No More Good Days

A futuristic, existential family drama played out against a backdrop of monumental alien industry, which overwhelming advance threatens the planet and its population.

The idea behind this script is to show things nobody has ever seen before, and through a depiction of the alien invasion trope that is narratively unconventional, visually unique and yet still extraordinarily accurate, construct a character-driven critical commentary about the present, mirrored within a complex and highly convincing cinéma-vérité-style science-fiction environment.

The aliens in this movie do not talk, do not use weapons and do not make threats. The overwhelming scope at which their titanic machinery operates is terrifying enough, although we never know who, what or indeed if anything at all drives those machines. And albeit their presence and influence are unmissable, they remain in the background throughout the movie as a force of nature. The focus is on us - humans. Characters who are deeply flawed. People on the brink of a long, inevitable and surreal end. Desperately trying to give meaning to their world, their own lives, and all the others around them.

It is a story of broken homes, broken families, irresponsible parenthood and the consequences of those vices, both on the level of an individual and that of mankind, as the collective family of our species. The vicious circle, in which unheeded lessons of one's past make him repeat the errors of those before him; generation after generation; over and over again, until extinction.

For in the grand scheme of things, nature does not care. Nature does not favor. And even those, who for a while seem to be evolution's finest, can still easily turn out to be one of its dead-ends. If recognized in time, some of those dangers can be avoided. Others, however, can not. But when the end comes, and one surely is to come, the choice on how to confront it is always there: on one's knees, in a numbing delirium, or a loving embrace.

ROBERT GRAY (late 20's; ex. Alex Russell of CHRONICLE) is the most incredibly gifted human being one could ever wish to be. Charming good looks of Eric Bana, athleticism of Michael Phelps, but most importantly, a mind that sees the world almost as Neo did the Matrix. He could be anything he wanted. Perhaps change it all for the better. Instead, the man is a financial shark tormented by surrealistically cataclysmic dreams (sky shattering and crumbling like glass), a thinly controlled alcoholic, and an addict of ASMR - Autonomous Sensory Meridian Response – a booming (and real) internet fad of POV YouTube videos depicting various role-play scenarios (a cranial nerve exam; a hairstylist; a caring friend) in which people act as if paying close and personal attention to their viewers and their bodies.

We meet Robert as his own past creeps up on him in the form of an enveloped letter from his late father, whom he had renounced, years ago. It is a not-too-distant future. An optimistic mirage of Western prosperity. A delusion of infinite resources and a perpetually tolerant environment in which everything still seems possible. A time before the alien takeover. Four comets ride its deceptively ever-cloudless skies, heralding hidden danger stirring in the depths of space. Until one night, when Robert meets a woman, LILY, an orphan that does not shy from confronting his ruthless philosophies, the alien threat reveals itself in a mysterious glass-flaw anomaly on the night sky.

Six years later, and after six years of seemingly purposeless occupation, the world is falling apart at the seams. But before it finally crumbles, literally and metaphorically, Robert Gray must come to terms with his past, his present and the people whom he had touched. His future, and that of the world, by his brutally rational cynicism he had accepted long ago. Unlike Lily, who in her search for answers and a family of her own, manages to bring catharsis to Robert, but in turn sacrifices her own chance at finding peace before it is all over.