Jessie, a woman in an idyllic relationship with the syrupy virgin, Wendy, has a violent sexual dream about someone else. Created from this fantasy is Cece, a cowboy-clown phantom who shows Jessie the true meaning of love through introducing her to Joseph, the man from the dream and someone who is obsessed with sniffing underwear.

Jessie attempts to pursue Joseph, first through sending videos of herself, as well as her undergarments, and later, asking him to harm himself. As Joseph becomes more complicit in these acts, Jessie's confusion and narcissism grows. Wendy's shy innocence only serves to expose Jessie's violent tendencies, as well as her empty romantic feelings. Ultimately, Jessie realises that she cannot love others if she is someone than cannot be loved herself.

THE CHARACTERS

VISUAL STYLE

The unique visual style of RIVERHEAD draws from a littany of influences both visual and auditory. This striking look can only be achieved through careful planning, blocking and a keen eye for colour, and lighting. Developing a cinematic language with the cinematographer is crucial.

There are three distinctive visual approaches to the film, with one guiding philosophy. Overall, the film will carry a sense of voyuerism- the act of watching the film will be intrusive, as though we are seeing something totally private. Through the use of negative space and frames within frames, Jessie's scenes will convey emptiness and the struggle for two characters, her and Wendy, to connnect emotionally. These scenes will have muted colours, inspired by Edward Hopper's Eleven A.M. The concept of surveillance is prevalent in the scenes with Joseph, where it will seem as though Jessie is constantly observing and watching him. We are transported occasionally to a dreamy stage, an otherworldy dreamscape existing in Jessie's mind, representative of her emotional desires. These scenes feature Cece and will be in stark black and white, employing gliding, painterly dolly shots reminiscent of Ophuls' Lola Montes. In Jessie's dream world, everything is purposeful and contained.

Link to RIVERHEAD moodboard

Since I started facilitating the creative bone in my body, I realised early on that making film is one of the only ways I can communicate with the world, and express myself as another individual. I believe that within all of us is a need to find an inner truth, that we are all born with a tumulteous sea of chaotic creative thought, and that our chosen art forms are a guiding beacon to finding ourselves.

RIVERHEAD was concieved of, and mostly written as a response to a period of severe mental unwellness and absolute loneliness that I felt while directing a play in Scotland over the summer. Every morning I would climb the famed Arthur's Seat and sit on its peak, writing for hours at a time, blurring the lines between myself and my characters. The process transformed into introspection.

This morning ritual went on for a month and a half. Over time, I realised I had so many unresolved issues around romance. I often fail to express my love for people and struggle to communicate a deeply internal bond with others. The many miserable relationships I had were evocative of that- and so this film ultimately reflects my exploration of what romance means to me. This is why RIVERHEAD is incredibly close to me, and in so many ways that I cannot express to you unless you see it fully realised and fleshed out.

Filmmaking truly is the conduit by which I can authenticate my own humanity, and I wish to relate my own specific humanity with those receptive to it.

BUDGET

We are currently in pre-production! Filming is due to take place in March 2024.

While we have already been funded partially through school funding (about 1k), we are still looking to raise $4,000. We believe that this number accurately reflects the demands of the production design, SFX makeup, intimacy coordination and food concerns necessary to creating both a comfortable and efficient set environment. Another large expense is renting adequate zoom and macro lenses, in order to achieve that surveillance-style, voyeuristic cinematography.

Our stretch goal of $5,500 would ensure investment is put into production design, especially the stage dreamscape, and period-appropriate costuming for the characters.

Distribution wise, I hope to complete this film by September in order to start entering the film into a tightly-run festival circuit. RIVERHEAD will be aiming to be entered into horror-centric film festivals, such as FRIGHTFEST, Chicago Horror Film Festival, Fantastic Fest, amongst many others. We are hoping to release the film onto streaming distribution via Vimeo Staff Picks, NoBudge and ALTER. Ultimately, this is a collaborative, special project, and my only wish is to share my vision with as many people as possible.

My previous film, LOCKSBOTTOM, was a personal achievement- it was the first film I had made at school that I felt proud of. Since starting university, I rarely felt pride in my artistic creations, and with this film I truly unlocked a deep sense of collaborative intent and confidence in my choices. I have decided to work with almost the exact same crew for RIVERHEAD. The admiration I have for Ava's cinematography and Carter's lighting is indescribable. With your support, our creative collaboration can only deepen further, leading to an even more outstanding piece of work.

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Thank you for taking the time to read our campaign. Independent filmmaking has never been more personal than now, and every donation furthers the drive to create resonant, important films that make you feel something.