Sara is a mother who has just separated from the father of her daughters. She is thirty-three. As much as she tries, she can’t find a job. She studied interior design. Sara is thin and decides to start an aerobic center in her garage. She sees no other way to generate income, owes the rent, school, light account, credit cards and the father of her girls disappeared. They say he went to the sea to surf and live out of nothing. Sara lives in a middle-class condo. With her daughters she hands out flyers to promote the gym with her neighbors. She knows nothing about aerobics, and online she studies Jane Fonda’s videos. To her surprise several neighbors enroll in her classes. They are older women; many are obese and ashamed of cellulites. Some of them are elderly. They become a 15 women group. Sara solves her lack of gymnastic knowledge by placing a TV in front of the window that leads to the garage, so that the women have their back towards the window. She places a white curtain that projects the video a bit. This way she puts on the Jane Fonda video without the others noticing it. With the music excuse, she controls the video via remote control. The ladies are aware of her problems and want to help Sara. Little by little they became a group of women who want to lose weight, rejuvenate and talk about their love-hate relationships. Aerobic classes generate morbid feelings among the neighbors. And even though the gym is a success, it’s not enough money for Sara. In a moment of desperation, due to the fact that her children were upset because they couldn’t celebrate the birthday in the fashion ballroom place, she does something unthinkable for her. She steals on birthday parties were her daughters are invited. When the other mothers gather to sing the birthday cake, she digs into the bags that were left in the tables. Something to do with you is a strange mix of comedy and criminal film.
I want to build the sets, design a condo, its interior and a children’s party-room. I am in love with the texture that the telephoto gives on my frames; I like the feeling of voyeurism and intimacy that provides me. On the other hand it helps to create a strange intimacy among the actors. Somehow they forget the presence of the crew. This way they ignore were the camera is, not telling them who is being framed. I want to mix this element with camera movements similar to the 40s and 50s films, where the camera follows the actors and describe the space along with the scenic trace.