VINCENT dark comedy | fantasy | experimental | 106min | 2023
Troubled writer, Vincent, escapes to an isolated retreat, determined to complete his first novel. However, his solitude is short lived as a dark force suddenly encroaches and Vincent becomes immersed in a violent and cathartic awakening.
Troubled writer, Vincent, escapes to an isolated retreat, determined to complete his first novel. However, his solitude is short lived as a dark force suddenly encroaches and Vincent becomes immersed in a violent and cathartic awakening.
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key production
Director | Writer | Producer - Alan King Producer - Angela Ling Director of Photography | Gaffer - Michael Schoell Assistant Camera - Samadhi Schoell Editor | Sound & Music Design - Alan King Sound Recordist - Jack McCulloch Colourist - Vincent Taylor Sound Editor - Daniel MCCulloch Makeup Designer - Samantha McIntyre Production Assistant - Jennifer Veal Production Company - White Cube Picture Lab Digital Intermediate by Harbor Funding Assistance provided by Creative Victoria |
cast
Vincent - Alan King Jesse - Chrstopher Kirby Eloise - Zoe Bertram Gunther - Bill Evans Micky - Greg Fleet Petra - Paree Brar Narrator - Mercia Deane-Johns Ned - Vaughn Greenberg William - Team Henderson Delphine - Christine Henderson Rosa - Rosa Scalise Katya - Natayla Smith Jacob - Michael Schoell Rainstream Rush - Chris Brooks |
technical specs
Language - English Running Time - 106 min Shooting Format -HD Digital Colour Sound - Stereo 25fps Aspect Ratio - Scope 2.39:1 Press Kit
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director's statement - alan king
'Beast' is framed beyond a literal sense, many of the events and themes within the film's narrative serve as figurative representations. I have always gravitated towards the works of those filmmakers who challenge their audiences to venture away from the literal: David Lynch, Jean Luc Godard, Derek Jarman, Lars Von Trier, Chris Marker, Orsen Wells and Stanley Kubrick to name but a few.
I have also always felt a connection with cinema that aligns with the ideals of 'Deconstruction' - the form of criticism first used by French philosopher Jaques Derrida in the 1970s, which asserts that there is not one single intrinsic meaning to be found in a work, but rather many, and often these can be conflicting.
These films have great potential of resonating and creating differing thoughts, discussion and debate long after they have been screened, with the audience infusing their own individual interpretations, ideas and feelings into the work. It was my wish for 'Beast' to also be such a film. This said, I couldn't help planting a hint at the very end of the film as to what everything that came beforehand may have eluded to. A little something to kick start the theories and conversations post viewing film hopefully.
The debate with 'Beast' started early, much to my delight, when during the shoot, numerous cast and crew presented to me their theories on the narrative. Some of my favourites included, "none of these characters exist but are multiple personalities of one man", "this man is dead and is in hell" and "this is all just a dream". It is my hope that the film finds an audience and that these discussions continue.
'Beast' was my first feature film and we shot the project over seven gruelling days in regional and metropolitan Victoria. We didn't set out to break land-speed records with the shoot time but, due to a myriad of factors, that was the way it had to be.Many people told us before-hand it would be impossible and without the meticulous and dedicated hard work of our team in both pre-production and production, well they would have been right!
Our approach for much of the film, was heavily influenced by the Dogme 95 style; quick set-ups, using the natural light, hand held camera and utilising the environment we were shooting in rather than setting up specific art department for each location.
Shooting within this timeframe was a bit like flying to the moon: the sort of thing you would only do once. It did however generate a unique electricity and energy. On reflection you could perhaps call it madness.
But maybe sometimes you have to a go a little mad for your art.
'Beast' is framed beyond a literal sense, many of the events and themes within the film's narrative serve as figurative representations. I have always gravitated towards the works of those filmmakers who challenge their audiences to venture away from the literal: David Lynch, Jean Luc Godard, Derek Jarman, Lars Von Trier, Chris Marker, Orsen Wells and Stanley Kubrick to name but a few.
I have also always felt a connection with cinema that aligns with the ideals of 'Deconstruction' - the form of criticism first used by French philosopher Jaques Derrida in the 1970s, which asserts that there is not one single intrinsic meaning to be found in a work, but rather many, and often these can be conflicting.
These films have great potential of resonating and creating differing thoughts, discussion and debate long after they have been screened, with the audience infusing their own individual interpretations, ideas and feelings into the work. It was my wish for 'Beast' to also be such a film. This said, I couldn't help planting a hint at the very end of the film as to what everything that came beforehand may have eluded to. A little something to kick start the theories and conversations post viewing film hopefully.
The debate with 'Beast' started early, much to my delight, when during the shoot, numerous cast and crew presented to me their theories on the narrative. Some of my favourites included, "none of these characters exist but are multiple personalities of one man", "this man is dead and is in hell" and "this is all just a dream". It is my hope that the film finds an audience and that these discussions continue.
'Beast' was my first feature film and we shot the project over seven gruelling days in regional and metropolitan Victoria. We didn't set out to break land-speed records with the shoot time but, due to a myriad of factors, that was the way it had to be.Many people told us before-hand it would be impossible and without the meticulous and dedicated hard work of our team in both pre-production and production, well they would have been right!
Our approach for much of the film, was heavily influenced by the Dogme 95 style; quick set-ups, using the natural light, hand held camera and utilising the environment we were shooting in rather than setting up specific art department for each location.
Shooting within this timeframe was a bit like flying to the moon: the sort of thing you would only do once. It did however generate a unique electricity and energy. On reflection you could perhaps call it madness.
But maybe sometimes you have to a go a little mad for your art.
poster
