[in development]
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Drama. Romance. Film-Essay.

NOTE: This is a quintessential romance film without romance. Instead, it concentrates on the intellectual foundations of love and relationships. The film will be told from two perspectives: that of the filmmaker making the film and the viewer watching it; and that of the characters in the film. The story of the film is as important as the exchange of thoughts between the filmmaker and the viewer outside of the story.

When a passionate love has consumed everything there was to give to their respective relationships, two people ponder the impossibility of ever lasting feelings as they engage in game of words challenging their assumptions about love and relationships while on short vacation at the tip of Long Island.

A married couple on their way to spend a relaxing weekend at their summer house at the tip of Long Island runs into an old work friend. The friend accepts an invitation to join them. Soon the husband is called back to NYC to take care of urgent business matters. He insist that his work commitments shouldn’t stop his friend and wife from taking advantage of the house. The two left alone explore the island engaging in conversations about possibility of passion when the old passion for the significant others has died out.

The film will portray two stories: that of the man and woman conversing about meaning of love; and that of the filmmaker and the viewer experiencing the film. The parts with man & woman will be saturated with light always overpowering the senses forcing the viewer to squint with kinetic camera movement while the part of filmmaker & viewer will differ visual with subdued colors and static camera shots to give the actual viewer rest from visual onslaught thus giving him/her opportunity to reflect on the spoken word.

Through prolonged monologues of the characters the viewer will understand that the films is NOT about the people's conversation or the story but something else. The form of the film will be a skewed "reality" - the reality that can't exists but does if the internal thoughts of people were to be spoken aloud. The dialogue will be accompanied by complex dolly shots and the actors will be bursting with tactile energy. The story will be interrupted by the observations of the filmmaker and the viewer about the events unfolding on the screen (shown as interruptions in the story with actors left to their own devices on the screen while the filmmaker and the viewer, like gods, engage in their conversation). The filmmaker / viewer will become meta characters in their own story.

The film will present a feeling of hopelessness caused by the rearrangement of fundamental truths one believes all presented against an idyllic vacation spot where seemingly everything should be perfect. Here in this small vacation community where everything seems possible, two people discover the hopeless nature of relationships. The film will be a search to find hope in that hopelessness - when you give up on the possibility for finding a comfortable answer, new horizons open up. The audience will be forced to re-think their methods of reaching answers and happiness. The characters will ponder the same questions and struggles the audience fights to learn their whole life. This is a love story that travels ages, time, traditions, values, aesthetics…

Is love an exploration of the self or learning process with another? How time affects love. Why consider love as an act of certainty and infinity? Is it possible to know how to keep a relationship, or are we doomed to constant improvisation? What are the circumstances when love expires? Can suffering make one happy?