Our Global Mission Statement is, to empower those within local communities wherever they be in the world, with the ability to tell their own stories through film. Not only do we wish to celebrate communities via their stories and bring them to the screen, but in doing so, enable the creation of vibrant film production employment hubs in those local communities.
This entire production of The Volcano’s Last Wish will take about one year to complete. Currently, we’re in the post-production stage of this film.
We have completed the director’s ‘rough-cut’. We’re hoping to be able to count on your generous financial support to finish post-production by the end of November 2019.
We believe film and culture can improve understanding and foster communication between peoples of diverse cultures, races, and lifestyles, while at the same time serving as a vehicle to initiate dialogue on the critical issues of our times.
VISION / STYLE / APPROACH / AESTHETIC
''As a writer and film director, I am driven to help preserve the cultural legacy of my people. I have the support of the people in Cha das Caldeiras, the MSMU faculty, the film professionals from BadWest Filmmakers, International Documentary Association, Pan African Film & Arts Festivals, Director Guild of America, FESPACO, International Cinematographers Guild, etc. Also, I am actively involved in Cape Verdean diaspora communities, namely in the USA, Argentina, Brazil, Portugal, Holland, France, Italy, Spain, and Africa.
My vision forThe Volcano’s Last Wish is to make the film look as authentic and raw as possible, and I want to reflect that through the look of the film. I envision this film being in both color and BW. The film will also include archive footage and several VFX such as motion graphics and animation.
This a story about my village Cha das Caldeiras and its people, and I want it to be a powerful and touching message to the villagers and the upcoming generation.
The film begins when Mr. Musa-Maximiano gives Michel an 8mm film camera and then asks him to record the village’s story and legacy. He wants to pass on this important mission to an unsuspecting, yet earnestly open, Michel.
Visually, I want to make the film colorful and attractive to any audience by showing how the villagers celebrate life in all its forms – past, present, and future. The film will interrogate what the volcano represents to the village and how they keep the family’s legacy through Michel’s footage. The lifting of a glass to make a toast on top of the one of the most lunatic and exotic place on the earth.
In terms of cinematography style, I used manual mode focus, as well as a handheld camera to follow a character and capture more personal reactions. I also employed many moving cameras, and drones. Regarding lighting, I used a mix of natural and artificial lights.
The majority of the movie was shot with Canon EOS C500 and Canon EOS 5D Mark IV, a full-frame CMOS sensor with the following settings: 4K, 24p, and ISO 500/800. Regarding lenses, I used Canon EF 24-105mm f/4L USM Lens and Rokinon CV16M-C 16mm T2.2 Cine EF Mount for landscape, 35mm, 50mm, 85mm, and 135mm.
My mission is to tell stories that may not otherwise be heard and to give a voice to those who do not have access to mass media. I am a dedicated indie filmmaker who produces films focusing on unsung stories that make a difference in the lives of people around the world. One of my goals, as I move forward in my career as a progressive independent filmmaker, is to balance education with entertainment by making this film engaging without losing any of the power contained in Musa’s legacy and message”. Says filmmaker Guenny K. Pires.