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LOGLINE

  A young man wakes up in a dark, small room. Opposite to him sits an older man. He does not know where he is, who he will is going to talk to but there is one thing he knows for sure: every minute is slower than the previous and he starts to fight for himself for his conscience and against the quandary which they try to get into his thoughts and feelings. 

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SYNOPSIS

  A young man wakes up after he tried to kill himself. He thinks that the place where he is sitting is an interrigation room. Opposite to him sits an older man who he starts to questoning him about a car accident. After a while the young man finds out something strange: the older man starts to asks more personal questions and he knows everything about the smallest details about him too. The younger man starts to lose his feeling of security. The older man could be a police officer? No. A lover? No. An angry father? No! The older man is himself. The matter of their meeting is to convince him about his false remorse. False beacause he did not anything wrong but he feels that he did. But he does not think about his future, his decisions in the future. The older man tries to explain him that all the thoughts he has direct him to a wrong turn if he does not stop to hurt himself.

 

MOTIVATION

  There are times when we will some bad feeling in our stomack because of a moment or happening in our past. Sometimes we are the one who made the mistake but in some of these memories we were just aking apart of it. But still we want to ignore the possibility to get these thoughts, feelings in our mind and soul. There are two kind of human: people who do not care about the consequences and people who are dying under the onus of responsibility. The latters are riuning themself, they are seeinjg nothing but the weakness. They do not realize that they would have the power to change things but the fear in their mind and heart do not let them do it so they stay passive. They are a lot of these people in our global society. There a lot of people who they think there is no matter to live or do change. This short film is a „slap” not just for them but for everybody. Sometimes it is just a little push what is needed. The question is from who, when and which way you’ll be pushed. 

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LOCATION

  The film takes place almost in one significant location: in a small, dark room with two chairs and one table.

The dialogue, the small signs, props, gestures will give the audience all the answers.  

For one POV scene we are going to film in a surgery. 

 

PLANNED CAST

OLDER MAN

  The older man who knows every detail. He shows some passive agression to the young man and he tries to lead the conversation in the objective way but there is a point when he can not contorll himself either. The reason is that he knows they have a short peroid of time and why it is this talk so important between them. 

He looks stringent but he is not. He is kind of like an observational type. All the experienceses appear through his gestures and it seems like he is an antigonist he is not. He has an important business with the young man beacause of his life, his past and their future. 

GÁBOR NAGYPÁL 
 

YOUNG MAN

  He comitted suicide. Did he achivie? Not for sure. He is somewhere but he does not know where. Who does know it? God and the older man sitting against him. What he knows that he can not live like that anymore. He wouls trow everything away espaecially his life to get unchained from this onus. He thinks he made a terrible mistake. He believes in it. Since the accident he is hesitating in every step through his life and he wants to run away. But there is a border which if he crosses there will be no chance to come back. 

He listens and he needs time to realize where he is, what he is doing. The pieces of the puzzle combine slowly in his mind. Who is him? What did he do? Why does he feel this guilt? Why is he in this situation? The question is himself so the answer. 

BALÁZS KOLTAI-NAGY

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DIRECTOR’S CONCEPTION

  The camere live in symbiosis with the sentences of the dialogue. It moves slowly but it moves all the time just like the story. The visual concept includes some static moments also but it is only used when the story stops for this moment. The camera document calmly let the actors do their job and the visual is also the part of the storyline equipments but not in the ostentatious way. 

Just like the lighting. Imagine the twilight atmosphere showing the tiny little borderline between certainty and and uncertainty. We see something but not the whole picture. We know something but not everything. We listen to the conversation between the two men but we are forced also to put the pieces together. 

The instrumenthal guitar music helps the mood, sometimes in a dynamic way sometimes just like a crutch but surely as the partner of the story. 

 

 

Budapest 2021. ©️

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