SELF. HELP. tells the suspenseful story of a woman in her late fifties, Ms. Susan Alexander, a disgraced self-improvement superstar on the comeback trail. Finding herself stranded and alone, she must use her renowned methods in order to survive. As we witness her mind and body undertake a chilling journey, we will question the limits of our own self-awareness and anyone’s ability to help us in this life.
Susan Alexander, a former high-ranking intelligence officer turned self-help sensation, is on a desperate quest to reclaim her former glory at 59 years old. Recently released from prison, she has relocated to a secluded, snow-covered rental in Upstate New York. Susan adheres to a strict morning routine, driven by the urgency of her comeback event at Madison Square Garden that evening. But despite her meticulous planning, fate seems determined to thwart her. When her train is delayed, she attempts to drive to the city, only to impressively fishtail on the icy road and crash. Stranded but undefeated, Susan limps home, frantically attempting to connect with anyone, soon realizing there is no one. She activates her renowned Thinking System, The Power Of You™️, to no avail. As night falls and a snow storm brews, Susan's frustration deepens but her determination is strong.
The next morning, she is jolted awake by the cries of a 9-month-old baby in the guest room. Distressed and overwhelmed, she precipitously abandons the baby at a neighbor’s house before collapsing from exhaustion. Upon waking, guilt-ridden and questioning her sanity, she spends the day testing for cognitive disorders, leading to a despondent late-night call to Dr. Thatcher, during which long-buried issues resurface.
The following day, Susan comes upon an 8-year-old girl in her kitchen. As they share meals and explore their surroundings, Susan gradually recognizes the girl as her younger self, leading to an unlikely and tentative bond. But the situation turns surreal when, the day after, she wakes up to a now 23-year-old, confident and carefree, singing in the bathtub. Confronting her beliefs and values, she faces fierce arguments with this antagonistic ghost.
The next morning, the unstable visitor has grown to 59. They investigate an old house, where Susan discovers strange paper cutouts and comes face to face with her younger sister Lucy, who absolves her. A fall and head injury lead to a vision of her event at Madison Square Garden and it becomes harder to distinguish reality. Back home with a broken leg, Susan reveals her recurring transformations to her younger self.
That night, through an act of unspeakable knife-wielding violence that leaves only one of them alive, Susan takes back control of her narrative. The following morning, she leaves the house alone and disappears over the horizon, leaving her tumultuous past behind.
I WISH TO MAKE A MOTION PICTURE WHICH IS NOT A NARRATIVE OF ACTION SO MUCH AS AN EXAMINATION OF CHARACTER. THERE HAVE BEEN MANY MOTION PICTURES AND NOVELS RIGOROUSLY OBEYING THE FORMULA OF THE 'SUCCESS STORY.' I WISH TO DO SOMETHING QUITE DIFFERENT. I WISH TO MAKE A PICTURE WHICH MIGHT BE CALLED A 'FAILURE STORY.'
Stefan Boublil, writer / director
As its backdrop, this tale shines a harsh light on the booming personal growth movement, specifically gurus' motivations and how these intertwine with their function as the self-appointed healers of our modern age. Having taken over for religion as our primary source of advice, the self-help aisle in the bookstore has exploded into a thirteen billion dollar industry whose ambitions are ripe for examination.
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GENRE
THEMES
PSYCHOLOGICAL THRILLER
SUSPENSE
SUPERNATURAL
The Nature of Truth and Reality
The Importance of Experience
The Power of Connection
The Journey of Self-Discovery
Susan's encounters with her younger selves challenge her assumptions about the world and her own beliefs.
The past few days have forced Susan to confront the limitations of her system and the value of lived experience.
Susan's relationships with her younger selves help her to heal old wounds and find strength in the face of adversity.
Susan's journey is one of transformation as she learns to embrace her past, present, and future.
SUSAN ALEXANDER
A 59-year-old woman, Susan is a former foreign affairs diplomat who is now a popular self-help author and speaker. She is regal, charismatic, and self-assured. Despite past disgrace and current challenges, she remains stoic and focused on her work, demonstrating a strong determination and resilience. However, she also shows signs of emotional turmoil and confusion.
BABY
A 9-month-old baby girl who suddenly appears in Susan's home. She causes Susan to feel overwhelmed and desperate, leading to a moment of panic where Susan leaves the baby at a neighbor's house.
GIRL
This character, who appears to be around 8 years old, is found by Susan in her kitchen. She is playful and inquisitive, asking Susan questions about her life and expressing a desire to go “home.” She also shows signs of anxiety, experiencing a panic attack when the lights go out.
23
A younger version of Susan, 23 is comfortable and confident, even in the face of bizarre circumstances. She is curious and cynical, questioning Susan's self-help techniques and expressing doubts about pursuing happiness. Despite her confusion about identity and the situation, she remains largely unfazed and engages in playful debate with Susan.
59
Another version of Susan, 59 appears nonchalant about her sudden appearance and quickly adapts to the situation. She defends Susan's self-help business and engages in deep discussions about their past, their work, and their impact on the world. However, she also reveals a fixation on success as a solution to problems, which leads to tension with Susan.
LANDLORD
A large, threatening man who confronts Susan and 23 as they enter his mansion to scavenge for supplies. He accuses them of stealing but his aggressively condescending tone reminds Susan of her own violent father.
LUCY
Susan's younger sister, is only mentioned and not physically present in the story. She is remembered through tiny paper cutouts of furniture and books that Susan finds in a house, causing Susan to feel overwhelmed with emotion.
DR. PARKS-THATCHER
A contact in Susan's phone, whom she calls in a moment of weakness. The call hints at a professional as well as a strained personal relationship filled with unresolved issues, but Dr. Parks-Thatcher does not appear in the story.
SUSAN ALEXANDER’S IN-WORLD INFOMERCIAL
SUSAN ALEXANDER’S IN-WORLD WEBSITE
SUSAN ALEXANDER
AGE 8
played by Julia Butters
(Once Upon A Time in Hollywood)
SUSAN ALEXANDER
AGE 23
played by Elle Fanning
(The Great)
SUSAN ALEXANDER
AGE 59
played by Tilda Swinton
(Michael Clayton)
SUSAN ALEXANDER
AGE 8
played by Aalyrah Caldwell
(MDMA)
SUSAN ALEXANDER
AGE 23
played by Keke Palmer
(NOPE)
SUSAN ALEXANDER
AGE 59
played by Angela Bassett
(Black Panther)
SUSAN ALEXANDER
AGE 8
played by Ai-Chan Carrier
(The Lion Guard)
SUSAN ALEXANDER
AGE 23
played by Ji-Young Soo
(Expats)
SUSAN ALEXANDER
AGE 59
played by Michelle Yeoh
(Everything Everywhere All At Once)
Sleeping Beauty (2011)
Sleeping Beauty (2011)
Susan’s newly-rented house
Moving in
Speeding to the train station
The train never comes
An unexpected visitor
Venturing to the neighbor’s house
This visitor is sassy!
This visitor is rebellious
The landlord McMansion up the hill
VISUAL DESIGN
We intend to craft unforgettable, almost photographic frames, in the style of Allen Daviau (ASC), famed cinematographer of Steven Spielberg’s The Color Purple (1985) and Barry Levinson’s Avalon (1990.) Extraordinary attention will be paid to details such as critical focus, precise framing, symmetry, rule of thirds, perspective and color palette, among many others.
“Reality show-style”: Save for the prologue and epilogue, much of the film will be composed of locked frames, in and out of which the character(s) roam. The ten cameras do not follow, pan, tilt or focus-rack, rather merely act as witnesses to the unfolding mystery, much like an array of security cameras would. The nature of single interior, and whited-out exterior locations, will push the shots to increasingly intense angles.
ASPECT RATIO
FORMAT
GRADING
LENSES
Day 01: 18mm (The Shining)
Day 02: 24mm (Citizen Kane)
Day 03: 40mm (The Godfather)
Day 04: 50mm (Psycho)
Day 05/06: 75mm (Blade Runner)
STYLE
Simple moving camera to reflect normal life.
Still camera to reflect contemplation.
One complex moving shot to reflect rebirth.
NO ON-SET CREW
Sleeping Beauty (2011)
AS MUCH AS POSSIBLE
USE FRAMES
WITHIN FRAMES
WITHIN FRAMES
SOUND DESIGN
We intend to craft a soundscape defined by what is not heard as strongly as by what is. Without a score until the third act, the singular aural feel of this motion picture will be defined by the tension created through the use, often heightened, of diegetic props, weather and character movements as they move around and interact with their world.
The use of a very wide soundstage in the mix will be particularly useful to making the audience feel off-balance.
EQUIPMENT
CREATIVE RECORDING
MUSIC
MIX
OBJECT-BASED SURROUND SOUND
PRODUCTION DESIGN
We intend to populate this empty world with an inordinate amount of detail. From sets to props to costumes, the art direction will be focused on building layers of meaning, not only to reflect the heroine’s journey within the framework of our story, but to hide in plain sight the numerous references built into it:
From thinly veiled allusions to greek mythology to deep dives into cinema history, our lenses and microphones will be tasked to capture an extremely rich world that will only deliver more insight upon repeated viewings.
RESEARCH
IMPLEMENTATION
SYMBOLICS
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“Mystery” is a concept in environmental psychology that refers to the mental sense that an image or setting has the promise of more information around the corner.
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The Kuleshov Effect is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation.
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If we examine those spaces, we find that each of them is "impossible" in very odd, unnecessary ways. His manner of editing establishes assumptions, but those assumptions are wrong.
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His camera unflinchingly recorded every detail, every thought, every movement – both of the exterior flesh, and of the soul within. In cinema, only Carl Theodor Dreyer has matched Bergman’s intense perfection in this regard.
Sleeping Beauty (2011)
Sleeping Beauty (2011)
Black Swan (2010)
Citizen Kane (1941)
Nocturnal Animals (2016)
Psycho (1960)
Persona (1968)
Jeanne Dillman, 23 Quai Du Commerce, 1080 Bruxelles (1975)
The Shining (1980)
Tony Takitani (2004)
Sleeping Beauty (2011)
MARKETING OUTLOOK & TARGET AUDIENCES
CRAFT A UNIQUE NARRATIVE APPEAL
Core Themes and Marketable Elements:
Target Audiences:
Marketing Channels and Content:
INNOVATIVE MARKETING STRATEGY
ENGAGE AUDIENCES THROUGH THOUGHTFUL SATIRE & SELF-DISCOVERY
Pre-Release Tour:
Promotional Materials:
Community and Fan Engagement:
DISTRIBUTION PLAN & TIMELINE
MAXIMIZE REACH POST-SUNDANCE PREMIERE
Sundance to SVOD Transition:
Extended Distribution Channels:
Ongoing Engagement and Legacy:
PRODUCT PLACEMENT
IN-STORY COLLABORATIONS
Brand benefit: Gleaming custom EX90 gets into an accident and performs exactly as designed: passenger survives
Brand benefit: Macbook, Apple Watch and iPhone are all used throughout the storyline.
Brand benefit: Blue coat over monochrome backgrounds stand out during the entire film.
Brand benefit: Bedtime is the nightly leitmotiv, character chooses only the best luxury products.
STEFAN BOUBLIL
writer / director
Stefan Boublil is a creative director, author, musician, and speaker who has worked in various fields of design, film, music, theater, marketing, and fashion. He is the founder and principal of The Apartment, a groundbreaking design store and a agency that creates brands, products, spaces, and experiences for clients such as American Express, Intel, Google, BMW, Levi’s, and YouTube.
Stefan was born in France and moved to New York City in 1991 to study photography at Parsons School of Design and film at NYU Tisch School of the Arts. He has traveled the world and collaborated with many talented people from different disciplines and cultures and believes that design is not only about aesthetics, but also about meaning, emotion, and impact.
One of his latest endeavors is writing a book called The Considered Life, which is a collection of essays that explore various aspects of life, such as love, work, art, technology, and death. The book is based on his personal experiences and observations, as well as his insights from working as a creative professional. The book aims to inspire readers to live more consciously, creatively, and joyfully.�
Stefan is also a frequent speaker at conferences and events, where he shares his vision and philosophy of design, creativity, and life. He has spoken at TEDx, SXSW, PSFK, and more. He is known for his engaging and provocative style, as well as his humor and charisma. He enjoys interacting with audiences and challenging them to think differently and critically.
Ad Campaign
Narrative Short Film
Music Video
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ATKIN KORKIS
Producer / Shadow Magic Studios
Atkin Korkis is an Iraqi-American producer with a solid track record at Shadow Magic Studios. With a decade of experience, Atkin has produced five feature films, a pilot, and a docu-series for Peacock, showcasing his ability to navigate a variety of formats and platforms. His notable achievements include the post-production of a Tier 3 Kuwaiti feature film budget that won the Audience Award at the Red Sea Film Festival and was distributed across the Middle East, marking a significant milestone in his career.
Having managed budgets from one to five million dollars, Atkin's practical knowledge in film production is extensive, from the nitty-gritty of budget management to the nuances of storytelling. His commitment to quality and his knack for bringing compelling stories to the screen have made him a reliable figure in the industry.
Atkin's approach to filmmaking is grounded in his experiences as a person of color, offering a unique perspective that enriches his projects. This background informs his work, enabling him to create films that resonate with a wide audience by capturing diverse narratives and experiences. His professional journey is characterized by a blend of creativity, dedication, and a down-to-earth approach to filmmaking, making him a valuable collaborator in the independent film scene.
HOUSTON JONES
Producer / Shadow Magic Studios
Houston Jones is a French-American producer at Shadow Magic Studios, known for his expertise as a D.G.A. 1st Assistant Director. With nine years in the industry, he specializes in managing films with $1MM to $3MM budgets, ensuring efficient production without compromising creative vision. Houston has also written features and pilots, including the recently completed "Raymar," reflecting his passion for stories about societal outcasts.
At Shadow Magic, Houston uses his deep production knowledge and storytelling skills to oversee projects from start to finish. His approach combines practical filmmaking necessities with a commitment to narrative depth, making him a key asset in film production.
A Creature was Stirring
How I Got There
Raymar
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“SELF-EDUCATION IS THE ONLY EDUCATION THERE IS.”
Isaac Asimov