2030 The Movie

Providence, Rhode Island | Film Feature

Thriller, War

Irene Yibirin

1 Campaigns | Rhode Island, United States

Green Light

This campaign raised $24,204 for production. Follow the filmmaker to receive future updates on this project.

139 supporters | followers

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María José and Irene, Venezuelan filmmakers, have developed a project that look forward to transform the representation of women in Latin American cinema and celebrate their resilience: This is the story of Gloria, a survivor who learned to endure war, but time has come to part ways with it.

About The Project

  • The Story
  • Wishlist
  • Updates
  • The Team
  • Community

Mission Statement

In times of drastic changes in our way of life, cinema can and must be a mean to salvation. Stories we tell as women, Latinas, and the way we tell them should be sources of inspiration for those who look in art for their redemption.

The Story

2030 is a personal story, as personal as all women’s stories who have struggled and endured in the middle of hostile environments until conquering their own liberation. This is Gloria’s tale, told by María José, both women convinced that only from their inner strength all obstacles can be overcome.

María José and Irene, Venezuelan filmmakers, have developed a project that look forward to transform the representation of women in Latin American cinema and celebrate their resilience. Gloria, our protagonist, is a young survivor who learned to endure war, but now she is forced to part ways with it.

In order to get this project to the set, we’ve started this crowdfunding campaign for which we are asking for your contribution and support in every stage of production.

Cinema saves. As a film professor, Maria José’s goal was to teach and inspire young filmmakers to discover themselves through their work, finding answers out of forms, colors and sounds to overcome their obstacles and meet their freedom.

In a time of drastic changes in our way to live, cinema can and must be a mean to salvation. Stories we tell and the way we tell them should be sources of inspiration for those who look in art for their redemption.

2030 aspires to inspire as for its tale as for the way we are building it, taking the bet for a new vision in liberating filmmaking from which we tell our own stories not just through our characters but our identity as women, Latinas and ultimate owners of our artistic vision.

The current and long lasting Venezuelan multidimensional crisis served in its own right as the inspiration form this film, but also forced us to come up with a painfully realistic methodology and budget to make it a feasible project… And then the outbreak happened.

Despite being a war movie, this is something more in the spirit of The Son of Saul rather than Children of Men, Black Hawk Down or I Am Legend. 2030 (NO SPOILERS) is built on a sense of solitude and isolation that relies on empty streets and a massive sound design plan for its narrative mood, which traduces on a really reduced crew for a really reduced cast.

This "very few people on cast and crew" initiative not only allows a more personal and intimate dynamic for actresses and actors to reach what their characters demand from them, but dramatically reduces the possibilities for any form of disease spread of any sort on set.

This, along with strict biosecurity protocols on set, guaranties a safe environment for work, a side but important note when it comes with the incentive to other crews, filmmakers and artists who deal with uncertainty as a result of the drastic stop of way too many film projects due to the outbreak.

Why not to wait? Because we believe this is our new normality and, in the middle of it, we know we can deliver the good news that being sensible, responsible and careful, art can carry on. The pandemic has to be taken seriously, but also our very reasons to exist, to create and share.

Even though making movies is expensive, we've managed to come up with a down to earth budget suitable for a crowdfunding campaign that will allow us to smoothly wrap production in relatively short time.

With your contribution we will cover cast and crew fees, rental, production design costs, logistics, catering, biosecurity, insurance, incidentals… No matter the amount of your contribution, we know it will add to the realization of our project and also will make you an organic and vital part of it.

You made it this far. That tells us, and tells you, that our project caught your attention. Contributing to independent artists to cover the cost of making films pretty much makes you a filmmaker yourself, a part of the team, family; so let’s dig into this idea a little bit deeper.

During development of this project, research and corrective changes, we have learned a key fact about the present and future of independent cinema and crowdfunding: audiences and creators matter.

A new form of filmmaking through which we can bypass the financial and editorial complexities of film production is possible when audiences and artists create community. At the end of this journey, that’s at what we’re aiming.

We want you to join us in this personal and complex project, but we want you to stay all the way. This journey doesn't end with the closing credits of the final cut of our movie. We are filmmakers for life and for our next projects we want you to be there as part of what is being born today.

That’s what you get when you contribute to our crowdfunding campaign, being part of our vision, part of our movement; you get the promise of a long lasting journey of cooperative art creation where you and we matter.

Being that said, we have come up with seven incentives that progressively entail you into the narrative of our film and the byproducts of it. We are storytellers, so… What better way to let the world know about your contribution than make you part of our story?

Check our incentives and find out for yourselves.

Yeah, thank you for your contribution; it really means A LOT to us. Know you are a significant part, not only of our project, but of a growing community of artists who are finding through the people's support their genuine stream of expression. Is through the pieces of work we make and your reflect that bounces from it that art finds its true meaning, its more honest voice. Once again, thank you for your support and for joining us in these exciting adventure.




Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.


Costs $3,000

This is the reglamentary 10% Incidental budget to cover unforeseen expenses.


Costs $900

Will cover printing, casting and rehearsals expenses, location scouting, and accounting.

Cast & Crew

Costs $14,400

Will cover cast & crew fees.


Costs $3,000

Will cover rental of cámera, optic, lighting and power supply equipment.

Production Design

Costs $1,200

Will cover wardrobe, makeup, props and practical effects.


Costs $6,300

Will cover general transportation, housing, catering and sanitation.

Legal & Paper Work

Costs $1,200

Will cover taxes, insurances, legal fees, registrations...

Cash Pledge

Costs $0

About This Team

The Team behind 2030 is an enthusiast, experienced, committed group of artist of all kind and craft ready to hit the set under the guidance and direction of two talented Venezuelan female filmmakers, María José & Irene, who lead our crowdfunding campaign.

El Equipo detrás de 2030 es un entusiasta, experimentado y comprometido grupo de artistas de distintas vertientes listos para filmar y que se encuentran bajo la guía y dirección de dos talentosas cineastas venezolanas, María José e Irene, quienes lideran nuestra campaña crowdfunding.


María José Aular (35 years old, Venezuelan) is a young filmmaker who has worked in all facets of the trade: she has been an executive producer of short films (“La Lechuza”, 2019 – Official Selection of the Ecuadorian Film Festival Atuk 2020; “30 G ”, 2016, among others), co-director and screenwriter (“Ámbar: the Color of a Perfect Family”, feature film, 2015 – Official Selection of the Taiwan International Queer Film Festival 2019…), director (“Memorias del Amparo”, documentary, Official Selection of the Urbe 2007 Audiovisual Show, “With or Without Love”, short film, Official Selection of the Urbe 2007 Audiovisual Show…), and scriptwriter (“2030”, feature film, 2019; “Yellow, Blue & Red”, short film, 2014). Her career has been built on the paths opened by other Venezuelan female directors like her, enterprising, courageous, creative, and willing to make her voice heard even in the most oppressive and difficult environments.

In parallel with her fundamental activity, making films, her passion for training and promoting her cinematographic activity has kept her linked to the world of teaching. She coordinated the TSU Program in Audiovisual Arts at the Universidad Católica Cecilio Acosta, in Maracaibo, from October 2015 until March 2018, being part of the teaching staff since April 2013. Her students have been her most enthusiastic collaborators in all her projects.

She has put great effort into her professional training, she has participated in workshops on Production, Documentary Making, Production Design, Photography, Design, and is currently pursuing a Master's Degree in Communication Sciences, Major: Socio-semiotic of Communication and Culture, at the University of Zulia.

María José Aular (35 años, venezolana) es una joven cineasta que se ha desempeñado en todas las facetas del oficio: ha sido productora ejecutiva de cortometrajes (“La Lechuza”, 2019 – Selección Oficial del Festival Ecuatoriano de Cine Atuk 2020; “30 G”, 2016; entre otros), co-directora y guionista (“Ámbar: el Color de una Familia Perfecta”, largometraje, 2015 – Selección Oficial del Taiwan International Queer Film Festival 2019…), directora (“Memorias del Amparo”, documental, Selección Oficial de la Muestra Audiovisual Urbe 2007; “Con o sin Amor”, cortometraje, Selección Oficial de la Muestra Audiovisual Urbe 2007…), y guionista (“2030”, largometraje, 2021; “Amarillo, Azul & Rojo”, cortometraje, 2014). Su carrera se ha cimentado sobre los caminos que han abierto otras mujeres venezolanas directoras como ella, emprendedoras, valientes, creadoras y dispuestas a hacer escuchar su voz aún en los ambientes más opresivos y difíciles.

En paralelo con su actividad fundamental, hacer cine, su pasión por la formación y la promoción de la actividad cinematográfica la ha mantenido ligada al mundo de la docencia. Coordinó el programa TSU en Artes Audiovisuales de la Universidad Católica Cecilio Acosta, en Maracaibo, desde octubre de 2015 hasta marzo de 2018, siendo parte del personal docente desde abril 2013. Sus alumnos han sido los más entusiastas colaboradores en todos sus proyectos.

Ha puesto gran empeño en su formación profesional, ha participado en talleres de Producción, Realización Documental, Diseño de Producción, Fotografía, Diseño, y actualmente está realizando una Maestría en Ciencias de la Comunicación, Mención Sociosemiótica de la Comunicación y la Cultura, en la Universidad del Zulia.


As Founder and Director of the Venezuelan Film Festival (launched in New York City in 2013), Irene Yibirin is a tireless advocate of the arts and their importance in everyday life. Aside from her leadership role at the Venezuelan Film Festival VEFF, where she spearheads the festival’s creative vision and direction, she is also Co-Founder and Director of Development at Maravilla, a New York-based organization dedicated to raising public awareness of South America through film and the arts.

Before VEFF, Yibirin acquired her own skills and experience working as an Audio Visual Coordinator and as Film Festival Coordinator at the Iberoamerican Festival of Short Films VIART, and the National Venezuelan Film Distributor Amazonia Films, respectively.

Irene's production experience lists her as Associate Producer for the suspense-thriller film Refuge (2013) directed by Andrew Robertson (USA), Associate Producer of the Tribeca and Pink Apple winning short film SALTA (2017) directed by Marianne Amelinckx (VEN), and Production Assistant for the Oscar-nominated (2011) and Sundance Film Festival-winning (2010) documentary GasLand directed by Josh Fox (USA).

She studied Cinematography at the Central University of Venezuela and Production Design at the School of Visual Arts in New York City.

Como fundadora y directora del Festival de Cine Venezolano VEFF (inaugurado en la ciudad de Nueva York en 2013), Irene Yibirin es una incansable defensora de las artes y su importancia en la vida cotidiana. Además de su papel de liderazgo en el Festival de Cine Venezolano VEFF, a la cabeza de la visión y dirección creativa del festival, también es Co-Fundadora y Directora de Desarrollo en Maravilla, una organización con sede en Nueva York dedicada a crear conciencia sobre América del Sur a través del cine y las artes.

Antes de crear VEFF, Yibirin adquirió sus propias habilidades y experiencia trabajando como Coordinadora Audiovisual y como Coordinadora de Festivales de Cine en el Festival Iberoamericano de Cortometrajes VIART, y la Distribuidora Nacional de Cine Venezolano Amazonia Films, respectivamente.

La experiencia de Irene en producción la lista como Productora Asociada de la película de suspenso Refuge (2013) dirigida por Andrew Robertson (EE. UU.), Productora del cortometraje ganador de Tribeca y Pink Apple SALTA (2017) dirigido por Marianne Amelinckx (VEN), y Asistente de Producción del documental GasLand, nominado al Oscar (2011) y ganador del Festival de Cine de Sundance (2010), dirigido por Josh Fox (EE. UU.).

Irene Yibirin estudió Artes Cinematográficas en la Universidad Central de Venezuela UCV y Diseño de Producción en la Escuela de Artes Visuales de la ciudad de Nueva York SVA.

Current Team