Rough Cut Projects

Our Daughters

Our Daughters (Bangladesh)

Director’s Name: Tahrima Khan, Bangladesh

Logline

Our Daughters” is a story of those girls who play football not only win the match but also save themselves from social odds like child marriage.

 

Synopsis

Monalisa women’s sports academy is an girls’ sports facility which run by Kamrunnahar Munni (34), who teaches at a government primary school. At this moment, there are 32 girls getting training; their age ranges from 12 to 18. Their primary focus is playing Football. The motto of this academy is playing a sport can boost a girl’s self-esteem and have a better future. However, Bangladeshi society, especially the rural ones, is not yet ready to accept this. These footballing girls are always facing different challenges in the community. Though, this team has achieved much and won many matches. Society still lacks the enthusiasm to accept that their daughters can play and win Football’s beautiful game. Despite facing diverse social, family barriers, and financial hardships, these girls have the aim to make themselves better sportspeople and create their physical and mental development. Through this process, they are making themselves more strong to stop their child marriage. This society has yet to think giving birth to a girl is a burden. But these girls are fighting every day to become worthy for themselves, their families, and society so that they can get respect from society.

 

Director’s Statement

The story of Our Daughters story content is from the place where I was born, and I know all these characters from my childhood. In 90’s Bangladesh, it’s not only an impossible dream for a daughter from a middle-class semi-urban family; it’s a sin. Women’s empowerment depends as much on the external force as it happens on a person’s internal energy. When the girls win a match, people take pictures with them. They don’t have a problem touching the girls’ winning crest and take credit for the girls’ success. They have a problem creating an enabling environment for the girls to play and watch them play wearing half-pant. Women are always judged by outlook rather than intelligence. As a Director, I want to share the struggles and endurance these young girls have; so that they may be role models for other young girls within their community and around the world who face similar obstacles.

I must say Bangladesh comes a very long way in terms of women’s empowerment. In contrast, when a girl from a village or a small town wants to play, whatever socio-economic background they belong to, they still face some sort of social stigma as our country is predominantly a Muslim one. In this documentary, I would like to explore the hidden power of our daughters that they are just not born to marry. The central protagonist MUNNI is a victim of child marriage, now she is bringing tender girls together to form a football team. I would like to follow Munni and her team to understand the whole psycho-political, economic, religious, and social aspects of these situations. I believe Our Daughter will be a very interesting topic to represent the current timeline of Bangladesh and how they are challenging those social taboos and overcoming those barriers.

 

Treatment

Our Daughter is an observational documentary of the girls who are part of Monalisa Women Sports Academy which run by a lady-coach Munni. The story will be open with the introduction of Munni will portray her normal and usual environment of home and workplace. The narrative will follow the place Munni lives and the community she belongs to. We will use archival footage, still photographs, and character interviews to give the audience a sense of her world and how she lived through her life. Slowing it will reveal different dimensions of those girls’ life and the impact of sports on their daily belonging. Child Marriage and broken dreams parts will be merged to create a dramatic impact on their lives. As they will be recovering from the trauma and stand against their environment, we will slowly incorporate another point of view from their family, co-workers, and friends. Multiple in-depth interviews and their social settings, in contrast with the Munni and her girls’ journeys, will create the visual language. We will shoot the documentary mostly medium close up to expose a little bit of the environment the character lives. This will necessarily give a contrast in the image and realism in their narrative of life.

 

Director/Producer’s Profile

Tahrima Khan is a Bangladeshi filmmaker wins Marche Du Film- Doc in Progress’s Think-Film Impact Award in 2021 for her debut feature documentary film MUNNI. She directed the first documentary ‘Colour of water’ which was funded by the British council and she awarded as International Climate Champion (ICC). She has worked in several documentaries on the indigenous community of Bangladesh. She attended Asian Project Market (APM) as a Producer with the project Tale of a Policeman. “MUNNI” is her first feature-documentary, which was in DDL/2020, selected by IEFTA’s showcasing award at Dok Leipzig. MUNNI secured DocEdge New Zealand pitching award.

Production Plan:   We started the project with our own funding. However, we have applied for funds in different organizations, although it is challenging to avail them. The producer’s organization, trying to support camera rentals, crew bills, food arrangements for shooting days, local permits, etc. The shooting schedule has been divided into small shooting schedules, like 2-3 days with the current financial plan. An approximate amount of 30,000 (Thirty Thousand USD) as cash will be invested phase by phase at this moment. We will apply for some production and post-production funds or invite private equity as the project progresses for final sound mixing.

 

Budget

Grand Total – 157,940 USD

 

 

 

Production Status

The main project sought international funds by participating in Dhaka Doclab, 2020, where it got two significant awards. We got exciting insights from the mentors about the potential of this project. But due to the pandemic shooting was not in the original plan. The year we planned our shooting was the beginning of the pandemic. There was more than 07 months of countrywide lockdown, blockades, social distancing rules. During that time, we participated online in Doc Leipzig and Doc New Zealand. When the lockdown was eased, we started shooting it. Despite pandemic majority portion shooting has done.

 

Contact Details

tahrimakhan@gmail.com

 

Visual Material’s Link

https://drive.google.com/file/d/1KGC1CfPOFKj4tlUuHU-z8KzXa3x3Y6hr/view?usp=sharing

Rohingya Boy

rohingya boy

Rohingya Boy (Australia)

Director’s Name: Tim Bateman, Australia

Logline

A refugee who risked everything to reach Australia, becomes the world’s first Rohingya body building champion

Synopsis

Born in a refugee camp in Bangladesh, Kabir was inspired by the movie ‘Rocky’ as a youth and risked his life to escape. After becoming the world’s first Rohingya bodybuilding champion, Kabir now dreams of becoming Mr Olympia.

 

Director’s Statement

‘Rohingyas are often called the most persecuted minority in the world, unable to claim citizenship in a country that refuses to recognize them. Beaten, raped, abused, displaced, and killed, the Rohingya have fallen victim to the horrors of a genocide that the world is not watching.’

(Gabriella Canal – Globalcitizen.Org – 11/02/17)

As directors, we wanted to help Kabir tell his incredible and very personal story of survival and hope. To tell the story of his people. Kabir and his family deserve all the credit for this project, which we hope will not only entertain and inspire, but inform the public about the plight of the Rohingya people, who continue to suffer.

“Rohingya Boy” is a personal story with global roots; grounded in the geo-political history of Myanmar, of the ongoing persecution of an ethnic minority for over forty years.

The rough cut is currently just under 30 minutes.

Treatment

Noor Kabir was born in a Bangladeshi Refugee camp, where he and his family struggled to survive. Without enough food or clean water, he struggled to have any hope for a life beyond the struggles and dangers that exist within the world’s largest refugee camp. But when he was in his early teens, he decided to run from the camp into mainland Bangladesh, where he found people in a tent watching the movie ‘Rocky’. What he saw was a kind of ‘magic’. He had never seen a television before and seeing this movie created a desire in him to have something better in his life.

This was the beginning of a long and dangerous journey to Australia. After spending three years in community detention, he was released in Brisbane, where he found something he could do – lifting weights. With a dream to represent the Rohingya, he set himself the goal of one day becoming Mr Olympia.

With strict determination, he transformed himself, and in early 2021, became the world’s first Rohingya body building champion by winning the Brisbane Classic. His win went ‘viral’ online, garnering millions of views and international media attention. It also generated a huge response from Rohingya people around the world, who see Noor Kabir as a Rohingya hero.

Kabir outlines the pathway to his dream to become Mr Olympia, and the next event he must win (the Queensland State Championship). Along with his passion to succeed, there is also sorrow; Kabir’s grandmother, who he was very close to, passed away alone in the Bangladesh camp in early 2021. Kabir feels terrible sadness for his grandmother, commenting that she had spent decades as a refugee in a camp, and eventually died there; without ever receiving a chance at a different life. Kabir dedicates his wins to her memory.

Follow Noor Kabir through the remainder of the 2021 body building season as he strives to win a pro-card, which is essential to him taking the next step to fulfil his dream of representing his people on the world stage.

Director/Producer’s Profile

This is Tim Bateman’s & Brin Paulsen’s directorial debut as emerging film makers. Having been writing partners for many years where they live in Brisbane, Australia, they have now made the transition to documentary making as co-directors; utilising their skills in editing and cinematography.

A 30 second trailer is provided (and full rough cut can be provided on request).

Production Plan

We are at the final rough cut stage, after filming and editing in 2021 -July 2022

Budget

Fully financed independently (we also have a pre-sale in Australia on national television on the ABC).

Production Status

Rough cut stage. As we are fully financed, and have sold rights in Australia, we are seeking acquisition in international markets.

Contact Details

tjbateman@outlook.com

Visual Material’s Link

https://www.youtube.com/watch?v=l6ZwbM3OuPI

Ghost Boat

Ghost Boat

Ghost Boat (Bangladesh)

Director’s Name: Tanim Yousuf, Kauser Haider, Bangladesh

Logline

Amena is searching for her son, Joynal, who was illegally trafficked by boat from Bangladesh to Malaysia. She teams up with trafficking survivor Abdus to retrace her son’s steps.

Synopsis

Joynal is one of many young Bangladeshis, who left their country in search of a better life. Human traffickers lured him onto a dangerous boat journey from his coastal home village in southern Bangladesh to Malaysia, promising an escape from poverty. Traffickers cram their victims into small boats to make a dangerous voyage across the Bay of Bengal. Many perish during the journey or end up imprisoned in Malaysia.

Joynal has been missing for six years. His mother, Amena, has been trying to find him ever since and refuses to give up hope. She is our main character, and we have been following her since December 2019. Amena lives alone in a remote village and struggles to make a living as a day laborer. She also raises animals with the help of a women’s organization.

On her quest to find traces of Joynal, Amena encounters Abdus, who drives tomtoms (electric three-wheelers) on routes near her home village. Abdus is a human trafficking survivor. He had worked illegally in Malaysia for 5 years, before returning home with his earnings. He now runs a small transportation business, but remains haunted by his experience and agrees to help Amena on her search.

Together, Amena and Abdus visit different people and places to find traces of Joynal or clues to his fate. They travel to the location from where Joynal set off on his journey – it is hard to believe that this beautiful beach could be the beginning of a nightmare. Next, Amena confronts Amanullah, the trafficker who arranged Joynal’s boat journey and recently returned to Bangladesh. He denies any involvement and physically threatens her. She reports the incident to the police but is told that she does not have enough money to pursue the case. Desperate, Amena visits a Buddhist monastery to seek spiritual advice. A bald-headed monk states that there have been cases of people returning after twenty years, and advises Amena to wait for fifteen years. She leaves the monastery and returns home.

Amena’s hopes of finding Joynal are reignited, when a friend forwards her an article from a prominent national newspaper, featuring pictures of four Bangladeshi migrants imprisoned in Malaysia. One of the men bears an eerie resemblance to Joynal. We will accompany Amena and Abdus with our cameras as they chase down this new clue and meet representatives from an NGO that offered to bail out the imprisoned men.

Director’s Statement

The inspiration for this film came from an encounter we had on a trip to southern Bangladesh in November 2019. In the village of Ramu, we met a woman who asked us to help her find her son. We learned that he had been a victim of human trafficking, and were deeply moved by her plea and desire to find any trace or proof of life. We returned to city life and started researching illegal boat journeys to Malaysia, asking different people about the process and major routes. The mother’s request had made a strong impact on us, and we started to visualize the story of a character-driven documentary. One month later, we returned to Ramu for our first interviews. We were able to make connections and gain the trust of the locals, ensuring exclusive access to our story. On our next visit, we met our second protagonist, a tomtom (electric three-wheeler) driver who survived the boat journey to Malaysia and is now helping the mother. By telling the story of victims’ parents as well as a (rare) survivor, our goal is to expose the terrible suffering human trafficking is inflicting upon communities in our region.

Ghost Boat combines a follow-style documentary approach with artistically composed land- and seascape imagery. The audience is able to view the characters’ experiences as they happen through cinema verité scenes with passionate and unfiltered dialogue. These scenes are intercut with stunning and often foreboding images symbolizing the lethal journey to Malaysia, such as a shot of two boats on a vast beach, framed to evoke the image of devil’s horns. Our visual language also focuses on creating presence through absence; our character’s missing son, though the focus of the film, only appears through faded photographs and the images evoked in his mother’s memories.

Treatment

Joynal is one of many young Bangladeshi men, who left their country in search of a better life. Human traffickers lured him onto a dangerous boat journey from his coastal home village in Cox’s Bazar district to Malaysia, promising economic opportunity and an escape from poverty. The traffickers cram their victims into small boats to make a dangerous voyage across the Bay of Bengal. Many perish during the journey or end up criminalized and imprisoned in Malaysia.

Joynal has been missing for six years. His mother, Amena, has been trying to find him ever since and refuses to give up hope. She is our main character, and we have been following her since December 2019. Amena lives alone in the remote village of Shonaichori, situated in Naikkhongchori, Bandarban. She struggles to make a living as a day laborer, working in the nearby tobacco and paddy fields. She also raises chickens, goats, and cows with the help of a women’s organization.

The story of Ghost Boat is told in an intimate cinema verité style. Early on, the audience witnesses we see Amena sitting in front of a clay stove, as she speaks on the phone to a relative in the city, asking for news or information about Bangladeshi migrants in Malaysian and Indonesian jails.

On her quest to find traces of Joynal, Amena encounters Abdus, who drives tomtoms (electric three-wheelers) on routes near her home village. Abdus is a human trafficking survivor and among the few who safely returned following their ordeal. He had lived and worked illegally in Malaysia for 5 years, before coming home to Bangladesh with his earnings. He now runs a small transportation business, operating three tomtoms, but remains haunted by his jarring experience. As a survivor, he fears that Joynal died during the sea voyage; otherwise he would have been in contact with his mother by phone, even if he were in jail. But Abdus still agrees to help Amena on her search.

Desperate, Amena visits a Buddhist monastery to seek spiritual advice. A bald-headed monk clad in orange robe states that there have been cases of people returning after twenty years, so he advises Amena to wait for at least fifteen years. She leaves the monastery and returns home.

Standing in front of his parked tomtom, Abdus shares the story of his journey, conveying to the audience the suffering and struggle he endured. He recounts how poorly the traffickers treated their victims, recalling the death of five older passengers who were forcefully thrown overboard. Traffickers will commit such inhumane acts simply because it increases their profit. The names of the victims are never recorded, and their families will never know whether their sons are alive or dead.

Together, Amena and Abdus visit different locations and individuals to find traces of Joynal or clues to his fate. They travel to the location from where Joynal set off on his journey – it is hard to believe that this beautiful beach was the beginning of a nightmare. Next, Amena confronts Amanullah, the trafficker who arranged Joynal’s boat journey and who recently returned to Bangladesh. He denies any involvement and physically threatens her. She reports the incident to the police but is told that she does not have enough money to pursue the case – paying off the police to punish Malaysian traffickers is costly.

Amena’s hopes of finding Joynal are reignited unexpectedly, when a friend forwards her an article on Facebook from a prominent national newspaper, featuring the pictures of four Bangladeshi migrants currently imprisoned in Malaysia. One of the men, whose parents had not been located so far, bears an eerie resemblance to Joynal. On our final remaining shoot, we will accompany Amena and Abdus as they chase down this new clue. They will meet representatives from an NGO that offered to bail out the four imprisoned men, but also encounter another family who believe that they finally found their missing son.

Amena’s quest to find her lost son takes the viewer deep into the opaque world of illegal human trafficking, standing in for countless others who lost their loved ones to these dangerous boat journeys. The story continues to unfold today, with hundreds of young men embarking on the same treacherous expedition every month.

Director/Producer’s Profile

Tanim Yousuf is a Bangladeshi filmmaker and co-founder of Mastul Productions. Ghost Boat is his first feature-length documentary, and he is co-directing the film with fellow Bangladeshi filmmaker, Kauser Haider.

Kauser Haider is a documentary filmmaker and visual practitioner from Bangladesh. He is co-director and cinematographer of Ghost Boat.

Patrick Hamm is an award-winning filmmaker and founder of Bulldog Agenda, a German production company. A Berlinale Talents alumnus, he specializes in creative documentary.

Arif Yousuf is a Bangladeshi producer based in New York City. He has been working with the directors of Ghost Boat since the inception of the project.

Production Plan

Ghost Boat has thus far been self-financed by the filmmakers. For the remainder of principal photography, this situation is not ideal but can be sustained. Once we reach post-production, we will need the financial resources to hire an experienced editor and obtain professional post-production partners. To this end, we submitted applications to the World Cinema Fund, which would allow us to complete post-production in Bangladesh, as well as various other funds and grants. At our recent pitch at the Edinburgh Pitch 2022, we also started conversations with sales agents (Taskovski, JavaFilms, MetFilm, Cat & Docs) and broadcasters (BBC Storyville, Arte, PBS).

Budget

165,713 USD / 15,404,820 BAT

Production Status

We currently plan to finish filming by Q3 2022. We have been editing our already filmed material, and recently completed a partial rough cut. We will continue to edit as we shoot and expect to complete a final rough cut of the film by Q4 2022. Following picture lock, we will require 2-3 months for post-production, allowing us to deliver the film by Q2 2023. We will be applying for festivals with a premiere date in Q2 2023 and Q3 2023. Our aim is to release the film in Europe, Asia, and North America in Q4 2023 and Q1 2024.

Contact Details

ph@bulldogagenda.com

Visual Material’s Link

https://vimeo.com/723640618/29cd3e6059

Singing For Silence

singing for silance

Singing For Silence (China)

Director’s Name: Xingxing Zhang & Jia Zhao

  • Type: Feature Length Or TV one-off (41 Mins Or Longer)
  • Stage: In Production
  • Country: China
  • Language: Chinese/Sign language
  • Runtime: 90 Mins
  • Presented By: Xingxing Zhang & Jia Zhao
  • Director Bio: Filmmaker born in 1985, Graduated from National Academy of Chinese,

making Doc/ commercials film since 2008.

  • Producer Bio: Jia Zhao is a Chinese-Dutch film producer. Her work, A Marble Travelogue, was selected for 2021 IDFA Frontlight, and I’m So Sorry by Zhao Liang for 2021 Cannes film festival. Mr. Hu and the Temple, Fallen Flowers Thick Leaves, Lady of the Harbour, Kabul, City in the Wind, Smog Town have been shortlisted for IDFA Competition section for five times in a row, with Kabul being the opening film for IDFA 2018, and awarded Special Jury Award for First Appearance Competition. Inner Landscape was chosen as the closing film for IFFR2019. The Crow Is Beautiful (codirector) was selected for IDFA 2017 Masters.

 

  • Production Company: MUYI FILM & WILS STAR Culture media Co., Ltd

 

  • Logline: Non-hearing children’s music story.

 

  • Synopsis: The smart Wei and the sensitive Lu are friends who in a special school in Guangxi. They joined a choir that was not understood by the villagers – a special choir made up of group of hearing-impaired children like them, was formed because of Wei’s “Ah~” voice a few years ago, which shocked the young artists Bo and Yong who came for a collect folk songs’s trip.

 

In 2018, they went to the Beijing Concert Hall with their special song. audience were moved to tears. Lu was sobbing in the background with partners, “We are the best singers!”

Wei and Lu become more confident and happier, appearing on the most famous TV channel and making many new friends. They are no longer discriminated but become the pride of their family and village.

However, the children still faced of dropping out or marrying early, their lives did not change. The artists find that singing is just occasion, better education will give them more choices, so they began to fight for transfer children to Beijing. But the philosophy/cultural differences of the children’s parents caused conflict.

  • Director’s Statement: The story provides an alternative perspective. Not only the so-called disabled but also all of us are faced with the problem of prejudices due to race, gender, region, disability, and so on. The implicit biases have profoundly and subtly affected the hearing-impaired children’s and our life. When we try to break it, there are upcoming complicated challenges from the emotional, cultural, and even moral perspectives.

There is a question always been asked: why teach hearing-impaired children to sing instead of painting or dancing? It is because they are as curious about singing as normal kids, while their way to explore and understand sound is different from most people. In fact, these songs from the silent world are beautiful and touching.

What makes the story significant is the raised awareness of prejudice. The children are more self-conscious, and listeners are more willing to reflect on themselves. The internal exploration and consciousness are precious in China as we tend to emphasize collectivism. I try to motivate more audiences by making this story into a film. Moreover, I want to record the affectionate relationship between the children and artist.

  • Looking For: Broadcast/platform acquisition/commission, Distribution, Executive Producer, Festival Selection, Funding, Sales Agent
  • Total Budget (Usd): $345,099
  • Secured Budget (Usd): $94,253
  • Director Filmography:

▪ Walking By Dreams- Chinese Electronic Music: The 5th China Image Film Festival

(2013)

▪ Hitchhiking To MIDI Festival: The 5th China Image Film Festival (2013)

▪ Sex & Happiness: The 9th China Independent Film Festival (2012)

▪ Electroplated Girl: The 3rd Les écrans De Chine (2012)

  • Trailer: https://vimeo.com/692542989 (0000)
  • Contact: Jia Zhao jiazhao2005@gmail.com & Xingxing Zhang suogu1890@vip.163.com

I’m Not Home

I'm Not Home

I’m Not Home (India)

Director’s Name: Naveen Kumar Pun, India

 

Logline

A gangster-recluse-misfit desires for a mainstream life, first trying to find his lost home after 23 years of disappearance and then the woman he loves.

 

Synopsis

That day it was surprisingly cold in Mumbai, the day when I met ‘Shooter Bhai’ again. We were supposed to board the train coincidentally from the same station where he had first disembarked 23 years ago after fleeing from his village. Since then he had never contacted his family. After seeing it all as a gangster, drug peddler and prisoner he had a desire to come face to face with them. With nervousness written all over his face he boarded the train. Hence began our journey and a serious enquiry into the life of Shooter Bhai.

After a long relentless journey Shooter bhai finally walks the old lanes of his village desperately calling out for his mother. From the corner of a hut she emerges. It takes her a second to recognize her lost son. The two hug in desperation. The whole village gathers to witness the strange turn of events.

After meeting his family, seeing his brothers well settled in their respective homes a new desire creeps in him, the desire to settle down with his lover, but this comes at a cost. The only way she agrees to be together is if he comes back to Mumbai, fixes his life, earns legitimately and follows the rules of a mainstream society. He desperately wants her back. For her he hopes to change and curb his natural instinct of being free.

With so much expectation riding on him the film follows the journey of a man’s struggle to change the fundamentals of his existence. On one side is his life of total freedom while on the other is his desire to build a home.

 

Director’s Statement

In life we often come across people who offer a lifestyle which enamors us not for being successful but for being different. Few years back while on a film set of a gangster themed movie I met a gentleman who fulfilled such a description. On the set he worked as a supplier of Junior artists especially of disreputable characters. On further enquiry I realized that he was a real life gangster known as Shooter bhai in the Mumbai Underworld, playing the role of a gun handler and part time drug peddler. Thin, lean, always stooping low he almost seemed a misfit in the role of a gangster. But as I spent more time with him I realized that he truly was what he said.

What got me interested in him was his approach to life. He was a carefree guy never worried about his life and future. He literally lived by the moment, never worried about savings, having a home, mundane things that we mainstream thinkers constantly worry about. He often said he doesn’t need these things for himself, he is happy living a life where he doesn’t have to worry about tomorrow. He did have his share of emotions, a nostalgia about his home and his lover. He lived the life not less than a tragic hero but nonetheless happy.

Then one fine day he told me about his hopes to mend ways and connect with his family. I at once got interested in filming his journey of redemption. Here was a man who, although being famed as a misfit, looked for a last chance to settle down. Following him promised a man’s strange journey to go mainstream, against all odds, a true test of his character and personality.

 

Treatment

Structure

The life of Shooter bhai has not been less than a roller coaster ride. He has had his highs and lows and from time to time his life keeps taking a major turn. Each phase in his life is filled with possibilities but always ends in disappointment. To bring out this ever changing life of Shooter bhai we plan to structure the film in chapters. The first chapter will focus on Shooter Bhai’s journey back home. Second chapter will showcase his life in the village and his desire to win back his girlfriend and settle down in life. Third chapter will have him travel back to Mumbai. Fourth will showcase his life in Mumbai and efforts to woo his girlfriend. Fifth chapter will explore his visit back to the village with his girlfriend to attend a festival Thalibarat his family is planning to remove the old wows set on him.

Mood of the film: Shooter bhai is a unique character. Though he has been part of the dreaded Mumbai underworld he has not lost his humour. The way he expresses his emotions, his dialogues and also his body language are humoristic. In a moment he will be crying and in the very next moment he will smile and laugh. He is a peculiar human being. Through the story we will bring out his personality and although we are dealing with a kind of a tragedy the mood doesn’t get dim.

Our relationship: As the film progresses we also see the relationship of Shooter bhai and myself getting closer. I have to confess that although I don’t completely agree with him, I have been influenced by him in some ways. His carefree life is one such aspect that makes me attracted to his character. As a relationship plays a little part in the story we will be making it part of the story. He confiding in me his inner feelings will have a strong imprint on the film. Thus we plan not only to use me in the conversations with him but also use my Voice as a character. A voice over that is used to not just give information but tell about his impact on me and the story.

 

Visual Language

Shooting style: The story of Shooter bhai has been captured through an observatory and participatory style of shooting. We standing close to him observe the journey of his changing life. We participate in conversations with him sometimes asking him to express his feelings but don’t interfere too much. The camera is always handheld and often in motion keeping up with the impatient, haste and carefree lifestyle of Shooter bhai. The camera movements are more organically driven subject to the characters. In no way we have tried to set up or beautify the scenes. Keeping the look and feel natural.

The titles and the chapter titles will be designed like the 90ies Bollywood posters corresponding to the filmy dramatic life of Shooter bhai.

 

Audio Language:

The audio design of the film is a mix of natural sound punctuated with dramatic sound scape to accentuate Shooter bhai’s unrealistic personality. The natural sound will be picked up from the location sound and will mainly be in places where

On the other hand we will use some bollywood themed music specially from the 90ies the time when he was a full fledged gangster. The music will be used to create an atmosphere of the life which he has lived. The choice of songs will be chosen according to the mood.

Use of train sound as a motif. As Shooter bhai’s life in these years had a lot of long distance travelling by train and also as he resides in a station we plan to use the train sound as a motif in the film

 

Director/Producer’s Profile

Naveen is an avid film buff with a special liking toward documentaries with human subjects. He has been trained in Direction from the prestigious Roopkala Kendro, Kolkata and has an experience of over 11 years. Currently he is focused on telling human stories in Fiction and Non Fiction format. His motto of films is everyone has things to say, I love to listen.

Past Documentaries- ‘When you are Sleeping’ and ‘5 Days of Milan’

Priyanka More, a National Award Winning Producer from Mumbai is a graduate in

Media and has done her film course from New York Film Academy. She is a co-

founder and Producer of Mosaic in Films, which concentrates on making Narrative &

Documentary Films. With experience of over 12 years her films have won several reputed awards like Indian National Film Award, Laadli Media Award, to name a few. She is currently producing two feature length narrative films and two feature length documentaries.

Past Documentaries- ‘Holy Rights’

Production Plan

We have recently finished shooting for the first cut. Currently we are in the process of editing. We should finish our rough cut in the coming month. We wish to complete the film by the end of the year.

 

Budget

38145 $

 

Production Status

Early Post Production

 

Contact Details

naveen.pun@gmail.com

 

Visual Material’s Link

https://vimeo.com/728420389/176f4c18d8