MAY BEE

Sometimes the most essential things go unnoticed. The pause during the COVID-19 pandemic has given us time to notice and reflect upon the need for human connection.
MAY BEE started as a film about transformative energy exchange and its exploration. Over the course of the lockdown the human connection became the most desirable thing. Especially for ill children who became isolated, since they are left alone with their illness. Because of mandated social-distancing, hospitals are closed to all visitors including clown doctors. For children, these clown doctors are like a rainbow on a rainy day: with them their day brightens. Through these interactive sessions young people are able to leave their “shell of pain”, and become more mobile.
There is an invisible nature to the children. We can feel them in the film, yet they are invisible to society. Their situation becomes a cause of pain for the main character; Suzie. Her clown character, Dr Maybee, is a kind of therapy for vulnerable children. She can hardly accept the fact that she cannot reach them, while they are in need.
As for me, the story of the clown doctors and what they endeavour to do is really inspiring. It may encourage all us to carry on. These extraordinary specialists bring joy in places that are not meant for that. This is the film about “togetherness”, and its valuable potential.
MAY BEE is supplemented by observational and impressionistic elements. The structure of the film is shaped by Dr Maybee's drawings that reflect memorable days with the children. Colourful shadows refer to the colour pallet of feelings expressed by Suzie. The film tells the story from the point of view of the protagonist. It also possesses some POV narrating elements – Suzie records her sensations while having her daily walk with her dog. The camera is handheld to imitate a lifelike quality - it’s “breathing.” This allows the audience to observe and reflect on the protagonist’s endeavour.