Manchester Film Festival - A Plural of Blood
An interracial police family is caught in the middle of the controversies surrounding police shootings in the African American community.
Interview with Writer/Director Mary-Lyn Chambers
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Congratulations! Why did you make your film?
The Plural of Blood came to me in a unique way. I discovered the film on a website called Colaborator.com, where film artists can find each other and form collaborations without having to go through the red-tape of managers and agents. The post was from Bond Motion Pictures, a new production company seeking a female director for their film. I was drawn to the project as it explored a police shooting through the eyes of the police officer’s wife who is African-American – For me, this point of view felt fresh—and a unique way to further explore the conversation about the effects of police violence in our country. I’m personally attracted to material that explores inequality, social justice, and affecting change.
At the time when I came across The Plural of Blood, the shocking death of Sandra Bland was populating our news feeds while the normalization of police killings and acquittals kept stacking up. I felt compelled to throw my name in the ring. Through Colaborator I met Monica and Leo Lawson, the executive producers and co-founders of Bond Motion Pictures. They went through a rigorous process searching for a story and then searching for their director. Through the extensive interview process, it became clear that Monica and I shared a creative vision of how this story should be told. Bond Motion Pictures was also on board with my desire to hire women and minorities in leadership roles, something I do with all my projects, further cementing the creative synergy between us.
Imagine I’m a member of the audience. Why should I watch this film?
This film explores the idea that if one of us - or a group of people are suffering - we are all suffering. Mass shootings are a classic example of this. We all feel it. We are connected in more ways than we understand. Police violence and racism are no different. Our film explores the consequences a mixed-race couple endure. He is a Latino police officer who shot a young man, and his wife is a successful African-America businesswoman. Our film is emotionally honest and intimate. It tackles challenging subject matter with delicacy in an emotional and well-crafted film. The film features striking cinematography, a moving score, and outstanding performances by Monica Lawson and Matt Medrano.
How do personal and universal themes work in your film?
The Plural of Blood explores discrimination in small and large ways and the social consequences of actions that are irrevocable and cannot be undone, specifically the taking of a young man’s life by a law officer. It studies the way in which such actions not only affect the individual who commits them, in this case, Alejandro Santiago, the police officer involved in the shooting, but also the life of his wife, the biological mother of a child they hope to adopt, and the community as a whole. It explores intersectional identities, in this case of a police wife who is also a black woman, and what happens when those identities come into conflict during a person’s life. In our film, this conflict is heightened because of the culturally tense relationship that the American black community has with law enforcement.
More largely, our film explores discrimination in many shades. When there is oppression or harm against an individual because they belong to a particular group in our society, we all suffer. When people of color are racially targeted, the emotional health of the entire society is compromised. The film explores the ways in which oppression harms individuals, communities and the whole of society, and compels the audience to invest in equality.
How have the script and film evolved over the course of their development?
The first draft of the script was written by Sylvester K. Folks, an African-American former police officer. Kiki Lambden was the second writer to join the project. She took this story idea and elevated the tension, stakes, and pace of the film. When I was brought into the project to direct I was able to bring in the final needed aspect, which was to humanize the characters and to give them a full and three-dimensional quality. We knew that if the audience didn’t emotionally invest in the two lead characters, specifically the police officer, our film would not succeed.
What type of feedback have you received so far?
The feedback has been positive. People have enjoyed the film and were moved by it and understood what we are communicating. It has – and continues to inspire evocative questions at Q&As; questions that are always fresh and coming from new angles. One of our goals as filmmakers was to create discussion about being in the police force and being in communities on the receiving end of police oppression. The film has won two awards and has been screened in several festivals, including the Pan African Film Festival, the Toronto Black Film Festival, the Virginia Film Festival, Women+Film Festival, and the Manchester International Film Festival in the UK.
Even police officers and their spouses have seen the film with positive feedback.
Has the feedback surprised or challenged your point of view?
The feedback has been exhilarating. In addition to the subject matter explored in our film, people often compliment the high production value, the strong performances, and overall value of the film. We are very grateful for that. The feedback has not challenged our point of view on the subject matter but has rather allowed us to have a deeper understanding of where we are in this moment.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We have two goals with this film. The first is to expand the awareness of the film and to give new audiences a chance to see our movie. This fulfills our commitment to further the discussion on law enforcement and its relationship with minority communities. Our ultimate aim is to lean pressure on institutions to end discrimination in the legal system and seeking a wider audience will help us to do this. The second goal is to develop this project into either a feature film or an episodic series to explore the subject matter of police violence from the point of view of police families, and to further the understanding of how enforcement is seen in minority communities and how it needs to evolve to ensure that the law is enforced equally across its population.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We would be very interested in speaking to production companies and networks who would be interested in turning this into an episodic series or feature film. We are open to screen our film in schools and festivals.
What type of impact and/or reception would you like this film to have?
We are hoping to give our audience a new perspective on oppressive policing practices, to further the discussion about the relationship between law enforcement and minority communities, and have compassion for spouses and the home-life of police families.
What’s a key question that will help spark a debate or begin a conversation about this film?
The key question is “What is it going to take to change the current status quo?” and “How can we bring the police force to the discussion table to change the internal culture of the force to bring about lasting change?”
What other projects are the key creatives developing or working on now?
I am collaborating with the producer, Roxy Shih, and the cinematographer. Ludovica Isidori, on developing my first feature film; an unexpected three-day love story set in Qatar, where I once lived. I am shooting a proof of concept for a television series set in 1920s Tijuana; a Spanish language concept with a female lead that we would like to develop into an episodic series. Monica Lawson, our executive producer, and lead actress is developing new work with Bond Motion Pictures alongside pursuing her acting career. Roxy Shih, who is also a director, is directing her third feature film. Ludovica Isidori is shooting her second feature film in Austin Texas.
Interview: February 2018
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTIAQ+, scifi, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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A Plural of Blood
An interracial police family is caught in the middle of the controversies surrounding police shootings in the African American community.
Length: 20 minutes
Director: Mary-Lyn Chambers
Producer: Monica Lawson (executive producer) Roxy Shih (Producer)
Writer: Sylvester K. Folks, Kiki Lambden, Mary-Lyn Chambers
About the writer, director, and producer:
Writer/Director
Mary-Lyn Chambers is an award-winning filmmaker from New Zealand. She is a Directing Fellow in the Sony Pictures Television Diverse Directors Program and Film Independent's Project Involve.
Executive Producer Monica Lawson
Monica Lawson is a New York-trained actress from NYU's Tisch School of the Arts and founder of Bond Motion Pictures.
Producer Roxy Shih
Roxy Shih is an internationally acclaimed Taiwanese-American producer and director. Her work is extremely versatile, and she has worked with many independent companies both overseas and domestically.
Key cast: Monica Lawson, Matt Medrano, Elizabeth Greer, Candice Coke, Roni Weissman and Anthony Harris
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Production companies and financiers
Social media handles:
Facebook: https://www.facebook.com/PLURALMOVIE/
Instagram: https://www.instagram.com/the_plural_of_blood_movie/
Other: http://www.thepluralofbloodmovie.com/
Directors website: marylynchambers.com
Directors Instagram: https://www.instagram.com/marylynchambers/
Funders:
Bond Motion Pictures
Where can I watch it next and in the coming month?
The Toronto Black Film Festival
The Manchester International Film Festival
Women+Film Festival