Weak

We’re tackling some pretty big issues in our short film. Mental health, depression,
suicide, and women’s issues. All while doing so in a short time-frame, by taking a mystery box approach, and keeping the people guessing.
Our movie opens with the words: A true story, told differently.
It’s based on an experience that our lead actress/producer, Katherine Castro had.
She was at a shooting range, when a person committed suicide in front of her.
The reality of the event, the shock from the trauma, and the search for trying to make sense of it all... what would compel someone to do something so extreme, in front of others, with their family members in the vicinity – all these were questions
that came to the forefront.
As filmmakers, Katherine and I set out to explore these very elements, and I was tasked with writing a story that feels cerebral, raw, visceral, and yet is nuanced and
hopefully packs a punch.
We did extensive research about mental health issues, particularly with women – how a lot of times the lack of support systems, or the stigma around depression, or seeking any mental health counseling adversely affects so many individuals.
Lastly, we really wanted to address suicide – how prevalent it is, how much it’s not talked about, and how asking for help should not be seen as an act of weakness.
As a filmmaker, I’m not really one to talk much about style and tone. A lot of that will come across in the filmmaking itself. I’ve already written a very tight script, that hopefully conveys what we’re going for.
I set out to write a short dramatic piece that felt timely, relevant, emotional, and resonant. Yet, I’m keenly aware of audience expectations, and being a genre storyteller, I never like my audience to get ahead. So I wanted to build an element of mystery and deliver an unexpected ending.
The last thing we as a team want, is to come across as a soapbox piece.
We’re talking about some very heavy issues. And so couching those within a taut, genre piece with a twist at the end will hopefully make for a roller-coaster journey for the audience, leaving them stunned, and then fostering conversation about the themes and topics mentioned within.
With regards to style, I was very inspired by Fatih Akin’s 2017 Cannes award winning film, IN THE FADE (starring Diane Kruger). I want the color palate to mimic the blues and greys, conveying a lot of Audra’s internal depression, contrasting that with the faux color and exuberance in Jen’s façade. We’re going to use a lot of handheld camera for Audra, and keep things smooth and classic for Jen.
The music we’re already creating does similar contrasts for each of the characters, but blending the two at the end, to give us a sense that we’re all in it together at the end of the day. In terms of editing style, I want the interrogation, flashes, and regular scenes to play out how Jean Marc-Vallee did so expertly and efficiently in HBO’s BIG LITTLE LIES.