Absence
New York City, New York | Film Short
Drama
Absence tells a poignant story about a Venezuelan immigrant janitor who has lost himself and finds his way back through memory. When magical messages begin appearing at his work, Ramon must reckon with what he's left behind and what remains as he navigates life as an elderly immigrant.
Absence
New York City, New York | Film Short
Drama
2 Campaigns | New York, United States
56 supporters | followers
Enter the amount you would like to pledge
$9,625
Goal: $10,100 for production
Absence tells a poignant story about a Venezuelan immigrant janitor who has lost himself and finds his way back through memory. When magical messages begin appearing at his work, Ramon must reckon with what he's left behind and what remains as he navigates life as an elderly immigrant.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Ramon Avila is a night janitor at a prestigious American university. When we meet him, dwarfed by ancient mahogany walls
and lofty academic ideals, he is trapped in a lonely, monotonous cycle. He works alone, late at night, and doesn’t command English very well.
One day, he finds an origami note in the bathroom of his workplace — “Open me.”
Shaken and more than a little scared, he throws it away and ignores it. But the note keeps appearing, following him around his workplace.
Finally, he opens it to see the first of a few commands — Dance like Caracas 1987. The command triggers a memory, one that had been collecting dust inside his head. After continuing to resist, he gives in and, in an empty classroom, dances to his wedding song.
As the days continue, we follow Ramon at home and at work. Slowly, he allows himself to remember more, and we see the
mementos he’s stored away of a full life and family that he left behind.
But just as things seem to be turning up for Ramon, he fails the citizenship exam he has been dutifully preparing for. He is
devastated, unsure of how to cope. As he leaves the immigration office, ICE agents loitering in its hallways, he is escorted by a young activist.
The next day, another note comes. A simple memory, but a beautiful one — Eat arepas on the Ávila. It helps him to
remember… things were not always this dark.
As he heads back from his lunch break, Ramon hears the sound of a troupial, a Venezuelan bird, in the distant forest.
Surprised and struck by emotion, he frantically follows it.
The troupial hops onto his hand, and Ramon takes it back home with him. Emotional and exhausted, the two fall asleep.
The next night (Ramon’s morning), Ramon wakes up, ready to prepare for his night shift. The troupial, still there, presents
him with the final note — Stay.
Ramon makes a choice and ignores the alarm for work.
He stays.
Last spring, my grandfather was diagnosed with dementia. When my mother called to tell me, I was sad, but not surprised.
For years now, I’ve witnessed my grandfather’s memory fade; as the months passed, it’s been harder and harder for him to
remember his life in Venezuela. Whenever I visit him in the nursing home he now lives in, I can feel the details of his past, and the pride and agency this life afforded him, slipping away into nothingness.In many ways, Absence is about him.
The character of Ramon struggles with monotony and cultural isolation. He, like my grandfather was, is caught in a continuous cycle of studying for and failing his citizenship exam. He lives in a country that is increasingly hostile to him and every day, his vibrant past fades deeper into the recesses of his mind. But through it all, memory is what saves him.
When Ramon remembers his past, he is reminded that he was loved, that he was accepted. By breaking through the pain of remembering and embracing the memory, he sees himself as a man with agency, joy, and community. This gives him hope that what once was can occur again, even if it looks different.
In some ways, I’ve written Absence to give my grandfather his own reminder. Maybe if he gets the chance to see it, he too will gain hope that he can live this last chapter of life with the dignity he once took for granted. But in another way, I think I’ve written it for myself. If I can allow myself to remember what once was, whether that be the version of my grandfather I am losing or a brighter version of this country I call home, I can find hope for a bright, albeit different, future.
Supporting emerging immigrant directors like myself is one timely way to combat a national climate that seeks to erase us.
Ideas, of course, are only half the battle. I’ve spent the past six years producing, directing, and collaborating with a range of artists and brands, which has uniquely positioned me as a strong director with producing prowess. But now is the moment to focus fully on directing.
Some stills from my recent directorial work are below:
My artistic approach to Absence centers on crafting distinct visual and sonic worlds for Ramon: the world of his reality—
monotonous, depressing, and cavernous—and the world of his memory—warm, dreamlike, and just beyond reach. To realize this, I’ll work closely with my cinematographer, Benjamin Ades, to differentiate the sterile halls of the university (captured in wide shots that emphasize Ramon’s smallness) from the intimate spaces of memory (through close-ups and inserts that trace Ramon’s growing agency). These memories won’t be conventional flashbacks; instead, we’ll witness how Ramon’s face, body, and actions shift as he remembers, while the sonic landscape transforms to immerse us in his internal world.I’m in talks with multiple composers to find the best match to create a soundscape that functions as a character in its own right, moving from barely there to an orchestral mosaic of traditional instruments and vivid sounds associated with each memory, such as the clinking of glasses or the calling of native birds. And of course, at the heart of this film is Ramon Avila and the actor who brings him to life. I’m currently in conversation with Venezuelan, Venezuelan-American, and other Caribbean Latino actors who possess the emotional range, lived experience, and community connection to make Ramon leap off the page and into the hearts of audiences from Caracas to New York. I care deeply about creating a collaborative and equitable process to make this movie the right way; support from you would allow us to do so without compromising the dignity, financial wellbeing, or emotional health of our cast and crew.
In the last couple of years, we’ve seen an influx of immigration from Venezuela and an ensuing nativist backlash. It is saddening to see men like my grandfather and father villainized because of the actions of a few and the xenophobic, racist motivations of those in power. It is humiliating to hear the political and humanitarian struggles of my family’s home ridiculed on television by our country’s president-elect. And it is terrifying to look towards the future and see the very real possibility of mass atrocities against immigrants. “Absence” is a small, specific story; a slice of life more than anything. Through this, I hope audiences can see our humanity. Now, more than ever, this act is an essential part of fighting back.
We are raising funds for production, which will occur in and around New York July 17-20 of 2026, and for post-production. Our budget will be going towards equipment costs, transportation, location fees, production design, costumes, and fair wages for cast and crew members. We're maintaining a small cast & crew in order to stay nimble and affordable. Your contributions will help ensure that those who do work on this project can be compensated fairly for their hard work and can work in safe and equitable conditions!
"I found the narrative to be intimate and unusually polished, with a very well drawn protagonist whom the reader connects with within the very first page. It undeniably has the feel of a story that has been given an enormous amount of thought."
"I could see and feel this movie when reading the screenplay. I was truly moved at the end."
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Camera, Grip, & Electric Gear
Costs $3,100
We'll be renting camera, grip & electric, and sound gear. This amount reflects heavily discounted gear rates we've been quoted already.
Cast + Crew Fees
Costs $3,000
This money is to pay our crew. Many are working for free (or heavily discounted) but we'd like to compensate folks as much as possible!
Locations
Costs $2,000
This provides fees for the locations we're planning on using! Most are doing us a favor and giving us heavily discounted (or free) access.
Production Design
Costs $2,000
This amount covers the cost of set dressing, production design, and our amazing bird puppet that appears in the last act of the movie!
Direct link:
Share this update!
About This Team
TEAM
Our team consists of award winning crew with experience in commercial and indie alike.
DIRECTOR - CARLA TROCONIS
Carla is a Venezuelan-American immigrant filmmaker who’s passionate about crafting stories that expand, not flatten, images of the Latine community, particularly the Venezuelan diaspora. In her work, she grapples with all the paradoxes, struggles, and joy experienced by those in immigrant communities. Carla is interested in stories that explore diaspora with nuance and approach emotions with fantastical and surrealist approaches.
After graduating cum laude from Harvard in 2019, Carla cut her teeth in the media business (Zuckerberg Media Chief of Staff, Pinwheel Productions CEO) before leaving to direct and produce full time. To date, she has worked as a director and producer with musical artists like TE/MO, Marcus Mumford, Quarters of Change, Joshuah Campbell, and Mint Green; commercial partners like Vogue, Spectrum, Rag & Bone, Dole, Playbill, Biden / Harris 2020, and Jolana; and with agencies like Adolescent Content, AB Partners, and L&C.
Carla has produced and directed short films that have been accepted to film festivals such as the Maine International Film Festival, Dances with Films LA, the Los Angeles Latinx Film Festival, the New York City Independent Film Festival, and the Latino Film Market. As a theatrical director and producer, she has participated in programs like 24H Play Nationals and exhibited work at The Tank, Theater Row, WP Theater, and Zoo Venues (2024 Edinburgh Fringe Festival).
Most recently, Carla served as the line producer and co-producer of upcoming narrative feature, GRIND (Frontières Market at Cannes Film Festival - 2026 Winner), a top 12 semi-finalist of 2025 Antigravity Academy Short Film Studio (with this project, Absence), and a finalist for the 2025 Sundance Producer’s Lab
PRODUCER - CAMDEN ELIZABETH (SUITCASE PRODUCTIONS)
Camden Elizabeth is an award-winning Producer with experience in film, TV, and theater in the US, Europe, and Asia, alike.
She started at Comedy Central in Brand Marketing + Events. In 2018, she founded Suitcase Productions, an Emmy®-
nominated, indie production company specializing in "heart-first" film and photography. Her work has screened at IFC
Center, Alamo Drafthouse, and Anthology Film Archives, and has been featured on Teen Vogue, MTV News, Buzzfeed's
AM2DM, Brut Media, and Logo's NewNowNext, among other industry publications. Camden's notable credits include
Creative Producer on "The Feels" Season 3-a three-time Emmy® nominee, a YouTube Streamy Award winner, and a WebbyAward honoree. Camden became a 2020 Tribeca Film Festival delegate after Suitcase Productions was granted Tribeca Film Institute x Chanel's "Through Her Lens" developmental grant.
Camden was born in Switzerland and grew up in the UK, Germany, and Hong Kong. She now resides in New York, NY.
PRODUCER - BETHANY MCHUGH (AFFECTS NEXT DAY'S WORK)
Bethany McHugh is a New York City raised and based creative producer, with work spanning from feature films, documentaries, music videos, narrative shorts, theatre, and campaign level work for major fashion houses and tech companies. Her next feature film, GRIND, will premiere in 2027 and has already won the Frontières Buyers Showcase at the Marché du Film in 2026. Previous credits include MAJOR (Short Film, Martha’s Vineyard African American Film Festival 2025), cigarettes (SXSW Pilot Competition 2025), and radiation (Short Film, Chattanooga Film Festival 2025). She is also a proud member of the Writer’s Guild of America.
CINEMATOGRAPHER - BENJAMIN ADES
Ben is a filmmaker and photographer who majored in Art, Film, and Visual Studies at Harvard University. His films been
accepted to and screened at over 50 film festivals and have won awards for both Cinematography and Video Editing. Some notable festivals are the following: San Francisco International Film Festival, Seattle International Film Festival, Rooftop Film Festival, Woodstock Film Festival, American Documentary Film Festival, DC Independent Film Festival, Rhode Island International Film Festival, National Film Festival for Talented Youth, Sidewalk Film Festival, Roxbury International Film Festival. His films have been a recipient or finalist for 13 awards at these festivals including Best Documentary, Best
Cinematography, and Best Editing. Ben was awarded the Chris Killip Prize from Harvard College for excellent work in lens-
based media.
He is Argentinian American and based in New York City.
PRODUCTION DESIGNER - JONATHAN SCHATZBERG
Jonathan Schatzberg is a Brooklyn-based scenic designer, production designer, prop fabricator, and art director. Jonathan’s scenic design has been seen at The Brick, The Tank, The Chain, Columbia University, and New York University. Short film work has been screened at the Tribeca Festival, Big Apple Film Festival, International Puerto Rican Heritage Film Festival, LA Shorts International Film Festival, New York Shorts International Film Festival, National Film Festival for Talented Youth (NFFTY), and the Toronto International Women’s Film Festival. Commercial work includes the New York City Ballet, Children’s Aid, H&R Block, and Nike.
SOUND MIXER / DESIGNER - TIM PERDOCH
Tim Perdoch is a NYC-based production sound mixer and boom operator specializing in narrative films, commercials,
documentaries, branded content, and reality TV. He has worked with clients like Vox Media, Netflix, J. Crew, Covergirl,
ACLU, and Madison Square Garden. With a background in indie music and filmmaking, Tim combines a sharp ear with a passion for delivering high-quality audio that supports filmmakers' creative visions. Inspired by his New York roots and an eclectic mix of film, music and art, his work reflects a deep dedication to the craft.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
Ramon Avila is a night janitor at a prestigious American university. When we meet him, dwarfed by ancient mahogany walls
and lofty academic ideals, he is trapped in a lonely, monotonous cycle. He works alone, late at night, and doesn’t command English very well.
One day, he finds an origami note in the bathroom of his workplace — “Open me.”
Shaken and more than a little scared, he throws it away and ignores it. But the note keeps appearing, following him around his workplace.
Finally, he opens it to see the first of a few commands — Dance like Caracas 1987. The command triggers a memory, one that had been collecting dust inside his head. After continuing to resist, he gives in and, in an empty classroom, dances to his wedding song.
As the days continue, we follow Ramon at home and at work. Slowly, he allows himself to remember more, and we see the
mementos he’s stored away of a full life and family that he left behind.
But just as things seem to be turning up for Ramon, he fails the citizenship exam he has been dutifully preparing for. He is
devastated, unsure of how to cope. As he leaves the immigration office, ICE agents loitering in its hallways, he is escorted by a young activist.
The next day, another note comes. A simple memory, but a beautiful one — Eat arepas on the Ávila. It helps him to
remember… things were not always this dark.
As he heads back from his lunch break, Ramon hears the sound of a troupial, a Venezuelan bird, in the distant forest.
Surprised and struck by emotion, he frantically follows it.
The troupial hops onto his hand, and Ramon takes it back home with him. Emotional and exhausted, the two fall asleep.
The next night (Ramon’s morning), Ramon wakes up, ready to prepare for his night shift. The troupial, still there, presents
him with the final note — Stay.
Ramon makes a choice and ignores the alarm for work.
He stays.
Last spring, my grandfather was diagnosed with dementia. When my mother called to tell me, I was sad, but not surprised.
For years now, I’ve witnessed my grandfather’s memory fade; as the months passed, it’s been harder and harder for him to
remember his life in Venezuela. Whenever I visit him in the nursing home he now lives in, I can feel the details of his past, and the pride and agency this life afforded him, slipping away into nothingness.In many ways, Absence is about him.
The character of Ramon struggles with monotony and cultural isolation. He, like my grandfather was, is caught in a continuous cycle of studying for and failing his citizenship exam. He lives in a country that is increasingly hostile to him and every day, his vibrant past fades deeper into the recesses of his mind. But through it all, memory is what saves him.
When Ramon remembers his past, he is reminded that he was loved, that he was accepted. By breaking through the pain of remembering and embracing the memory, he sees himself as a man with agency, joy, and community. This gives him hope that what once was can occur again, even if it looks different.
In some ways, I’ve written Absence to give my grandfather his own reminder. Maybe if he gets the chance to see it, he too will gain hope that he can live this last chapter of life with the dignity he once took for granted. But in another way, I think I’ve written it for myself. If I can allow myself to remember what once was, whether that be the version of my grandfather I am losing or a brighter version of this country I call home, I can find hope for a bright, albeit different, future.
Supporting emerging immigrant directors like myself is one timely way to combat a national climate that seeks to erase us.
Ideas, of course, are only half the battle. I’ve spent the past six years producing, directing, and collaborating with a range of artists and brands, which has uniquely positioned me as a strong director with producing prowess. But now is the moment to focus fully on directing.
Some stills from my recent directorial work are below:
My artistic approach to Absence centers on crafting distinct visual and sonic worlds for Ramon: the world of his reality—
monotonous, depressing, and cavernous—and the world of his memory—warm, dreamlike, and just beyond reach. To realize this, I’ll work closely with my cinematographer, Benjamin Ades, to differentiate the sterile halls of the university (captured in wide shots that emphasize Ramon’s smallness) from the intimate spaces of memory (through close-ups and inserts that trace Ramon’s growing agency). These memories won’t be conventional flashbacks; instead, we’ll witness how Ramon’s face, body, and actions shift as he remembers, while the sonic landscape transforms to immerse us in his internal world.I’m in talks with multiple composers to find the best match to create a soundscape that functions as a character in its own right, moving from barely there to an orchestral mosaic of traditional instruments and vivid sounds associated with each memory, such as the clinking of glasses or the calling of native birds. And of course, at the heart of this film is Ramon Avila and the actor who brings him to life. I’m currently in conversation with Venezuelan, Venezuelan-American, and other Caribbean Latino actors who possess the emotional range, lived experience, and community connection to make Ramon leap off the page and into the hearts of audiences from Caracas to New York. I care deeply about creating a collaborative and equitable process to make this movie the right way; support from you would allow us to do so without compromising the dignity, financial wellbeing, or emotional health of our cast and crew.
In the last couple of years, we’ve seen an influx of immigration from Venezuela and an ensuing nativist backlash. It is saddening to see men like my grandfather and father villainized because of the actions of a few and the xenophobic, racist motivations of those in power. It is humiliating to hear the political and humanitarian struggles of my family’s home ridiculed on television by our country’s president-elect. And it is terrifying to look towards the future and see the very real possibility of mass atrocities against immigrants. “Absence” is a small, specific story; a slice of life more than anything. Through this, I hope audiences can see our humanity. Now, more than ever, this act is an essential part of fighting back.
We are raising funds for production, which will occur in and around New York July 17-20 of 2026, and for post-production. Our budget will be going towards equipment costs, transportation, location fees, production design, costumes, and fair wages for cast and crew members. We're maintaining a small cast & crew in order to stay nimble and affordable. Your contributions will help ensure that those who do work on this project can be compensated fairly for their hard work and can work in safe and equitable conditions!
"I found the narrative to be intimate and unusually polished, with a very well drawn protagonist whom the reader connects with within the very first page. It undeniably has the feel of a story that has been given an enormous amount of thought."
"I could see and feel this movie when reading the screenplay. I was truly moved at the end."
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Camera, Grip, & Electric Gear
Costs $3,100
We'll be renting camera, grip & electric, and sound gear. This amount reflects heavily discounted gear rates we've been quoted already.
Cast + Crew Fees
Costs $3,000
This money is to pay our crew. Many are working for free (or heavily discounted) but we'd like to compensate folks as much as possible!
Locations
Costs $2,000
This provides fees for the locations we're planning on using! Most are doing us a favor and giving us heavily discounted (or free) access.
Production Design
Costs $2,000
This amount covers the cost of set dressing, production design, and our amazing bird puppet that appears in the last act of the movie!
Direct link:
Share this update!
About This Team
TEAM
Our team consists of award winning crew with experience in commercial and indie alike.
DIRECTOR - CARLA TROCONIS
Carla is a Venezuelan-American immigrant filmmaker who’s passionate about crafting stories that expand, not flatten, images of the Latine community, particularly the Venezuelan diaspora. In her work, she grapples with all the paradoxes, struggles, and joy experienced by those in immigrant communities. Carla is interested in stories that explore diaspora with nuance and approach emotions with fantastical and surrealist approaches.
After graduating cum laude from Harvard in 2019, Carla cut her teeth in the media business (Zuckerberg Media Chief of Staff, Pinwheel Productions CEO) before leaving to direct and produce full time. To date, she has worked as a director and producer with musical artists like TE/MO, Marcus Mumford, Quarters of Change, Joshuah Campbell, and Mint Green; commercial partners like Vogue, Spectrum, Rag & Bone, Dole, Playbill, Biden / Harris 2020, and Jolana; and with agencies like Adolescent Content, AB Partners, and L&C.
Carla has produced and directed short films that have been accepted to film festivals such as the Maine International Film Festival, Dances with Films LA, the Los Angeles Latinx Film Festival, the New York City Independent Film Festival, and the Latino Film Market. As a theatrical director and producer, she has participated in programs like 24H Play Nationals and exhibited work at The Tank, Theater Row, WP Theater, and Zoo Venues (2024 Edinburgh Fringe Festival).
Most recently, Carla served as the line producer and co-producer of upcoming narrative feature, GRIND (Frontières Market at Cannes Film Festival - 2026 Winner), a top 12 semi-finalist of 2025 Antigravity Academy Short Film Studio (with this project, Absence), and a finalist for the 2025 Sundance Producer’s Lab
PRODUCER - CAMDEN ELIZABETH (SUITCASE PRODUCTIONS)
Camden Elizabeth is an award-winning Producer with experience in film, TV, and theater in the US, Europe, and Asia, alike.
She started at Comedy Central in Brand Marketing + Events. In 2018, she founded Suitcase Productions, an Emmy®-
nominated, indie production company specializing in "heart-first" film and photography. Her work has screened at IFC
Center, Alamo Drafthouse, and Anthology Film Archives, and has been featured on Teen Vogue, MTV News, Buzzfeed's
AM2DM, Brut Media, and Logo's NewNowNext, among other industry publications. Camden's notable credits include
Creative Producer on "The Feels" Season 3-a three-time Emmy® nominee, a YouTube Streamy Award winner, and a WebbyAward honoree. Camden became a 2020 Tribeca Film Festival delegate after Suitcase Productions was granted Tribeca Film Institute x Chanel's "Through Her Lens" developmental grant.
Camden was born in Switzerland and grew up in the UK, Germany, and Hong Kong. She now resides in New York, NY.
PRODUCER - BETHANY MCHUGH (AFFECTS NEXT DAY'S WORK)
Bethany McHugh is a New York City raised and based creative producer, with work spanning from feature films, documentaries, music videos, narrative shorts, theatre, and campaign level work for major fashion houses and tech companies. Her next feature film, GRIND, will premiere in 2027 and has already won the Frontières Buyers Showcase at the Marché du Film in 2026. Previous credits include MAJOR (Short Film, Martha’s Vineyard African American Film Festival 2025), cigarettes (SXSW Pilot Competition 2025), and radiation (Short Film, Chattanooga Film Festival 2025). She is also a proud member of the Writer’s Guild of America.
CINEMATOGRAPHER - BENJAMIN ADES
Ben is a filmmaker and photographer who majored in Art, Film, and Visual Studies at Harvard University. His films been
accepted to and screened at over 50 film festivals and have won awards for both Cinematography and Video Editing. Some notable festivals are the following: San Francisco International Film Festival, Seattle International Film Festival, Rooftop Film Festival, Woodstock Film Festival, American Documentary Film Festival, DC Independent Film Festival, Rhode Island International Film Festival, National Film Festival for Talented Youth, Sidewalk Film Festival, Roxbury International Film Festival. His films have been a recipient or finalist for 13 awards at these festivals including Best Documentary, Best
Cinematography, and Best Editing. Ben was awarded the Chris Killip Prize from Harvard College for excellent work in lens-
based media.
He is Argentinian American and based in New York City.
PRODUCTION DESIGNER - JONATHAN SCHATZBERG
Jonathan Schatzberg is a Brooklyn-based scenic designer, production designer, prop fabricator, and art director. Jonathan’s scenic design has been seen at The Brick, The Tank, The Chain, Columbia University, and New York University. Short film work has been screened at the Tribeca Festival, Big Apple Film Festival, International Puerto Rican Heritage Film Festival, LA Shorts International Film Festival, New York Shorts International Film Festival, National Film Festival for Talented Youth (NFFTY), and the Toronto International Women’s Film Festival. Commercial work includes the New York City Ballet, Children’s Aid, H&R Block, and Nike.
SOUND MIXER / DESIGNER - TIM PERDOCH
Tim Perdoch is a NYC-based production sound mixer and boom operator specializing in narrative films, commercials,
documentaries, branded content, and reality TV. He has worked with clients like Vox Media, Netflix, J. Crew, Covergirl,
ACLU, and Madison Square Garden. With a background in indie music and filmmaking, Tim combines a sharp ear with a passion for delivering high-quality audio that supports filmmakers' creative visions. Inspired by his New York roots and an eclectic mix of film, music and art, his work reflects a deep dedication to the craft.