Diario de rodaje

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Note of intent

This movie was conceived in an academic context, while complying with assignments given by faculty. When the project was in its early stages, my mother passed away. Just like the lead in the movie, I spiraled into a crisis and stopped shooting what I had promised to. In order to meet the subject’s requirements, I started shooting what I was going through, using Catalina as an avatar, a classmates and friend of mine. Bit by bit, the movie started coming together as a crossover between a diary, a notebook, reality and fiction.

Synopsis

A distressed film director decides not to attend the filming of her own movie. Like its director, the shooting get stuck, in suspense. We are presented with the everyday life of someone who has nothing to do and nowhere to be. The director confronts her team, who asks her to do her job. She commits to going to the following scheduled shootings but does not show. She commits to it again, and once more she does not go. Everyday life starts to blend in with her work: exboyfriends, friends, having to work to make a living. Then, reality comes in. The lead actress has to travel, but the shooting of the film has to go on. Certain fictitious scenes replicate in real life. The (real) director decides to film herself until the actress’ return, taking on the fictitious lead role. Another layer is revealed, to be dismissed (or not) when the actress returns.

Visual concept

I aim to lay the land for contemplation on the cinematographic form and the filming process. I’m interested in exposing the procedures that make a movie and showing form through staging, all the while questioning the role of money in the industry. It is a movie about the film industry, but it is also a selfportrait. Real-life issues will coexist with fictitious ones. My goal is for them to blend together, hence yielding a richer cinematography.