A l'année prochaine
Help me for my project SEE YOU NEXT YEAR, a medium-lenght film about grief, childhood, passing Time and the difficulty of saying 'Goodbye'.
A l'année prochaine
It is the last day of the vacancies, the end of the summer for Clement. Today a meeting in a family member is held. The father of the latter, seriously sick, is in phase terminal. Each member tries to spend this day under his best day. Between the game, the unvoiced comments, melancholy, innocence, the time which passes. Clement observes this determining day for the rest of his life. The world of the adults on a side, parents, where the serious one and the conscience of the events weighs on the moral one; the world of the children, conscious but sweeping the moroseness by the being all-together with all the cousins, the ones of Portugal and the ones of Switzerland. At the end of the day there will be tears, laughter and the future. It will be the last day for everyone. And the departure.
NOTE OF INTENTION
This project of medium-lenght film is born from a feeling which more left me since the death of an uncle who was dear to me. This film tells in a very autobiographical way a moment hinge of my adolescence, or rather of an end of adolescence. It is the last day of the vacancies before the big departure, this day is put at profit to go to visit then my uncle in phase terminal. This last day, from the morning to the evening, it plays one moment that I did not carry out that little time ago, that one time where an era ends and the opening of another, more adult.
This film is an observation of this last day when the vision of a dying being will be not only the last image left by this man before his death, but also this anguish of one day which passes and which does not stop, one day which does not take the time, one day which does not leave time to the words to leave, with the things to say itself, the feelings to reveal itself fully. This last day will be the occasion of last meeting again between members of the same family where very quickly is played the innocence and the desire of game of young people, sought to fill this day with laughter, of joys, plugged some share by what surrounds, not seeing in a serious way what is played in these last moments together. In addition there is the world of the adults, the eyes opened, serious, terribly conscious. This dying uncle is the ceaseless recall of the tragedy which proceeds in this house for young people. In spite of the game and the meeting again, the deaf threat is indeed present.
The sun is going down, Time flies and we must go. Scene of Before Midnight from director Richard Linklater, probably the filmaker who inspire me the most, where this mise en scène of th sun as a figure of Time is very clear in my movie.
This film wants to be to be a declaration of an extreme sincerity where the close friend and staff mix with the universal one: The tearing of mourning, the feeling of the departure. I very quickly realized that I could only write that what I know, which moves me and consequently what the spectator will be brought to feel in an honest and purely sincere way. In addition to the catharsis which this project represents, this film is the representation of a melancholy that each one among us could live in his life. That it is in mourning, the separation or the recall soft-land-mark of a memory which dips back us in these innocent moments where the change was not felt, after, elsewhere. What moves me deeply with the cinema it is the feeling of the Time which passes, the emotion which crosses us when what we lived is not any more.
This film is the illustration of a Time, of a last breathing where one will have shared for the last time a moment together. The melancholy is born according to the last image, when it is known that it will not re-examine any more this presence.
Photo of the film The Descendants of Alexander Payne where the question of mourning, treated with significant manner and emotion inspired me.
This film shares the point of view of Clement, autobiographical character. The majority of what is observed, lived, is felt according to the vision of this character. I do not refuse the aside where the parts between the adults are told starting from a realistic imagination, i.e. these moments were brought back to me by members of my family. In spite of the autobiographical echo, this film does not refuse the fiction. On the contrary, it is nourished by fiction from where, I have the certainty of it, will leave an all the more bright truth there.
The emotion which spouts out sequences is the expression of which I did not cry by my absence at the time of the funeral. I am not afraid of the emotion which is diffused all the way along this history, it is only the pure one felt of all that my heart expresses concerning this mourning.Combined with the emotion, humour also traverses this film. The world of the young people is carefree, innocent in spite of the external weight. Clement is a character who always tries to take down a joke, a laughter, a smile. He is the actor of a theatre which oscillates between drama and comedy.
Clement after a fashion tries to reassure Joel, son of Manoel (That which is sick). The relation between the two is privileged because it takes part of a personal reconstruction of what I will have wanted to say or make. This film has a curative aspect. As well by the gestures as has the characters between them, in the decency which emanates from the film but by the extreme tenderness addressed to the characters. It is a short-measuring which is interested in human in its brittleness, where it will seek moments of love after a fashion.
Beginning until the end of the film, the characters will go laughter, to crying, separating and saying themselves 'See you next year'. Like a cycle, but carrying a hope. The one that will be re-examined despite everything.
Toy Story 3 ? Really ? The end of the great film of Pixar brings a feeling which I wish to develop in my film. The goodbye scene to a certain adolescence, the goodbye meaningful but also the future and optimism despite everything.
This talking film also about a topic which is expensive to me, the emigration. What leads me to speak about this will to oscillate between the French language and the Portuguese language, where the world of the young people speaks French and that about the adults Portuguese.The emigration, in its universality, is evoked in this cultural fastening with a ground which one visits only some time, of the times once a year, of the times once every two years, of the times once every ten years. It does not matter, which interests it to me is this constant starting idea between two countries, grounds of transition, of temporary visit. The emigration accentuates this melancholy because death becomes invisible when the news crosses the borders. The emigration has this share of separation which nourishes my desire of stories and cinema.
Concerning the production, this film lends to a fluidity in the movements, with a follow-up of the characters in space. The production will have to open space in particular when its out-field of the pain or a call crosses space. This house calls with the interaction of the places between them by the means of the sound and the movement. A certain fluidity invites to pass from a field to another. All in all, the production wants to be ambitious by the movement. This film, according to the interior strong moments of inspections, will make the good share with the closes-up to collect what is played in a glance, a silence, an emotion. The unvoiced comment is a major feature of the film.
Concerning the game of the actors, each one having his precise characterization and its direction inspired of a certain reality, it will have to be expressive as much as modest. Expressive in its moments of release-catch, whether it is of intense happiness or tearing emotion ; modest in the treatment body, physical, oral examination of a behavior which one feels that it should not transgress a respectful ceremonial. Constantly between the joy of a being-together and the behaviour of feel-individual.
Moments of life, moments of doubt, meeting again sincere and tearing goodbye, this film is a bracket of life, a passage which one has a whole day felt in this reducing time.
The very influential movie of Paul Thomas Anderson : Magnolia and this scene where impact strength and the moment when we realize the departure touches us in full heart.
Clement and Joel will seek water with a small well where the source comes to flow not very far from the house. House with the cascade, they go quietly on a small forest road.
How things going ? You do not have say me yet. You saw my father this morning.
Yes, i'm ok.
Doesn't that embarass you to see him like that? In this state?
Yes of course. But I was accustomed you know. Of course it is not any more the uncle who frightened me when it tackled me at soccer. But it is always uncle. And do you know what bothers me? It is that we've grown up, and it is my turn now. It is my turn to tackle him. It is my hour! ((Joel laughs)) And you, you, How are you? Does that occur well to the house?
It is not easy… But I hold good. That goes. Everyone helps.
I imagine. Most important it is that he does not suffer, or at least the less painful possible. Well... you see… I hope that will go.
I think especially of my mother. She will be alone next year. I feel almost guilty to set out again.
Do not think of that. It is a chance for you. There is nothing here for you. Your future is there now.
She is strong. She will make it.
Clement does not manage to find the words, seeks them awkwardly, Joel looks very feverish. They arrive at the small cascade.
You will eat the pork tomorrow night
You will please to me to go there. You cannot say not to the pork. I am already desperate to leave before eating it. I have seen it every night for one week. I dreamed of this whore of pig. So you are my only hope, you go there and you eat this pork for me.
Joel laughs until crying when it fills the bottle. Philippe gives him a small slap on the back, leaves his hand by lowering the head, trying to look at elsewhere.
Is not necessary to cry for me pal. There will be years still to eat this pork. Or a lot of pigs to be eaten in one year. I would prefer that.
The bottle overflows. Joel raises, back to Clement, and turn over while smiling to him. Clement makes a sign of head to turn over to the house. They take water and go away in silence. The sun is lower, the luminosity is lower, nuances are shown in the sky.
This film is not part of an university course, it is fully personal and wants to be professional in terms of ambition and range. Not only it is dedicated to being seen by a majority of people, besides a sending with the national and international festivals. This project is the history of a major belief in the universal and emotional range of this one. The visual one of the film is the inspiration of the place of origin.
The actors will be French-Portuguese owing to the fact that the two languages will be spoken there. There will be 14 of them (the family represented there is numerous).
The place of filminging will be in the south of France, where the geography resembles more the plate of the North of Portugal. But once again, the universal range of the history makes that this film can be made as much in France, that in Portugal. It is obvious that this film evokes in particular the emigration free-Portuguese. Nevertheless, I want that the diffuse feeling of the film reaches the feeling of a departure suitable for each one.
Here are the different locations to shoot :
Influences & musicals landscapes :
Concerning the engineering team, here the various stations envisaged:
- Chief operator (Demo of chief operator) : ARSENE DESMICHELLE
- Assistant camera
- 2 Electro/Machino
- 2 Assistants directors
- 2 studio managers
- Assistant sound and sound engineer
- Hair /Make-up
- Déco chief
My first studied short-film is visible here: https://vimeo.com/189361710
SEE YOU NEXT YEAR will be my first film except course, that which I carry with the greatest determination and a sincere love. The first short is a fundamental stage, for the ground and the springboard that has in terms of experiment. It is also the stage of the heart, that where we give all that we have because we believe of its making, we believes in its potential on every spectator.
I took part before in several short-films which are in the course of post-production.
Waar dient de collecte voor
10 000 euros is an important sum of money. It reflects the ambition of the project and the will of a result the most professional and succeeded according to the vision and the production suggestions.
This money will be used for:
-50% for the stage management. You will agree on it, it will be necessary to place, nourish and defray more than 25 people for a 10 days total of filming in the south of France. It is considerable but it is necessary to have a team solid and prepared for such an important time of work, hence a contribution at best of comfort and solidarity of the team which unfortunately, except splendid exploit of this call, could not be paid. 5 000 euros is an average made starting from the various places which can place us, besides the prices of expenses transport, petrol or train tickets.
- 35% for the hiring of equipment light/its/camera/machinery. Certain equipment is already acquired and/or in process of loan by aids in kind (loan of equipment). With an obvious negotiation, we consider a hiring total to what is necessary to 3,500 euros.
85 % of the money will be spent for the shooting which will be on august/september 2017.
- 10% for the post/production. In particular the assembly, the sound mixing, calibration and first DCP for the festivals.
The movie will be ready for the beginning of 2018.
- 5% for the counterparts.
The funds collected on this platform will be transferred to Philippe Machado Domingues, as the producer of the project.