THE FINEST MODEL

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CONCEPT

 

Michael finds himself at the gates of a dark, mysterious mansion. A woman in white invites him inside.
Within he meets the many faces of his life. They repeat their warnings of despair and life’s hardships; he must loose his first love all over again, face his childhood regrets and remember great loss.
Navigating this house of fractured memories, he must find some way to put his past to rest and build fresh.

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OUTLINE

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Since Michael never gives an account of himself, the audience gets to know him through the house doorways. 

On the ground floor he encounters people from his past, including his parents, brother, himself as a child and his first love.

On the first floor he faces his present and meets his wife and daughter.

 

Question about love, family conflicts, and identity contribute to create a hypnotic and dreamlike atmosphere, suggesting that there are times when we don't know how to feel things.

As the film goes on, time and space become more confused, since they are totally subjective.

  

The film aims to convey a sense of confused drifting change in which there is almost no dialogue but the character performances are interior and speak loud without literally speaking.

The visual and acting aim to present the character’s personality and their life more strongly than any dialogue could. 

 

The plot drifts between moods and suggestions, as people like Michael don't live lives that lend themselves to beginning, middle and ends; he's on hold and stuck.

There is no apparent logical explanation for what Michael sees and explore in the house, because the film is about inexplicability and individuality of dreams. The real reaction takes place in Michael’s head.

While the narrative appears to be incoherent, a closer analysis demonstrates that it tells a coherent story according to the subjective dream language of the character, which only needs to be interpreted.  

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INFLUENCES

The film is inspired by different sources including Luigi Pirandello and his novels that often deal with the theme of the dream. The withdrawing from hypocrisy of society through different forms of insanity, in order to escape from what the director calls ‘a continual masquerade of self-importance’.  It also includes elements that refer to the concept of existentialism explored by Jean Paul Sartre, and his philosophical movement that values individual subjectivity rather than objective.

In terms of filmmaking the film is influenced by Andrei Tarkovsky, and Alexander Sokurov, who create representations of parallel worlds that can be accessed through dreams in the case of The Mirror, and journeys through afterlife in the case of The Russian Ark.

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DIRECTOR STATEMENT

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The film is not autobiographical but as filmmaker I strongly relate to the project and the main character for different reasons.

Above all with this film I decided to change the safe path and challenge myself in the role of writer and director, which have always been those I’ve been passionate for but never fully explored, for fear of failure. I therefore left my comfort zone of collaborating in film productions in the role of producer, as I believe that struggles cause people to change, and I hope that this exciting experience will grow my sense of self confident and self worth as writer and director.  
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