SF ShortsFlunkyball Screened Oct. 23-25
“The film swelters with disorientation, when strangers that are foreign and male happen into a party which devolves through alcohol and toxic masculinity into a confusion of language, custom, and intentions.” – F3 Film Magazine
Flunkyball USA Narrative Film Website
Two worlds collide when unexpected guests arrive at Mia’s house party and she watches the night spiral out of control, caught in the crossfire of ignorance under the influence.
Two worlds collide when unexpected guests arrive at Mia’s house party and she watches the night spiral out of control, caught in the crossfire of ignorance under the influence.
DIRECTOR PROFILE
Tess Forestieri
Director Bio : Tess is a multidisciplinary artist and first time female filmmaker with a background in theatre directing, performance, and media studies. After graduating college Tess made the transition into film and hasn’t looked back since.
Tess’s successfully fundraised over $17k for her first narrative short film, Flunkyball, which was shortlisted for the Roy W. Dean Production Grant.
In the commercial video space, Tess has produced and managed award-winning digital ad campaigns for PepsiCo brands which have been featured in AdAge, Medium, The Drum, etc. Tess has also lead video production for social, digital, and OOH advertising campaigns.
Above all, Tess is an empath and collaborator driven to tell stories that encourage communication surrounding difficult topics. You can read more at tessforestieri.com
Director Statement : Good intentions do not always result in positive outcomes (intention ≠ impact). Inaction, apathy and complacency are covertly violent actions that contribute to racist ideas, sometimes leading to acts of violence and/or hate. FLUNKYBALL explores whiteness and the bystander effect in a wrought depiction of internalized and systemic racism.
This film is meant to combine a naturalistic, handheld shooting approach with curiously foreboding and surrealist undertones. Inspiration for visual style came from Sean Price Williams’ work on Good Time and Reed Morano’s in Meadowland. As for score and sound design, I am inspired by Mac Quayle’s work on Mr. Robot and Mark H. Phillip’s score in Homecoming.
I worked collaboratively with the cast and crew to develop a script in two languages I don’t speak: Arabic and German. One of the highlights in prepro was improvising and devising with the actors to create the first scene of the film. I think the challenge of directing in languages I don’t speak made me aware of the importance of telling stories responsibly and always remaining open for critique. As a white woman, working on this film has only further proven how important continued learning/unlearning is in the journey towards anti-racism. I continue to learn every day and welcome and encourage dialogue surrounding this short film.
My hope is that this will give an opportunity for reflection and discussion around racism and risk for white people versus POC.
Director Bio : Tess is a multidisciplinary artist and first time female filmmaker with a background in theatre directing, performance, and media studies. After graduating college Tess made the transition into film and hasn’t looked back since.
Tess’s successfully fundraised over $17k for her first narrative short film, Flunkyball, which was shortlisted for the Roy W. Dean Production Grant.
In the commercial video space, Tess has produced and managed award-winning digital ad campaigns for PepsiCo brands which have been featured in AdAge, Medium, The Drum, etc. Tess has also lead video production for social, digital, and OOH advertising campaigns.
Above all, Tess is an empath and collaborator driven to tell stories that encourage communication surrounding difficult topics. You can read more at tessforestieri.com
Director Statement : Good intentions do not always result in positive outcomes (intention ≠ impact). Inaction, apathy and complacency are covertly violent actions that contribute to racist ideas, sometimes leading to acts of violence and/or hate. FLUNKYBALL explores whiteness and the bystander effect in a wrought depiction of internalized and systemic racism.
This film is meant to combine a naturalistic, handheld shooting approach with curiously foreboding and surrealist undertones. Inspiration for visual style came from Sean Price Williams’ work on Good Time and Reed Morano’s in Meadowland. As for score and sound design, I am inspired by Mac Quayle’s work on Mr. Robot and Mark H. Phillip’s score in Homecoming.
I worked collaboratively with the cast and crew to develop a script in two languages I don’t speak: Arabic and German. One of the highlights in prepro was improvising and devising with the actors to create the first scene of the film. I think the challenge of directing in languages I don’t speak made me aware of the importance of telling stories responsibly and always remaining open for critique. As a white woman, working on this film has only further proven how important continued learning/unlearning is in the journey towards anti-racism. I continue to learn every day and welcome and encourage dialogue surrounding this short film.
My hope is that this will give an opportunity for reflection and discussion around racism and risk for white people versus POC.