Natural resources have run out and the world is at war. London, Glasgow and other European cities have been wiped from the face of the earth. Four weeks after the bombings and still no news from England. Families are separated, food is scarce and uncertainty looms over Scotland. People live sealed within cities to keep them safe and guarantee daily rations of food. But for those who live on the outside the future looks hopeless.
Claire wants nothing more than being reunited with her sisters in Edinburgh, but her trip from the north of Scotland will lead her in a different direction. Trust is a luxury she cannot afford, but real human connections are a necessity she will struggle to resist.
2035 is a dystopian short film, set in the Aberdeenshire, that imagines a world in which humanity has not been able to face the climate emergency. The post-apocalyptic setting of 2035 is dominated by a ruthless culture in which survival is the priority. 2035 is a film about learning how to trust and the values of friendship and community.
KAROLINA, DIRECTOR - I am very excited and passionate about being a creative leader of this project and passing on my vision to each department. For my crew personally, it is also a great chance to push our creativity to limits and test our skills as well as to improve them while conveying a message that we deeply care about.
SOFIA, PRODUCER - I am very passionate about this story and the way it explores a different kind of family, born out of struggle, but nonetheless loving and supportive. This is the most ambitious project that I and this crew have undertaken but I have blind confidence in the story we are bringing to life and especially the group that is working with me to do so.
DARTA, PRODUCTION DESIGNER - What do you get when you combine Willy Wonka, Andy Warhol, and Michelangelo? Kanye West, apparently, but also a potentially magnificent production designer. Not saying that’s me, but Bob Ross said we could do anything, so…
MARK, AUFS PRODUCTIONS MANAGER - I am responsible for driving the whole project forward. I am looking forward to the year ahead and the good times the crew will have together, during the planning and on the set.
RADEEN, HEAD EDITOR - I will be making sure that post-production on this project runs as smoothly as possible. I am incredibly excited to be working with the largest team we’ve ever had on a single production.
PIERS, DIRECTOR OF PHOTOGRAPHY - I am responsible for the look of the film: by composing the shots, designing the lighting, and deciding how the camera should move, my job is to work with the director in order to translate our collective vision into 24 images per second.
ABIGAIL, HEAD OF STORY - I became a member of AUFS over a year ago and I have been involved with five film projects within that time. I have worked behind the camera and in front of it and loved every job I have filled, however, writing and imagining have always been my strong suit and so I feel like Head of Story is my perfect role.
WIKTORIA, SCREENWRITER - I'm pouring my heart into the screenplay and into the creation of the post-apocalyptic world in the future, that is not so far away from us. I know the entire cast and crew will make it the best project AUFS Productions has yet birthed. I can't wait to see our collective dream become a reality.
We want the film to rely heavily of the visuals to convey the oppressive and hopeless emotions of the post-apocalyptic atmosphere. As we are a low-budget production we do not have access to big and sensational special effects but we have the creativity to build up our post-apocalyptic Scotland.In pre-production, especially when designing the set, a lot of thought has been invested in the overall colour scheme of the film, that starts from lighter hues of the colour green to gradually continue onto darker hues of blue. We try to combine those green shades that are more commonly present in the horror, action and science fiction genres as 2035 is a combination of the three.
On the other hand we want the opening scene to contrast the colour consistency of the rest of the film. We will employ warmer tones and shots of bright red and yellow, to explore the other side of the apocalypse. Among the colder hues of destruction and oppression, humanity rediscovers its animal instinct of survival. This figure shows which colours will be employed in the film and how often they will be present in the scenes. Predominant hues of green and blue are the main visual elements emphasising unfamiliarity and fear whilst the red and yellow tones illustrate the opening scene that communicates violence, rage, animalism and cruelty.
In the cinematic world of 2035, we imagine the Edinburgh Organisation using visual imagery, emotionally charged words and comparisons in the form of posters and flyers to encourage strict discipline in food saving, water conservation, and other forms of sustainability so that a brighter future is a possibility. In addition, we will be highlighting the importance of the citizen card, which determines access to certain parts of the country, as well as guaranteeing food rations.
While creating designs, we were predominantly inspired by wartime posters and their implicit and explicit messaging about staying strong in times of crisis, appealing to family values and patriotism. We have taken into consideration the technological restrictions the climate and political crisis has placed upon Scotland at this time, so we are keeping designs relatively simple, but all the more impactful because of this.
We have done initial location scouting and we found several locations in Aberdeen and Aberdeenshire that would be perfect for the setting of our film.
We have a cast and crew of 40 people that are working on this project voluntarily. Despite this, there are still a lot of expenses and we need your help to bring this story to life. The production of 2035 is committed to reduce, as much as possible, its carbon footprint. We will do our best to source costumes and props upcycling materials and digging into charity shops and second-hand stores. You can find our sustainability manifesto here.
THE REWARDS & OTHER WAYS IN WHICH YOU CAN SUPPORT US
Don’t forget about the rewards that we have prepared for you! You have a chance to see collection of bloopers, have your name in the final credits and much more! We are very grateful to all of you that will decide to donate, every little contribution is a massive help.
We understand that financial support can be challenging at times. But there are many more other ways to support us. We are still looking to find cheap and eco-friendly ways to cater during the shooting days and provide transportation for cast and crew. If you have any equipment such as lights or rigs; if you can provide any help with transportation; if you have a Midas driving licence or restaurant vouchers or costumes do not hesitate to reach out to us!
You can also show your support sharing this campaign and our Instagram with friends and family!
We are incredibly thankful for every donation and we can’t wait to share this story with you.