MARLON BRANDO, WHISKEY, ZOMBIES AND OTHER APOCALYPSES

MARLON BRANDO, WHISKEY, ZUMBIS E OUTROS APOCALIPSES

By Paulo BISCAIA FILHO

MORO FILMES - as SALES All rights, World / PROD

Fantasy - Development 2019

A love story between a tomboy skater and an overly pretentious artist... all during a zombie apocalypse.

Festivals
& Awards

AFM - Los Angeles 2016
Debut
Ventana Sur 2017
Beyond the Window
fantaspoa 2018
Pitching
Haifa International Film Festival 2018
International Pitching
    • Year of production
    • 2019
    • Genres
    • Fantasy, Horror
    • Countries
    • BRAZIL
    • Languages
    • BRAZILIAN-PORTUGUESE
    • Budget
    • 0.6 - 1 M$
    • Duration
    • 94 mn
    • Director(s)
    • Paulo BISCAIA FILHO
    • Writer(s)
    • Paulo BISCAIA FILHO, Diana MORO
    • Producer(s)
    • Diana MORO (MORO FILMES), Gianna COELHO (MORO FILMES)
    • Synopsis
    • In a world taken by the undead, Boris, a videomaker artist, and Bela, a charming and charismatic tomboy skater, hide in a Museum of Contemporary Art. They need to face the fact that they may very well be the last two living people on the planet. In addition to dealing with their own prejudices against each other, they will have to fight billions of ravenous zombies - and maybe - just maybe - fall in love.
      The narrative has as its protagonist Boris, a video art creator. He believes he is the last survivor of a zombie apocalypse and has taken shelter in a Museum of Contemporary Art. The XIX Century building houses a furnace that provides energy, by fueling it with the bodies of zombies, so that he can continue editing an unfinished video he started to make before the world ended. The conceptual work includes a looped image of the face of his beloved Elsa. A photographer who also wanted to be a dancer. Or vice versa. As a ghost, Elsa interacts with Boris imagination when he finds Bella and realizes that the two are the last people with a beating heart in the face of the earth. What could be a relief for Boris, turns into an adversarial relationship when he realizes that she does not identify with his artistic thought and moreover establishes his view of ironic and outspoken manner. Bella, and Elsa, try to understand that Boris and his work, as well as the zombie world, have no soul or humanity.
    • Partners & financing
    • Brazilian Sectorial Fund for Development
      Brazilian Sectorial Fund for Production
      Private Investors
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