Torch
Los Angeles, California | Film Short
Drama, Other
TORCH is a short film that sheds light on what happens when we allow the government to consume us—everything from breaking apart families to deciding what an American should look, sound, and act like. Support this movie and raise awareness for political change because humanity deserves better.
Torch
Los Angeles, California | Film Short
Drama, Other
1 Campaigns | California, United States
Green Light
This campaign raised $9,930 for production. Follow the filmmaker to receive future updates on this project.
73 supporters | followers
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TORCH is a short film that sheds light on what happens when we allow the government to consume us—everything from breaking apart families to deciding what an American should look, sound, and act like. Support this movie and raise awareness for political change because humanity deserves better.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
It’s easy today to feel powerless and even desensitized to the constant violence and dehumanization that assaults our social media feeds, radio broadcasts, and television channels. It’s easy to ignore what’s happening or to simply give up. We’ve marched, called our Congresspersons, written letters, voted…and still nothing has changed. Quite frankly, I’m scared. I’m nervous for the mothers and fathers out there bringing up children in a tumultous political climate where kindness and respect are fleeting. I’m embarassed for veterans to live out their days in a country that has basically snubbed their sacrifices…metaphorically scoffing at the liberties and freedoms for all people they fought so hard to secure. I’m sad because I don’t know what the answer is. What I do have is an idea—a story—a cautionary tale in the form of a short narrative that I want to share with the world to continue the dialogue. When has the government gone too far? Why do the same tragedies keep happening over and over again? --Writer Angie Engelbert
Format/Genre/Description:
Narrative short (under 10 minutes), thriller/drama: The Handmaid’s Tale meets Homeland
Logline:
Set in the not-too-distant dystopian future, a divided father must choose between obeying a totalitarian government or saving his own family.
Locations:
Dilapidated building, public restroom, 1950s diner
Synopsis:
We open on the eyes of THOMAS WILSON, an “assimilation officer”, surveying a family of refugees hiding out in an abandoned building. Thomas’ SUPERIOR OFFICER, whose face we never see, orders him to “eliminate the filth.” While listening to their pleading prayers in another language, Thomas shoots and kills the refugees.
Next, Thomas washes the blood off his face, noticing a stain on his collar. His Superior Officer lets him know that a Tide marker will “white it right out,” leaving Thomas to consider the overtones of assimilation and ethnocentrism.
In the final scene, MRS. WILSON, her seven-year-old daughter MARGO, and her high school athlete son MICHAEL wait for their father in a 1950s diner. When Thomas arrives, Margo presents her father with a drawing of the Statue of Liberty, a grave act of treason in this dystopian society. Thomas must choose between upholding his duty to exterminate objectors and realizing the ridiculousness of killing a child. Upon hearing the word “freedom” from Margo, patrons in the diner demand her death sentence by repeating the phrase, “We witness your justice.” Thomas clicks off the safety of his gun and…BLACKOUT.
Did Thomas shoot Margo? Or did he succumb to guilt and shoot himself? We all bear witness to injustices everyday…like the patrons in the diner. We’re all tasked with a duty to support or families…like Thomas. As a society, we’re supposed to obey the rules and regulations, but at what point do we say enough is enough?
Director’s Statement: When Angie first mentioned that she wanted me to direct something she’d written, I agreed even before I knew what it was: in the few years we’ve been friends, I’ve known her to be intelligent, driven, and funny. But I got even more excited when I finally read her script for Torch. With subtle touches like a diner where the specials are peeling off the window, and the cliché of the high school athlete in a letterman’s jacket – who actually objects to the compliant culture that fostered him – Angie has created a world that only appears idyllic. There’s rich subtext in this script that any director would love to sink their teeth into. I’m looking forward to vitalizing these ideas using all the tools at my disposal. The diner scene will be set with static and smooth tracking shots that belie the tension in the room, while incongruously cheerful oldies play before and after the horrific events unfold. Angie has also written something that I rarely see: a scene in which the background characters play as important a role as the leads, because even before their disturbing chant at the climax, their demeanor illustrates the oppressive culture of the story.
I’m excited to work with actors, not just extras, in these roles, and to choose camera angles and movements that feature their performances. Finally, as the conflict for our hero comes to a head, the visuals give way to the chaos of handheld camerawork, calling back to the brutality of the film’s first scene, and illustrating that the apparent harmony of this world obscures an underlying and pervasive fear. Finally, I’m honored to be involved with this project because like Angie, I’m shocked and disheartened by how our nation and our culture have devolved in the past two years. People seem to have forgotten that the Statue of Liberty welcomes refugees, and that our country was created by the coming together of many ethnicities and religions. The brash intolerance that is so prevalent now is immoral, and while I fight it with political activism, with this opportunity I can also spread awareness of its threat using my talent as a filmmaker. --Director Heather Hillstrom
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
LOCATIONS
Costs $4,000
We'll be shooting in a working diner for two days. ORDER UP!
CAST and CREW
Costs $4,300
A solid cast and crew deserves to be compensated at a living wage. CHECK, PLEASE!
PROPS and COSTUMES
Costs $400
No film is complete without the right clothing and props...A LA CARTE ITEMS, HMMM..
LIABILITY INSURANCE
Costs $500
It's good to be prepared for the unexpected. Period. WET FLOOR SIGN, PLEASE...
POST PRODUCTION
Costs $1,200
The Cutting, Coloring, and Composing. DESSERT!
CAST AND CREW MEALS
Costs $500
No one wants to work on an empty stomach. CAN I SEE A MENU?
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Screenwriter/Producer Angie Engelbert’s pilots have made it to the semi and final rounds of the Sundance Episodic Lab, Women in Film/Blacklist Episodic Lab, Screencraft Pilot Launch, and Final Draft's Big Break Contest. This short was recently recognized as a "Top 25" in ISA's "Table My Screenplay" contest with the Austin Film Festival (she also made pitch finals recently at the AFF). She works as a high school English and film teacher, where she and her students are currently in post production for their SAG-ULB feature, Autonomy. Angie also works as a licensed studio teacher in the film and television worlds; most recently, she worked on the new horror anthology Into the Dark which premieres on HULU this fall and a television reboot for HBO. Additionally, she worked as a producer/production coordinator on unscripted shows sold to A&E Australia and proof-of-concept shorts that have gone on to full production. Angie's IMDB
Director Heather Hillstrom, a graduate of the film production and screenwriting programs at Cal State Northridge, is finishing the festival run of her short film, The King in the Ring, winner of five awards including an Audience Award for Best Short and a Grand Jury Prize. Her writing portfolio includes feature-length screenplays, a television spec, and web and new media content for Paramount and Disney, and she has directed and often produced commercials, corporate videos, EPKs, ten more short films, and two music videos. For the web series None in the Oven, Heather proudly received several awards including Best Webisode, Best Comedy Webisode, and quarter-finalist in NexTV's Directing Talent Search. Many of her projects can be watched instantly at hungrypictures.com. Heather's IMDB
Costume Designer Landra Dulin (landraleedulin.com) is a veteran organizer of L.A. Fashion Week and founder/owner of the edgy fashion marketing and PR firm, Underpin. Landra has designed for and dressed everyone from YouTube stars to A-list celebrities, and she has also made custom pieces for many international fashion films and commercials. When she's not designing or writing for Schön! magazine, Landra teaches sewing to youth at My Friend's Place, a Los Angeles shelter for homeless teens.
Production Designer/Director of Photography Stephen Love grew up in the limelight and now prefers to orchestrate and set the stage for the limelight. As a child, Love played the title role of Simba in a national tour of The Lion King. When he's not teaching film to high school students, running an industry mentorship program that connects teens with industry professionals or writing and directing Star Wars fan films supported by Disney, Love worked and continues to work as a production designer and properties artisian for independent and major films such as The Hunger Games and Ted.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
It’s easy today to feel powerless and even desensitized to the constant violence and dehumanization that assaults our social media feeds, radio broadcasts, and television channels. It’s easy to ignore what’s happening or to simply give up. We’ve marched, called our Congresspersons, written letters, voted…and still nothing has changed. Quite frankly, I’m scared. I’m nervous for the mothers and fathers out there bringing up children in a tumultous political climate where kindness and respect are fleeting. I’m embarassed for veterans to live out their days in a country that has basically snubbed their sacrifices…metaphorically scoffing at the liberties and freedoms for all people they fought so hard to secure. I’m sad because I don’t know what the answer is. What I do have is an idea—a story—a cautionary tale in the form of a short narrative that I want to share with the world to continue the dialogue. When has the government gone too far? Why do the same tragedies keep happening over and over again? --Writer Angie Engelbert
Format/Genre/Description:
Narrative short (under 10 minutes), thriller/drama: The Handmaid’s Tale meets Homeland
Logline:
Set in the not-too-distant dystopian future, a divided father must choose between obeying a totalitarian government or saving his own family.
Locations:
Dilapidated building, public restroom, 1950s diner
Synopsis:
We open on the eyes of THOMAS WILSON, an “assimilation officer”, surveying a family of refugees hiding out in an abandoned building. Thomas’ SUPERIOR OFFICER, whose face we never see, orders him to “eliminate the filth.” While listening to their pleading prayers in another language, Thomas shoots and kills the refugees.
Next, Thomas washes the blood off his face, noticing a stain on his collar. His Superior Officer lets him know that a Tide marker will “white it right out,” leaving Thomas to consider the overtones of assimilation and ethnocentrism.
In the final scene, MRS. WILSON, her seven-year-old daughter MARGO, and her high school athlete son MICHAEL wait for their father in a 1950s diner. When Thomas arrives, Margo presents her father with a drawing of the Statue of Liberty, a grave act of treason in this dystopian society. Thomas must choose between upholding his duty to exterminate objectors and realizing the ridiculousness of killing a child. Upon hearing the word “freedom” from Margo, patrons in the diner demand her death sentence by repeating the phrase, “We witness your justice.” Thomas clicks off the safety of his gun and…BLACKOUT.
Did Thomas shoot Margo? Or did he succumb to guilt and shoot himself? We all bear witness to injustices everyday…like the patrons in the diner. We’re all tasked with a duty to support or families…like Thomas. As a society, we’re supposed to obey the rules and regulations, but at what point do we say enough is enough?
Director’s Statement: When Angie first mentioned that she wanted me to direct something she’d written, I agreed even before I knew what it was: in the few years we’ve been friends, I’ve known her to be intelligent, driven, and funny. But I got even more excited when I finally read her script for Torch. With subtle touches like a diner where the specials are peeling off the window, and the cliché of the high school athlete in a letterman’s jacket – who actually objects to the compliant culture that fostered him – Angie has created a world that only appears idyllic. There’s rich subtext in this script that any director would love to sink their teeth into. I’m looking forward to vitalizing these ideas using all the tools at my disposal. The diner scene will be set with static and smooth tracking shots that belie the tension in the room, while incongruously cheerful oldies play before and after the horrific events unfold. Angie has also written something that I rarely see: a scene in which the background characters play as important a role as the leads, because even before their disturbing chant at the climax, their demeanor illustrates the oppressive culture of the story.
I’m excited to work with actors, not just extras, in these roles, and to choose camera angles and movements that feature their performances. Finally, as the conflict for our hero comes to a head, the visuals give way to the chaos of handheld camerawork, calling back to the brutality of the film’s first scene, and illustrating that the apparent harmony of this world obscures an underlying and pervasive fear. Finally, I’m honored to be involved with this project because like Angie, I’m shocked and disheartened by how our nation and our culture have devolved in the past two years. People seem to have forgotten that the Statue of Liberty welcomes refugees, and that our country was created by the coming together of many ethnicities and religions. The brash intolerance that is so prevalent now is immoral, and while I fight it with political activism, with this opportunity I can also spread awareness of its threat using my talent as a filmmaker. --Director Heather Hillstrom
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
LOCATIONS
Costs $4,000
We'll be shooting in a working diner for two days. ORDER UP!
CAST and CREW
Costs $4,300
A solid cast and crew deserves to be compensated at a living wage. CHECK, PLEASE!
PROPS and COSTUMES
Costs $400
No film is complete without the right clothing and props...A LA CARTE ITEMS, HMMM..
LIABILITY INSURANCE
Costs $500
It's good to be prepared for the unexpected. Period. WET FLOOR SIGN, PLEASE...
POST PRODUCTION
Costs $1,200
The Cutting, Coloring, and Composing. DESSERT!
CAST AND CREW MEALS
Costs $500
No one wants to work on an empty stomach. CAN I SEE A MENU?
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
Screenwriter/Producer Angie Engelbert’s pilots have made it to the semi and final rounds of the Sundance Episodic Lab, Women in Film/Blacklist Episodic Lab, Screencraft Pilot Launch, and Final Draft's Big Break Contest. This short was recently recognized as a "Top 25" in ISA's "Table My Screenplay" contest with the Austin Film Festival (she also made pitch finals recently at the AFF). She works as a high school English and film teacher, where she and her students are currently in post production for their SAG-ULB feature, Autonomy. Angie also works as a licensed studio teacher in the film and television worlds; most recently, she worked on the new horror anthology Into the Dark which premieres on HULU this fall and a television reboot for HBO. Additionally, she worked as a producer/production coordinator on unscripted shows sold to A&E Australia and proof-of-concept shorts that have gone on to full production. Angie's IMDB
Director Heather Hillstrom, a graduate of the film production and screenwriting programs at Cal State Northridge, is finishing the festival run of her short film, The King in the Ring, winner of five awards including an Audience Award for Best Short and a Grand Jury Prize. Her writing portfolio includes feature-length screenplays, a television spec, and web and new media content for Paramount and Disney, and she has directed and often produced commercials, corporate videos, EPKs, ten more short films, and two music videos. For the web series None in the Oven, Heather proudly received several awards including Best Webisode, Best Comedy Webisode, and quarter-finalist in NexTV's Directing Talent Search. Many of her projects can be watched instantly at hungrypictures.com. Heather's IMDB
Costume Designer Landra Dulin (landraleedulin.com) is a veteran organizer of L.A. Fashion Week and founder/owner of the edgy fashion marketing and PR firm, Underpin. Landra has designed for and dressed everyone from YouTube stars to A-list celebrities, and she has also made custom pieces for many international fashion films and commercials. When she's not designing or writing for Schön! magazine, Landra teaches sewing to youth at My Friend's Place, a Los Angeles shelter for homeless teens.
Production Designer/Director of Photography Stephen Love grew up in the limelight and now prefers to orchestrate and set the stage for the limelight. As a child, Love played the title role of Simba in a national tour of The Lion King. When he's not teaching film to high school students, running an industry mentorship program that connects teens with industry professionals or writing and directing Star Wars fan films supported by Disney, Love worked and continues to work as a production designer and properties artisian for independent and major films such as The Hunger Games and Ted.