#CASTING pentru proiectul microbudget Camera Mica – un proiect de film underground de lung metraj produs de Qualiafilm scris si regizat de Paul Stefanescu
15zile de filmare la inceputul lunii Iulie in Bucuresti
Camera Mica este proiectul care dintre cele multele pe care am incercat sa le promovez si-a gasit un minunat co-producator care aduce intreg echipamentul, locatiile, masinile din film si multe obiecte necesare din scenografie si chiar ceva fonduri si ajutor pe partea de postproductie.
Si desigur, chiar cu tot acest minunat ajutor, tot avem nevoie de ajutorul si suportul vostru pe partea de promovare si distributie/promovare mai apoi.
Si acesta este si un apel catre toti cei cu care ne cunoastem si ca si pina acum din jena mea de a va intreba daca vreti sa veniti in proiect, astept cu mare mare draag mesajul vostru. <3
#Amala – 20s-30s – female, edgy, almost crazy all the time, intense – top only nudity
#Gloria – 14-16 yo female – daughter of Amala, morbid passive violent type.
#John – 30s – male English speaking, the British husband of Amala – reasonable polite patient
#Morven – 20s 30-s male, contemplative, spiritual passive man
#Vilho – 40s – male, contemporary art curator and mafioso
#Paul – late 20s – heroin junkie type, assistant to Vilho the mafioso
#Omny – 20s-30s – female, shy, skinny, sick looking – with a small baby if possible
#TaxiDriver – 30s – muscular gang looking compassionate and a family man
small roles – #Mother 55s, #Father 55s, #PoliceOfficer 30s
professional or non-professional actors or artists interested in our direction of filmmaking
assistant producer/organizer – with car
makeup – special effects – knife wounds, blood wounds, wild dirty
sound recording team
[all cast and crew must be interested in body metaphor and the poetics of intimacy]
[the script is free to read, either here or on my blog qualiafilm.com]
[please be sure to check our past projects before applying. it would be so nice to know something about my direction as film and art before wanting to join this project]
Codruta m-a intrebat citeva lucruri despre ce fac eu prin filmele pe care le fac, intr-un interviu pentru revista scolii ei.
Pe Codruta o gasesti cel mai bine pe instagram si facebook si ea un artist vizual implicata in alternative fashion si tot ce inseamna alternative culture.
Spune-mi te rog puțin despre temele majore care razbat în filmele tale,
Nu prea ma pricep la teme. Acestea ar fi frumos de gasit de oameni cu o pregatire mai intelectuala decit mine. Sint citeva cronici facute la filmele mele, probabil pe acolo sa se intuiasca la ceva teme. Habar n-am. Eu sint cumva pozitionat la celalat capat al vederii unui film.
Tu ce obsesii ai? Se manifestă ele în vreun fel în ceea ce faci?
Toate filmele si videourile mele vin cumva din obsesii interioare precognitive. Ma intereseaza mult nu sa enuntez idei, cit sa explorez zone umane foarte intime si secrete din om si dintre om si om. Cele mai multe sint nespuse inca. De aceea filmele mele sint un fel de cheie care deschide zone neexistente inca, si am tot primit acest mesaj de la oameni, cit de ciudat si de neinteles este experienta de a vedea un film, dar cit de revealing intr-un fel inca neprelucrat.
Ce lucruri îți plac și ce lucruri te sperie?
Imi plac foarte mult oamenii de nouageneratie care nu au acea osoasa suspiciune fata de tot si toate. Pentru ca fara sinceritatea si incredere in ceilalti este imposibil sa sapam in noi insine si sa exploram umanitati si naturi umane.
Cel mai mult ma sperie cind imi mai aduc aminte ca am trait o perioada intr-o lume in care totul era minciuna si adevarul era si el instantaneu transformat intr-o aluzie, intr-un sens alterat, intr-un instrument de abuz. O sufocare paranoiaca la nivel de intreaga societate. Ma bucur mult ca am reusit sa ies si si mai si sa imi pot exprima complet adinca sinceritate. Atit cit este ea la fiecare moment din timp.
Spune-mi despre cum e să faci film fără un buget propriu-zis și fără profit,
Exista o minunata libertate si sinceritatea din partea celor implicati, atunci cind faci un film numai si numai din placerea si credinta in acele idei si emotii. Si de aceea echipele sint foarte strinse iar experienta este foarte des una magica si minunata.
Dar pentru a stringe o echipa potrivita in jurul unui proiect nobudget este foarte foarte greu, si nu totdeauna un succes. Este un act mult prea spiritual pentru multi si de aceea nu se implica.
Iar atunci cind intervine plata, si circularea banilor, daca nu exista un sistem deja fluid, cum este acela cultural festivalier, finantat de un stat si noprofit, nu prea se poate face film, cumparind oameni si lucruri.
Read more… »
I’ve asked Maria Mantaluta to write a small text about our 2015, Beings. And she was kind enough to see the film and wrote this amazing text. Its so wonderful to find people that understand and open to ones work. Thank you so much Maria for your kind and beautiful words.
you can find the whole text on her film blog
you can see the full movie at
Some films you follow, some films follow you. #Beings can easily fall in the second category of films which end up by following you for a while after watching it. It’s neither beautiful nor narrative. It is not everybody’s cup of tea; for some might be a whole kettle, while for others less than a cup. It might actually not even be a cup of tea. A dark atmospheric underground no-budget production, which proves once again that a film is more than polished visuals, special effects, and Hollywood stars, it is firstly a feeling, an experience, meaning exactly what lingers when narrative is erased from memory and images fade into colours.
Starting from a Eva, the film brings together a tormented love triangle, struggling with their own inner beings in an amalgam of guilt, love, lust, grief, loneliness, friendship, madness and absurdity which contours the human existence. Looking for and banishing each other at the same time, while looking for themselves, every character falls into its own interior world, trying to hide and escape their own anxieties. There is an uneasiness, a claustrophobic feeling of suffocation, an impossibility of breaking free. The film attracts its viewers and estranges them at the same time and with the same means. An hour of slow drowning, of diving into the most obscure and meaningless fears, an hour of industrial sound followed by crushing silence, which takes its passive viewers from Marie Claire to the desolate outskirts of Berlin.
Eva (Doro Hohn), Teo (Cătălin Jugravu), Ana (Andrea Christina Furrer) are just names in a hurricane of desperation and helplessness, each one enduring the guilt of the others’ suffering. No reason, no logic, no desire of going back to a once lost normality, probably; and love is not the solution as it usually is in a cliché of a world, but the trigger of irrationality itself. As I consider Andrzej Zulawski’s Cosmos (2015) to have a world of its own, which does not wait to be deciphered by its viewers, so does #Beings; the film does not try to explain itself, and it does not need to. The characters live in their own world, a world with no map, no directions.
#Beings gives no glimpses of a so-called normality, no light, no warmth, and once you start watching it you find yourself caught in a foggy loop as strange as it is familiar, through the clew of emotions and expressions it depicts, and which are nevertheless deeply and indisputable human. A poem of greyish images, the 53 minutes are a route from tense trepidation to quiet stillness. All the quick shots in the beginning, the long takes of the human body, Ana’s burdened gaze, and Eva’s cries for help melt into the static image of the sun setting over the industrial remains of something which was long forgotten.
you first do your art with the ones you fuck with
then you do it and with the ones they fuck
and if lucky one of all these people has some money
or fucks some art dealer
or some critic
or some media mogul
or some royalty
and your art becomes art
from now on
please replace the word
with the word
you should start learning what you are
and quit trying to be what you want
my words are objects
to your breath
is only for those that refuse organised religion, organised education and organised knowledge
organised working life, organised social life, organised love life
why is the body more important than the mind?
because the mind you can kill time and time again
the body only once
the body is closer and more attentive to experience and life, than the mind
the body is real
the mind is not
the body is silent
the mind is not
that is why I am so interested in the body and not in the mind
not in socials
they all flow out of body and our relationship with our own, and with the other’s Read more… »
We are getting ready for our new project #Obscur a crazy intimate transgressive underground film. With it we will finish a trilogy of the body. SleepAwake2012, #Beings2015, Obscur2016
[it would be great to partner-up with a #coproduction company for #distribution and #promotion of the film]
If you would like to keep in touch or help us, please follow our new page and contact us.
We need your help, support and share.
Any help from you with the promotion,
making, finding things cast and crew,
participate or share of this project, towards its completion,
will guarantee your access to the private screenings of the film through a secret group with exclusive access to the film and the process of making it.
Photos, info, videos, personal messages, meetings, special events and many more.
contact us at – paul at qualifilm.com
De ce film? Well, pentru ca filmul ramine intact in timp si se cumuleaza. Pentru ca este un instrument de schimbare culturala ffff puternic. Pentru ca este mai sincer ca fotografia si mai echilibrat emotional ca muzica. Filmul le include pe toate si contine acela minunata inventie – povestea. Inventie care este cumva exteriorizarea organica a unui holism interior. Emotional, traditional, genetic, reactiv, rational, cultural. Povestea ne ajuta sa impartasim experiente comune si sa le descoperim. Filmul ne ajuta sa vedem si sa constientizam.
Its not about a better more efficient and successful life. But about a more meaningful and open life.
What I am trying to learn, and what making films keeps on teaching me, is how to find, in what I don’t have, in what I can’t reach, the same reward and the same lessons and experiences as when you have all resources you need and desire, to achieve that inner universal revelations.
Step by step I understand that such a milestone, such an idyllic first doesn’t exist.
That what you don’t have is the same with what you have.
There is no redemption in the having the best.
There is no doom in not having.
Its all too simple and sincere to depend on outside conditions, circumstances, dynamics, threats, rewards or things.
All can be found in silence.
All can be shared in silence.
All can be revealed in silence.
Cavity or Amala’s Obsession
O papusa este disecata si in ea sint organe de om.
“Bucuresti the place of my nightmares.”
Amala si John se intorc in Bucuresti. Amala este romanca si s-a maritat cu John in Anglia si au si un copil mic. Amala revine in Romania pentru a-si vizita rudele cu micul ei copilas dar si pentru a incerca de al gasi pe Morven, marea marea ei dragoste de care s-a despartit foarte brusc si violent si din cauza careia a ramas cu niste foarte dureroase halucinatii si crize.
Vilho fratele ei mai mare si cu care are o relatie foarte intima dar si de ura reciproca ii spune ca Morven a murit.
La intilnirea cu parintii, o intilnire chinuita si falsa unde cu totii se chinuie sa fie normali desi nu pot. Unde tatal Amalei este un mare artist sculptor in adinca depresie care face mii si mii de pestisori de lemn de ani si ani de zile. Unde afla ca Om sora ei mai mare ii uraste pe toti si nu vrea sa ii mai vada. Amala lasa pe John si copilul acolo si pleaca pe neasteptatea.
Ajunge la blocul unde sta sora ei si desi Om ii spune si ea ca Morven este mort, si ca nu vrea sa o vada pe Amala. Amala se roaga de Om sa o lase sa stea la ea o vreme, cit il cauta pe Morven, fara sa stie nimeni. Aceasta accepta cu greu pentru ca Om este foarte chinuita in viata ei personala dar si a suferit mult la plecarea Amalei pentru ca Amala era cea mai buna si singura ei prietena in care se putea deschide si iubi complet.
Peste ele, in noapte apare Sinister, un partener al lui Vilho care ii spune Amalei ca defapt Morven traieste, dar ca si un mort. Sinister este trimit de Vilho pentru a o ajuta pe Amala sa treaca peste Morven, sa o ingrozeasca de cum a ajuns si cein a ajuns si sa se intoarca la familia ei. Read more… »
sex is the end of the road
it should be the beginning
sex is the end of the road
it should be the beginning
I really love you
is just that I don’t want to show it to you
its too lame
the idea of love has been stolen by ‘them’
I just show you my art
please open to it
should you chose to find the problem?
or the solution?
don’t you really feel
the light and warmth I hide in my darkness?
why are you still afraid?
I give you my body, my pain, my blood, my genitals
Its not enough Read more… »
Our second review comes from another poet, his name is Jimmy Lo. It is so wonderful to find that the film you made is just seen by the wrong people. It is so amazing to see how value is nothing more than a collective, group characteristic, and has nothing to do with an universal outlook on life and living.
Giving the film to Jimmy to see and review, it was so wonderful to receive such a great feedback with a real passionate perception of it. It is amazing to see the open heart and mind of a person of which the entire life is build around keeping and opening his eyes more and more wider wider around the mystery of our life.
Thank you soo soo much Jimmy. You can find more about him on his blog, http://iloveyousomething.com/ or twitter https://twitter.com/jimmylorunning
This slow building film explores the strange relationship between three people, as well as their relationship to the spiritual. I found myself pulled into an enveloping mood of inner torture. There is a secret horror film brooding in the background here, thanks to some mysterious characters and an excellent soundtrack, which even includes howling dogs at one point. This creates an interesting cognitive disconnect, as the movie isn’t really a horror film in the conventional sense of the genre, but one about the horrors of being in the world, with other beings.
I really loved the slow pacing of the movie, as it was perfect for the type of questions being asked by the film. The camera lingers on the three main characters just long enough to be uncomfortable, then it lingers even longer. This is very much a movie about deep watching, even meditation. I found myself glued to every tiny movement, every twitch, look, and expression on the character’s faces for clues into their relationship. The long pauses and silences were very effective at bringing this about, and told more than dialogue would have.
I watched this movie as a poem, a poetic exploration of the irrational forces that drive us, and as such it was very powerful. However, I wish there was more of a balance or contrast in tone. I longed for something pedestrian or inconsequentially human as relief from the heaviness. In a way, its strength may also be its weakness. The movie seemed to have established a mood a little too well, and without any lighter moments, it became one extended musical note, getting more and more intense until the end.
I was quite surprised to find out that this movie had no budget, since it looks and sounds fantastic, and is very well acted. The last scene in particular is gorgeous.
I’ve asked Jim if he would have time to see and review our film. He was kind enough to do it and wrote us an wonderful review of the film. Thank you so much.
Jim Erasmus Lime Templeton is an award winning performance poet & writer. He has worked for the BBC, Cambridge University, Hollywood film studios and performed at venues all over the world.
An intimate, voyeuristic and claustrophobic portrayal of the relationship between an epileptic girl, Eva and her boyfriend Teo. After Eva has a seizure in their apartment, Teo throws her out and turns to Eva’s best friend Anna. This event triggers a journey of escape into nothingness for all the characters, some emotionally, some literally.
This is not a film that exists only as a straightforward narrative, it’s a poetic exploration of Eva’s need to escape and her boyfriends guilt and impotent love. #BEINGS says as much in it’s pregnant silences and throbbing soundtrack as it does with it’s naturalistic dialogue. It leaves you to fill in the meaning between the frames, using lingering static shots and pauses to full effect throughout.
You can feel the difficulty the characters have in connecting with each other, as they stumble emotionally and drift around the edges of each moment. One scene where Teo and Eva tentatively begin to kiss in silence has a real power, they take so long to move in, you hesitate with them, the visceral anticipation is agonizing in places. Rather than stuttering your involvement, the pace of the film draws you in, like still waters can transfix you with their beauty, the woven thoughtfulness of each scene is mesmerizing and ambiguous enough to allow the viewer to reach their own interpretation of Eva’s odyssey.
Ultimately #BEINGS is a rewarding watch, full of subtleties, surprises and layers you won’t find in mainstream blockbusters. Solid performances from all the leads help draw you into Eva’s journey. A film to watch with others and discuss afterwards, #BEINGS will stay with you.
I was born lucky.
When I was a child there was nothing ugly in the world.
But with time I learned about beauty and all went wrong.
Beauty is a tirany
Life is a full time job.
And you can’t take any day off.
Be careful what you create
For surely people will use it to do wrong.
[thinking about american fast action and TV editing]
I am more and more convinced that the outer shell is made out of anger fibers. It is not possible otherwise.
Even humor is anger based.
If you think about it is sooo soo strange that God spoke words to people. That He used language. That he needed to influence directly the frail human consciousness.
Is weird because of God gave all things genes smile emoticon and we can see that people, most of us, live without consciousness but more with a raw inventivity.
So for God to send laws and emotional advice is wayyy to weird.
Is like in the movies 1 hero and 99 weirdos.
All wanting to be heroes.
Thinking about actors and their lust for heroism. I love those that know the percentages.
Does anyone knows some infos about alternative indie film distribution word wide?
On a micro to no budget?
Thank you soo soo much.
Any little lead would be amaziing.
The universal language of story is Life Threat. Read more… »
I just had a dejavu with Ana P about the necessity of objectivisation. And also about the dilema about why people vilified it.
Objectification is one of the original TMs of human race.
I used to talk alone. Now it got to be an online talking. A video talking. Sometimes through others but is still talking alone. Talking for the pleasure of the idea and the act itself of talking. Of uttering in a belived reality something of you inner most.
I still believe that we have two outsides one in reality and another in interiority.
I guess it is a circle somehow.
Civilisation is the product of OCD obsessions in people.
For the rest of us there is only freedom and existence.
Poverty, insecurity and lack of soap.
Sub orice critica,
that is the place I want to be.
We use soap in our desperate desire to become humans.
Our life project is to be recognized and legalized as humans.
I’ve never met a true artist.
I am living in fake and mediocre.
Is all I know, all I feel all that concerns me.
Read more… »
People can’t believe in a religion with all their heart, can’t respect a system of law and order, can’t trust their own pleasures and fears, because all that they believe in is the all powerful deep and unconscious Gene – that is why in anthropology there is an oral unknown all powerful law, called the law of the land.
#Genes are out most intimate guides and friends. They are our God and wisdom and truth. They are the only one we should trust.
Consciousness is too young in comparison. Is too wild and puerile. Gene’s Way is the Tao.
Consciousness will never be able to rewrite the Genetic code. It can only Scramble it, a bit. All modifications end in Death.
Genes self protection. They order suicide when they feel a strange force conquering their perfection.
Genes never experiment, never try things, they are all knowing all controlling, all perfect.
These days consciousness is their main enemy. Our lives are all developing in the middle of this total war.
Genes vs Consciousness.
Old vs Young.
Known vs Unknown.
In November 2014 Andrei and I were working on #Beings together. I played Eva and here are some words about this experience:
I didn´t know Andrei and his work but I was very interested, when I first read about the idea of this movie.
On friday night, he sent me the script.
On Saturday I spent the day thinking about it – as there were a lot of aspects that made me face some of my biggest fears …
Saturday night, I suddenly had the feeling that it was right to give it a try.
On Sunday we met for the first time.
On Monday I met the cast and crew.
On Tuesday we started filming.
For someone like me, this was more than quick.
Well, I like long preparations. I like safety – or always considered myself being someone that likes safety and is in love with clear structures (as boring as it may sound).
So doing this movie was an adventure to me. But during the whole process, it just felt right and I enjoyed this adventure very much.
The relationship between actor and director is a very fragile one and in my opinionl, if it doesn´t work, everything feels like fighting alone for a lost case. You lose connection to your character, your partner and the story because you are busy protecting and defending yourself.
So I appreciate Andrei´s natural talent of working with actors. He created an atmosphere of security and trust. By putting trust in me, I was able to take some risks and to cross some borders, I had built up for myself some time ago. I always felt safe, so I wanted to jump …
There was always enough time to get in touch with your character, to try, to fail and to try again. I personally enjoy this kind of working the most because this makes me feel like part of the story, not like an accessory put in the right place. Andrei’s way of filming and using the camera may be different, but to me it makes sense. We did a lot of intimate moments and I was able to forget about the camera very easily. It felt more like a partner than an observer.
As we only had a small team and almost no financial support – everyone was asked to put their energy and belief in this project. It was cold, it was dark, it was confusing and we got lost … but I loved every second with you guys – in the car, on the road and in the forest, discovering lost buildings and hidden emotions.
I do believe in Andrei and his way of filmmaking. He is not afraid to ask questions and to discover and show what lies underneath common aesthetics. It would be great to find people to work with. People who support us and our ideas.
I´m looking forward to work with Andrei and this team again and I´m excited about what kind of adventure comes next!
Let´s rock –
Nature kills itself.
We are part of nature.
And we cant talk to her, there is no one there to understand why she does it.
It is in our nature – and these days our nature is wrong – and we dint know why.
Nature is a dieing suferind. All we can do is try and understand why.
Nature got suicidal. It invented humankind.