The Story
Upon his release from prison former gang member, Noe Hierra, takes to the desert in an attempt to escape his past. However, the self inflicted exile and solitude proves hard to cope with; With nothing to distract the mind it starts the painful process of dissecting itself.
Our Story
Mexico is the home country of producer Stephanie Tess Manrique. After meeting at film school in Paris, in 2007 she asked Christoffer Eide if he would be up for the challenge of making a film in her native country, a place completely alien to him. This ambitious project unites Norwegians, Brits and Mexicans to tell the story of a young man attempting to come to terms with his criminal past.
What We Need & What You Get
Our budget is £5500. We have alredy secured £1500 from our own pockets and still sourcing potential supporters in Norway, Mexico and the UK as well as crowd funding which we hope will make up £3000. We kindly ask you to donate a small or large sum to help us bring this story to life. In return we hope to screen it to you somewhere in the world, and hopefully you can join us for one of our planned screenings in London and/or claim some of our fabulous backer gifts.
Other Ways You Can Help
If you already have donated, or want to help but don't feel donating is the right way, we would really appreciate it if you extended this message to the rest of your friends and family. If 300 people each donate £10, we're golden. Put this on your Facebook, Twitter or e-mail the link to people you think might be interested.
About the Style of Oculto
Brutal, nightmarish, bleak and hopeless doom. The Cinematography of "Oculto" is: dirty, grim, confused, unpleasant, desaturated, unsteady and unclear; abstracting bodies, faces and expressions. Here is a world of no reverse angle shots, no establishing shots and no cutaways. These images are records of time. Memories that are used to recall a half remembered half feared previous existence. Images that haunt the viewer as much as they are remembered. Bodies and faces emerge from darkness in contorted forms. Landscapes hover as if in front of the minds eye, buildings are unfocused and unclear. A blurry, dark hazy mess of sensations and stimulus; The camera is actively engaged in viewing. Attempting a cinematic equivalent to Black Metal through tableaux hauntants: that in which we witness ʻthe phantom of the organic body.ʼ Primal experience sketched out upon the cinema screen in a ferocious fever dream of images and sound. The mood is fully established by means of audio and visuals alone. The film is communicating basic human experience outside of language. Outside of the problem of ideas or ideology of language. The soundtrack is constructed globally upon unidentifiable, layered, synthesised, ambient noises of breath or wind, sucked in and expelled, which underlie the entire film and constitute its disturbed heartbeat, returning to our ear when all other sounds have disappeared.
