All Your Yesterdays
A husband reveals scathing truths to his wife of 40 years as they downsize and empty their house of possessions with no one to inherit their estate.
-
Dini ParayitamDirector
-
Dini ParayitamWriterHow Do You Like Your Eggs?
-
Prashant VankamamidiProducer
-
Dini ParayitamProducer
-
Kirby GamelProducerWhere The Stars Are (feature)
-
Amy McPeakProducerKiller Abs, Where The Stars Are
-
Bill KarnovskyKey Cast"Marty"
-
Linda BradshawKey Cast"Diane"
-
Zach BroylesMusic Composer
-
Zen DotPost Production Producer
-
Cade TindellGaffer
-
Juliette Roberts1st AC
-
Audrena EngelsenKey Grip
-
Grace SevierGrip
-
Duncan HarristGrip
-
John BrownGrip
-
Tom SantosAssistant Director
-
Henry MayesProduction Assistants
-
Clint FinleyProduction Assistants
-
Rajeev VishakaProduction Assistants
-
Greg CaponigroProduction Assistants
-
Robin BissettAssociate Producer
-
Kirby GamelDirector of PhotographyKiller Abs
-
Carroll ChiramelEditor
-
Project Type:Short
-
Genres:romance, drama
-
Runtime:15 minutes
-
Completion Date:March 20, 2024
-
Production Budget:15,000 USD
-
Country of Origin:United States
-
Country of Filming:United States
-
Language:English
-
Shooting Format:Digital
-
Aspect Ratio:1:9:1
-
Film Color:Black & White
-
First-time Filmmaker:Yes
-
Student Project:No
-
Digital Cinema Package:Unavailable
-
New York Shorts International Film FestivalNew York City
United States
October 15, 2023
World Premiere -
South Dakota Film Festival
Dini Parayitam is an Indian-American fiction writer, screenwriter, and director based in New York City. Dini attended the Iowa Writers’ Workshop and received an MFA in Fiction. She has written and produced short films, All Your Yesterdays and How Do You Like Your Eggs? (both currently submitted to festivals). She is currently developing the feature script of How Do You Like Your Eggs? with Zen Dot; an LGBTQ-narrative feature with Sachin Dheeraj Mudigonda (director of Testimony of Ana); a comedy with Rahul Ramakrishna (actor from RRR); and a high-concept sci-fi family drama TV-series with Maryan Nagy Captan.
This film is a contemplation on the lifespan of secrets. Do the secrets we keep from our spouse in our childbearing ages remain potent in our old age? Or, when do these secrets convert into beliefs we hold about ourselves, and when do those beliefs turn into core components of our identity? I was most compelled to explore this question through Marty and Diane’s dynamic and marriage--their individual perception of it and one another.
What is marriage but a negotiation, a choice of the life we envision for ourselves. When we don't have all the information pertinent to make that decision, how will that reframe the life we've led for forty years? Will there ever be anything our spouse can say that might rectify the betrayal? Or do we choose to believe the lie they've been telling themselves as a final act of grace?
There is a controversial and somewhat experimental scene that takes place half way through the movie where I made the explicit decision to keep the camera as wide and still as possible. Marty and Diane are seated on the couch, surrounded by all the things from yesterday. It is in this moment of inaction, of boredom, of ennui, where a confession takes place - the confession that feels unbothered by time, and doesn't fully understand perhaps, what fracture it provokes.
For this movie, I was very inspired by the film Amour and the desire to create as much of a play-like quality in film as I could get away with.