Anna and the Inexpressible Feeling of Being Lost
Director: Philip Gibson
New Zealand, 2018, 9 min
Shooting Format:4K RAW
Genres:Drama, Magical Realism
Cast:Alice May Connolly
Crew:Writers: Philip Gibson, Alice May Connolly, Margaret Sydenham. Director of Photography: Caleb Corlett; Music & Sound: George Palmer; Production Design: Philip Gibson; Onset Art Direction: Sam Small; Editor: Philip Gibson, Caleb Corlett; First Assistant Director: Simon Manns; First Assistant Camera: Angelu Cayanan; Second Assistant Camera: Scarlett Wild; Lighting Assistant: Finn Holland; Sound Recordist: Duncan Phillips; On Set Stills: Bella Austin; Production Assistance: Molly-Rose Chetwin-Kelly; Costume Supervisor: Leah Lovett-Maggs; On Set Art Department: Sassy Shepheard; Set Constuction: Fhil Kopelman, James Searle; Art Department: Rhianon Leddra, Jacqueline Cox, Sylvie McCreanor, Taylor Rogers, Christopher Alan Moore; Post Production Sound Team: Callum Scott, Yong-Le Chong , Shayne Ragg , Nakhia; Exectutive Producers: Emma Ransley, Brian King
Anna hides in her room, paralyzed by her fear of the future. A short film exploring the inner turmoil that stems from alienation and anxiety.
About the director
Philip Gibson is a young 22-year-old Film Designer and Director in New Zealand, he recently graduated with a Bachelor of Design (Stage & Screen) at Toi Whakaari: New Zealand Drama School. It was during his final year that he directed and designed his debut short film, 'Anna and the Inexpressible Feeling of being Lost'. Philip's exploration as an independent film maker is in visually driven narratives that are produced through collaborative devised processes. It's through this process in which he strives for visceral imagery that can carry a narrative.
His passion for imagery is also seen when working as Set dresser and Production Designer in New Zealand. His more recent projects include screen work such as Taika Waititi and Jemaine Clement's television show 'Wellington Paranormal', other feature films include 'Cousins', 'Coming Home in Dark' and 'Reunion'.
He grew up rurally in the South Island of New Zealand but currently lives in Auckland.
Filmed inside a small classroom at Toi Whakaari: New Zealand Drama School with an extremely small budget and crew made up of my fellow students and friends, 'Anna and the Inexpressible Feeling of Being Lost' was my final year tertiary project,
The concept and creation of 'Anna and the Inexpressible Feeling of Being Lost' has been a long and interesting journey. I wanted to make a film that simply expresses and dwells within the complexity of being lost as a young adult. A relatable expression of emotion in which regardless of the initiating circumstances is a common feeling. To bring up conversations about what happens when we withdraw from each other behind the closed doors of our communities.
Throughout my study of screen design at Toi Whakaari I became interested in how visuals could carry much of a story through symbolism and visual metaphor. But I felt I wouldn't be able to make a film with design at its heart if I didn't have total control, hence I went about designing a story as the Director. I knew that as a non-typical Director a lot of the conventual processes of film creation wouldn't stimulate myself. So initial inspiration and stimulus came from found images and video, from there I slowly started visually piecing together the puzzle of the story and concept as a storyboard to what the film is now.
I was fortunate to be surrounded by a crew of young talented friends and students mostly within our 20's. Each member has made a significant input into areas of production that don't necessarily define their discipline. This to me is a testament to their talent as diverse artists. Our lead actress Alice May Connolly has recently starred in two New Zealand features awaiting release. Our D.O.P Caleb Corlett, recently won silver at the New Zealand Cinematographers Society Awards for another student short film. As a young crew I felt we gave ourselves the chance to experiment and support one another to learn, which I think is sometimes lost in a commercial context.
With filming over two and a half days, I commandeered an ordinary classroom at Toi Whakaari to build the set inside. We also worked with the local public community pools to shoot underwater in the middle of the night.
Our film is classic example of the D.I.Y spirit of Kiwi Ingenuity. For myself the future of film is becoming a medium where money will no longer be the indicator of a good film. All it will take is conceptual innovation, a passionate crew and stories with heart.