Though I have worked on various short films at college and university, I was aware that making an ambitious short, such as Hideous, would be a considerable jump. Despite the films relatively modest setting of a flower shop, there were still inevitable complications in finding legal areas of Glasgow to film in, undertaking the correct legal procedures to safely film with firearms, managing large groups of extras and even securing the perfect florist that would, not only meet the criteria aesthetically, but also shelter a cast and crew of over ten people. Everyone is praying that you’ll be able to manage it all without having a mental breakdown, including yourself. It’s funny how you want your film to be this completely mind blowing experience for audiences, and on set it becomes that, but for all the wrong reasons. You learn very quickly that you have to get your shot in the can and move on to the next one and that there is no time to linger on perfectionist details. You just pray that it won’t turn out garbage and sometimes you’re pleasantly surprised. I had a completely exhilarating experience on this project and with each film I remember why I love the medium so much.
When cheerful flower shop employee, Marla, awkwardly comes into contact with a mysterious man dressed all in black, she learns that her husband, Pete, was savagely murdered earlier that day. He then gives her an opportunity to take revenge. But will she accept?
“⭐⭐⭐⭐ review of Hideous “
UK Film Review
“3.5/4 review of Hideous”
Diamond in the Rough Films
“⭐⭐⭐⭐ review of Hideous”
Indie Shorts Magazine
“⭐⭐⭐⭐ Review of Hideous”
Paola is an Italian Director and Producer based in New York. She holds a BFA in Film from the School of Visual Arts. During her stay in New York she obtained experience in film, commercial and theater productions.
Paola was awarded numerous awards including one from the New York Women in Film and Television, screened at over 20 film festivals and received an international distribution deal for her Italian short film “Citta’ dei Sogni” (City of Dreams)
She is fluent in Italian, French and English and will continue her filmmaking journey around the world.
To make a film it takes a team, this film had a team of two. The reason Solitaire was created by only two people was our craving to tell a story in a way that would challenge us as filmmakers.
This is the first time anyone has shot a film at the Italian Embassy in Brazil. The opportunity was too good to pass up, so Wayland Bell and myself packed our bags and went to Brazil.
The story was created in the moment, inspired by the Embassy and shot without a crew.
The Embassy is famous for its renowned engineer Pier Luigi Nervi. In his time, he was the rockstar of architecture, creating works all over the world, such as the Papal Audience Hall in the Vatican and the UNESCO headquarters in Paris. The structure Nervi had created is a magical but also dark and lonely place, we wanted it to overwhelm the story, therefore becoming a character itself. What would happen to someone who lived completely isolated in this empty mansion? We took that idea and exaggerated it.
Solitaire is dark comedy about a young woman that has shut herself in her mansion from all human interaction. She welcomes into her house a young man who wishes to work on her property as a groundskeeper. This man is the perfect excuse for her to have some companionship. She quickly becomes overly attached to him and the story takes a surreal magical turn when he tries to leave the estate.
I wanted the film to have a suspenseful tone, full of funny and awkward moments. I hope the viewer enjoys these fun moments in a film about friendship and loneliness.
– Paola Bernardini
In this dark comedy we follow a young woman who has secluded herself in her palatial estate from any human interaction. When she hires a handyman in the hopes of relieving her lack of companion ship, she finds herself overwhelmed with attachment to this man which quickly snowballs when he attempts to leave the estate.
“Paola Bernardini, the Film Director from Barletta takes on New York”
Alejandro Cabrera, Bachelor of Fine Arts from the University of Seville, is a Spanish filmmaker based in Mexico where he currently freelances as a reader and script-doctor. He also collaborates with the prestigious Museum of Contemporary Art of Monterrey (Mexico) where he teaches workshops on Screenwriting and Film Grammar.
As a filmgoer he loves all film genres, but as a filmmaker he is often drawn to Crime Dramas and Thrillers of every kind.
From the beginning “The Sleep of the Righteous” was thought as a genre film. However, the underlying issue comes from a very real everyday drama in Mexico: the high rate of crime impunity and the widespread sense of defenselessness of citizens before criminals due to the lack of sufficient judges and police officers. All that combined with a generalized distrust in the authorities seemed to me fertile ground for the emergence of acts of frontier justice, with the inherent perils that this could entail.
In Mexico, where only one in every 100 crimes ends in a conviction, a group of men decide to wait no more and take justice on their own hands. Soon they discover that they’ve killed the wrong man, that two police detectives seem to be on their track and that a gang of real criminals want to make them pay for their mistake.