Call Me
New York City, New York | Film Short
Horror
This film deals with themes of misogyny and exploitation within modeling and fashion. We are using the genre of horror to convey these messages. The beauty and the gore are equally important in creating this world.
Call Me
New York City, New York | Film Short
Horror
1 Campaigns | New York, United States
Green Light
This campaign raised $10,272 for production. Follow the filmmaker to receive future updates on this project.
129 supporters | followers
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This film deals with themes of misogyny and exploitation within modeling and fashion. We are using the genre of horror to convey these messages. The beauty and the gore are equally important in creating this world.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
"Call Me" is the story of a murderous modeling Agent, who stalks someone new nightly. We will focus on Bambi, a woman he is drawn to, because she is unlike anyone he has ever seen before.
This film is a true passion project from our co-directors. Lily has written the script inspired by Rawdyie's experiences in the modeling industry. She is ready to finally bring to life a piece of hers to life that is this ambitious and challenging, elevating the level of film she has made in the past. Rawdyie is making custom pieces for this film to finally blend their love of fashion and film together. They both are beyond excited to have the chance to show their unabashed and uncompromising creative visions on film.
We will use multiple formats of film in this short to showcase different perspectives. Our main camera will be for the majority of the film, alongside a camcorder to film the model tapes, and still photographs to show the Agent's work, and how he sees his prey and creates them into beautiful images. We were inspired to film this way as a commentary on how women are depicted in mass media. Specifically, we took inspiration from Laura Mulvey and her theory that the camera is used in film to objectify women.
Our use of close-ups will also work towards our goal. Perspective is everything in this film. We different angles and perspectives that are not always seen in film. The camera works as the Agent's eyes, as a reflection on voyeurism in film and fashion. It will depict the way women's bodies are dissected by the camera, and how they are treated as parts and not people, especially in fashion.
Inspired by everything from Wong Kar Wai to club nights in Brooklyn, colorful lighting will help bring the film's parties to life. This will contrast to the sterile environment of the casting calls themselves, which are held in fluorescent offices against a white wall. In a modern film landscape of greys and muted tones, it is important for us to use color in an intentional way.
From top to bottom, the look of our characters is essential to the story we are telling. Co-director Rawdyie Recklezz will be creating custom pieces for our characters to wear that will be highlighted in our film. One of the film's main purposes is a showcase of Rawdyie's works. The world of the film is inspired by their designs.
Maybe the most central element of our film will be the modeling world. It is known for glamour and exploitation almost in the same breath. With this film, we examine the specifics of the modeling industry, while using these to reflect society's treatment of women and femmes as a whole. It is here where so much of the film's horror originates.
Historically, New York's queer world and its art world have converged at its nightlife. But with that level of beauty and freedom, comes those who want to take advantage of it and use it for their personal gain. It is important for us to show this influential but often undervalued and criticized part of culture in New York.
Our film is going to be shot late January 2025. Firstly, money will go to paying our passionate performers and several department heads. With the transformation many of our characters go through, our casting process has been extensive and specific. There are so many different parts to this particular film. In particular, costumes, art, and makeup are a large extra expense, because they are major elements of our world. Additionally, the planned visual language requires extra equipment for our camera and lighting team. Finally, our club scenes and modeling castings will involve so many people- cast and crew, and so many moving parts. They are ambitious set pieces that require the extra funding for locations, background management, and food for everybody.
This film fulfills lifelong goals for both of its directors. Our team is excited to bring something truly authentic to ourselves onto the big screen, while being able to bring our most wildest creative dreams into reality. This is not just a short film for us. It is a personal, political, and artistic statement. We are so thankful to anyone helping us to make it happen.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Cast
Costs $1,125
From killer to victim, model to photographer, and club kid to bouncer, we need our cast.
Crew
Costs $2,300
We would love to pay our crew for their hard work behind the camera.
Equipment
Costs $2,500
We need help supplementing what equipment we already have to ensure the film looks and sounds great.
Props
Costs $150
Props are an essential part of this film. Everything from mannequins to champagne glasses will be needed to build our world.
Production Design
Costs $300
We need your help in funding for the artistic vision to design the world of the film.
Locations
Costs $2,500
Locations are one of the most crucial elements we need funding for. Bambi's den, and the Agent's hunting grounds.
Food
Costs $2,100
A given - we need to feed everyone on set.
HMU
Costs $200
Models and club kids are anything but low maintenance.
SFX
Costs $300
There will be blood - and lots of it.
Wardrobe
Costs $200
Custom looks designed by Rawdyie will make this film watchable and wearable.
Transportation
Costs $500
Hopping from Borough to Borough, club to club, casting call to casting call, we need to keep our equipment safe.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Lily Farizon is the writer and co-director of Call Me. She has been working in film for three years, after graduating from University of Massachusetts Amherst with a degree in Communication and Film Studies. She has worked as an AD and script supervisor for indie projects. This includes her work as a script supervisor for "Eephus", which premiered at Cannes Director's Fortnight and NYFF.
She has also worked as a PA for companies like Netflix, Amazon, Warner Bros, and more. Her most recent directorial project is "Undergrowth"- a film she also wrote. "Undergrowth" is an experimental psychological horror film starring one actress, with no dialogue. It is currently in post production in the festival submission process. Lily dedicates every day to pursuing her goals as a director, writer, and actress.
Rawdyie Ruff Recklezz is an aspiring surreal horror director and costume designer. They are the co-director and costume designer of Call Me They recently graduated from the Fashion Institute of Technology (FIT) with a Bachelor of Fine Arts in Fashion Design and a minor in Film.
Their work bridges the worlds of fashion, costume design, and film, reflecting a diverse skill set that includes costume design, costume PA work, SFX makeup artistry, stitching, crafting, and digital design. Passionate about innovation, they are exploring ways to incorporate emerging fashion technologies into their creative projects, pushing the boundaries of both fashion and storytelling.
Melissa Morales is a NYC based filmmaker and producer. She has worked on over 25+ sets as of 2022 ranging from short films, pilots, and fashion shows in various crew roles. Melissa enjoys working on films that center underrepresented voices in the entertainment industry as well as uplifting women-centric stories with emphasis on horror. She is the producer of Call Me.
Katie Colwell is a director and cinematographer based in Brooklyn, New York with a specialization in underwater work. She hails from a small town in Connecticut with a B.A. in Filmmaking from Oakland University (Rochester, MI). She is the cinematographer of Call Me.
Katie has been a Director of Photography on several short films such as I Think I’m Going To Throw Up, Bubbling Up and Bon Voyage, as well as the series, Dead-Enders. She loves exploring different genres and formats as a cinematographer to make the directors vision come to life.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
"Call Me" is the story of a murderous modeling Agent, who stalks someone new nightly. We will focus on Bambi, a woman he is drawn to, because she is unlike anyone he has ever seen before.
This film is a true passion project from our co-directors. Lily has written the script inspired by Rawdyie's experiences in the modeling industry. She is ready to finally bring to life a piece of hers to life that is this ambitious and challenging, elevating the level of film she has made in the past. Rawdyie is making custom pieces for this film to finally blend their love of fashion and film together. They both are beyond excited to have the chance to show their unabashed and uncompromising creative visions on film.
We will use multiple formats of film in this short to showcase different perspectives. Our main camera will be for the majority of the film, alongside a camcorder to film the model tapes, and still photographs to show the Agent's work, and how he sees his prey and creates them into beautiful images. We were inspired to film this way as a commentary on how women are depicted in mass media. Specifically, we took inspiration from Laura Mulvey and her theory that the camera is used in film to objectify women.
Our use of close-ups will also work towards our goal. Perspective is everything in this film. We different angles and perspectives that are not always seen in film. The camera works as the Agent's eyes, as a reflection on voyeurism in film and fashion. It will depict the way women's bodies are dissected by the camera, and how they are treated as parts and not people, especially in fashion.
Inspired by everything from Wong Kar Wai to club nights in Brooklyn, colorful lighting will help bring the film's parties to life. This will contrast to the sterile environment of the casting calls themselves, which are held in fluorescent offices against a white wall. In a modern film landscape of greys and muted tones, it is important for us to use color in an intentional way.
From top to bottom, the look of our characters is essential to the story we are telling. Co-director Rawdyie Recklezz will be creating custom pieces for our characters to wear that will be highlighted in our film. One of the film's main purposes is a showcase of Rawdyie's works. The world of the film is inspired by their designs.
Maybe the most central element of our film will be the modeling world. It is known for glamour and exploitation almost in the same breath. With this film, we examine the specifics of the modeling industry, while using these to reflect society's treatment of women and femmes as a whole. It is here where so much of the film's horror originates.
Historically, New York's queer world and its art world have converged at its nightlife. But with that level of beauty and freedom, comes those who want to take advantage of it and use it for their personal gain. It is important for us to show this influential but often undervalued and criticized part of culture in New York.
Our film is going to be shot late January 2025. Firstly, money will go to paying our passionate performers and several department heads. With the transformation many of our characters go through, our casting process has been extensive and specific. There are so many different parts to this particular film. In particular, costumes, art, and makeup are a large extra expense, because they are major elements of our world. Additionally, the planned visual language requires extra equipment for our camera and lighting team. Finally, our club scenes and modeling castings will involve so many people- cast and crew, and so many moving parts. They are ambitious set pieces that require the extra funding for locations, background management, and food for everybody.
This film fulfills lifelong goals for both of its directors. Our team is excited to bring something truly authentic to ourselves onto the big screen, while being able to bring our most wildest creative dreams into reality. This is not just a short film for us. It is a personal, political, and artistic statement. We are so thankful to anyone helping us to make it happen.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Cast
Costs $1,125
From killer to victim, model to photographer, and club kid to bouncer, we need our cast.
Crew
Costs $2,300
We would love to pay our crew for their hard work behind the camera.
Equipment
Costs $2,500
We need help supplementing what equipment we already have to ensure the film looks and sounds great.
Props
Costs $150
Props are an essential part of this film. Everything from mannequins to champagne glasses will be needed to build our world.
Production Design
Costs $300
We need your help in funding for the artistic vision to design the world of the film.
Locations
Costs $2,500
Locations are one of the most crucial elements we need funding for. Bambi's den, and the Agent's hunting grounds.
Food
Costs $2,100
A given - we need to feed everyone on set.
HMU
Costs $200
Models and club kids are anything but low maintenance.
SFX
Costs $300
There will be blood - and lots of it.
Wardrobe
Costs $200
Custom looks designed by Rawdyie will make this film watchable and wearable.
Transportation
Costs $500
Hopping from Borough to Borough, club to club, casting call to casting call, we need to keep our equipment safe.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Lily Farizon is the writer and co-director of Call Me. She has been working in film for three years, after graduating from University of Massachusetts Amherst with a degree in Communication and Film Studies. She has worked as an AD and script supervisor for indie projects. This includes her work as a script supervisor for "Eephus", which premiered at Cannes Director's Fortnight and NYFF.
She has also worked as a PA for companies like Netflix, Amazon, Warner Bros, and more. Her most recent directorial project is "Undergrowth"- a film she also wrote. "Undergrowth" is an experimental psychological horror film starring one actress, with no dialogue. It is currently in post production in the festival submission process. Lily dedicates every day to pursuing her goals as a director, writer, and actress.
Rawdyie Ruff Recklezz is an aspiring surreal horror director and costume designer. They are the co-director and costume designer of Call Me They recently graduated from the Fashion Institute of Technology (FIT) with a Bachelor of Fine Arts in Fashion Design and a minor in Film.
Their work bridges the worlds of fashion, costume design, and film, reflecting a diverse skill set that includes costume design, costume PA work, SFX makeup artistry, stitching, crafting, and digital design. Passionate about innovation, they are exploring ways to incorporate emerging fashion technologies into their creative projects, pushing the boundaries of both fashion and storytelling.
Melissa Morales is a NYC based filmmaker and producer. She has worked on over 25+ sets as of 2022 ranging from short films, pilots, and fashion shows in various crew roles. Melissa enjoys working on films that center underrepresented voices in the entertainment industry as well as uplifting women-centric stories with emphasis on horror. She is the producer of Call Me.
Katie Colwell is a director and cinematographer based in Brooklyn, New York with a specialization in underwater work. She hails from a small town in Connecticut with a B.A. in Filmmaking from Oakland University (Rochester, MI). She is the cinematographer of Call Me.
Katie has been a Director of Photography on several short films such as I Think I’m Going To Throw Up, Bubbling Up and Bon Voyage, as well as the series, Dead-Enders. She loves exploring different genres and formats as a cinematographer to make the directors vision come to life.