We're currently in post on this film which poses a new challenge for me - it's half in Greek, a language I don't speak. Writer-Director Alkin Emirali has crafted a charming, meaningful look at how pain long in the past affects our choices.
This film is the brainchild of multi-hyphenate Glad Moss, and is an unflinching look at a very tough subject. Glad is a young director who has both strong ideas and a willingness to collaborate - a killer combination. This is one of those chamber piece films, a two-hander, and the performances of our two leads are well showcased by Glad's writing.
This is a dreamy and sexually charged exploration of beauty, and of how we're seen and want to be seen.
The film has premiered as part of the Official Selection at the Nashville Film Festival. Check out the film's progress here.
MNEK - AT NIGHT
This was a late phonecall. A late phonecall from Greatcoat Films not only offering a job, but also qualifying that it might be tricky... As with a lot of promos, the director had excited the label with an ambitious and fresh pitch, he had connected with the artist and excited them, but then didn't have the resources to easily achieve his vision. The first editor had been struggling with the way the job was half edit and half VFX composite, and I don't blame her. The Motion Control rig hadn't behaved, the time had run out... from what I heard the shoot was full of all the usual fun and games that remind me why I stay in my comfy post-production chair.
But the director is a real talent, and great cutting-room company, so in I plunged. The task at first was trying to get the flow of the piece working, whilst coping with the jigsaw-puzzle system that had been created by the director's conceit of an infinitely tracking camera. Then came the input from the man himself, MNEK. Uzo (as he introduced himself) is a very sharp fellow with a sensitive, artistic eye. He knew what he wanted, and unusually for a young man in his position showed both warmth and focussed professionalism. Couple that with his astonishing success (a quarter of a billion Youtube views, a track on Beyonce's new album) plus the fact this is a damned good track, you end up with someone you want to please. Hopefully we did.
The director's conceit of an endlessly tracking camera didn't make it completely intact to the final edit, but with Toby at Cheat grading the deep, rich photography, and consistent effort in the edit, we ended up with something rather lovely.