Witness To A Devouring Monster
New York City, New York | Film Short
Drama
Inspired by the writings of French-Cuban Writer Anais Nin who said, “Introspection is a devouring monster;” Ana, Xenia, and Magan recount monsters in their own lives. As their worlds shift from realistic to surreal, they speak of assault, colonization, fetishization, and insatiable introspection.
Witness To A Devouring Monster
New York City, New York | Film Short
Drama
Green Light
This campaign raised $10,258 for post-production. Follow the filmmaker to receive future updates on this project.
171 supporters | followers
Enter the amount you would like to pledge
Inspired by the writings of French-Cuban Writer Anais Nin who said, “Introspection is a devouring monster;” Ana, Xenia, and Magan recount monsters in their own lives. As their worlds shift from realistic to surreal, they speak of assault, colonization, fetishization, and insatiable introspection.
About The Project
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Story:
In Witness to a Devouring Monster, three women speak: Ana, Xenia, and Magan. Graceful, strong, intelligent, these women reveal their lives' wisdom through colorful, visceral story-telling. The worlds in which they live shift from realistic to surreal, fantastic to secular. From modern society to a not-so-distant dystopia. The stories of these women were inspired by the writings of French-Cuban Writer Anais Nin who said, “Introspection is a devouring monster.” In these pieces, there are monsters of many forms: assault, colonization, injustice, and of course, the one that consumes these women entirely, introspection. They speak of a reality that many have lived, yet often keep to themselves.However in this anthology film, they permit passage into the most intimate corners of their worlds. And with such eloquent audacity.
The Women:
Awakener
It is 1902 in the Philippine Islands. The US has just driven out the Spanish, ending centuries of colonization. However this does not mean freedom. Ana longs for the home that Spain destroyed, and that Americans have no intention of rebuilding. Taken as a wife by a foreign soldier, she is forced to conform to his customs and hide her identity. In a searing declaration of self-love, she holds a mirror up to the ugly face of colonization and the injuries it inflicts on her people.
(bts photo by director, Meghan Farrell)
(concept art by visual artist, Christina Lu)
Two Women
Xenia is young. She’s learned the violence men are capable of and the power they wield from that violence. She’s learned that men crave a specific type of woman and so she skillfully plays that part, adapting to survive. This is her tragedy. Despite her multifacetedness as a woman and furthermore as a human, the world she lives in, warped by the male gaze, sees her as only an object to be desired, taken, and discarded. In a world where every asset of a women is merely an accessory to her sex-appeal, seduction--as Xenia utilizes it-- is a form of self-preservation.
(still from uncolored footage by our DP, Geetika Kumar)
(concept art by visual artist, Christina Lu)
Magindara
Centuries of trauma have molded the woman who calls herself Magan. We meet her in a memory as she first wakes up from a horrific assault. Her body physically struggles to contain its tortured soul, processing painful memories. But as Magan continues to share her wisdom, she teaches us how understanding her pain has transformed her into a creature of stunning enlightenment.
(still from uncolored footage by our DP, Geetika Kumar)
(concept art by visual artist, Christina Lu)
Why do stories like these matter?
A note from the writer:
Given the events that have recently inspired the #stopasianhate movement in social media-- the senseless brutality towards our Asian elders, the Atlanta hate crime that resulted in the murders of 6 immigrant Asian sex workers--I believe even more fiercely than I have before that these stories are important.
I remember in crafting the structure of Two Women in particular, diving into it fully aware that I was prostrating myself before you all. Truthfully, I was terrified. I laboured over the anxiety of being seen. Could the American gaze ever sympathize with the traumas of Asian Women? Who have been socialized in a country that has historically characterized itself as primarily black and white? Would others be able to see the violence in Asian fetishization or would it continue to be the butt of a cruel joke at the expense of our safety and mental health?
I wasn’t too sure. But this vision refused to remain contained. It is now a year from when I first wrote it and I am overwhelmed with feelings. I think back often on my own trauma as a woman of color and I listen to the experiences of my fellow women of Asian descent and I see that our stories are the same and our pain is shared and, for years, has also been silenced; we've felt lost in the social current of what it means to be an American and what it means to feel like you are disposable and best unseen, quiet, obedient, servile.
With this short film, I encourage myself and others who might feel similarly: it is not true.
I can’t say it enough how thankful I am for my crew and my collaborators. This process has been an emotional one for me. Truthfully, it’s the type of process that any artist lives for when they decide to create. Yes, the end result relies heavily on what money we are able to crowdfund, but the journey has been one of integrity and exploration.
My team has taken so much care throughout this process in their research during pre-production, in how they asked questions, in how they executed their roles. It is my hope that their care for these stories is something you all are able to recognize and experience for yourselves. And if you are at all inspired to care for these stories, these stories that have been silenced and overlooked, we would appreciate your supporting the completion of our project.
We still have a long road ahead of us. Post-production and marketing and distribution plans will be an entirely new series of challenges that we are eager to face. And so, any contribution would help.
Our Team:
check out our team and other media in the other tabs :)
Our Mission:
In an industry where the Filipinx diaspora is overlooked and misrepresented, we aim to demonstrate its richness of character despite what the rest of the world might see.
Our vision for this film has the potential to be both visually and culturally striking, particularly in The United States where the Average American can count the number of recognizable Filipino artists on 2 hands (or less). It is also an opportunity to demonstrate the influence of wonderful literature and how independent thinking can inspire others to find their voice. In the end, our film is merely a part of a larger movement of creators who actively carve out space for themselves and their communities, paving the way for brown people as specific, sought-after images in entertainment and film.
Stretch Goals!
We've already put in over $7,000 in personal costs for the pre-production for this film. Now we need your help! Our $10,000 goal is the bare minimum needed to get the film made at a production everyone involved can be proud of and avoid exploiting the work of all production members. These are only estimates of what post-production might cost, so we would love to raise money to meet our stretch goals!
- If we raise $15,000, we'll be able to cover crew pay rates and post-production and audio (original score, sound design and mix) costs, as well as have contingency funds in place for changes in budget due to timeline.
- If we raise $20,000, we'll be able to cover our festival, distribution and promotional costs for completing and getting the film into the world and in front of a wider audience.
Thank you for your time! And thank you for seeing us.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Our Glorious Crew
Costs $10,000
MANY artists helped to execute our ambitious vision. We want to pay them their respectable rates.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
We are so pleased to introduce to you our fantastic team (but not everyone!) . They are talented, thoughtful, skillful, and imaginative. Each person had worked harmoniously with one another, developing creative, diverse ideas and truly making a rewarding experience of the collaborative process that is filmmaking. We hope you get to know each of them, not only for their resume's but for their efforts to influence film and media for the better through diversity, inclusivity, and authenticity.
Current Team
Incentives
- The Story
- Wishlist
- Updates
- The Team
- Community
Mission Statement
The Story
The Story:
In Witness to a Devouring Monster, three women speak: Ana, Xenia, and Magan. Graceful, strong, intelligent, these women reveal their lives' wisdom through colorful, visceral story-telling. The worlds in which they live shift from realistic to surreal, fantastic to secular. From modern society to a not-so-distant dystopia. The stories of these women were inspired by the writings of French-Cuban Writer Anais Nin who said, “Introspection is a devouring monster.” In these pieces, there are monsters of many forms: assault, colonization, injustice, and of course, the one that consumes these women entirely, introspection. They speak of a reality that many have lived, yet often keep to themselves.However in this anthology film, they permit passage into the most intimate corners of their worlds. And with such eloquent audacity.
The Women:
Awakener
It is 1902 in the Philippine Islands. The US has just driven out the Spanish, ending centuries of colonization. However this does not mean freedom. Ana longs for the home that Spain destroyed, and that Americans have no intention of rebuilding. Taken as a wife by a foreign soldier, she is forced to conform to his customs and hide her identity. In a searing declaration of self-love, she holds a mirror up to the ugly face of colonization and the injuries it inflicts on her people.
(bts photo by director, Meghan Farrell)
(concept art by visual artist, Christina Lu)
Two Women
Xenia is young. She’s learned the violence men are capable of and the power they wield from that violence. She’s learned that men crave a specific type of woman and so she skillfully plays that part, adapting to survive. This is her tragedy. Despite her multifacetedness as a woman and furthermore as a human, the world she lives in, warped by the male gaze, sees her as only an object to be desired, taken, and discarded. In a world where every asset of a women is merely an accessory to her sex-appeal, seduction--as Xenia utilizes it-- is a form of self-preservation.
(still from uncolored footage by our DP, Geetika Kumar)
(concept art by visual artist, Christina Lu)
Magindara
Centuries of trauma have molded the woman who calls herself Magan. We meet her in a memory as she first wakes up from a horrific assault. Her body physically struggles to contain its tortured soul, processing painful memories. But as Magan continues to share her wisdom, she teaches us how understanding her pain has transformed her into a creature of stunning enlightenment.
(still from uncolored footage by our DP, Geetika Kumar)
(concept art by visual artist, Christina Lu)
Why do stories like these matter?
A note from the writer:
Given the events that have recently inspired the #stopasianhate movement in social media-- the senseless brutality towards our Asian elders, the Atlanta hate crime that resulted in the murders of 6 immigrant Asian sex workers--I believe even more fiercely than I have before that these stories are important.
I remember in crafting the structure of Two Women in particular, diving into it fully aware that I was prostrating myself before you all. Truthfully, I was terrified. I laboured over the anxiety of being seen. Could the American gaze ever sympathize with the traumas of Asian Women? Who have been socialized in a country that has historically characterized itself as primarily black and white? Would others be able to see the violence in Asian fetishization or would it continue to be the butt of a cruel joke at the expense of our safety and mental health?
I wasn’t too sure. But this vision refused to remain contained. It is now a year from when I first wrote it and I am overwhelmed with feelings. I think back often on my own trauma as a woman of color and I listen to the experiences of my fellow women of Asian descent and I see that our stories are the same and our pain is shared and, for years, has also been silenced; we've felt lost in the social current of what it means to be an American and what it means to feel like you are disposable and best unseen, quiet, obedient, servile.
With this short film, I encourage myself and others who might feel similarly: it is not true.
I can’t say it enough how thankful I am for my crew and my collaborators. This process has been an emotional one for me. Truthfully, it’s the type of process that any artist lives for when they decide to create. Yes, the end result relies heavily on what money we are able to crowdfund, but the journey has been one of integrity and exploration.
My team has taken so much care throughout this process in their research during pre-production, in how they asked questions, in how they executed their roles. It is my hope that their care for these stories is something you all are able to recognize and experience for yourselves. And if you are at all inspired to care for these stories, these stories that have been silenced and overlooked, we would appreciate your supporting the completion of our project.
We still have a long road ahead of us. Post-production and marketing and distribution plans will be an entirely new series of challenges that we are eager to face. And so, any contribution would help.
Our Team:
check out our team and other media in the other tabs :)
Our Mission:
In an industry where the Filipinx diaspora is overlooked and misrepresented, we aim to demonstrate its richness of character despite what the rest of the world might see.
Our vision for this film has the potential to be both visually and culturally striking, particularly in The United States where the Average American can count the number of recognizable Filipino artists on 2 hands (or less). It is also an opportunity to demonstrate the influence of wonderful literature and how independent thinking can inspire others to find their voice. In the end, our film is merely a part of a larger movement of creators who actively carve out space for themselves and their communities, paving the way for brown people as specific, sought-after images in entertainment and film.
Stretch Goals!
We've already put in over $7,000 in personal costs for the pre-production for this film. Now we need your help! Our $10,000 goal is the bare minimum needed to get the film made at a production everyone involved can be proud of and avoid exploiting the work of all production members. These are only estimates of what post-production might cost, so we would love to raise money to meet our stretch goals!
- If we raise $15,000, we'll be able to cover crew pay rates and post-production and audio (original score, sound design and mix) costs, as well as have contingency funds in place for changes in budget due to timeline.
- If we raise $20,000, we'll be able to cover our festival, distribution and promotional costs for completing and getting the film into the world and in front of a wider audience.
Thank you for your time! And thank you for seeing us.
Wishlist
Use the WishList to Pledge cash and Loan items - or - Make a pledge by selecting an Incentive directly.
Our Glorious Crew
Costs $10,000
MANY artists helped to execute our ambitious vision. We want to pay them their respectable rates.
Cash Pledge
Costs $0
Direct link:
Share this update!
About This Team
We are so pleased to introduce to you our fantastic team (but not everyone!) . They are talented, thoughtful, skillful, and imaginative. Each person had worked harmoniously with one another, developing creative, diverse ideas and truly making a rewarding experience of the collaborative process that is filmmaking. We hope you get to know each of them, not only for their resume's but for their efforts to influence film and media for the better through diversity, inclusivity, and authenticity.