In the Event of an Earthquake
Upon arriving home after an earthquake, a teenager finds his mother’s dead body lying under the dining room’s ceiling lamp. Distraught about an uncertain future, he decides to carry out a strange plan with the help of his best friend.
Interview with Writer/Director/Producer Francisco Bendomir
Congratulations! Why did you make your film?
During the pandemic, I was stuck outside my own country for more than a year, ended a seven-year relationship, and, to top it all off, I lost my dad. It seemed like the world was falling apart, and I just felt like I didn’t care about anything anymore. I remember one night, I was alone on the beach, wallowing in self-pity, looking up at the sky, when a shooting star went by. I’m not one for superstitions, but I immediately thought that I should make a wish because that’s what you do when you see a shooting star… and the first thing that popped into my head was that I wanted to make a film. I realized then, much to my surprise, that there was still something I wanted… Sometimes, I’d joke with my team - although it was only half a joke - that we were making this film to keep me alive.
Imagine I’m a member of the audience. Why should I watch this film?
You might not guess it at first, but this film’s really personal to me. That said, I made a conscious effort, and I hope I’ve succeeded, to tell an engaging story that will leave you with plenty to talk about with your friends after watching it.
How do personal and universal themes work in your film?
I strongly believe, and I’m probably quoting someone here, that the more personal and specific you are in your storytelling, the more universal the narrative becomes. That’s exactly the approach I took with this film, which is loosely based on a deeply personal story, trying to be as emotionally honest as I could.
How have the script and film evolved over the course of their development?
Once the script was down, it really began to evolve during pre-production, and interestingly enough, a lot of this happened in my therapy sessions. For months, it felt like my psychologist was part of the creative team because the film was practically all we talked about. We dug into it, and along the way, I managed to work through many personal issues that were finding their way into the script.
What type of feedback have you received so far?
Over the years, I’ve learned to shield myself from too many opinions, especially before a premiere. I only seek feedback from a select few individuals whose judgment I deeply trust. Fortunately, the feedback I’ve received so far has been very positive, and if it weren’t, I wouldn’t tell you.
Has the feedback surprised or challenged your point of view?
Most people bring up the idea that the characters in the film might come across as kind of psychopathic. There’s this scene right at the start where the main character finds his mom dead after an earthquake. You’d expect crying, screaming, the whole nine yards, but no – he’s more like, ‘How’s this gonna mess with my life?’
During the pandemic, when I was dealing with the loss of my own dad, I was so wiped out emotionally that it took me ages to actually react like a human being. I felt like the character had to reflect that.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I hope that increased visibility will contribute to a sold-out premiere!
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Right now, I’m focused on finding more festivals to showcase our short film. And it wouldn’t hurt if along the way it becomes a launching pad for some good chats with producers about other projects!
What type of impact and/or reception would you like this film to have?
I’d love for people to laugh, get a lump in their throat, and maybe even squirm in their seats. But hey, I know that’s a tall order for just 13 minutes.
What’s a key question that will help spark a debate or begin a conversation about this film?
I don’t know if this question is key, but while making this film, I kept wondering about how to be a good friend when your world is falling apart.
Would you like to add anything else?
No, thank you. I’ve been trying to speak less these days. I have a habit of talking too much, and that sometimes gets me into hot water.
What other projects are the key creatives developing or working on now?
Right now, I’m actively working on a range of projects at Brillito Ltd., where I’m a producer. We have a blend of documentaries and fiction in the pipeline. Additionally, I’m searching for co-producers for my upcoming feature film, which begins with a teenager waking up aboard a spaceship that’s under the control of a cult.
Interview: July 2023
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
In the Event of an Earthquake
Upon arriving home after an earthquake, a teenager finds his mother’s dead body lying under the dining room’s ceiling lamp. Distraught about an uncertain future, he decides to carry out a strange plan with the help of his best friend.
Length: 13:16
Director: Francisco Bendomir, Luis Montoya
Producer: Francisco Bendomir, Camila Adaro Liloff
Writer: Francisco Bendomir
About the writer, director and producer:
FRANCISCO BENDOMIR was born in Buenos Aires in 1989. He has written, directed, and produced a web series that was nominated for a Martin Fierro Award (the Argentine Emmy), and three short films and a feature that screened, among others, at the Sao Paulo International Short Film Festival, Buenos Aires Independent International Film Festival, Raindance, Dances with Films, New Orleans Film Festival, BiFan and Fantasporto, where he also served as a member of the jury.
LUIS MONTOYA was born in Aguascalientes in 1987. He studied Industrial Design at the University of Guadalajara and worked for more than ten years in the art department on numerous audiovisual projects, including Alejandro González Iñárritu’s Bardo. The short film In the Event of an Earthquake is his first work as a director.
Key cast: Facundo Pérez, Lola Ahumada
Looking for: film festival directors, producers
Instagram: @fbendomir
Hashtags used: #encasodesismo #intheeventofanearthquake
Where can I watch it next and in the coming month?
Dances with Films - SUN JUN 25 @ 5 PM
Bucheon International Fantastic Film Festival - TBA