Marty Party
New York City, New York | Film Short
Drama
At a family and friends party on election night, a lingering scandal causes tension as ANN, the soon to be daughter-in-law of mayoral candidate MARTY STENSON, is forced to question how her own actions engage with the complicity she resents.
Marty Party
New York City, New York | Film Short
Drama
1 Campaigns | New York, United States
Green Light
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At a family and friends party on election night, a lingering scandal causes tension as ANN, the soon to be daughter-in-law of mayoral candidate MARTY STENSON, is forced to question how her own actions engage with the complicity she resents.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
ANN and her fiancé JOE attend an election-night party in support of Joe’s father, mayoral candidate MARTY STENSON. As they get ready, Ann watches a news report about a recently leaked video of AL SULLIVAN, Marty’s benefactor, groping a young woman amidst the campaign. Joe dismisses the scandal as a rumor and encourages Ann to focus on the optics of the evening.
As the election grows in Marty’s favor, Ann watches the guests progressively indulge in the celebration. After a fight with Joe and continuous pressure from the party goers about her upcoming wedding, Ann looks for JANE, Joe's timid younger sister. When she finds her crying upstairs, Jane reveals that Al was being touchy with her, and he accidentally fell when she was trying to leave. She pleads with Ann to stay quiet.
After rejoining the growing celebration, Ann's discomfort grows. As Marty's team approaches victory, Ann is forced to decide between silent complicity or speaking out on Jane's behalf, jeopardizing the campaign, the family's image, and the security of her future.
We live in a time of abundance. There has never been as much globalized media and communication as is currently happening. People have access to conflicts, wars, and political events on a scale that has never been seen before. Every person has a capacity for how much they’re able to keep up with, but the danger comes when people choose to ignore it entirely. This creates an illusion of comfort that may provide temporary relief, but is unsustainable.
This film aims to explore that danger.
As someone who has grown up during the exponential explosion of technology and social media, I recognize first-hand the desensitization our generation is facing toward images and videos. I watch as the ads on the subway change from posters to rotating screens, and I feel constant commercial pressures from the phone in my pocket. Performing to curate an image is not a new practice, but through the advent of this globalized connection, has become engrained in our lives in a nearly inescapable way.
This film explores how performance, particularly in the world of politics, encourages audiences to indulge in the appearance of something rather than seeing it for what it really is. The film presents an all too common occurrence when a person's morality does not align with their public projection of it, and explores how complicity may derive from the individualized pressures to uphold and/or create a certain image.
As Ann learns the truth behind her soon-to-be family, she recognizes the agency she’s been neglecting.
The movie will be primarily shot in close-up with a non-static camera. The blocking and camera movements will remain naturalistic while reflecting the growing pressure and discomfort of the protagonist. Much of the film is from Ann's perspective, and the audience will often view things from her eyes- watching vs engaging.
Sound design, props, and lighting will influence the presence of the media's eye: iPhones, camera flashes, and the looming presence as we hear the News playing from the TV.
visual references (framing, color) from our Director of Photography:
The film takes place in modern day but costuming and music are inspired by 1960's Americana: doo-wop tunes and classy political attire.
The entirety of the film takes place in the STENSON'S APARTMENT. The dark wooden floors and leather furniture will contrast the tacky American-themed party decor.
Any contribution makes a difference, every penny counts!
THANK YOU!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Production Design
Costs $1,000
Production Design includes set dressing, props, and decorations to bring our story to life.
Food for the Cast and Crew
Costs $600
Food for the team!
Location
Costs $900
We are lucky to have found the perfect apartment for shooting this movie!
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Kate Phares - Director, Editor, Co-Writer
Kate Phares is a filmmaker from Atlanta, GA, with a focus in directing, editing, and production design. She is experienced in both narrative and music video production, and is drawn to stories involving image, consumerism, and female identity.
Emma Parry - Producer, Co-Writer
Born and raised in Los Angeles and Liverpool, Emma is a senior in film at NYU studying writing, editing, and children’s cognitive development. She has worked on many professional and student film sets including ones at and premiering at Cannes.
Charlotte Siegel - Producer
Born and raised in LA, Charlotte is dedicated to honing her skills as a producer while getting an understanding of all elements of the production process. She has experience producing various independent and student projects, ranging from narrative projects to music videos and commercials.
Eric Heifler - Producer
From metro-Detroit, Eric is a colorist, cinematographer, and producer currently studying at NYU Tisch. His passion is in creating beautiful imagery and collaborating with his peers to realize their vision.
Vanessa Darko - Director of Photography
Born & Raised in Houston, Texas, Vanessa (V) Darko is an NYC based cinematographer and a fourth year student at NYU’s Tisch School of the Arts studying Film & Television Production. V hopes to one day give back to the creative community by making films that feature, uplift, and inspire fellow black artists like herself.
Stella Bolina - Production Designer
Stella Bolina is a Portuguese-Brazilian filmmaker based in New York, currently pursuing a BFA in Film & Television at NYU Tisch School of the Arts. With a strong emphasis on production design, her work explores experimental storytelling centered on themes of self-identity and immigration, often drawing from her own lived experiences. Recently, she worked as the production designer for Nitrate Blooms, House of Passages, and Bobyx Mori: A Grace Gui Concept film- projects that were shot in fully controlled studio environments, where she led the creation of immersive, original worlds from the ground up.
Mira Young - Casting Director
Born and raised in Philadelphia, Mira Young is currently completing her BFA in Drama at NYU Tisch School of the Arts. She spent her summer interning for Emmy-award winning Casting Director Judy Henderson, and has had the opportunity to cast a plethora of NYU Thesis films.
Abigail Sun- Gaffer
Abigail Sun is a Chinese-American filmmaker from San Francisco now based in New York City. While working primarily as a writer/director, she also thrives in production. She works frequently as an AC or gaffer, and she finds joy on set in observing how people come together to get things made.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
ANN and her fiancé JOE attend an election-night party in support of Joe’s father, mayoral candidate MARTY STENSON. As they get ready, Ann watches a news report about a recently leaked video of AL SULLIVAN, Marty’s benefactor, groping a young woman amidst the campaign. Joe dismisses the scandal as a rumor and encourages Ann to focus on the optics of the evening.
As the election grows in Marty’s favor, Ann watches the guests progressively indulge in the celebration. After a fight with Joe and continuous pressure from the party goers about her upcoming wedding, Ann looks for JANE, Joe's timid younger sister. When she finds her crying upstairs, Jane reveals that Al was being touchy with her, and he accidentally fell when she was trying to leave. She pleads with Ann to stay quiet.
After rejoining the growing celebration, Ann's discomfort grows. As Marty's team approaches victory, Ann is forced to decide between silent complicity or speaking out on Jane's behalf, jeopardizing the campaign, the family's image, and the security of her future.
We live in a time of abundance. There has never been as much globalized media and communication as is currently happening. People have access to conflicts, wars, and political events on a scale that has never been seen before. Every person has a capacity for how much they’re able to keep up with, but the danger comes when people choose to ignore it entirely. This creates an illusion of comfort that may provide temporary relief, but is unsustainable.
This film aims to explore that danger.
As someone who has grown up during the exponential explosion of technology and social media, I recognize first-hand the desensitization our generation is facing toward images and videos. I watch as the ads on the subway change from posters to rotating screens, and I feel constant commercial pressures from the phone in my pocket. Performing to curate an image is not a new practice, but through the advent of this globalized connection, has become engrained in our lives in a nearly inescapable way.
This film explores how performance, particularly in the world of politics, encourages audiences to indulge in the appearance of something rather than seeing it for what it really is. The film presents an all too common occurrence when a person's morality does not align with their public projection of it, and explores how complicity may derive from the individualized pressures to uphold and/or create a certain image.
As Ann learns the truth behind her soon-to-be family, she recognizes the agency she’s been neglecting.
The movie will be primarily shot in close-up with a non-static camera. The blocking and camera movements will remain naturalistic while reflecting the growing pressure and discomfort of the protagonist. Much of the film is from Ann's perspective, and the audience will often view things from her eyes- watching vs engaging.
Sound design, props, and lighting will influence the presence of the media's eye: iPhones, camera flashes, and the looming presence as we hear the News playing from the TV.
visual references (framing, color) from our Director of Photography:
The film takes place in modern day but costuming and music are inspired by 1960's Americana: doo-wop tunes and classy political attire.
The entirety of the film takes place in the STENSON'S APARTMENT. The dark wooden floors and leather furniture will contrast the tacky American-themed party decor.
Any contribution makes a difference, every penny counts!
THANK YOU!
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Production Design
Costs $1,000
Production Design includes set dressing, props, and decorations to bring our story to life.
Food for the Cast and Crew
Costs $600
Food for the team!
Location
Costs $900
We are lucky to have found the perfect apartment for shooting this movie!
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Kate Phares - Director, Editor, Co-Writer
Kate Phares is a filmmaker from Atlanta, GA, with a focus in directing, editing, and production design. She is experienced in both narrative and music video production, and is drawn to stories involving image, consumerism, and female identity.
Emma Parry - Producer, Co-Writer
Born and raised in Los Angeles and Liverpool, Emma is a senior in film at NYU studying writing, editing, and children’s cognitive development. She has worked on many professional and student film sets including ones at and premiering at Cannes.
Charlotte Siegel - Producer
Born and raised in LA, Charlotte is dedicated to honing her skills as a producer while getting an understanding of all elements of the production process. She has experience producing various independent and student projects, ranging from narrative projects to music videos and commercials.
Eric Heifler - Producer
From metro-Detroit, Eric is a colorist, cinematographer, and producer currently studying at NYU Tisch. His passion is in creating beautiful imagery and collaborating with his peers to realize their vision.
Vanessa Darko - Director of Photography
Born & Raised in Houston, Texas, Vanessa (V) Darko is an NYC based cinematographer and a fourth year student at NYU’s Tisch School of the Arts studying Film & Television Production. V hopes to one day give back to the creative community by making films that feature, uplift, and inspire fellow black artists like herself.
Stella Bolina - Production Designer
Stella Bolina is a Portuguese-Brazilian filmmaker based in New York, currently pursuing a BFA in Film & Television at NYU Tisch School of the Arts. With a strong emphasis on production design, her work explores experimental storytelling centered on themes of self-identity and immigration, often drawing from her own lived experiences. Recently, she worked as the production designer for Nitrate Blooms, House of Passages, and Bobyx Mori: A Grace Gui Concept film- projects that were shot in fully controlled studio environments, where she led the creation of immersive, original worlds from the ground up.
Mira Young - Casting Director
Born and raised in Philadelphia, Mira Young is currently completing her BFA in Drama at NYU Tisch School of the Arts. She spent her summer interning for Emmy-award winning Casting Director Judy Henderson, and has had the opportunity to cast a plethora of NYU Thesis films.
Abigail Sun- Gaffer
Abigail Sun is a Chinese-American filmmaker from San Francisco now based in New York City. While working primarily as a writer/director, she also thrives in production. She works frequently as an AC or gaffer, and she finds joy on set in observing how people come together to get things made.