Arts University Bournemouth has provided £1,200 of match funding
A SAFRA
Poole, Dorset, United Kingdom
Aim: Financially broke, Emma goes back to her hometown in Portugal. Once there, the past she escaped from now threatens her daughter.
Set in a rural community, Emma finds herself in her worst nightmare. Having run away in her younger days to what she thought was a better life abroad, she falls on hard times. Now with a daughter, Alice, she is forced to return to her hometown. Her strained relationship with her mother, Marissa, forces her into an even tougher position. Seeking the lesser of two evils she accepts this fate. Gradually, her motives for having left come to light and a sinister, disgusting truth is revealed. The fate that Emma thought she had escaped from now seeks to prey upon her daughter. Emma will do what she can to make sure this doesn’t happen... but is that enough?
Tradition, although beautiful in many ways, can be used to mask and make commonplace many ugly practices. Often, women are at the forefront of those that suffer most from such realities. Ideals, expectations, and requirements can quickly remove autonomy and liberty from women all around the world.
This film strives to shine a light on such issues. How poor practices can become ingrained with a culture and cause divides between cultures, families, and those around us. Sometimes being strong is not enough. A shift and change needs to happen in order to break free.
DIRECTOR'S VISION:
"A Safra" is a horror film that alludes to themes such as identity, family dynamics and expectations. Three women under one roof, three approaches to a tradition that shapes their lives in different ways. Everything occurs in a house in which the mundane spaces and objects look and feel eerie; a warm, welcoming house that becomes a labyrinth. To achieve this atmosphere, the tone and visual style of the film will be a blend between realism and folklore, where every object is slightly out of place. By using warm colours, the house will ultimately feel both familiar and unsettling. To enhance the horror/tense atmosphere, layers within the frame will be present, also helping to intensify the gradual separation of the characters in the world they are living in.
The overall goal for "A Safra" is to create a need in the audience to want to find out more but also hesitate to do so.
CINEMATOGRAPHY:
Here is a mood board of the initial cinematography ideas for "A Safra", using earthy tones inspired by the appearances of traditional Portuguese homes and chiaroscuro lighting. Hiding the antagonists in partial or even full shadow to cause distrust and subtly increasing visual darkness as the film progresses will increase the feeling that something terrible is looming.
Long shots with lots of empty space, open doors or windows behind characters will create a feeling that something is missing from the frame, while also allowing for experimentation with depth within the lighting. Lastly, slow moving dolly shots and lingering in spaces for slightly longer than expected will cause a feeling of anxiety and discomfort.
PRODUCTION DESIGN:
The aim for this film is to create a busy, almost messy setting with a warm colour palette and dark tones. The production design should ultimately create a sense of unease, hinting at the threat beneath; that something is wrong, but you’re not sure what. One of the biggest challenges is to make the setting believable and realistic to appear as though the shooting location is in Portugal. Through extensive research and references to natural photos taken there the main goal is to create realism through details within the setting to give the location its own vibe and character. It's essential for the atmosphere of the film to have the viewer the buy into the world and location to then feed their desire to find out more about its backstory. Especially as there are flashbacks in the same location, there will be the opportunity to capture glimmers of this dark history on the screen.
DIRECTOR: AROA FUENTES
"Hello! I’m Aroa, writer and director of "A Safra". When Joao first approached me with the initial idea for this film I had no doubt it’d be an amazing project. What appealed to me the most was the fact of having three multigenerational women interacting under one roof, specifically focusing on how tradition affects their family dynamics. I believe this story can be relevant and relatable, as the roles we assume within our family shift and develop as we grow up. Having witnessed my mum’s and grandma’s dynamic, and how it changes when I’m present, I have acknowledged how little I actually know about their personal relationship. In this film I’d like to explore the kind of details that would ensure the story is emotionally experienced and not necessarily rationally understood. I believe having chosen horror as the genre is ideal as it will enhance the overall uncanniness of the story, manipulating the audience’s perception on what is right or wrong, what is safe or a threat.
I can’t wait to work with every single person involved in this project. This crew is amazingly talented, and I’m convinced we can create something beautiful (and horrific) together."
WRITER / LEAD PRODUCER: JOAO BONITO RICARDO
"My name’s Joao, and I am the Writer/ Producer for this project. The idea for "A Safra" has been with me for quite some time at this point. Since its inception I've seen it growing, changing and ultimately maturing into something that I didn’t expect it to. However, I can confidently say that this iteration of the story is the most powerful one. It reflects a lot of the things that I have witnessed during my formative years. I’ve watched the plight of those closest to me with no end in sight, and I have seen the years wear and chip away at strong characters that I once thought were invincible. Throughout all of this, however, I have noticed how fragile yet robust, beautiful, and yet so ugly the human condition can be.
I am honoured to be working with the crew you see before you. They have managed to bring this story to life in ways that I didn’t expect and have believed in my project when my own belief may have staggered. I know we will bring you a film that will be even more horrifying than the emotional oversharing you’ve just read."
PRODUCER: ENZO KALETTA
"I'm working on "A Safra" as a producer, making this the third year in a row that I've been collaborating with Joao on producing and creating projects together. In this time, I've gotten to value the quality of his creative output as well as have had my faith in his storytelling abilities rewarded each and every time. The vision for the story that Aroa and Joao have crafted is deeply rooted in real life relationships that we all are familiar with in some way or another. I love the idea of an inter-generational horror in which the characters are trying their hardest to escape their seemingly predestined fates and watching them succeed or fail on that journey. Throughout the production I'll be supporting Aroa and Joao to the best of my abilities, helping them guide the team. Having led and produced several short films before I'll be using my previous experience, creativity and organisational skills to overcome any obstacles we might face. Together, I'm confident that we can make "A Safra" our greatest project yet."
DIRECTOR OF PHOTOGRAPHY: MILLIE HAWKES
"I'm Millie and I'm the Director of Photography on "A Safra". As a huge horror fan I was immediately drawn to the concept of the film, and am interested in the exploration of how opinions of cultural traditions can change as you age. The subtlety of the script drew me in as a cinematographer, as it allows us to experiment visually with empty space, camera movement and depth within the lighting, in order to subtly give the audience the sense of discomfort and anxiety that our protagonist feels, and hopefully make you afraid for her."
GAFFER: AGNIESZKA MAZUREK
"My name is Agnieszka, I will be a gaffer for "A Safra". I come from Poland, where I studied Fine Arts and then worked in art renovation. My previous experience may not seem as relevant to film, but I believe it shaped my sensibility to the image and the way I think about communicating ideas visually. "A Safra", despite being rooted in a horror film, is most importantly an exploration of three generations of women and the cracks, that were built upon their relationship throughout the years. It a tragedy of patterns, that have been repeated and imposed from mothers to daughters and their inability to connect or communicate. For this project, I imagine the lighting not only to be complimenting the genre, but also to be meaningful for each character, who’s nature and intentions are significantly different."
CAMERA OPERATOR: AMÉLIE-ASH CLAIN
"I’m Ash, the camera operator for "A Safra" and I believe that composition within an image can sometimes speak louder than words; what is shown to the audience… and what isn’t. Within the folk horror genre, "A Safra" plays heavily on the disturbing elements of a culture unknown to its viewer. Indeed, sometimes families can have peculiar customs which get passed on from generation to generation. In this case, even though she escaped once, Emma ends up trapped within the claws of these traditions once again and must do everything she can for her and her daughter to escape… Establishing what is shown to the audience will turn this horrific story into a thrilling experience for the viewer, where alongside Emma, you’ll only want to do one thing. Escape."
PRODUCTION DESIGNER: MOLLY ROGERS
"Hi, I'm Molly - responsible for all things production design related. When reading the script, I loved the idea of making a horror film set in Portugal. The dynamics between the three generations of women also interested me as a relatable issue of different generations not understanding one another, in addition to the surprise of the youngest character favouring traditional ways. The setting opens the opportunity for new styles and techniques in Production Design, including a difference in colour pallet, props, and costumes. By utilising these aspects, the setting will be believable and creative, presenting the effects of parental expectation being pushed onto a child and putting this hope before the child. This presents the dangers of forced conformity within a community."
SOUND DESIGNER: HAYDON ANDERSON
"What drew me as the sound designer to "A Safra" was its sense of place. The home in "A Safra" is a manifestation of many things concerning the past, present and future of the family it habits but it most prominently serves as a time capsule for the collective pain of its leads. As sound designer I hope to show the house as a timeless symbol for both the generational rift between the mother and daughter and the cultural imbalances that have caused it further adding to the horror that things might not ever change."
EDITOR: MICHELLE CICHULSKA
"I'm Michelle the Editor for this film. The mother-daughter relationship is the most complicated, yet fundamental one. The way it’s portrayed in "A Safra" deeply resonates with me. From the beginning, I was drawn by the complexity of the characters sketched by Aroa & João. I’m thrilled to be a part of this excellent team, I can’t wait to see what we will create together. I’m going to give everything to help this vision come to life. "A Safra" is a truly unique experience that will bring the audience along with us on a journey between love and expectation."
FIRST ASSISTANT DIRECTOR: MARGARET TATYANNA
"I’m Margaret and I’m the First Assistant Director. I was drawn to work on "A Safra" by my love of horror movies that centre around a female protagonist. The idea of a horror that revolves around cultural and multi-generational trauma is an incredible combination – sure to intrigue and frighten a wide audience. Coming from a Ukrainian family, I have grown up around strong cultural traditions and matriarchal ideologies – "A Safra" is a film I can see myself finding familiarity within the setting and characters. My role means I’ll be working closely with the director and many other members of the crew in creating the best working schedule for the production days, allowing for the most efficient and fun shooting experience possible - as well as exciting problem solving on set. I think this film will appeal to those, like myself, who have an interest in their own cultural traditions and practices. My favourite horror film is Ari Aster’s "Midsommar" (2019)."
LEAD MAKE-UP ARTIST: ZOE WHITE
"I'm Zoe, and I am the Lead Make-Up Artist for "A Safra". I’ve always been a fan of horror films, ranging from the "Saw" franchise, to "The Conjuring" universe, or even "Paranormal Activity". But "A Safra" appealed to me because the unease that we as an audience feel from this film is more than gore, it’s more than malevolent spirits. In film set around a family, the generational bond between women should make us feel safe but I love and respect a film that can create fear within these parts of life that should give us comfort. In short films, there’s only a certain amount of time to give each character a personality whilst also telling the storyline. My job is to tell the individual character’s story through their appearance so that the audience can give most of their focus to what’s happening on screen. With each generation of woman, there’s different cultural details to consider and I’m excited to learn about Portuguese culture to make these characters come to life."
With this film, we want to get people talking! Get these conversations on the tip of everyone's tongues. In particular those who may have never had their views challenged. By supporting our film, you can help create a conversation about the topic, that might lead to a change of heart, that can ultimately lead to a change in the world.
Here's a breakdown preview of where all donated money will be going. The biggest cost contributors for the film is the involvement of a professional cast, the location as well as ensuring the crew and cast involved are working under adequate conditions. The rest of the money is still being put to good use though. Being able to hire out any additional gear, allowing the art department to support and enrich the story and having professional make up and costume artists involved might seem like minor aspects but can and will make all the difference watching the film. Every cent counts!
Psst... you... yes, you! I knew you’d make it this far. We’d like to thank you from the bottom of our hearts for taking the time to read our page. We are so grateful for all your support whether it be the donations, the shares, or the follows. Thank you.
You were always our favourite.