Tickets to screenings and digital premiere occasions of “Present Me What You Received” could be bought right here. The movie can also be obtainable with out occasions right here.
W&H: Describe the movie for us in your personal phrases.
SC: “Present Me What You Received” is about three younger millennials who meet in Los Angeles and kind a bond. Each faces their very own problem associated to their households.
Enjoyable-loving Marcello (Mattia Minasi) is struggling to get out from beneath the thumb of his profitable Italian cleaning soap star father. The soulful Nassim (Neyssan Falahi) needs for a extra fulfilling performing profession whereas avoiding returning to Iran. And the artistically inclined Christine (Cristina Rambaldi) is trying to find consolation and which means after the dying of her grandfather.
The three break by way of social boundaries and fall in love. However ultimately Marcello should return to Italy, and whereas there, the steadiness of their relationship shifts and every has to seek out their very own footing once more.
W&H: What drew you to this story?
SC: I used to be interested in Christine’s character. She is a drive of nature, and a assured younger lady who acts on her needs. She is empowered and cozy in her personal pores and skin. Christine is aware of when to say no in her relationships, but additionally is aware of when she’s safe sufficient to say sure as properly. She challenges some social norms surrounding love and expands acceptance past its present boundaries — acceptance of who we’re and who we love.
I additionally needed to color an image of the LA that I do know, the place I and my pals are largely immigrants. All of us converse English amongst ourselves, however different languages to our households throughout the ocean. We’re conflicted with the thrilling open mindedness of LA and the traditions of our homeland.
Construct onto that the unconventional love story, the black-and-white cinema verite fashion — I used to be excited to create a movie that was impressed by my favourite motion pictures that got here from the rebellious angle of filmmakers in the course of the French New Wave.
W&H: What would you like individuals to consider after they watch the movie?
SC: My hope is that the viewers is reminded how lovely life is, and that we owe it to ourselves to stay it to the fullest, and to make extra selections based mostly on love.
We’ve had viewers members come as much as us after competition screenings with smiles on their faces, saying, “Wow, this brings again recollections. I want I might stay them once more. And I’d have made a number of totally different selections.” I like listening to that.
I misplaced my father simply two weeks earlier than we began filming, and my co-writer and producer misplaced his father whereas we have been in publish, and their spirits have been in our hearts whereas we have been making this.
W&H: What was the largest problem in making the movie?
SC: I’d say that each stage of filmmaking is the largest problem! For me, the precise days of manufacturing are maybe the simplest half. Publish is difficult, and grueling for its repetitiveness to somebody like me who thrives on manufacturing. And getting distribution has confirmed to be very laborious, notably for a black and white movie in a number of languages with subtitles! Even with all of our competition awards, it was a string of individuals saying no earlier than Adrienne Becker of Degree Ahead/Display screen Ahead heard me converse on the Denver Movie Competition and fell in love with the movie.
After which the pandemic hit! Adrienne and her staff have achieved an incredible job entering into that void for impartial movies and serving to them get observed. They’re establishing a digital launch for Valentine’s weekend stuffed with stay workshops and significant, impact-oriented panels. I’m so thrilled! It’s distribution achieved the best way each filmmaker desires it to be.
W&H: How did you get your movie funded? Share some insights into how you bought the movie made.
SC: My abilities as a cinematographer have been extremely useful on this case, in addition to the enhancing abilities of my producer. Collectively, we had the flexibility to each movie scenes and put collectively a very good presentation.
As soon as we received our actors Cristina, Neyssan and Mattia onboard, and after speaking for hours in our lounge about their characters and the story — and having numerous espresso and croissants collectively — we went out and did a day of filming.
This was extremely useful in so some ways. I knew the fashion and look I used to be going after and was in a position to create it on display screen. The actors and I started working collectively and have become comfy with one another and I used to be in a position to create a slice of the movie. In reality, two of the 4 scenes we shot that day are within the ultimate movie!
Extra importantly, I used to be in a position to present this as a proof of idea to potential buyers and say, “These are the actors. This the fashion. The movie will feel and look like this.” Nick Sarkisov, who is a superb filmmaker in his personal proper, fell in love with it, and he invested within the manufacturing finances and got here on board as a producer. He understood the worth of the imaginative and prescient behind the movie and has believed in me from the start. As soon as we had a fantastic reduce, we would have liked to lift extra funds for ending, and Sergey Sarkisov, additionally a filmmaker and investor, got here on board as an government producer and supplied the funds we would have liked to finish the movie. I’m very grateful to them each for the belief and perception on this movie.
W&H: What impressed you to change into a filmmaker?
SC: Ha! Tales! I make up tales about everything! I began as a nonetheless photographer and, even then, I cherished to take a look at pictures and develop, in my thoughts, the tales behind them: Who’s that individual? Why are they there? What are they going to do subsequent?
My love for tales and pictures and lightweight, soundscapes and music all come collectively in a single phrase: cinema.
W&H: What’s the most effective and worst recommendation you’ve obtained?
SC: One of the best recommendation I’ve ever obtained got here from an aged taxi driver. I used to be going to a big occasion the place I used to be one of many featured audio system, and the motive force might inform I used to be nervous. I defined to him why, and he smiled and mentioned, “That’s really easy. They have you ever up there since you’re you. Simply be your self. Nothing to fret about.” These phrases nonetheless information me each day.
I are likely to overlook unhealthy recommendation.
W&H: What recommendation do you have got for different girls administrators?
SC: Be ready — past ready — and shine while you get your alternative, since you are nonetheless opening doorways for others.
W&H: Title your favourite woman-directed movie and why.
SC: Andrea Arnold’s “Fish Tank,” which is cinema verite at its finest. I like the realism and unapologetic strategy to the story — no filters, uncooked feelings, not premeditated, however straight up from the flesh and bones. It’s the story of a younger lady’s want to flee a turbulent life and to be seen and to exist.
W&H: How are you adjusting to life in the course of the COVID-19 pandemic? Are you preserving artistic, and if that’s the case, how?
SC: I felt paralyzed at first. I wasn’t fairly certain methods to handle my days.
Spending so many hours inside I grew to become conscious of how the sunshine was shifting by way of my house. I remembered my late canine who would observe the solar all through the place so he might lay in a sunny spot all day lengthy, so I picked up my digicam and began to movie the daylight and shadows as they moved throughout my partitions — all totally different sorts of shadows, some brought on by direct solar, and others brought on by reflections.
I ended up making a mini brief movie out of it, “Shadows on the Wall.” It expresses my private emotions of criticism for an administration that didn’t appear to care concerning the human lives being misplaced.
W&H: Protests within the U.S. and overseas have highlighted racism and anti-Black police brutality. The movie trade has an extended historical past of underrepresenting individuals of colour onscreen and behind the scenes and reinforcing — and creating — damaging stereotypes. What actions do you suppose must be taken to make Hollywood and/or the doc world extra inclusive?
SC: A number of years again I heard producer Effie T. Brown converse at a girls’s luncheon at Sundance, and she or he boiled everything down to 3 easy phrases that may change our trade: rent, mentor, and make investments. All of us can do at the least a kind of issues, and that is how we will make progress!