Thu Apr 11, 2024 – 7:30 pm | Hendricks Arts Center
Fri Apr 12, 2024 2:30 pm Downtown Beloit Association
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A father daughter relationship is tested as Dad drives Lucy to have her abortion and the two dance around what her future might hold. As they reach the clinic, Lucy looks to her Dad for answers – but it’s not his decision to make. A simple car ride becomes a journey to adulthood for Lucy as she faces hard choices, that ultimately she must make alone.
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From the initial read of Ali Severs’ beautifully transparent script I felt an immediate connection with the two characters. I saw bits of myself in Lucy in a way that I felt so many women would. Her character is the epitome of numerous young women trying to navigate the adult world. Being independent but also vulnerable. Being self-aware but also blissfully dismissive of adults who have spent decades longer than us on the planet making millions of mistakes. Feelings of utter chaos but trying to hold it together to show everyone that you have grown up and that you are absolutely FINE. We all know no one says ‘fine’ unless they are not fine.
Then there was Dad. I value the power of any human who manages to be impartial in a situation that has so many consequences and emotions. Lucy’s Dad spoke to me from a place of admiration. What is the secret to being a great dad? My dad (an unorthodox father) once surprised me by saying something that made me think that he could be put in the running. He said that he always tried to allow us make mistakes and just be there when it got unsafe. Kindly, silently at times, Dad’s soft humour and stoicism made me fall in love with him in one journey. All I needed to bring this character alive was an actor with all these things and an added twinkle in their eye.
Enter the legendary Owen Teale and the incredible Gwyneth Keyworth, both in a car for two days, acting, for us. What an honour. I loved the idea of stripping back the directorial process to its simplest form: two actors, a great dynamic and fantastic writing. I wanted to cultivate performances and bring every beat, every nuance both said and unsaid, to life. The night before filming when we got down to rehearse in a Premiere Inn car park in South Wales, their talent and professionalism was so apparent. I was finally sparring with two incredible actors who had connected with this story I’d been thinking about for years. Their interrogation of this moment in time left me elated. It wasn’t just me, Ali and Tracey (our producer) trying to bring the story alive, now it had new ambassadors.
The subject matter of abortion is shrouded in so much stigma and we all wanted the film to be about the power of choice. The power of family. The ability to be supported to make your own decision. Lines were tweaked and performances were retuned throughout most of the filming process, ensuring that we were all were moving towards a message of pro-choice.
This drive for a common goal within our film prep, shoot and post was hugely aided by having a female lead team. Countless stories of personal situations punctuated meetings with our writer and editor, assuring me that those telling this story were all connecting with it and adding personal layers to the film.
The importance of having a female voice within the film’s score became obvious during the edit. After watching a rough cut, our composer Abi returned with our bespoke title track. I was overwhelmed by her ability to capture a feeling through her lyrics and style. It reflects Lucy’s journey but also Abi’s, bringing yet another female voice to the film.
My visual aspirations for the project stemmed from securing our Welsh actors. They gave us the ability to set the film in the valleys of the south Wales countryside, a place close to my heart having lived not far away. I had always imagined shots of an old blue Volvo rolling through a vast landscape, so I could contrast this with the closeness inside the car. Once this distinctive car was secured, I could see that the blue of the seats would reflect the mood and theme, as well as telling you what sort of guy Dad was. The coverage was always going to be simple, but by using a 2.39:1 aspect ratio we knew we could intensify the connection between these two characters. Binding them tightly together in this moment in time.
The immediate intimacy of this short but powerful point in two people lives is what first pulled me to tell this story. Now I am so proud of how it has landed on the conversation of abortion. I want to show this film to as many young people as possible, so it allows them to think about this situation. I want those who watch it to laugh and feel everything I felt the first time I read it. And I want people to start talking about it and know that it is okay.
Sophie Rose Worger
Having spent the last ten years working in TV comedy on shows such as Emmy award winning ‘Ted Lasso’ and BAFTA winning ‘Horrible Histories’, ‘Catastrophe’ and ‘End of the F*cking World’ Sophie has simultaneously been building a portfolio of her own directorial work. Her directorial debut, ‘Jack and Jill’ was selected to screen at the London Short Film Festival, San Antonio Laughs Comedy Film Slam and Corto Imola Festival in Italy. Sophie also worked with sketch comedians Beard to develop one of their sketches into the short film, ‘The Lonely Ghost’. The film screened at LOCO 2017 at the BFI.
Sophie continues to collaborate with up-and-coming actors and writers, discovering illuminating and entertaining stories that are able to connect with an audience.
Sophie is fascinated by stark, dry humour that finds itself peppered in modern life and, for her, most notably in the lives of women. Making work that is distinctively absurd whilst retaining a delightfully warm realism is one of her passions but also bringing awkward and uncomfortable topics to an audience and allowing them to be normalised through comedy and spoken about freely.
She is looking forward to continuing to create projects where she can use the subtle power of dramatic comedy to shed light on interesting and unto
Director: Sophie Rose Worger
Country: United States
Runtime: 10 min
Writer: Alison Victoria Severs-Ruiz
Producer: Tracey Warren, Alison Victoria Severs-Ruiz
Cinematography: Claudio Cadman
Editor: Holly Bourdillon