PROTOPLASTOS [The Genesis of Species]

Two guys dressed in First Empire costumes meet at a Parisian café for an afternoon tea. Their conversation will hold the answers to some of humanity's existential conundrums, and yet, it will most likely go unnoticed.
Protoplastos [The Genesis of Species] is a satirical comedy on the mysteries of existence.

  • IRENE DE LUCAS
    Director
    Le Jeu de Dames, La Marelle
  • IRENE DE LUCAS RAMÓN
    Writer
    Le Jeu de Dames, La Marelle
  • LUISA CHORNET
    Producer
  • IRENE DE LUCAS RAMÓN
    Producer
  • SARAH KEENAN
    Producer
  • IGNACIO DE LUCAS
    Producer
  • PETER HUDSON
    Key Cast
  • ALEX FREEMAN
    Key Cast
  • Project Type:
    Short
  • Genres:
    Comedy, Sci-fi
  • Runtime:
    19 minutes 36 seconds
  • Completion Date:
    July 1, 2015
  • Production Budget:
    7,000 EUR
  • Country of Origin:
    Spain
  • Country of Filming:
    France
  • Language:
    English
  • Shooting Format:
    RED
  • Aspect Ratio:
    16:9
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
Director Biography - IRENE DE LUCAS

Irene de Lucas Ramón was born in Valencia (Spain). Following the research for her doctoral thesis on early cinema, she moves to Paris in 2005, where she has lived ever since and shot most of her film work. She has published a book on Luis Buñuel’s film ‘Los Olvidados’ -Los Olvidados. La violencia de los excluidos- and collaborates with a regular publication of film analysis articles both in specialised magazines on filmmaking and in the Web. She is currently working in her second book to be published: The hidden pioneer: Alice Guy in the origin of cinema.

DIRECTOR’S FILMOGRAPHY

-PROTOPLASTOS (The Genesis of Species). 2015. (Spain-France-Italy Co-production)
Director, Scriptwriter, Editor and Producer

- La Marelle. 2012.
Co-Director, Co-Scriptwriter and Co-Producer.
· Best Short Film on Civil & Political Rights Award - International Short Film Competition on Human Rights Fundación por la Justicia Valencia (2012)
· Selected at :
El corto del Año - Promofest (2013)
FIBABC (2013)
IX Competición de Cortometrajes SOS RACISMO Madrid. (2013)

- Le Jeu de Dames. 2008.
Director, Scriptwriter and Producer
· Special Jury Award - 8o Festival Internacional de Cine Digital de Viña del Mar (Viña del Mar, Chile) (2010). Official Selection.
· Best Screenplay Award - Festival Islantilla Cinefórum. (Huelva, Spain) (2009). Nominee for Best Short Film & Best Original Music. Official Selection.
· First Prize at the International Competition of Digital Short Films. Festival de Cine de Medina del Campo (Valladolid, Spain). Certamen Internacional de Cortometrajes Digitales.
· Tirant International Audiovisual Award 2009 for the Best Digital Short Film. Premios Tirant Internacional del Audiovisual (Valencia, Spain) (2009) Cortometrajes en video.
· Best Editing Mention. Festival de Cine Cortocomenius (Valencia, Spain) (2009).
· Selected at :
- 8o Festival Internacional de Cine Digital de Viña del Mar (Chile) (2010)
- VII Festival Internacional de Cortometrajes FENACO (Cuzco, Perú) (2010)
Official Selection.
- Festival de cine ‘Hecho X Mujeres’ 2009 (Rosario, Argentina) (2009)
- 16a edición del Festival Internacional Jóvenes Realizadores (Granada, Spain) (2009) OfficialSelection:AcciónReal.
- 8a edición del Festival International Cinéma Nouvelle Génération de Lyon (Lyon,
France) (2009) Official Selection.
- 41a Muestra Cinematográfica del Atlántico, Alcances 2009 (Cádiz, Spain) (2009)
Selección ‘Cortos españoles de ficción’.
- Festival Islantilla Cinefórum 2009 (Huelva, Spain) (2009) Official Selection. - 37th Festival der Nationen (Ebensee, Austria)(2009) Official Selection.
- 12a edición del Festival de Málaga. (Málaga, Spain) (2009)

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Director Statement

The nature of the film's script being so theatrical -a single location, two characters that will be seated the whole time and the plot solely contained in the dialogue itself- the real challenge in this film was its visual approach; and it entitled a reflection on the very nature of cinema versus theatre.

In order to justify why such a script should be filmed instead of staged, its visual treatment had to provide a different layer of meaning to the film. It would have been futile and redundant, not to mention tedious, to limit the visual dimension of the film merely to portray their conversation from a closer stance or even a myriad camera angles, hoping to only entertain the viewer while renouncing to impact on the film's overall meaning and ideas. Therefore, I resolved to tackle the visual and sound dimension of the film as a new layer of significance to the plot, once differentiated from the purpose of the actual content of the dialogue, the sound and images would serve an ambivalent purpose of both contrast and completion, thus, oscillating between confronting at times the ideas of the dialogue they contained, and at others, introducing a complementary and expansive view of these in order to reframe them under a different perspective that can arise further reflections.

The dialogue itself established a unidirectional information pattern. It portrays our creators reflecting on us, their creations, but also on the process itself, the outcome, the mistakes, just as we would reflect upon our own human-bound creations; by doing so, it answers the viewer's existencial doubts focusing during most of the plot primarily on the influence they have had on us. The images and sound, however, will convey the impact we, and our own creations, have on them, reflecting on how contact with its own creation may influence and move the creator itself.

The dialogue of our main characters will be constantly interrupted by the interaction with their surroundings, their temporarily inhabited human form presents them with sensations they had never experienced before. The scent of a flower, the joy of kicking a random ball, loneliness, grief, how it feels to burst into laughter or to be suddenly moved by something they may had never heard before, music. Regardless of their dialogue, we will see them infer the consequences of their once trivial decisions on our lives, they will feel our pain, beauty, and Nature, that which they created and yet, like us, evolved without them. The visual dimension portrays how they will experience what it is to be us, while reflecting about us.

Other times, these interactions will challenge their own beliefs and statements about us. They think we are unhappy, but we hear people laugh in the background, they say we want to know, but nobody seems to be listening to their revelations. Their dialogue is filled with criticisms, but we can see they are awed by the extent of our abilities, humbled not even by us, but by our own creations. The infinite aspects in which they differentiate from us, will be overtaken by the terrible recognition of themselves in us, we are but the synthesis of them, their worst attempt at bettering themselves, at creating something far more complex and meaningful than what they really are.

This frustration they inadvertently carry with them, disguised as despise, irreverence, compassion or indifference all throughout their dialogue, will evolve solely in response to the events portrayed by the visual and sound dimension of the film. The change that will operate in them is only comprehensible through it. It is precisely the interaction with their surroundings, with their creations, that will alter their beliefs and initial plan, unveiling their inner creator's crisis. A crisis that will reach its climax in its attempt to reveal the truth and perhaps regain some control over the process. A nonetheless failed attempt to redeem themselves, not so much by conveying meaning to our existence, but rather to their act of creation.