Experiencing Interruptions?

Leo

Reggie is an inexperienced thief, seeking refuge in an abandoned home. He is confronted with an unexpected scene: Leo, a “fixer”, serenades a brutally bound and beaten man with a playful monologue of family, trauma, and childhood.

  • Michael de la Flor
    Director
  • Michael de la Flor
    Writer
  • Faoileán Cosgrove
    Producer
    SKIN, Away From Home
  • Chris Davis
    Producer
    SKIN
  • Chris Davis
    Key Cast
    "Leo"
  • Aileen Jialing Wu
    Key Cast
    "Reggie"
    Alien: Romulus
  • Dominick DeFazio
    Executive Producer
  • Violet Smith
    Director of Photography
  • Yasha Eskandar
    Editor
  • Cyrus Gainer
    Production Designer
    How to Raise a Black Boy, SKIN
  • Project Type:
    Short
  • Genres:
    Thriller, Horror
  • Runtime:
    15 minutes 10 seconds
  • Completion Date:
    March 29, 2023
  • Production Budget:
    12,000 USD
  • Country of Origin:
    United States
  • Country of Filming:
    United States
  • Language:
    English
  • Shooting Format:
    Digital - Arri Alexa Mini
  • Aspect Ratio:
    2:35:1
  • Film Color:
    Color
  • First-time Filmmaker:
    Yes
  • Student Project:
    No
Director Biography - Michael de la Flor

Michael de la Flor is a Houston-born, NYC-based writer, director, performer, and theater-maker. From November 2018 to November 2019, Michael directed and produced the devised, interactive, and immersive performance experience UPDATE, presented through the NYU Gallatin Arts Festival, Dixon Place, and the 2019 New York Fringe Festival (updateirl.com). In 2021, Michael founded the short lived artist collective 26B. In May of 2022 his play The Bear Tax: A Melting Glacier And Its Friend the Water was presented at The Soho Playhouse as part of its Lighthouse Series. He is a graduate of NYU with a BA in Dramatic Literature, Theatre, History, & the Cinema.

Add Director Biography
Director Statement

During my undergraduate years at NYU, while grappling with an estranged relationship with my father, I began penning what would eventually become 'Leo'. My reflections were centered on personal morality, perception, and the internal narratives people craft to see themselves as 'good' or 'justified'. This exploration led me to question how experiences, motivations, and rationalizations shape our self-image and the unintended harm we might cause in our pursuit of righteousness.

The narrative began its life as a home invasion script, yet a turning point emerged when a striking monologue, embodying a homeowner with keen depth and perception, spontaneously took shape. This piece lay dormant until a friend's discovery and subsequent enthusiasm breathed new life into it. Together, we delved deeper into this character, refining his dialogue. With a strong foundation in theater, we leaned towards extended, uninterrupted shots to truly capture the dramatic essence.

With aspirations akin to Damien Chazelle's trajectory with 'Whiplash', we envision 'Leo' as a foundational piece, paving the way for our more expansive feature, 'Good People'.