Eros
Eros explores moments between lovers that unfold in one spot over a thousand years.
Interview with Writer/Director Shervin Kermani
Watch Eros here:
Congratulations! Why did you make your film?
I wanted to make a film that was a celebration of life and love. I've also always been interested in temporal fluidity in cinema, and I was irresistibly drawn to the idea of traveling through a particular space while moving between eras. I always knew it would be difficult to successfully pull off a film without conflict, but I hoped that the film would be engaging on the level of a dream or poetry.
Imagine I’m a member of the audience. Why should I watch this film?
The film explores moments between lovers that unfold in the same spot over a thousand years. If the idea appeals to you, I recommend you watch the film!
How do personal and universal themes work in your film?
While we were shooting, I encouraged the actors to improvise during their scenes as I was trying to avoid falling into some abstract representation of universal love. Particularly in the montage, many of the shots that ended up in the film were spontaneous moments that emerged unexpectedly. I hoped that the actors' spontaneity would create specificity inside the broader theme of the perennial nature of love, so the moments would feel more raw, stolen and real.
How have the script and film evolved over the course of their development?
I wrote 18 drafts of the script. I experimented with dialogue, though I eventually abandoned that idea as it distracted from the essence of the film. For a long time, I was fixed on the idea of each scene being a tableau vivant, but as much as I loved the look of these characters frozen in time, it became difficult to travel through all the sets without any motion to motivate the camera's movements.
I had also initially wanted to use Peggy Lee's rendition of "Fools Rush In" over the montage. I even cut together a test from various films before shooting and was convinced it was the right piece of music for the film. However, after production, it no longer felt right over the footage we actually shot, and I had to rethink the whole approach to the music in the film.
What type of feedback have you received so far?
Generally, feedback has been positive. Many people have commented on the production design, and are often surprised to discover that the sets were built entirely from scratch.
Has the feedback surprised or challenged your point of view?
I think people who have singled out how much they enjoyed the sound design of the film surprised me most, as it's usually something nobody notices. Having spent as much time as we did sculpting sound in post (we did not record location sound, so everything you hear was created after the fact) I'm glad there were people who acknowledged the work of sound designers Chandra Bulucon and Catalina Coman.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
Exposure. We're looking to share the film with as many people as possible.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We'd be happy to connect with anyone with whom the film resonates, including bloggers, journalists, influencers, or short film curators who would share it with their audience.
What type of impact and/or reception would you like this film to have?
It's always impossible to know what the reception of a film will be. Anytime you make a film, you hope someone in the audience will watch it and identify with something in the film, whether its story, ideas, or the spirit in which it was made. I hope the film connects with people.
What’s a key question that will help spark a debate or begin a conversation about this film?
Is love something of value in and of itself, apart from its results? Do we need to receive anything in exchange for love (marriage, security, longevity), for love to be worth giving or experiencing? At least, these are questions I ask myself.
Would you like to add anything else?
This film owes its existence to hundreds of people who came on board to make it happen. We received a partial grant from the Ontario Arts Council, and our limited budget was bridged by an incredible number of volunteers as well as companies and individuals who donated resources to making the film possible. I'm very grateful to them. More than anyone, I hope the cast and crew are proud of the film.
What other projects are the key creatives developing or working on now?
I'm shooting another short film, as well as writing my feature film debut. Producer Alona Metzer has gotten funding for a feature film from Telefilm Canada's microbudget 'Talent to Watch' program, for a project to be directed by Thyrone Tommy. Cinematographer Kristofer Bonnell has shot commercials for Space X, Indigo, and McDonalds. Nick Haight, the second unit cinematographer, shot the TIFF selected films Clara, and Mary Goes Round. Production Designer Rose Lagacé worked on the Baroness von Sketch show and runs popular art department blog artdepartmental. Editor Lauren Piché has cut commercials for Nike, Molson, and Budweiser. Composer Spencer Creaghan just finished Black Water starring Jean Claude Van Damme.
Interview: January 2019
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, 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
Eros
Eros explores moments between lovers that unfold in one spot over a thousand years.
Length: 08:20
Director: Shervin Kermani
Producer: Alona Metzer
Writer: Shervin Kermani
About the writer, director and producer:
SHERVIN KERMANI is an award winning Iranian-Canadian filmmaker whose films have been recognized at dozens of international festivals.
ALONA METZER is a narrative producer whose films have screened at TIFF, the Nashville Film Festival, and received funding from Telefilm Canada's Talent to Watch program.
Key cast: Darla Contois, Joshua De Perry, Lora Burke, JD Smith, Alice Snaden, Jamie Cavanagh, Joanna Areti, Timothy Daniels, Natalie Novak Remplakowski, Aisha Bentham, Tessa Alakas, and Colin Spencer Coulson.
Looking for: Online curators, journalists, influencers.
Facebook: @shortfilmeros
Twitter: @shervin_kermani
Instagram: @shervinkermani
Funders: Ontario Arts Council, Deluxe Toronto
Made in association with: Leilani Films
Where can I watch it next and in the coming month? It's premiered online here: https://vimeo.com/306938267