SYNOPSIS
In 1906 she received a letter from an admirer, Kerime, a Muslim and wife of a Turkish diplomat. They carried on a torrid letter-writing affair over a 3 year period, only meeting in person on a few occasions.
The film opens on a Japanese garden, the camera traveling past a koi pond and azaleas to discover Renee, in her study, trying to write about her last time with Kerime, but struggling to remember. An Erik Satie piano piece plays on the Edison phonograph. Renee’s concentration is interrupted when the mailman arrives, delivering a letter from Kerime. Inside is a picture of her standing in full Islamic ceremonial dress next to her husband. On the back it says simply, “Remember me.” The picture brings the memory back. Renee begins to write anew and we are taken back to that day.
Renee had gone to the park to meet Kerime, unsure if her lover had gotten her message. Finally, Kerime appears. Renee walks quickly to meet her. While the poem unfolds in Renee’s mind, the action unfolds on the screen – Renee’s hand touching, traveling lightly along the edges of Kerime’s body. Kerime drops the veil covering her mouth and the lover’s are about to kiss when Kerime’s husband calls from afar. Her veil is returned to cover her face and she flees. A tear slips down Renee’s cheek as the aria “O Mio Bambino Caro,” swells in.
Back in her study Renee puts down her pen. The same tear fall down her cheek, splashing on the page. The poem is finished. She looks out her window, sad but holding the memory dear, as the camera pulls away and back out into the garden. The credits roll as the aria crescendos, the singer lamenting the loss of her love.
“The Touch” is finished. The budget camein at $12,500 with an additional $5000 for marketing and distribution. The filmwas shot over two days with two different locations. The producers have been awarded the Panasonic Filmmaker’s Grant, which supplies an extensive camera package, including their new HD Camera, the HVX-500. The project will be edited using Final Cut Pro HD on a Mac G5. The colors in the present will be as in a Berthe Morisot painting, plums and heathers, wheat and teal, with Renee in grey trousers with a crisp white shirt standing out from the background. In the park the natural colors are more saturated and vibrant. The lighting will be soft light. Kino Flo donated their lights to obtain this look. Davis Glick donated the sound mix.
Distribution
The plan will be to launch the film in the major national and international festival, using word of mouth and awards from the gay and lesbian market to move through the standard festival circuit.
In May 2008, after the film has a base of reviews and awards the producers will take the film to Cannes, participating in the Short Film Corner in the Cannes Market to pursue European television distribution, followed by a similar pursuit for the North American markets. Finally, the film will be distributed through all available outlets, both on DVD and on-line download. The dedicated website will be utilized, and alternative avenues will also be pursued including outreach to gender, women’s study and literature programs at Universities as well as Gay and Lesbian campus organizations. trying to recall the memory of the day back. An Erik Satie piano piece plays on the Edison phonograph. Renee’s concentration is interrupted when the mailman arrives. In the letters she receives there is one from Kerime. It is a picture of her, standing in full Islamic ceremonial dress next to her husband. On the back it says simply, “to remember me.”
Seeing Kerime brings Renee’s memory into sharp focus. She begins to write anew. Renee had gone to the park to meet Kerime, unsure if her lover had gotten her message. Finally, she sees her. They walk to each other, bodies anticipating the touch. While the poem unfolds in Renee’s mind, the action unfolds on the screen – Renee’s hand touching, traveling lightly along the edges of Kerime’s body. Kerime drops the veil covering her mouth and the lover’s are about to kiss when Kerime’s husband calls from afar. She rehooks her veil and flees. A tear slips down Renee's cheek as the aria “O Mio Bambino Caro,” swells in.
Back in her study Renee puts down her pen. The same tear fall down her cheek, splashing on the page. The poem is finished. She looks out into her garden as the camera pulls away and back out into the garden. The credits roll as the aria crescendos, the singer lamenting the loss of her love.
THE TOUCH
a short romance
Producers: Jane Clark/Bob Tourtellotte
Associate Producer: Cathy DeBuono
Director: Jane Clark
Screenwriter: Jane Clark
Cinematographer: Adam Tash
Poem/Poet Bio: "The Touch"/Renee Vivien
Distribution:
Domestic Theatrical - Available
Internation Rights - Available
In Development
In the Can
In Preparation
Trailer
Renee Vivien was a well-known lesbian poet living in Paris, France in the early 1900’s. She wrote beautiful, intimate poems about the women she loved and the heartache and heartbreak she endured.
