Participate in the production of an absurd detective-flick. An original short-film that brings together students and young professionals.

Project visual CORTÈGE
End date
Out of €2,000
106 %


<p> <img alt="Page_couverture-1412240608" src=""></p> <p>  </p> <p> <strong> “It is black in misfortune, it is blacker still in crime”</strong></p> <p>  </p> <p> <strong>                      Victor Hugo</strong></p> <p>  </p> <p>  </p> <p> <u><strong>DETAILED PROJECT PRESENTATION :</strong></u></p> <p>  </p> <p> MARNIE FILMS productions presents PROCESSION, the new short-film of CAMILLE DE CHENAY.</p> <p> We are shooting a short film between October 29th and 31st. The length of the film will be of approximately 15 minutes. </p> <p>  </p> <p> <u><strong>PITCH :</strong></u></p> <p>  </p> <p> The film takes place in a forest, during the night, in a small wooden cabin. It’s some type of procession. The script of “Procession” is one that has the structure of a detective novel, but that diverts towards comedy. The film recounts a night in the lives of four former young hired killers who are invited by a man named Zero to a cabin in the middle of the forest. It is some sort of a reunion.</p> <p>  </p> <p> They haven’t been notified of one another’s attendance or of the purpose of the meeting. They find themselves together, waiting for information that never arrives.  Faced with the emptiness, as a last resort, they decide to find answers within the cabin.</p> <p>  </p> <p> What will they find?</p> <p>  </p> <p> A dozen people from different backgrounds carry out this project. It was born from the desire to quickly reunite artists from different backgrounds, both professional and amateur. This diversity will allow us to project authenticity and spontaneity through the film. The project was conceived in a way as to be quick and efficient. This original concept, that lies at the heart of the reality of cinema for young filmmakers, needs you support the see the light of day. The funds collected will be directly invested towards the equipment we need: cameras, lights, make-up, costumes, set. </p> <p>  </p> <p> <img alt="Ponchel_cortege__10_-1412749530" src=""></p> <p>  </p> <p>  </p> <p> <strong><u>EXTRACTS</u> :</strong></p> <p>  </p> <p> We are left with the four youths, many hours after their arrival. They all seem to be waiting: Alex is lying on the bed, looking up. Julien, who is sitting in his corner, has dressed himself in a hat and is struggling to smoke a pipe. The smoke creates eerie waves. Camille leans on the doorframe; she stares into the forest and point the flash of her phone towards it. Sigrid is in front of a small mirror. She seems to be getting ready: applying cream, brushing her hair, and adjusting her headband.</p> <p>  </p> <p> All of a sudden, Julien starts to wiggle. He takes his cell phone out. He pressed loudly on two or three keys and listens to the message that’s been left for him:</p> <p>  </p> <p> <em>Message: “22 it’s Zero. To redeem your behaviour of…”</em></p> <p>  </p> <p> The three others plug their ears and scream: “stop!!!” Julien pays no attention to them and continues.</p> <p>  </p> <p> <em>SIGRID:</em></p> <p> <em>What the hell are you doing?!!</em></p> <p>  </p> <p> <em>CAMILLE:</em></p> <p> <em>Stop, dude, you signed a thing!!</em></p> <p>  </p> <p> <em>ALEX:</em></p> <p> <em>Julien you’re gonna get caught if you continue. </em></p> <p>  </p> <p> <em>JULIEN: </em></p> <p> <em>Come on, stop guys. I’m not going to fuck everything up. I’m not stupid. I just want to listen to the ending. Shut it, I can’t hear anything!!!</em></p> <p>  </p> <p> We can hear the voice of the man on the phone: “Ok listen closely 22 for tonight.  <strong>Nothing is more despicable to wisdom than an excess of subtlety</strong>. There, that’s all.”</p> <p>  </p> <p>    </p> <p> <u><strong>AUTHOR’S INTENTION</strong></u><strong> :</strong></p> <p>  </p> <p> The film pervades of the author’s personal sentiments. It paints a seemingly endless longing in a world of constant solicitation. For the four protagonists, the seemingly pointless pause allows them to face their past, their loneliness and their angst. We meet the four characters while they are at different crossroads in their lives, but who have one thing in common: they are no longer called upon because of their skills as hired killers; they have been dismissed despite their young age.</p> <p>  </p> <p> “Procession” is a film nourished by my love of literature. The plot is a reference to inspector Dupin in Poe’s <em>The Purloined Letter. </em>Waiting for me is a constant reference to <em>Waiting for Godot. </em></p> <p> I situate this film at the limit of fantasy because it is only in the space of the in between that it resonates in our era which is saturated by reality, by boredom and the insufficiency of liberty and of a breath of new life. I wrote this scrip so that it would resonate with our time, like an emergency from the youth in response to the slipping of life and the folding toward conformism, politeness and other forms of expression.</p> <p>  </p> <p> <em>Who are these young people? What does the youth of today represent? Who is Zero? What does this meeting mean? How to wait? What is programmed death to a generation raised by youtube and videogames? Does the future rime with guilt? </em></p> <p>  </p> <p>  </p> <p> <u><strong>CASTING :</strong></u></p> <p>  </p> <p> <em>Alex will be played by Alexandre Marouani</em></p> <p>  </p> <p> <img alt="248596_8-1412240386" src=""></p> <p>  </p> <p> <em>Julien </em><em>will be played by</em><em> Julien Gaspar</em></p> <p>  </p> <p> <img alt="Olivieri-1412240542" src=""></p> <p>  </p> <p> <em>Sigrid </em><em>will be played by</em><em> Sigrid Bouaziz</em></p> <p>  </p> <p> <img alt="413818_2-1412240558" src=""></p> <p>  </p> <p> <em>Camille </em><em>will be played by </em><em>Camille Rutherford</em></p> <p>  </p> <p> <img alt="Camille-rutherford-2-1412240572" src=""></p> <p>  </p> <p>  </p> <p> The four teammates seem today to be melting in boredom. It is fathomable that they have no real desires for the future or any ambitions. They have all found refuge in their extravagant behaviour to go thrive beyond their failure. This meeting, which is an excuse to awaken their former urges, questions the life of guilt. Here, confrontations aren’t for the purpose of speeding up the plot, but to unveil the characters and their complexity. </p> <p>  </p> <p> <u>THE FORM</u></p> <p>  </p> <p> I imagine “Procession” as having a granular image of porous blackness. I’d like to see worrisome nights and cutting lights that allow the cutting of silhouettes and profiles.  Because I’m passionate about drawings and photography, I could speak of the Mickael Ackerman’s photography for its moving matter impression and of Saul Leiter for its marking colours in the darkest of nights. Moreover, it is also of the detective comics of Tardi that I wanted to remember and make relive through lost ambiances and characters, at the end of themselves. </p> <p>  </p> <p> <img alt="Michael_ackerman-1412242341" src=""></p> <p> Michael Ackerman</p> <p>  </p> <p> <img alt="Vampire-1412242376" src=""></p> <p> Edvard Munch, Vampire</p> <p>  </p> <p> Personal works :</p> <p>  </p> <p> <img alt="_mg_3266-1412748308" src=""></p> <p> <img alt="Img_0940-1412748272" src=""></p> <p> <img alt="Img_6443-1412748293" src=""></p> <p>  </p> <p> <u><strong>THE SCENE</strong></u></p> <p>  </p> <p> We are lucky enough to shoot in the suburbs of Paris in a sublime cabin in the woods that was lent to us. It is on a private property where the house was built before Versailles. The place gives us direct access to the forest and much freedom in regards to the decorations and scenography. Moreover, a scene will be shot in a car at night. </p> <p>  </p> <p> <img alt="Img_8985_copie-1412240726" src=""></p> <p> <img alt="Img_8979_copie-1412240784" src=""></p> <p> <img alt="Photo-1412748804" src=""></p> <p>  </p> <p>  </p> <p> A few accessories :</p> <p>  </p> <p> <img alt="Photo_1-1412748765" src=""></p> <p> <img alt="Photo_3-1412748780" src=""></p> <p> <img alt="Photo_2-1412748793" src=""></p> <p>  </p> <p>  </p> <p> <u><strong>L'EQUIPE TECHNIQUE</strong></u></p> <p>  </p> <p> Réalisateur : CAMILLE DE CHENAY</p> <p>  </p> <p> Assistant réalisateur : MATHIEU PONCHEL</p> <p>  </p> <p> Scripte : CLARA GOSSELIN</p> <p>  </p> <p> Chef opérateur : SARAH BOUTIN</p> <p>  </p> <p> Assistant opérateur : NOE BACH</p> <p>  </p> <p> Directeur de production : LIOVA JEDLICKI</p> <p>  </p> <p> Ingénieur du son : MAEL DUPON, PIERRE BEZARD</p> <p>  </p> <p> Electricité : PASCAL DOYEN, PIETRO ROSSO, CYRILLE HUBERT</p> <p>  </p> <p> Chef décorateur : MARIE VANDEVILLE</p> <p>  </p> <p> Assistant décorateur : THOMAS LOURIE</p> <p>  </p> <p> Chef régisseur : SONNY MARCIN</p> <p>  </p> <p> Régie, cantine : LEO ROSSI </p> <p>  </p> <p> <strong><u>L'EQUIPE ARTISTIQUE</u></strong></p> <p>  </p> <p> Alex : ALEXANDRE MAROUANI</p> <p>  </p> <p> Sigrid : SIGRID BOUAZIZ</p> <p>  </p> <p> Camille : CAMILLE RUTHERFORD</p> <p>  </p> <p> Julien : JULIEN GASPAR</p> <p>  </p> <p>  </p> <p> <u><strong>BEFORE "PROCESSION"</strong></u><strong> :</strong></p> <p>  </p> <p> CAMILLE DE CHENAY has already written, directed and self-produced “Mort au rêve” (March 2014), where she’s already collaborated with Camille Rutherford, Alexandre Marcouani and Julien Gaspar. “Mort au rêve” tells the story of two young women waiting endlessly for some feedback after their job interview with a police inspector who is in midst of a midlife crises. The film was selected at the Cinetrofa festival in Portugal in 2014 where it received the prize of creativity. </p> <p>  </p> <p> <img alt="1661185_560258034078877_2920847319987029730_n-1412750881" src=""></p> <p> <img alt="Mor_img_caf__ligh-1412750897" src=""></p>

Allocation of funds

<p> <strong>WHAT WILL THE FUNDRAISER FUND? </strong></p> <p>  </p> <p> We’ve already assembled a good part of the funds for the shooting. The fundraiser will help us collect enough money to purchase and rent the necessary equipment.</p> <p>  </p> <p> Lighting : 600 euros, Camera material : 500 euros, Costumes : 200 euros, Make-up : 150 euros, Sound : 250 euros, Machinery : 300 euros.</p> <p>  </p> <p> 2000 euros is our minimum budget. All supplementary funds collected will be automatically reinvested in the film and will allow us to screen it.</p>



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