Reading, writing lau

Session 1: what, how and why

Version 1

What:

Release is a short coming of age film focusing on the experiences of a young boy, Bo (18), entering a gay-sauna for the first time. During a time duration of 15/20 minutes we see him transforming from a shy introvert to a more daring person, willing to take risks and chase his own desires. The film is fragmatic and contains multipile visits of Bo to the gay-sauna, covering a total time span of half a year.

In the film Bo learns the do’s and don’ts of cruising in a highly seksual space by simply doing and exploring. On the way he also makes new friends that help him gain more self-confidence.

When he is visiting more often a desire to be reckless and try extremer forms of sex arise. An encounter with two men leads to an unpleasant experience in which there is some miscommunication about each other’s preferences. Bo pushes himself a little bit too far in undergoing certain actions. This is a hard lesson which makes him more mindful about his own boundaries,

By the end of the film he is a full grown adolescent. He has found his place within the community and is ready to further explore his seksuality while also being alert.

How:

The film was possible to make because my graduation film won the Dutch Film Fund Wildcard. This enables young filmmakers to make a new film with a given amount of money. We shot the film in 5 days at a gay-sauna in Arnhem.

The cast consisted mainly of young non-actors that sometimes never appeared in a movie before. This required a special process with lots of rehearsals. During the production an intimacy coordinator was also involved to make sure everybody was feeling safe.

Why:

The idea of making a film that would take place in this kind of arena was already in my mind for quite some time. The images were already there and I even wrote some scenes.

The message behind the story popped up when I had an unpleasant experience myself. This specific situation made me think again about seksuality, the body, consent and the way we interact as queer and gay men in cruising-spaces. I wanted to make a film that celebrated the act of cruising and free seksuality without ignoring the possible dangers that can also be present. In this regard I tried to tell a story that wasn’t judgemental, but honest about transforming situations that can make you a stronger human being in the end.

Version 2:

What:

Release is a short fiction film focusing on the experiences of a young boy, Bo (18), entering a gay-sauna for the first time. The film is shot in an aspect ratio of 1.85:1 and has a duration of 20 minutes. The film contains multipile visits of Bo to the gay-sauna, covering a total time span of half a year.

In the film Bo learns the do’s and don’ts of cruising in a highly seksual space by simply doing and exploring. On the way he also makes new friends that help him gain more self-confidence. We see him transform from a shy introvert to a more daring person, willing to take risks and chase his own desires.

When he is visiting more often a desire to be reckless and try extremer forms of sex arise. An encounter with two men leads to an unpleasant experience in which there is some miscommunication about each other’s preferences. This is a hard lesson which makes him more mindful about his own boundaries. By the end he has found his place within the community and is ready to further explore his seksuality while also being alert.

How:

The film was possible to make because of some funding from the Dutch Film Fund. First I mainly worked with images that were in my head that didn’t have a concrete storyline yet. Together with my producer we created a structure and a character development that would be true to the message that we wanted to convey. Based on this narrative roadmap I started writing the screenplay.

When the screenplay was finished we started casting. It was an intense process in which we used multiple ways of finding people that felt comfortable with being in this kind of film. I met people at parties, contacted them through instagram or invited them for an audition when they replied to our casting call. Eventually the cast consisted mainly of young non-actors that sometimes never appeared in a movie before. This required a special process with lots of rehearsals. During the production an intimacy coordinator was also involved to make sure everybody was feeling safe.

We shot the film in 5 days at a gay-sauna in Arnhem. I worked together with a crew of 20 people including a camera department, director’s assistants and make-up. Apart from them we had a group of extra’s that was mostly around the amount of 15.  

Why:

The idea of making a film that would take place in this kind of arena was already in my mind for quite some time. The images were already there and I even wrote some scenes.

The message behind the story popped up when I had an unpleasant experience myself. This specific situation made me think again about seksuality, the body, consent and the way we interact as queer and gay men in cruising-spaces.

I wanted to make a film that celebrated the act of cruising and free seksuality without ignoring the possible dangers that can also be present. In this regard I tried to tell a story that wasn’t judgemental, but honest about transforming situations that can make you a stronger human being in the end.

Session 2: the interview - 12 oct

The first outcome of the interview:

Halo High how are you good I have started this interview today because I'm curious about what you are making what are you making right now I'm working on a visual essay that is around the focus is on the idea of objectification falling in love with an object that is actually separated from you physically or digitally and the way that the interaction that happens between the Observer for the one who is longing and the object of Desire book happens if these walls switch and what is the interaction going on and how do we present each ourselves when we want to be desired and what do we do when we desire something that is not inreach for us Mary Wilson are you making I think for me I signed today phenomenon Longing To something that is not present like that is not like physically present in front of you but this leg of the race even more seductive to go into it I find that someone very interesting and the way this can be shown in multiple ways because I used the anecdotes of a woman that fits the zoo in Rotterdam lot of times and at its interaction with the big gorillas and then at some point the gorilla I became angry and came out and grabbed her or artifice interesting idea of this interaction between two entities that are maybe a b i find this phenomenon very interesting short us if you look at my Berkshire has been the fascination for these Primal human emotions of sexuality last fantasies I think I find these more intimate parts of the human life very very compelling and it's something I'd like to work with because it interests me a lot and if I look at my love short film I think it was Stephanie tired of these two because they have also been about sexuality great but then how is it different from other things you've done this work will be less less made in conventional way of telling a story that will be more associative to be experimental it will link images and situations together that might seem separate but I try to find a way in between Siesta approach and the more poetic way of telling to create this is very weird images that all center around the same thing which is very different from the five traditional fiction film had made before this very curious you know but the thing is I have more questions so I want to know what is the most significant choices you've made recently I think for me it's a very significant Choice was challenging myself to break away from everything I did before so I rewrote in this conventional fiction way of telling in which to was also room to experiment with actually since attending this application program I'm reading trying to let go of everything that I used to take for granted and live by myself still with the tools official icing eyes find approachable banana that's steals renewing and feels also closer to the person I am today so I think for me that's also why I am not going to make a sweet short films 4 minutes with two actors because I would really really not challenged myself in any way 3D so hard to tell in it

Version 2:

'To Be A Mermaid like You' is a visual essay that focuses on the idea of objectification and projecting our desires on somebody or something that is (or seems) by default unreachable. What happens when we desire somebody/something that is actually separated from you physically or digitally? I'm interested in the way observer and the object of desire interact and what happens when these roles switch. How do we present ourselves when we want to be desired ourselves? And how do we deal with desire when there is a certain 'wall' between the one who desires and the desired? This can be an actual wall, personal circumstances, different interests or the online vs offline circumstances. As a starting point for this essay I use the anecdote of a woman that visited the zoo in Rotterdam regularly. Here she has a lot of interaction with one of the biggest gorillas, Bokito. At some point the gorilla became angry, decided to climb out of his cage and grabbed her.

I find these more intimate parts of the human life very compelling and it's something I'd like to work with. Also when I look back at my earlier portfolio I see these primal urges of us human beings has been a primal focus for the themes I investigate. I think I really like this this idea of ​​wanting something that you can't necessarily get right away. Apart from this, it is also very much about visibility. On which points do you make yourself visible for the other to be desired?

This work won't be realized in a conventional way of storytelling that I'm already familiair with. This will be a more associative exploration that will link images and situations together that might seem separate, but have a similarity I want to link. I try to find a way between an essayistic, documentary approach and a more poetic tone of voice to combine this is very weird images that all center around the same thing. This way of working is very different from the traditional fiction films I made before.

In a sense I try to break away from everything I did before, give myself space to experiment and discover new paths in my visual language. Since attending this application program I'm trying to let go of everything that I used to take for granted. I try to recreate new things, starting from the tools and skills I'm familiar with, but renewing the form and outcome.