as it has supported my artistic endeavours as well – from painting to my art galleries to acting and writing to making my own films.

And how did your career progress from there in terms of painting & acting?

When I was married I did a lot of theatre work. I even got my step children involved. We did a couple of films together, too. It wasn’t long WEST EUROPE ONLINE EDITION BRUSSELS 2021

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after when I had my own child, I went through a divorce. During this period I taught myself to paint. It was also about the same time I learned my daughter had Down’s syndrome.

Painting helped me process. People were drawn to my work, which was unexpected because I didn’t see it as something I wanted to share. It was just something I wanted to do!

I was going through this evolution.

I wanted to learn more about art, only art school wasn’t part of that equation. So I started working for a local newspaper -- for free. I used that opportunity as a way to get to know artists and galleries. Over time I was lucky enough to get to know some really well know artists like Ed Moses* and his group. I remember him telling me to just keep at it.

Back then I painted nearly every night.

This is the great thing about being young...you have all of this energy and don’t really need much sleep. You can literally squeeze everything in! I was also involved with museums, and before I knew it I was part of this inner circle of artists. It was so exciting. I ended up getting a gallery close to the Los Angeles County Museum of Art, which was this beautiful art deco building. It felt like such a whirlwind.

Ended up getting a taste of the underbelly of it all, and I had to take a step back and re-evaluate my goals.

About that time, a friend of mine moved from New York to Los Angeles to pursue a career in acting. I started to help her with marketing and what she needed to do which included going with her to acting classes and

so on, and all of a sudden, I realised I missed acting and decided to go for it. Before I knew it I had an agent and started booking. It took off!

And from there how did that evolve into writing?

I became part of a theatre group.

We would do these comedic skits.

I thought I can write better than this (laughing)! I had never written comedy before but you know, I’m the sort of person that if I want to do something I go for it. I started to write, and as I got to know the people in my theatre group, I would write for them. I had so much fun seeing my work come to life on the stage. I knew it was time to take it to the next level.

I jumped into screen writing but you can’t just write a screenplay, I’m mean you can -- but to write a really good screenplay you need to (or should) take classes. Which I did. Looking back, a lot stuff I wrote then was okay but at the time you’re like yes this is great. Yet, it wasn’t. It was part of my learning curve.

I did get a couple of paid writing jobs with different production companies, which was exciting. It inspired me to keep going. My current scripts, M. O. B., earned me the “Writer of the Year” Award for a film festival I recently attended. I would love to see M.O.B produced. Every character is juicy. As an actor, you always want a character that has meat on the bones. (My own personal requirement!) I also wanted to make sure that the story is relatable

to people as a whole with enough action to keep an audience glued to the edge of their seats.

So to carry on from your love of the arts, if you had to choose to be either the next Picasso or John Milius or Jack Kerouac which would it be?

I’ve loved Picasso since I was young.

He was just so prolific and so creative and such a lover of life (and women – okay, he was a bit of a scoundrel, but who am I to judge?).The thing is he spoke his truth, through his work. You could tell when he was pissed off with a woman or the world or when he was CONTINUE

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in love. Just before COVID shut down the world, I was hired to write a script about an Italian artist who lived in Switzerland (the job is still on hold). I love this artist’s paintings. The energy in the work is still so alive! Looking at his work is like being transported to a different time. That’s one of the things I love about art -- whether it’s visual or written, when it’s well done with that passion of authenticity, it affects your soul. THAT is art. To me, writing is like painting with words. When I paint I have an idea of what I want to do and I allow that flow to take me there .It’s

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the same with writing. Earlier this year I wrote, produced, and directed three short films all with an iPad and/or iPhone. All three shorts won awards from various film festivals, which was very validating, and motivating. For me, it’s about allowing the creative flow to happen.

Can you please give us a synopsis of M.O.B.?

I like that some people read it as “mob” so they know there is

something rather nefarious right off the bat. M.O.B. stands for Mail Order Bride – now, there can be a play on words, but that will come later. The story begins in Juarez, Mexico with Lola Santiago, who is young, stunningly beautiful and sometimes lives on her friend’s sofa.

She ends up at a party when the only son of a vicious cartel boss tries to rape her. She defends herself and unintentionally kills him. Suddenly Lola is on the run for her life. She escapes Mexico as a mail order bride and ends up as trophy wife of William

Nagle, a Texan tycoon who doesn’t look twice at her. He allows his personal assistant, Beatrice, to run his personal affairs, which includes using Lola to leverage a land deal William is negotiating. His three sons are interwoven into the story, each adding layers. The story moves along with a lot of drama and thrills meant to hook the viewers as we root for Lola as she is faced with more and more challenges.

Just when you think it’s going on way, it twists and turns and ends up going in another direction. In the end –

without giving it away -- I wanted to show what one does because of one’s own truth. Do you live a lie or do you step up be who you are meant to be?

With M.O.B. how much of your life and experiences did you pour into the script?

I hear over and over again, “write what you know.” How does one come to know something? Either living it or observing. But even as you are living

it, not everyone aware of what is happening. In my own life’s journey, I’ve been focusing on observing what’s happening within and around me.

Writing and creating new worlds with complex, interesting characters is an outlet for those observations and experiences.

I also wanted to explore the theme of what is truth within one’s self. All too often people hide their true selves out of fear of not being accepted, when the only thing that truly matters is to accept yourself. The question is, how do we get to that place when

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everything around “us” forces us to conform? How do we break free from that comfort of conformity? What would the possibilities be if we were truly authentic in who we are? In my story, I wanted to find a balance while exploring the disparity of the feminine and the masculine in two cultures, and even within the characters, and how those differences are sometimes blurred.

With my relatively recent experiences of having written, produced and directed three short films with a “just do it” mind set, I couldn’t be glued to what was on the page. With other creative’s involved, the project itself evolves – part of the movie making magic. Being open to allowing that evolution of creation means everything.

Can you give us an idea of your writing process and the background to M.O.B.?

I write every day -- whether I jot down notes for a new idea, journal, write a letter, or work on a script.

The concept for M.O.B. came about when I met someone who was a mail order bride. She’s happily married WEST EUROPE ONLINE EDITION BRUSSELS 2021

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with children. She had said that was the only way out her small village.

Not long after I met her, I met a man who said his first wife was a mail order bride. He shared with me the process of how he went about to marry her. Two completely different people. Each from completely different backgrounds. It was fascinating. I knew a story was there.

And of course, had to come up with my own twist. (Really resisting not giving it away here!)

With any story, relationships are what is most important to me. How do characters act/react to each other and what are the circumstances?

Once I figure that part out, it can fit into any genre. Another reason why I love people watching. Sometimes just observing the slightest mannerism can create a whole new character.

There has also been so much in the news about Mexico – the drug cartels, the immigration, the corruption. The country itself is beautiful. The people have such resilience. It’s that strength I wanted my lead character to have. Even though she lives in extreme poverty, she still has her red lipstick and her high heels – her treasures. When you have nothing, one or two things can

have so much meaning to you. When Lola is suddenly thrust into a world of opulence, money and abundance, she struggles to figure out what has meaning. She has a place to live and food to eat, and feels safe from the cartel, but with someone controlling her life, she has to figure out what it is she is willing to do for her freedom.

With everything happening in the world, with so much imbalance – I wanted to apply that to Lola’s world and have her figure out how to find balance within it. How does she make it work? Maybe that’s something we are all trying to figure out. *Ed Moses was an American painter and central figure in the Los Angeles art scene and a key promoter of PostWar, West Coast art. Best known for his eclectic range of abstract paintings, Moses’ work is unified by his interest in transitory processes and the mutability of concepts. (courtesy Artnet)

www.imdb.me/sophialouisalee Sophia’s Literary Agent Al Choi can be contacted at the following: achoi2000@yahoo.com 818.955.9370

M.O.B.

By Sophia Louisa Lee

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The Crickets Dance This incredible movie wins high praise with our judging panel singling it out as “A beautiful film that tugs at the heartstrings concerning love, the transformation of times and coming to grips with race and racism”.

A stunning debut feature film by Veronica Robledo

With the rising calls for diversity and the growing movement in support of women-led films and femaledriven films, Veronica Robledo takes the initiative through her storytelling. Women have unique life experiences, and those experiences inform their stories and the lens through which they view the world.

Through V Awaken Production, founded by Robledo and husband, Alex Hernandez, Veronica creates an exceptionally meaningful, inspirational, and multi-awardwinning feature film called, The Crickets Dance. Based upon the novel

by Deborah Robillard, The Crickets Dance, was adapted for screen by Veronica and, in 2019, she directed and produced what would be her first feature film.The world is ready for protagonists and stories that play a vital role in our lives and our cultures presenting challenging questions about our society and history. The recent Oprah interview with royals Meghan Markle and Prince Harry has only further sparked the debate of interracial relationships. The Crickets Dance provides a common experience that allows us to explore topics of WEST EUROPE ONLINE EDITION BRUSSELS 2021

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diversity and inclusion. The Crickets Dance concerns, Angie Lawrence, where a Southern attorney’s discovery of a lost diary changes her life and helps her find true love.

The Crickets Dance’s award-winning Ensemble includes Kristen Renton as the Southern attorney, Angie Lawrence. Kristen has been following her passion as an actress from the early age of 17 when she was cast in The Sausage Factory, a wonderfully quirky series for MTV. She most recently had a recurring role as “Ima” on the critically acclaimed FX series, Sons Of Anarchy.

Maurice Johnson is Andrew Ruben McGrath the descendent of Emmaline and Ophelia. He is best known for roles on hit television shows like Hawaii Five-O, Vampire Diaries and Devious Maids. Sandra Ellis Lafferty is Miss Claudia Wainwright who passes down the antebellum house to Angie. Sandra is best known for her roles in Walk the Line and Hunger Games. William Mark McCullough is cast as Jackson McGrath, the cruel master of the plantation.

Mark’s most notable film roles include Hillbilly Elegy, American Made, and Arsenal. His television appearances

include his current recurring role on the Netflix series, Sweet Magnolias. Bill Oberst Jr. is the cruel and evil foreman of the plantation, David Kindcaid. He is known for his Daytime Emmy Awardwinning performance in Take This Lollipop and the ratings-winning role on CBS-TV’s Criminal Minds. Bobbie Eakes is Janice, Angie’s secretary and close confident.Bobbie is best known for her role as Macy Alexander in The Bold and the Beautiful. Over the years she has been nominated for several Soap Opera Digest Awards.

She later joined the cast of All my Children as Krystal Carey and her portrayal garnered her two Daytime Emmy nominations for lead Actress.

Randall Franks is Dr. J.A. Anderson.

Randall is best known as “Officer Randy Goode” from the television hit series In the Heat of the Night. Introducing actresses, Katelynn E. Newberry as Emmaline McGrath, and Jamie Butler as Ophelia McGrath.

The Crickets Dance plays to female audiences better than many drama films, while still bringing in a wide range family demographic. Femaledriven content with diverse themes

is undervalued and consequently, underexploited. There isn’t enough female-driven content because the studios are choosing not to fund them, and women filmmakers are turning to private investors. The recent sale of Reese Witherspoon’s entertainment group, Hello Sunshine, to a company backed by the private equity firm Blackstone Group Inc. will allow more women driven stories to be told globally by women. This is impactful and exciting for what this means for the future for all of us. The reality is by not supporting female-driven content in our business, there is a significant underserved female audience and that is hurting the business. Veronica’s dedication and perseverance has given her the opportunity to tell a story that is close to her heart. She hopes The Crickets Dance will inspire racial and gender tolerance and acceptance.

She especially hopes to inspire young women to be comfortable in their own skin and to follow their dreams. She believes that with hard work, passion, and God one can achieve greatness.

SYNOPSIS If ANGIE LAWRENCE, 30s, an attorney and Southern beauty, ever hopes to find love she needs to do two things: let a man walk her to the door and let go of the past. She sadly gets the opportunity to do both when her dear friend MISS CLAUDIA (80s) passes away and leaves her a stunning Southern antebellum mansion.

While moving in, she discovers a diary hidden in the attic. It dates back 150 years. She becomes entranced with the diary’s history of slavery, brutality and how the bounds of time and injustice were overcome by love. So much so, that she hardly notices when the handsome black attorney, ANDREW RUBEN MCGRATH (30s), is assigned to share an office with her. That is until the night Andrew saves her life when a disgruntled, black client viciously attacks her.

Angie takes time off from work and continues to explore the diary narrated by its owner, ANNABETH, whose young life was cut short. It’s riveting and heartbreaking. But then something

truly amazing happens; Angie discovers a link between the past and present – Andrew! She’s able to confirm he’s a descendant of the mansion and its residents. Angie needs to let go of the past and Andrew needs to discover it, so both can finally move forward with their futures.

Together, they attempt to unravel the final mystery of the antebellum mansion: the location of the graves of Annabeth and her beloved husband, ISAIAH. They grow closer as the adventure unfolds and their preconceived racial misconceptions fade away. They’re just two people searching for the truth and hoping to find love. And they do find it in each other’s arms as they fall passionately in-love.

Time heals the wounds and love mends the fences.

Angie and Andrew finalize the past and present when they marry and their beloved daughter, Annabeth, is born.

She becomes the face of the new South and the face of a new nation. https://www.facebook.com/ thecricketsdance Feature Film Runtime 91 Minutes

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The Tent We were honoured and thrilled to be able to interview Kyle Couch, the director and writer behind this extraordinary feature film which has been nominated in multiple categories at this year’s West European – Brussels Festival.

A Feature Film

By Kyle Couch “An apocalyptic event known as the Crisis has devastated David’s world leaving him to rely on survival tactics learned from childhood. Isolated and alone, David has taken refuge in a tent on the edge of the wilderness.

Soon enough, another survivor emerges, Mary, who immediately begins questioning David’s tactics and ultimately putting them in the crosshairs of “Those Who Walk In Darkness”, unseen creatures that may or may not be responsible for the Crisis.”

We would love to know where you got the idea for “The Tent”!?

The idea of The Tent actually evolved over time. Initially I was intrigued by a nightmare I had that involved me hiding from “creatures” inside a tent and for some reason, while I was inside, they couldn’t get me. I remember thinking, when I awoke, that that was very terrifying and vivid, what kind of deep meaning did that dream have for me? Instead of processing it like a normal person might have, I decided to turn the dream into a screenplay.

As I began writing, the character of David and Mary took on something far more personal for me. Their relationship became the center of the story and the initial concept of creatures “ruling” a post-apocalyptic world, became the world that these characters simply existed in and not as central as I initially thought they would be. Having completed the first draft, I sent it to Tim Kaiser who plays David in the film. He loved it but had a thought about his character’s WEST EUROPE ONLINE EDITION BRUSSELS 2021

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arc. I wasn’t sure about the “twist” he added but I ran with it and as I began injecting my own personal experiences into the story through that “twist”, the rest was history and The Tent as you see it today was truly born. It became far more personal and much more of a passion project than it was when I first started.

I have never walked away from a directing job thinking that it was a waste of time. Even if the film didn’t do as well as I had hoped, the experience has always benefitted me personally and I have always walked away with a valuable lesson or lessons learned, not just for filmmaking but for life as well.

Was it always part of the plan to direct as well as write this film?

We’ve been lucky enough to interview a number of scriptwriters and were always interested in their writing process, can you give us an idea of how you wrote “The Tent”, how long it took and would you for instance lock yourself in a “darkened room”!?

The plan was always to direct what I had written for The Tent. However, when I first began dreaming, at a young age, of becoming a filmmaker, screenwriting was my main passion. Over time, having to direct my own short films because I could never afford to hire a director, I truly fell in love with directing.

Working with actor’s performances, working with the cinematographer, and bringing the vision to life through leading a team of different personalities and talents is so challenging but so rewarding and now, I would almost always choose directing over writing.

My writing process for The Tent was very multilayered. Initially, before the film truly took on the themes and heart that it ended up having, it started out as very different film.

So my first step in that was building the world and more specifically a

timeline of events that led to this post apocalyptic world. I did a lot of research about real life apocalyptic scenarios that had been avoided and read a lot of essays on what could have happened had they played out successfully. Having that timeline in front of me, I began crafting about 40 plot points or moments throughout the film, beginning to end, that would serve as sign posts incase I got lost in a scene or sequence. When I approached a scene that I knew needed an emotional kick, I would listen to different film soundtracks to help usher in that emotion in the writing.

That whole process took about 3 months as I have a full time job that requires a lot of my attention. That process led to a first draft that then over the following 2 months was rewritten and revised several times until we had our final draft, 2 months before principal photography began.

The two leads - Tim Kaiser & Lulu Dahl are incredible, can you explain the casting process and what

convinced you that these two were the perfect choice?

Casting Tim Kaiser and Lulu Dahl was a dream for me. I had directed a short film starring the two of them in 2015 called “The Eulogy”. The energy, collaboration, and joy that I experienced with the two of them had me hoping that when it came time for my first feature film, that they would be a part, small or big.

So when I originally wrote the script for “The Tent” I always had Tim in mind for the character of David.

David’s character was somewhat of a pessimistic realist, sometimes coming off harsh and lacking empathy, and his arc was becoming a man who could believe in someone other than himself and ultimately becoming empathetic to Mary. Tim has a lot of range as an actor and so I knew he could handle going from very harsh to sympathetic and make it seem organic and earned. He has played some very strict and assertive characters before, even outright villains and yet, he’s the sweetest guy you would ever meet and I knew I wanted a mixture of both

for David. I always wanted darkness with a little light shining through and he gave me that in a exceptional way.

In a lot of ways we built that character together, through writing, rehearsals, and direction.

As I progressed in rewrites for the film and discovered more who Mary’s character was and what she represented to David, I knew Lulu was perfect for the part. The character was always the opposite of David in that her arc, going from soft and empathetic outwardly, to assertive and taking charge by the end. Lulu has a way of being subtle in her performances that evokes so much emotion in something as small as a smirk or a stare and I knew she could hide Mary’s layers in plain site.

The character has an under current of immense emotion and determinedness covered in a layer of sweetness and ignorance. I knew Lulu was capable of pulling off that complicated and nuanced performance, which she did in spades. Once Lulu said yes, we began rehearsing almost immediately and the rest is history, they were and still are my dream team and I hope to continue building a filmography around them in the future.

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As pretty much a “two hander” in terms of the actors featured in the film, how did you make sure the story remained interesting for the whole feature?

I knew it was risky to build a narrative around two characters but I also knew, this was a story about two people on different ends of the spectrum dealing with a crisis. To feel personal, we needed as much time with them as possible, to really flesh out the masks they wore and then to systematically rip them off or take them away. I found that the most interesting way to tell that story was to show the layers coming off for the characters; the layers of supposed strength, of self-pity, and in the end, the final layer of denial.I was blessed to have Lulu and Tim understand the shifts and twists that drove each scene and to find interesting ways to present them. They understood in the dialogue how the tables were being turned constantly between the two, and how the masks being removed would influence their actions and thinking in each coming scene.

I also wanted “sign posts” of those masks hidden in the survival type language used in David’s survivor home videos. By the end we would see that he always knew how to survive the crisis, he just forgot “the why”, which Mary represents for him.

We really admired the way that the cinematographer (Robert Skates) shot this movie, how difficult is it to match what’s in your head in terms of the look you want to how the film is actually shot and graded?

Trying to make a movie you are directing look like exactly what you see in your head is tough. Everything is constantly changing between weather, performances, and a multitude of the unexpected. I think because of that I’ve learned to let go a little, and let the film breath and expand and grow into what the circumstances can sometimes call WEST EUROPE ONLINE EDITION BRUSSELS 2021

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for. Knowing that I try to find a director of photography that can push through and excel in the challenge of change.

Robert Skates was exactly that. He had shot a film called “Akoma” that took place primarily outside and had a gritty, folkish realism to it that I loved for this story. So when I initially sat down with him, that film he had shot was primarily what we talked about in regards to the photographic vision for the film. With Robert coming on I knew I was confident in his ability to light and build a visual language for the film that would support not just the story but the characters constant shifting mentalities.

He was also a workhorse. He is exactly the kind of person it takes to efficiently shoot a night scene, at 1 am, on a cold

October night, in the middle of the dark woods. He gave me confidence as a director to pursue this vision to the fullest and to push myself on those endless nights because he himself would never stop.

Having Robert shoot such beautiful images, I knew I wanted a color grader who could bring out that beauty and compliment Robert’s work. Through Tim, I was introduced to Paul Bupte who had graded some pretty major Netflix titles in the past. Him and I talked a lot about the shifting of tone and how the character’s mindset influenced the feel of the scenes. He just knocked it out of the park and brought out the subtleties that Robert and I worked so hard to film.

For the editing we’ve spoken to a number of filmmakers who have edited their own films and the vast majority have admitted this was a mistake, can you explain why it is so important to have an independent editor?

I think it’s certainly crucial to hire an outside editor for your film. When your writing the story, then building it in pre-production, and finally filming it during principal photography, you get so engrossed in the images you love and the performances you love, you can forget that you will have weeks of editing ahead of you at the end.

That’s your reward after hustling so long, more hustling ha ha! So instead, by hiring an editor, your mind can relax and rest after shooting and you can bring a fresh mind to the edited footage. David Peterson, our editor, he was the type of guy who wasn’t afraid to try new things that wasn’t in the script as well. Initially I would say, “oh no let’s keep it script edited” but then

I would see what he did was actually better for the film and story and I just fell in love with seeing what he would do next.

I think by editing it yourself, you lose that extra perspective that can really benefit a film. Not to sound corny, but the theme of the film is not going through tough moments in your life alone, not being afraid to ask for help, and I myself really learned that when it came time to lean on people like Tim, Robert, and David. It was a collective effort and those guys, and the whole cast and crew, really helped me realize that filmmaking is a “team sport”.

You’ve been involved in a number of projects but what was the light bulb moment that made you want to be a filmmaker or was it something that you always wanted to do?

I’ve wanted to be a filmmaker since I realized that my love for telling stories translated the best through

filmmaking. I remember making books as a child, wanting to tell stories my own way. Even before that, I would be the silent kid out in his backyard, creating stories for his Jurassic Park toys to play along to. I first discovered the medium of video production in high school. I just loved editing footage I shot and adding music. I never thought I could make a living out of it.

The big light bulb moment for me was in 2012 when I made my first long form short film. It premiered during a church service in front of a captive audience; several of the cast was church members themselves. We spent maybe $500 on the entire 50-minute film, but the audience just reacted at all the right spots and I remember thinking, this is the best way to tell a story for me. That feeling of seeing all of our collaborative hard work come together in a full story and feeling the emotion from the performances and camera angles to the editing and music, it just filled me with such a passion for the medium that I never looked back. I knew I had to do this for the rest of my life and that I wanted to make it bigger and better each time. That feeling has never left me and I hope it never does.

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You’ve been told that you can only be a director or writer and you have to make a choice, which would you choose and why?

I think if you were to ask me this 10 years ago, I would have said writer. I love the explorative process of taking nothing, maybe just an outline and bringing it to life through dialogue and action. However, after truly experiencing directing and how a director can shape and mold to create a story and a vision, even if it’s not their own words, I can’t imagine sitting out on that process. I love people and I’ve really grown to love the team aspect of collaborating on films. It may sound cliché but my passions have shifted a little from just

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loving to be a storyteller to loving the collaborative process. Now the part I love the most is building a team, growing with a team, and ultimately, succeeding as a team to create a unified vision. To be able to do that through telling a story, it’s hard to find that dynamic anywhere outside of filmmaking.

Please tell us you're planning for shooting a full length feature and how you feel the night before the very 1st shoot?

My planning for shooting a full-length feature is very similar to shooting a short film. It’s just more of everything, and takes a lot more time. I like to meet with the cast and do rehearsals for key scenes, that way when we show up to set, we can reference

that day, do a little recap and start shooting. I also meet with all of my department heads to make sure each scene and moment is somewhat mapped out, leaving enough room to explore while we are on set. My executive producer, Nancy Lynette Parker, ran a lot of the behind the scenes, from props to set dressing to what we would eat each day to costumes. She always checked in with me to make sure it fit with my vision, from colors to even how much dirt should be on a prop. Having someone like her was priceless. She really took care of the day-to-day responsibilities that can make shooting a film feel overwhelming. She had every detail mapped out in regards to the technical and gave me the space to lead the team and focus on the vision.

So the night before shooting the first day, where I would historically feel

dread or those voices pop in and say “You’re going to mess this up”, Nancy doing everything she did really make that all go away and helped me to feel confident and be in that creative mindset I needed to be in as a director.

What are the challenges of shooting on location... is it kind of "men plan & god laughs" situations?

For “The Tent”, the bulk of the story takes place during one night in a tent and at a campsite. So Robert, our cinematographer, suggested we shoot all of the interior tent scenes on a stage to better control the elements.

We were able to cut our location shoots down to half with that. It took a lot of the stress of the “what ifs”

away. What we weren’t prepared for was the temperature drops at night.

We had a fire going but even then, it would go below 30 degrees most nights. So not only did our actors have to perform these highly emotional scenes but also they had to block out the coldness in their minds and sometimes in their body movements.

In between set ups, they would be able to go and warm up in a car, but the crew all had to stay so we could set up the next shot, it got pretty brutal some nights. Once we got to the woods scenes, we also had to compete with staging everything in the dark with a small light before we could bring in generators and hook up the large lights to rehearse.

All of that coupled with a couple rain days and shooting remotely, we had some major challenges that had to be overcome and it wasn’t always easy.

Luckily I was blessed with an amazing crew who would all lean on each other and really power through those tough nights and days. It was hard but it also brought us together in a way no other situation would.

Do you find that when you're shooting a film that dialogue or scenes etc in the script just don’t work – how do you adjust for that, were there any examples with “The Tent”?

We had a couple scenes that didn’t work in editing due to slowing down the story or just adding too much too soon or too little too late. That is just an example of how the story is always evolving and continuing to be

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rewritten up until the final day of postproduction. There were also a couple of scenes I remember thinking in the moment weren’t working. One in particular where it was the final scene of the night, it was 2 am, 25 degrees out, and we were all just exhausted.

I remember just standing there watching video village and thinking, we are going to have to reshoot this.

I was afraid the elements of shooting that night were too much and we kind of had to speed through a few moments. Then I got to the edited scene and was like, “Wow! That scene really works and was better than I remember”.

For me the lesson in that is to always keep going, you’re always going to have moments of doubt but if you keep pushing on, trusting your vision and your team’s strengths, almost always you’ll be pleasantly surprised.

What’s next?

After finishing “The Tent”, I had my greatest project yet, becoming a dad to a beautiful little girl. So I did take WEST EUROPE ONLINE EDITION BRUSSELS 2021

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a couple years off to focus on just being present and being a dad and a husband to my wife. Prior to “The Tent”, I was working non-stop on short films and even during pre-production on “The Tent”, I shot and edited a documentary, so I not only needed to focus on my new daughter, but also take a little power break. To me balance is key, without it you’ll burn out. So now, I am gearing up to direct my next feature film. It is another character driven piece with Tim Kaiser set to star and produce. It follows an older man’s struggle to recover from addiction and how he has to learn to forgive himself for his past deeds. We are most likely looking at a mid 2022 production start date for that.

makes films about real people. Hardly ever does he lean on stereotypes or cliché tropes. He wants to invite you on extraordinary journeys into the unknown but with relatable, real characters, with faults and issues just like the rest of us. That being said, from a filmmaking standpoint, visually, one of the most exciting directors for me working right now is Denis Villeneuve. What he did in Enemy, then Sicario, and then Blade Runner, he just steps it up every time and just knows how to build a new world visually and audibly every time.

The guy’s mind is incredible and you know with him, he is going to give you something either you haven’t seen before or you have, just not from that perspective.

This is always tough but who's your favourite director and why?

In terms of filmography, I love Steven Spielberg. He just has way too many classics that have inspired so many films in the following decades. He has this universal appeal because he

https://www.facebook.com/ SurviveTheTent/ Feature Film Runtime 80 Minutes

MIRACLE! MOTHER NATURE HAS APPEARED TO ME a film by

Tommaso Miceli Malaguti & Mario Pascariello

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I Am Now A Star With an astounding amount of awards for his debut feature “Million Loves In Me” John Y took his experience from making that film and has turned into the basis for his latest script.

A Script

By John Y

Why did you decide to write the script “I Am Now A Star”?

Well as you know we have been to a number of film festivals and for both my partner Kenny & I it was a very unique experience. I mean we knew what it was like in the commercial field (as lawyers) serving clients but everything was so different! Now we’ve gone from this commercial world to going for something that’s about our dreams. But the truth is that there is no guarantee that we can make any money, or even a bright future. We have so many good memories but it was always difficult to make connections however, this was all part of our journey and our lives.

So then we thought it would be really interesting to turn this whole experience into a script. I remember that a couple WEST EUROPE ONLINE EDITION BRUSSELS 2021

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of meetings we had during our film festival experience gave us the kind of sparkle to think about creating “I Am Now A Star” and we were sure that this would be great for another movie!

Because “I Am Now A Star” is based on your actual experiences behind your own film “A Million Loves In Me” did you have to take into consideration what you could actually portray in the story?

Some of the characters in the script are based on people that we have encountered during our festival journey but I tried to make them even livelier, but in the future we would bring in a

script doctor where we have to have these characters in particular the main character having more different dimensions. Nevertheless, these are people all have something in common in that they all want to achieve something.

Can you give us an idea of some of the character breakdowns in the script for “I Am Now A Star”?

I knew that it would be very important to make sure that the main characters needed to be very different. I came up with the story in the first instance and then went on to create the characters that I thought would be interesting.

If you manage to get this project green lit would

you like to play the main character?

To be honest, I have thought about it and in the beginning I was interested to play one of the main characters. However right now, I have to tell you that we should have a part two of this script! There are so many ideas in regards to this story that the story could be continuous or, even a series and in fact to approach more investors, this could help to make it more marketable and for part two there is a character who is more interesting (laughing). Kenny & I discussed it and we now think that this is the one I should play. We are very flexible and it could be turned into a TV series and so it doesn’t necessarily have to be a feature film.

With a brand new script, perhaps you can give us an idea of how difficult it is to raise finance for a filmmaking project?

Well especially for independent filmmakers, it is just so difficult. Even for some of the more famous and established people in the industry….I think even they have difficulties. So as you can imagine for us it is so tough, because for independent filmmakers you have to remember that most of us come from many different professions and backgrounds and even though we have been successful in our former careers, investors may not have confidence because there is no guarantee in filmmaking and so it makes it a difficult journey. And that is why many filmmakers choose to go through

a scriptwriting competition and different channels to try and limit the exposure.

Also, winning awards can help which may make their projects more attractive and appealing when in competition with other projects. I can imagine the hurdles talking to a complete stranger to pitch your idea or script and they may not have any idea of who you are and so there are a lot of uncertainties especially in view of the current economic climate.

I come across a situation that when a filmmaker starts to show some positive comments and appreciations for his hard work put into his projects, he received substantial hurdles from some existing rivals in the industry at the same time. Those rivals, as they are existing in the industry for some time, used all forms of tactics to forestall the progress and success of the filmmaker in the evolving movie industry. This stems from the ultimate fear that the CONTINUE

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market share will be diluted with the oncoming of talented filmmakers in the industry. I am sure that many independent filmmakers should have come across similar experience in raising funds and these human factors cannot be controlled in the process.

That’s interesting because everyone knows that the Covid situation has decimated the arts & entertainment industries around the world – do you think government support for these sectors would be a good idea?

Yes! I think that for some western countries (from my experience), they are more supportive of the filmmaking industry. However, it’s quite unfortunate that in Asia they don’t seem to place much emphasis on supporting WEST EUROPE ONLINE EDITION BRUSSELS 2021

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filmmakers. However, there are so many art based sectors that they have to deal with. For example, in Hong Kong the film support foundation has limited budget but is presented with a huge number of projects and have to decide which ones to invest in. A lot of the cast and crew suffer from no work for the last 18-months and they have not had any income for a period of time.

How tough is it to keep a tight rein on the money that’s available to make a film?

We do have to strike a balance, for example – and from our own experience – with our film “A Million Loves In Me” it was our passion project and we were determined to show the true stories to the audience from the outset. So Kenny & I decided that we would not look at the money side first. We would just go for it rather than worrying about the

costs and how much money can we make back. For different filmmakers, they may have different goals although of course our ultimate goal is to be successful! So some filmmakers or investors, they will just look at the box office or returns and it is something that we all have to strike a balance with. If all you are interested in is making good money well, that is no guarantee. So there are lots of big Hollywood films with big stars and lots of support with large investors however, the reality is that for many films the box office return were not that impressive. As a relative newcomer, I think that sometimes you do have to go with your heart and what you believe is correct.

www.facebook.com/ millionlovesinme/ I Am Now A Star Drama Script

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Miracle! Mother Nature Has Appeared To Me

A Short Film

By Tommaso MiceliMalaguti & Mario Pascariello

Extract from the review edited by the Team of the Beyond the Curve International Film Festival (Paris - France – 2020).

Mario Pascariello has shown some beautiful narrative to describe how we often neglect something precious just because it is free...

The narrative hasbeen good and precise ... It is very profound to see the childishness shown by Mario Pascariello narrating the lines... The calm, happy face resembles the touch of sanity. The composed attitude itself sparkles upon the sublime madness hidden underneath that praises every bit of nature religiously... It is an absolute honour to witness someone who is physically so mature ...yet, mentally a child who has just begun to understand nature and admire the beauty of it. Thank you Mr. Mario Pascariello...for this wonderful journey! May Mother Nature appear to us all...!

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Extract from the review edited by the Cult Critic The Film Magazin (Kolkata - India - 2020).

is the biggest miracle of the nature...

I recommend this film for everyone from kids to adults. Each and everyone will be able to appreciate the film and interpret in their own way.

... There is no particular genre in this film. The camera jerks have made the film look interesting. If you’re in a hurry but want to watch a film then this short is the right one for you. This short but snappy film will show the world that you have never seen. But there is no use of VFX or graphics- it is done through explanations. ... The director duo of the film Mario Pascariello and Tommaso MiceliMalaguti have done a great job. Mario has also written the film.

Mario’s lone role in the film is really appreciating. His candid approach in explaining things make the film worth watching... Camera use may fascinate many people... If you are curious about nature then you will surely love it. There is a particular scene when the narrator is explaining the process of turning an orange from green to orange. According to the narrator, this

In the years 2020 and 2021 the work achieved the following results in International Festivals: 42 awards, 5 nominations for the best of the best, 6 finals, 1 semifinal, 2 quarter finals, 21 selections.

Directors Statement The film was shot on location but not on a planned set. That means, it was filmed live during the existential flow. The narrator’s reflections have sprung suddenly, though they are not improvised; they are the result of a growth and a settling occurred over a life lived with intensity and passion. https://www.wfcn.co/film/miraclemother-nature-has-appeared-to-me https://www.mariopascariello.com/ Documentary Runtime 10 minutes

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3:33am Port des Yachts street LAURENT J. CANCHES & GASPARD CRESP (CINEMATOGRAPHER)

What do you do when you’re house is starting to flood? Here French filmmaker Laurent J. Canches manages to capture the actual terrifying & fascinating audio conversation between the fire service and caller and document it in his new documentary film.

Below is a transcript of the interaction between them…..

A Short Documentary

By Laurent J. Canches

CALL 1

The woman I’m afraid it will keep rising up.

The fireman Fire brigade, how can I help?

The fireman Yes, but the sea level is rising, isn’t it?

The woman Yes, hello sir,I’m at 25 Rue du Port des Yachts, in la Faute sur mer.

The woman Yes I know but…

The fireman Yes.

The fireman Now you’ve got water haven’t you?

The woman The water has infiltrated from the cellar, It’s rising up the stairs.

I’m alone.

The woman No no.

The fireman So, isolate yourself Madam.

Climb to the highest point of your house.

Currently, sea water is rising.

currently

in your house,

The fireman Okay.

The woman I’ve got water all over my basement downstairs.

The fireman So it won’t rise any higher. If it rises up from your cellar, you open your front door so that the water ... stand at the highest point, Madam.

The woman Goes out?

The fireman Goes out, okay? The water needs to get out, okay?

The woman Okay.

The woman Yeah…

The fireman And are you all alone?

The fireman You place yourself, you isolate yourself as far as possible or with neighbours who are outside ...

The woman I’m all alone, yes.

The fireman OK Madam, we will do what is necessary.

The fireman Okay. One person, okay, so we’ll do what is necessary, Madam.

The woman Thank you.

The woman But I don’t have any neighbours. I’m alone!

The fireman Yeah, so you place yourself, er...

Where are you in la Faute sur mer?

The woman I’m 25 Rue du Port des Yachts, by the coast.

The fireman Yes, we’re getting a lot of calls,a lot of calls, so now, I’ve got to take ...

We are going to come...

Is it in la Faute ...?

The woman La Faute sur mer, 25 Rue du Port des Yachts.

The woman Thank you very much.

The fireman We will send the firefighters, but it will take a while, OK? The woman You know?

The fireman You know, at the moment…

There’s sea water rising up everywhere, Ok ?

The woman What do I do if this continues?

The woman du Port des Yachts.

The fireman Well, you get yourself as high upas you can, madam, in your house. Yes, yes...

Well, it won’t rise any higher than it can.

Isn’t your house above, isn’t it below sea level?

The fireman du Port des Yachts.

The woman I don’t think so, I don’t know ...

The fireman 25 Rue ..?

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The fireman You’re welcome. Goodbye.

CALL 2 The fireman Fire brigade, I’m listening The woman Sir, I am 25 rue du Port des Yachts, I’ve got water in the house now.

The fireman Yes, yes, I understand Madam, yes The woman I’m all alone!

TOP LEFT: LAURENT WITH ANTHONY STOUP-SOIHIER TOP RIGHT: GASPARD CRESP

Le Pont Neuf des Amants https://vimeo.com/ondemand/ decorfilmcarax The Unlikely Encounter (L’Improbable Rencontre) https:// vimeo.com/ondemand/balzacrodin canches@hotmail.com itinerofilms@gmail.com Short Documentary Runtime 26 Minutes

RECORDING ENGLISH AUDIO - MIDDLE LEFT: OLIVER YOUNG MIDDLE: LOLA DHERS MIDDLE RIGHT: MAXIME DEVAUX, EDITOR ASSISTANT & LOWER RIGHT: ELISABETH TABARY.

Laurent J. Canches has made numerous interesting films including his two latest releases which are now available on Vimeo on demand:-

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Greta’s Bed and Breakfast ANGELIKA ROBERTS PHOTO: YANAN LEE

A brilliantly made short comedy/drama and at Film Focus we caught up with the writer and lead actress behind this wonderful film Angelika Roberts.

A Short Comedy Film

By Angelika Roberts

“Lina and Siv are best friends with very different lives. Siv chose to have a family and put her dreams on hold, Lina is a high powered business woman living in New York. When Siv’s life is a mess after her divorce, the two friends decide to go to The magical place, Greta’s B&B where everything changes!”

Writing a script is difficult enough but I always think that writing comedy is even harder, how do you make sure that the “comedic” elements of your script works?

Yes, comedy is hard to write. I observe funny situations from everyday life and try to write from my heart. Sometimes it works and sometimes it might not work, people have such different senses of humour. I like to write drama with that subtle humour.

The dynamic between your character “Siv”, Madeleine Falk (“Lina”) & Maria Fahl Vikander (“Greta”) is great, did you all know each other and how much fun was it working with them?

I have written all the characters directly for the actors except for Peter who had to do an audition. I had worked with Madeleine Falk (Lina) before and she WEST EUROPE ONLINE EDITION BRUSSELS 2021

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is a good friend of mine. Maria Fahl Vikander I got to know a few years ago, I really wanted to work with her and she was perfect for the character Greta. We all had a wonderful week of shooting and I would love to work with each and everyone of them again!

The director, Elisabeth Seth Rippe has put together a great short film, could you tell us how you connected and how collaboratively you worked on this project?

Elisabeth Seth Rippe and I go way back.

She has been my mentor since I was 22 years old and went to acting school in New York (Lee Strasberg). Elisabeth has directed me in many plays over the years so for me there was no other director in mind for this movie.

Some scriptwriter’s have said that they would recommend taking a scriptwriting course; is this something that you would agree with and

what is the 1 piece of advice you would suggest to a budding scriptwriter?

I would definitely recommend that any budding writer should take a class with an experienced script writer. I had the chance to take my script to a script lab where I had professional actors that worked on my scenes. It’s a great way of finding out what works and what doesn’t.

I know that you’re turning some of the characters in “Greta’s Bed & Breakfast” into a potential TV series, can you let us know where you are with that and how much more difficult the writing process is for writing multiple episodes?

Yes, I am writing on a potential mini TV series. It revolves around a bed and breakfast in a magical place, some of my old characters are in it but the story is quite different. The plan is to write six episodes at 50 minutes per episode.

Why and how did you choose to become an actor, writer (and producer) and which would be the one you would choose over the others?

I have always wanted to act since I was five years old and pretended I was Pippi Longstocking acting in front of a camera. I have been in many short films and commercials. Some features, TV series and acting in different genres on stage but I always enjoyed holding a camera as well. I went to film school in Stockholm and did my internship on the American sitcom ”The Drew Carey

What was the best/ hardest thing about making this film?

The best thing with making this film was that I got to work with these actors and having Elisabeth direct as well. With great passion, creativity and hardly any money we managed to make a pretty good movie!

Finally I just watched the video for “Get Up” can you tell us a bit more about the band behind this catchy song!? ”Laceless” is a rock’n’roll band from Los Angeles. Gretchen Calder (guitar/ vocals), Mackenzie Mahay (drums/ vocals) and Gabby Garcia (who is Madeleine Falk’s daughter, bass/vocals) .The girls grew up together and have played in the band since they were 14.

At the moment they are off to college so the band is taking a break. The song ”Get up” matched perfectly as the title song for Greta’s Bed and Breakfast. https://www.facebook.com/ gretasbnb/ Short Film Runtime 38 Minutes

TOP LEFT: DIRECTOR ELISABETH SETH RIPPE PHOTO: DANIELA DICKENS TOP RIGHT: MADELEINE FALK, ANGELIKA ROBERTS

Show” at Warner Bros. Los Angeles.

After that I made a few documentaries and shot motor racing. In 2012 I wrote my first play together with a colleague. I never thought I could be a writer but the play became a success and I have continued to learn about screen writing and I am trying to become as good as possible at it.

When you are a female actress over 35 years old there are not very many exciting roles; that’s the bitter truth so I decided to write my own roles and characters for great female actresses.

LOWER LEFT: ANGELIKA ROBERTS, MADELEINE FALK, CINEMA PHOTOGRAPHER ENRICO RISCASSI PHOTO: DANIELA DICKENS LOWER RIGHT: MARIA FAHL VIKANDER, TONI RHODIN PHOTO: DANIELA DICKENS

I have written two episodes so far and this time I am working with the great dramatist Filippa Pierrou who has written and directed both series and features for Swedish Television for years.

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ANGELIKA ROBERTS

MADELEINE FALK

Gretas B&B

ANGELIKA ROBERTS MADELEINE FALK MARIA FAHL VIKANDER ANNA-LU FRANZ JAN RIPPE MATTI BOUSTEDT TONI RHODIN regi ELISABETH SETH RIPPE producenter JONATHAN R.R HOLMS LOUISE ARDEFELT OCH JONAS LÖNN manus ANGELIKA ROBERTS foto ENRICO RISCASSI teknisk regissör ALEXANDER LÖNN musik ROBIN RHODIN produktionsdesign LOUISE ARDEFELT

Gretas B&B_Affisch+Awards.indd 1 B&B.indd 1

2020-11-24 2019-02-07 14:49 17:04

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The Power Of Fate This is the story of a nine-year-old girl called Anastasia from a small Ukrainian town. After complications from measles she contracted as a toddler, she suffered a stroke and her heart was left badly damaged.

At the age of five, she became the youngest Ukrainian to ever have a heart transplant. Despite everything she has been through, the girl who everyone calls Nastya radiates so much energy, kindness, and love, that she affects everyone around her. Having a transplant operation in Ukraine was impossible as the country had completely halted organ transplants, so the family turned to heart surgeons in India. When it came to Nastya’s heart transplant, her family was shocked with the huge cost of the surgery, which they couldn’t afford. The Ukrainian government would cover the cost of the operation, but not the cost of travelling and staying in India while they waited for a viable heart to become available.

Thousands of Ukrainians responded to the family’s struggle and raised the funds they needed to make the journey. Nastya’s story is told by herself, her mum, her grandma, her siblings, her aunt and her doctor. Their telling makes this a moving tale of hope and love in the face of extreme adversity, and draws attention to the consequences of lack of vaccination for children. Their emotions, feelings, experiences make you think about eternal values. And above the main of eternal values - is the LIFE of human.

About the film Before the start of filming, a lot of work was done to find an interesting and revealing story on the topic of vaccination. The hero search itself was extremely difficult. It is no secret that a large number of parents refuse to vaccinate their children against WEST EUROPE ONLINE EDITION BRUSSELS 2021

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MOTHER: NATALIA MELEDA

A Documentary Film Directed by Stanislav Tsekhmistrenko Screenplay by Serhiy Bibik

infectious diseases, even though this can cause irreparable harm to the child. And we found several stories where unvaccinated children had various infectious diseases with very serious consequences, some of them even led to death. Still, the parents categorically refused to participate in the filming, arguing that they would be accused of parental negligence and for other reasons. After numerous rejections, we finally found a unique story and got the parents’ permission to shoot the film.

This is the story of the girl Nastya Guzarska. At the age of one and a half months, Nastya began to cough violently and examinations showed that the child had whooping cough.

A little time passed and Nastya got sick with chickenpox. Due to Nastya’s constant illnesses, she could not be vaccinated. And since she was not vaccinated, she suffered extremely hard from whooping cough and measles.

The consequences of these diseases are terrible. At the age of two, Nastya Guzarska received complications

after measles. Damage to the heart, caused by measles, was irreversible, so Nastya developed heart failure.

Nastya has inescapable processes in her heart; it became the size of the heart of a 17-year-old athlete. As a result of therapy, she had a stroke.

“It was Friday 13th when Nastya had a stroke. I was holding her in my arms at that very moment she had a stroke.”

– told by Natalia Meleda, Nastya’s mother.

But the thirst for life and strength of the girl is so great that after a stroke in two weeks Nastya was already on her feet. All the doctors were shocked by this... After the stroke, Nastya’s right side stopped working completely and she had to learn to walk in a new way, retraining to do everything with her left arm...

According to statistics in Ukraine, in the first year after such a situation as Nastya had, half of all people and children simply die.

Nastya spent almost half a year after that in the hospital under IVs. And

OKSANA OCHERETNA, CARDIOLOGIST

the girl’s path of struggle for her life continued. The treatment was a long three years but did not give the necessary effect. And when Nastya was four years old, the situation reached such a critical level that the only salvation for the girl could only be a heart transplant, because such children, with such health problems, do not live for more than five years...

Therefore, she urgently needed a heart transplant operation... At that time, transplantation was suspended in Ukraine. This is all caused by technical issues and a lack of legislation.

The longer Nastya lived with heart inflammation, the more urgent the need for transplantation became.

Transplantation from non-relatives was prohibited at that time in Ukraine.

Nastya’s mother found out that heart transplantations are performed in Belarus, but they only accept adult patients. And the only country at that time that provided heart transplantation to children was India.

The Ministry of Health allocates funds for operations in other countries. But

the queue for a service at the cost of a lifetime is huge. The ministry allocated funds only for the operation. The operation and postoperative period cost 95 thousand dollars. But Nastya’s family had to pay for the trip to India, accommodation, food and medicines for three months. It was an incredibly large sum for the family, but thanks to thousands of caring Ukrainians, they managed to raise these funds and fly to India. Natalia had to fly to a foreign country to save her daughter.

More than seven and a half thousand kilometres from home, 95 thousand dollars from the Ministry of Health – and Nastya ended up in the Indian city of Chennai. Then there was no other choice.

Before preparing the girl for heart transplant surgery, the girl was vaccinated in India; this was a prerequisite before the transplant.

For four months they waited for the organ... They did all of the compatibility tests. It took a lot of time. Finally, in June 2017, she underwent a heart transplant. On

the third day after the operation, the doctors put Nastya on her feet so that she could try to walk and the girl became so cheerful for the first time.

And already on July 12, Nastya and her mother returned to Ukraine.

Natalia says that in her native country, it would be easier and cheaper for both her and her daughter to survive such stress.

But at that time, there was no such possibility in Ukraine.

“Our organs go to the void. But they can save someone’s life. That is, I do not know who saved my child whether it was a girl or a boy. But I am eternally grateful that the parents gave away the heart,” – noted Natalia Meleda.

Today Nastya is the youngest person in Ukraine with a heart transplant.

The consequences of past illnesses in childhood force Nastya to take pills to suppress immunity and to fight for her life. Now she is successfully learning to speak and use her right hand and leg after suffering a stroke, and she enjoys every day of her life.

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38 The main message of the film is a touching story of a child, how her life and her family were changed by illness and what difficulties they faced.

The film also talks about daily physical inconveniences and problems after illnesses and surgery, but thanks to the strength of this girl and her bright attitude to everyone and her love for life, they will overcome all diseases.

“This is a story about Power… The story about human beings, the power of fate.”– Oksana Ocheretna, cardiologist.

About the situation and vaccinations in Ukraine

Who can become a donor, and how do a donor and a recipient find each other?

Any able-bodied citizen of Ukraine over the age of 18 can provide written consent or decline to transplant his or her organs when alive or after death.

One’s decision to be or not to be a donor can be changed throughout a person’s life.

Transplanting is based on the unified state transplantation information system for organ and tissue transplantation (a.k.a. EDIST). This system contains registers of potential donors by type. These include a register of donors who have agreed to posthumously transplant their organs, a register of living donors, a register of recipients, etc. Accordingly, recipients can find the organ they need using EDIST. It generally also helps maintain the transparency of the system.

EDIST has been operating in Ukraine since January 1, 2021. There are two ways to consent to the posthumous donation when alive. One is to provide

LEFT: NATALIA MELEDA AND RIGHT: NASTYA

In Ukraine deputies adopted a new law on transplantation only on May 17, 2018. As it states, doctors can perform unrelated and cadaveric organ transplants, the law also has created a new profession in Ukraine – transplant coordinator.

To improve the situation with

domestic organ transplantation, at the end of 2019, Parliament adopted the new law “On application of the transplantation of anatomical materials to a human being”. The major changes concerned Article 143 of the Criminal Code. The 2001 version of this Article established criminal liability for violating the transplant procedure. However, no clear definition of the transplant procedure was provided. As a result, any doctor performing transplants could be incriminated in one way or another.

Another change brought by the new law is inclusivity. Transplants can now be performed in any hospital having a license and the necessary equipment.

Previously, in addition to the license, hospitals also had to be included in the list of institutions that had the right to do transplants determined by the Cabinet of Ministers. The new law has also removed excessive bureaucracy and detail from the transplant process.

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it to a transplant coordinator with access to EDIST. The second way is to do it via the “Diia” program.

Today almost 250 Ukrainian children are waiting for a new heart.

Every year, about 5,000 people in Ukraine need organ or tissue transplants. As part of the pilot project on organ transplantation development in 2020, the Ministry of Health doubled the number of healthcare facilities that can perform organ transplants in Ukraine. During this period, 38 healthcare and research facilities joined the project. In 2020, eight heart transplants, 19 liver transplants, 91 kidney transplants and 138 bone marrow transplants were performed (compared to 71 kidney transplants, 6 liver transplants & 1 heart transplant performed in 2019).

Also according to statistics, there are still many unvaccinated children in the country. Since the onset of the Coronavirus pandemic, this number has only increased.

Background.

The documentary “The Power of Fate” was produced by the public organization “All-Ukrainian Forum for Democracy” (Demforum) at the end of 2020.

“The Power of Fate” is a documentary film based on real events, created within the framework of the project “The right for the future”, the purpose of which was to inform Ukrainian society about innovations in the health care system, find out the reasons for people’s distrust of vaccination and debunk myths about the “danger of vaccination”, to tell about the threat parents put their unvaccinated children to and why a large number of parents refuse to vaccinate their children against infectious diseases, although it can cause irreparable harm to the child, it also tries to encourage society to lead an active and healthy lifestyle, etc. Myths and reality. Real stories of people whose fate was changed by

one decision – to get vaccinated or not to get vaccinated. Doctor and the Internet, emotions and logic, fakes and critical thinking. What makes people say Yes or No to vaccination.

We achieved this by creating a series of 4 TV shows about the most pressing issues in the field of healthcare in Ukraine and with the documentary “The Power of Fate”.

For many years, the “All-Ukrainian Democratic Forum” (Demforum) has been working in the field of developing Ukrainian culture, developing the media environment in Ukraine, and increasing the amount of high-quality, objective content.

We have long-standing, friendly relations with one of the leading TV channels in Ukraine – Espreso TV. And together with them, we try to provide Ukrainians with the most truthful information through the content covered, so that they hear all the pros and cons and draw the right CONTINUE

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LEFT: OLENA (NASTYA’S AUNT)

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conclusions that will not harm either them or their health.

Therefore, the film “The Power of Fate” is not only important for us as interesting and useful content, but we also hope that thanks to the story, we will be able to convey to Ukrainians the importance of timely treatment.

The film is not only about the strength of the spirit of a little girl, but also about humanity... After all, when they first found a heart for a girl that was compatible with her and were already preparing for a transplant in a hospital in India... At the same time, they brought a boy to the hospital who urgently needed an organ. Nastya’s mother agreed to give the organ to the boy, realizing that it is possible to expect an organ for her child for a long time... But after such a noble act, the organ for Nastya was quickly found and the operation was successful.

We are very grateful to the international organization “Internews” for the opportunity to produce the documentary “The Power of Fate”, and, of course, we are very grateful to the “Fusion Film Festival” for the nominations WEST EUROPE ONLINE EDITION BRUSSELS 2021

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...” – chairman of the board of the “All-Ukrainian Forum for Democracy”, Mykola Pasko.

The film was produced with support of the Media Program in Ukraine funded by the U.S. Agency for International Development (USAID) and implemented by Internews Oleksandra Pavlovska from Internews, а media development organization fostering and supporting independent media the globe over, that funded the production of the film, said: “We are happy to see the film happen. When we first touched upon the topic of vaccination in Ukraine, we bumped into some resistance and non-understanding.

It was not easy to find a heroine for the film and make the story-telling personal. We are glad that the film finally came out so touchy, and with a strong emotional message. We hope it will change the attitudes towards vaccination not only in our country. It’s especially crucial it times of COVID vaccination, which is moving slow in Ukraine. And, of course, we are proud that the film got a nomination at the prestigious international “Fusion Film Festival”.

The film’s director Stanislav Tsekhmistrenko.

He began his work in 1990 on the first national television channel of Ukraine as a video editor of an “Actual Camera”. Since 1993, he worked as an editing director in the “international media center” in Kiev. As a director, since 1995, he began to produce video films for Ukrainian musicians.

Since 2005 - director and producer of documentary and commercial films. In 2018 he received the awards of the Madrid International Film Festival as the best foreign language documentary filmmaker for the film “The Limits of waiting”.

The author of the script of the film is Serhiy Bibik.

Since 2005 he has been working on screenplays for documentaries. Realized scripts for documentaries: “Music Lessons” (2005); “Return” (2016); “How the Verkhovna Rada works” (2016); “Budget Process” (2016); “ The Limits of waiting” (2017); Agora (2017).

Documentary Film Runtime 42 Minutes

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Thirty Minutes This beautiful short film, nominated for both Best Short Film and Best Original Screenplay at the West Europe International Film Festival, is a fascinating twohander with exquisite acting.

Here we were lucky enough to speak to the talented director/writer & co-producer, Claire Elizabeth Terry A Short Film

By Claire Elizabeth Terry

A woman, Lucy, is so lonely in the digital age that she becomes a call girl, not for the money, but because it’s the only way she can be assured of someone to talk to.

Director’s Statement THIRTY MINUTES is about loneliness, the connections we crave - and the lengths which some people will go to, to achieve the latter. It is, though, essentially a film about hope.

Employing a lyrical visual tone, the film also touches on our consciousness - or perception of being alive, through Lucy, the protagonist’s, magical connection with the city’s trees, which help her to realise the interconnectedness of all living beings.

And the more aware of our interconnectedness that we become, the more we realise that we’re never really alone…

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Where did the idea of THIRTY MINUTES come from?

It was around five years ago when I spent ten days in Barcelona (where I live), completely on my own. It was during the summer holidays and my son and all my friends were away.

I literally didn’t talk to anyone else during those ten days.

I felt incredibly lonely but rather than fight it, I thought I’d just sink into it and then the idea of the film - or rather, the play, as it originally was - arose. After writing it, I then wrote the screenplay for the film and after that, the novella.

Because of the subject of the film, how did you make the two actors feel comfortable?

Lúcia Moniz (who plays Lucy) was understandably concerned about not showing any unnecessary flesh, and I fully empathised - despite the storyline, the film isn’t really about sex or nudity. So, for example, I just made sure that Lucy’s camisole wasn’t too low-cut. It was the same for Luka Peros (who plays Oliver), I did my best to ensure that he also felt as physically comfortable as possible.

Having both the actors feel at ease was vital for me: the way I see it is that they’re your esteemed colleagues who are doing their best to make a project close to your heart come to

life and so I have the utmost respect for them. It’s a tremendously difficult job to be an actor and to make yourself so vulnerable in this way and I’m eternally grateful to both Lúcia and Lukas, who did such a brilliant job.

How did you persuade Lúcia Moniz to take the main role of “Lucy” (Lúcia will be very well-known to readers as she played the part of Aurelia, Colin Firth’s eventual love interest in Love Actually)?

I was incredibly lucky: Kathie Fong Yoneda, one of the teachers at the Rocaberti Writers’ Retreat, a screenwriters’ retreat which I run, is

a former studio exec who’d read my script and given me some notes on it. She remembered that she’d met Lúcia at a Portuguese film event and asked me if I would like it forwarded to her. I said “yes, please”, of course, and just a couple of days later Lúcia got back and said that she would love to play Lucy!

How long was the shoot?

We were on a very tight schedule for several reasons, including the actors’ agendas. We shot the whole film in five days which forced me into a very interesting exercise, which was to cut my own script, while we were shooting, in order to be able to finish on time. I took the shot list and started cutting out

scenes, being ruthless with myself as a writer, allowing the directorial part of me to take over. In the end, thankfully, we finished on time and under budget!

For me, the whole theme of the film was about loneliness?

Yes, that’s one of the main themes, the other one being the interconnectedness of all living beings, which acts as a counterpoint to that.

As you know, Peter, Lucy’s son has died, and although she knows that he’s gone, she still hasn’t fully come to terms with his death, and on some level, feels that he may somehow, in some way, still be here. She’s not deluding herself, she just CONTINUE

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still hasn’t fully let go, which is why she encounters difficulties in relating with other people as they would naturally ask her about children at some point and she can’t yet bring herself to talk about Peter.

Hence, Lucy’s decision to become a call girl, but with a twist: after her services, her clients must stay on for an extra thirty minutes and, simply, talk to her. - In this way, she can still have the human connection which she craves, but at the same time, control the conversation.

And you’ve now expanded the short into a feature?

Yes, I’ve finished the script and we’re now looking for financing. Joan Lane, who developed THE KING’S SPEECH, WEST EUROPE ONLINE EDITION BRUSSELS 2021

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has come on board as my manager, which is exciting and Kathie Fong Yoneda will be executive producing once again.

In the feature we see Lucy both at home and at work, encountering difficulties in forming relationships with people, and also have a glimpse into Oliver’s home life. We also see Lucy’s burgeoning relationship with the city’s trees and what she calls ‘The Shimmering Beauty’ - the light connecting everything and everyone.

At first, the audience is led to believe that Lucy is simply very anti-social.

Then, halfway through the film, she goes to the city cemetery, walks through it, then stops by a child’s grave, stooping to clean it. She does so perfunctorily, without emotion,

almost like a cleaning lady simply doing her job.

We then realise, through the wording on the tombstone, that it’s Lucy’s son who is buried there. Suddenly, she looks up at the camera as if to say, “This is our secret” and now we, the audience, understand the reason for her loneliness.

Then, as she gradually opens up to Oliver, Lucy begins to develop a magical connection with the city’s trees, giving her a fresh perspective on life, and helping her to realise the interconnectedness of all living beings and enabling her, finally, to come to terms with losing Peter.

Other than THIRTY

MINUTES, you have another project in development: ROSES

Are you working on anything else at the moment?

Yes, ROSES is an ensemble piece which features five strong roles for women over 40, which I’ve been working on for the last few years.

I’ve been extremely lucky to be able to get notes on it from some top industry people. It is now, I believe, ready to produce.

I’m working on a project called ‘The Retreat’, but haven’t decided yet if it’ll be a novel or a film. Either way, it’s a comedy, set in a medieval castle in France, based on the screenwriters’ retreats which I run - which are also held in a medieval castle in France, owned by Miles Copeland, the former manager of Sting and The Police!

ROSES is about four female friends from all over the world whose lives are transformed when a rose is secretly drawn for each of the women.

I’ve also written a novel, based on the film, called I Draw Roses.

I’ve also found myself drawn back into the character of Lucy from THIRTY MINUTES and am working on the novella of what happens to her after the events described in the film.

Then, an idea for a play has popped

up recently, inspired by the Retiro, a famous park in Madrid…

You’ve also recently published a book?

That’s right, yes. Well, not me actually, but rather, my dog, Mr. Sparky! It’s called Mr Sparky’s Diary: one dog’s take on the pandemic which changed the world and it’s a lighthearted look at life under the very strict lockdown which we had in Spain last year.

It’s a quick and easy read and has also been published in Spanish. There’s also talk of it becoming a podcast, but we’ll see! https://www.facebook.com/ ThirtyMinutesMovie/ Short Film Runtime 18 Minutes

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Madam. M.A’s [13.1-9+19+13] Vol.01 and [3+20] With two extraordinary short films in competition, here the writer, director, producer, composer, editor and photographer Madam M.A breaks down these formidable pieces of art.

Musical Shorts

By Madam M.A

A Cinema of Numbers As a solo multimedia artist, working between film and video, portrait photography, makeup design, musical composition and more, every work of Madam M.A sees her mobilising her plethora of talents to intriguingly unique ends.

These two projects perfectly compile Madam M.A’s manifold creativity, straddling abstraction and reality, cinema and fine art, and the personal and the social.

[13.1-9+19+13] Vol.01 A multifaceted work of abstraction, obliterating the final boundaries between fine art and cinema, [13.19+19+13] Vol.01 dunks viewers into a deeply referential dream-like trance brimming with phrenetic energy.

“With no belief, no religion, Will the Gods save us?

Will the world see the truth?

“What are the gods if they are made by humanity? Can people only believe because the gods are their creation?

It’s funny. I think I have some religions to leave behind.”

Many people can’t feel free because of their creatures, not only gods, but also their words, thoughts, and societies.

I want to clean them up, make them free.

Here it is, that dream coming true.”

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[3+20] “I’ll go where I want to go, I do what I want to do”.

This unwavering ideology presented within [3+20] cuts to the core of modern values. Based on a media book of the same name, recording the personal and emotional journey of five months of European explorations, [3+20] translates a multitude of life experience into film.

The project stems from Madam M.A’s gripe with the recurring question of “How is/was your trip?” For her, there was no answer. After visiting worldly sites, words were unable to convey the experiential moments which had passed.

Thus, Madam M.A turned to art, first the multimedia experience contained within the book, and now to film.

Synthesizing these complex emotional experiences—from inner explorations to pragmatic experiments on the ground in Europe—[3+20] provides an experimentally personal window onto the work of Madam M.A.

About Madam M.A (Akari Mazda) Not bound by any profession or form, the experimental work of the Düsseldorf-based Madam M.A takes many forms. From film to photography, makeup design to music, her work is characterised by change, with each project taking a notably different form.

Born in Sapporo, Japan, her life started with music. By the age of three she was familiar with the piano, and soon she was performing live in public. Soon

after her sixth birthday, her musical talent was consummated achieving the Outstanding Performance Award at a national piano competition in Japan.

Changing course to become a student of Media Design at Sapporo City University, Madam M.A’s talents diversified, seeing her join various rock bands while also unearthing the striking transformational power of makeup design. This latter finding spurred her towards the visual arts, taking photographs and shooting short films featuring her experimental makeup designs.

By this point, Madam M.A had solidified herself as a multimedia artist—hopping freely between the forms of music, makeup, film, and photography. These skills culminated in the experimental music video [13.1-9+19+13] Vol.01, which has since shown at over ten film festivals across Europe and the USA, garnering her work awards and international attention.

But her exploration of interdisciplinary arts is far from over. Now based in Düsseldorf, Germany, she strives to continue learning, experimenting, and expressing herself, guided by the mantra “I am what I am”.

Creative Drivers Although Madam M.A’s endeavours into music began at the age of three, she recalls her younger years with a heavy heart, citing her childhood as one of the prime drivers for her work.

These turbulent years are categorised by what she describes as “Japan’s darkness”, resulting in recurrent dark moments throughout her youth both with her peers and at home. She recalls long periods of social withdrawal and dark, disturbing thoughts, which only subsided through her early endeavours into music and design.

This complex blend of catharsis and longstanding trauma imbue her work with a unique power which captivates.

Continuing this discussion, she is eager to delineate the human from the natural—explaining that “we believe everything that exists in this world; including the existence of ourselves.

But most things in this world are made by people. We don’t notice that even gods, words, and all the “truths” we believe, are invented by people.”

Endeavouring to reveal the true fabrication of the world we live in, Madam M.A believes that music and potent visuals may hold the key.

Spurring her to continue experimenting with visual and auditory media in the hope to better understand the world which we all inhabit.

Future Destinations Since a young age, Madam M.A has probed the question “what is truth?”

This has probed many personal explorations into the worlds of psychiatry, psychology and philosophy, creating the groundwork for her multifaceted, existential creations.

https://madam-ma.com Musical Shorts [3+20] Runtime 18 Minutes [13.1-9+19+13] Vol.01 Runtime 6 minutes

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AnoMic / The Queen “The Pandemic gave me time to think about the bigger picture.”

AnoMic started as a Proof of Concept, a Trailer and a Music Video. Next logical step would be a feature film…

Short Film Projects

By Hugo Teugels

With a passion for filmmaking and photography, Hugo Teugels is a multiaward winning producer, director, writer, editor and cinematographer of short films. Notable works include his most successful short, The Queen (2016), Hoko-Bang-Sing (2014), and 2nd Chance (2019). His current projects include AnoMiC(fashion/film), a vignette of 3-4 productions (20202021).

Initially fascinated by the power of moving images ranging from artwork to Hollywood blockbusters, his mission eventually became the pursuit of ‘that’ perfect marriage between image and sound accomplished through the editing process. Drawing inspiration from legendary surrealist filmmaker David Lynch, Teugels’ films are characterized by dream-like imagery mindfully paired with evocative sound design that etches powerfully into the viewer’s mind.

Early endeavors included taking photographs and making video clips but quickly progressed into the cinematic world with each subsequent project testing new ideas and limits.

Additionally, Teugels’ 15 years experience as a movie soundtrack critic is parlayed into his work and showcases his meticulous understanding of the importance of sound to movies, thus garnering his multiple nominations for Best Sound Design and Score.

The birth of a creatively kaleidoscopic perspective on his subject matter coupled with a discriminating eye stems from his studies at his hometown WEST EUROPE ONLINE EDITION BRUSSELS 2021

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art academy. There, his love for photography evolved into a passion for filmmaking and a uniquely ‘arty’ approach that has produced multi-award winning onscreen magic.

While at the academy, he nurtured a poetically artistic way to ‘look’ at the world, thus inspiring his skills as a producer, director, cameraman, editor, and postprocessing engineer. Consequently, Teugels began assuming more of these roles and expanding his creative vision on projects such as art and music videos, trailers, and short films. To further his burgeoning skill set, he attended the New York Film Academy during which time he wrote his highly acclaimed short film, The Queen (2016).

Early 2019 ushered in worldwide distribution of 2nd Chance (2019, starring Tatiana Bilan), Teugels’ latest short film about suicide. His work-in-progress, AnoMiC, is in development and also produced 3 different productions so far : a music video, a proof of concept and a one-

minute clip. Additional projects for 2021 include a screen adaptation of Sara Brooke’s short story “Stairwell,” as well as “AnoMiC, the final story” (working title).

The next article will hopefully shine a light on this ongoing, ‘can’t talk too much about it yet’, bigger project…

AnoMiC - “In her pursuit for retribution, a seasoned model treads the ever-changing tides of good and evil, right and wrong in the oft nefarious fashion world.”

Trailer, Music Video - Short Film, Proof of Concept for a feature project.

Runtime 1, 3, 4 minutes The Queen – “Having a mysterious encounter in Manhattan...What if you would meet that one person who can make you realise something is not right..? Or very wrong? Would you believe it?”

IMDB.me/hugo-teugels Short film Runtime 14 minutes

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Empire EMPIRE is a feature film following the misadventures of two men shipwrecked in the vast Pacific Trash Vortex.

A Feature Film

By Paul L. Carr

As the men struggle to survive, the power play between them devolves from the darkly comedic and absurd into crashing fear and existential terror. Often hallucinogenic with stunning visuals, this parable mixes apocalyptic and kaleidoscopic imagery as humankind’s perverse relationship with plastic is exposed. Literally surrounded by a world of trash that these men helped create, their very survival hangs in the balance. This grotesque dystopia presents a most epic challenge: man vs. garbage.

Observers of this film can perhaps see many tangents from a diverse array of influences—Charlie Chaplin, the Old Testament, Mel Brooks, Spaghetti Westerns, Lord of The WEST EUROPE ONLINE EDITION BRUSSELS 2021

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Flies, Kurt Vonnegut, Edgar Allen Poe, Hunter S. Thompson--and it all seems reminiscent of a 50’s sci-fi flick. Somehow it all spilled into the script for this B-movie fever dream of a film, as trippy as anything you’ve seen at the midnight matinee. Actors Nick Leininger and Don Schroeder are superb in depicting their descent into madness while the green screen so artfully embellished by Editor Nick Schultz serves as something like a Greek chorus for the film, vitally engaged with the action and the subtext beneath the narrative. The script, by Paul L. Carr, asks not only, “How did we get here?” It also asks the audience, “How the hell do we get out?”

Empire was produced by Busted City Productions, following their awardwinning feature films Busted City and American Barbarian. Casual Criminals, a feature-length comedy, is the latest effort by Busted City Productions. The film is currently in post-production and should be completed by 2021.

Any inquiries regarding films by Busted City Productions should be sent to Paul L. Carr. Trailers, production photos and additional info can be found on the Facebook production page and Instagram. https://www.facebook.com/ BustedCity @pabloglobal on Instagram Feature Film Runtime 73 minutes