Logline: Walking into the hospital room of her dying father, eldest daughter Jill is forced to confront strained relationships with her mother and sister, as well as the reality that her own family is falling apart.
Length: 14 minutes
Director: Assaf Mor
Producer: Assaf Mor & Noopur Sinha
About the director and producer:
Assaf gained experience working in the Israeli and European documentary film industries before relocating to Los Angeles where he completed his master’s degree at USC.
Noopur served as Executive Producer in India's largest TV network. She currently lives in LA where she produced several successful web series and short films.
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Buyers, film festival directors and journalists.
Made in association with: Hot Pixel Inc.
Release date: TBD
Congratulations! Why did you make your film?
I’ve always been fascinated by relationships within a family and was curious to investigate that in a film. I wanted to explore what happens to the family dynamic when one member passes. I think I was deeply driven by my fear of losing a loved one, especially since I moved so far away from my family to LA.
Imagine I’m a member of the audience. Why should I watch this film?
The reaction I hear from people who have seen the film is how relateable the characters are. I know death is not the most appealing subject but I promise the film has many humorous moments and a surprise twist in the end.
How do personal and universal themes work in your film?
I think few themes are as universal as family and the sad eventuality of death. But I also feel this is a very personal movie; inspired by people I know and influenced by the death of my own grandfather. I think the two go hand in hand.
How have the script and film evolved over the course of their development and production?
This short stemmed from a feature I was writing where the young grandson was the protagonist. I faced a bit of a writer’s block and had the idea to read Beckett’s “Waiting for Godot”. The play inspired me to write the short and made me reconsider the main character (which became the eldest daughter). Strangely, we shot and edited the script more or less the way it was written.
What type of feedback have you received so far?
So far, we had very positive response. We haven’t officially had our world premier but, in private screenings, people were deeply moved by the story. Also, the legendary Hollywood critic David Sheehan watched the film and wrote a very complimentary review, which made my week.
Has the feedback surprised or challenged your point of view?
I can’t say it has. I can say that on my next project I wouldn’t be as apprehensive about pushing the limits of traditional filmmaking. It seems to work and people “get it”.
What are you looking to achieve by having your film more visible onwww.wearemovingstories.com?
We are still looking for the right program to premier our film at. The film is currently being reviewed by several top festivals. I hope your platform will help us find the audience for our film and connect with it.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
I really believe in word of mouth but to start a conversation I think festival programming and press are key.
What type of impact and/or reception would you like this film to have?
I would like this film to get audiences thinking about their families and relationships. Ultimately, this film is about reaching out to another person, to see their fears and needs and not just your own. If people leave the theater thinking differently about how they view tensions in their own families, that’ll be very satisfying for me.
What’s a key question that will help spark a debate or begin a conversation about this film?
Are we doing enough in our everyday lives to maintain the relationships with the people we love?
Would you like to add anything else?
I had the great privilege to work with amazing veteran Hollywood actors, led by Academy Award Nominee Sally Kirkland. I wish production companies and distributors open up to films featuring older actors because they’re missing out on phenomenal talent. I’m grateful for the performances in my short and hope audiences will appreciate them too.
What are the key creatives developing or working on now?
I’m currently in different stages of writing two feature scripts, one set in a very different world than Mr. Goode. I also have another short idea that I’d like to pursue before directing my debut feature.