The story is told of Vincent, dear son and brother, who is at the start of his new life with Eva. His father, Alfred, offers him the position he never expected, but his father ends up in the hospital due to unforeseen circumstances. Conflicts arise between the brothers and the family threatens to fall apart.
Families, they seem to be completely different, yet they have so many similarities. You don't choose your family, but you can choose your own approach. How strong is a family bond and what will remain after a fundamental change of happening? No one is 100% good or 100% evil. The characters in the film are archetypes and full human beings at the same time. Completely different, yet so identical. Family and our responsibilities, subjects that have interested me personally, especially the last couple of years because of family situations. Nothing is self-evident, unconditionality is a choice.
- Annemarie Libbers, director
The story has been brewing in Dirk’s thoughts for over five years. Finally it has been written, the cast has been chosen, and the crew is ready to mold this story into an audiovisual experience.
Imagine, you’re stuck in a world which you cannot escape, how do you deal with that? Can you make certain decisions, even if it is against your own family? And what are the consequences?
As a writer and actor the things happening to Vincent really get to me. The weight on your shoulders to save or protect your family is a well-known concept to me. That makes it such a challenge to become this character and go through his experience. Vincent pays the price for the choices and decisions he has to make for the well-being of his family, and he will carry this with him for the rest of his life. I feel his anxiety of the possibility of losing your family by making one wrong choice, regardless if it's good or bad.
- Dirk Gunther Mohr, writer/actor
The audiovisual vision of Capo di Famiglia
Capo di Famiglia is a film that plays with betrayal, jealousy, family, love, happiness, and death. It’s an emotional film with a lot of suspense, but also with serenity.
In this film the cinematography is influenced by the situation. The main style, subtle and artistic, is the essence on which we build. The transition in time and emotion throughout the story will be visually noticeable. This form of ‘visual orientation’ for the audience will create a more intense experience and the most emotional impact of the acting.
Every situation will be approached differently. Without using cheap tricks or nonfunctional motivations, an adequate coherence between compositing, movement, colour, and light arises. The voice of cinematography is 'soft' but will 'speak' during the lovable and exciting moments. There will be a tangible change between a calm and steady camera movement, in relation to a handheld/slightly more chaotic camera movement. By using wide angle lenses and very sutarated or unsaturated colours the happy and unhappy moments will become intense, dramatic, yet also dreamy. The actors will be recognisable by day, with a soft personality. During the darker and more dreary scenes the light will become harder and the faces will get a slight shadow, which will blend with the surroundings. With this we will keep the classic and mysterious 'mafia' feeling, with a contemporary creative touch.
- Maric Dam, DP
With the campaign we hope to double our current budget to have enough funds to capture our vision in the best possible way. Alongside this campaign we will focus on collaborations with different companies. The full team volunteers for this project with as sole goal to create and connect.
The current estimate is based on how much we at the least need to film this short in seven days of principal photography. When we cross our target amount we can look for better gear, even more beautiful locations and props, to achieve Annemarie’s and Maric’s artistic vision.
Every five hundred euros represents roughly one filming day. But for every hundred euros extra per day we can look for extra grip for camera movement, extra lights, etc.