SO LONGThe Film

María BernsNovember, 2009

Broken Doll Films

Veracruz, Ver, November 3rd, 2009

Dear Producers:

It is a pleasure to contact you to present the feature film project called So Long about four migrants who return to their original community after years working in the United States.

The stories refer to the internal movements of migration, particularly the imaginary world of going back and how it is experienced by women: their contradictory desires, their disappointment, the conflictive intergration of men, the negotiations of their new spaces of co habitation, her fantasies about habiting the other side, erasing the husband, being another woman so that mutual knowldge is impossible upon return.

In Super 16mm, the film will be shot on location in the East- Southern State of Veracruz in México.

I hope we can work together in this film.

Thank you for your attention,

Sincerely,

María BernsScriptwriter and Director

SO LONG

Excerpt from Original Script by María Berns

November, 2009

Sinopsis.

After working for years in the United States, four migrants return to Alvarado their home community in Veracruz, Mexico. As they try to adapt, their spouses question the original purpose of their trip and their present identity after years of separation.

Valentín returns to his flooded neighborhood to help Natalia, his wife and two daugthers whose house was destroyed by the flood. But Natalia acts as if she doesn’t know him. Is that her vengeance beacuase Valentin brings his black American daugther? Valentín tries to win Natalia back but finds no job in town, he tries to fix his old car, instead. Meanwhile, the American daugther starts to get along too well with her half sisters.

Camilo left 8 years before for the US and his wife, Violeta, keeps the hope of Camilo´s return even when she has a new relationship. One day, a pregnant American woman lodges at the hotel that Violeta owns. Emily becomes involved in Violeta´s household as Gloria, Violeta´s daughter asks questions about the US. Meanwhile, there are no news from Camilo. When Emily tells her that Camilo is dead and she is carrying his baby, the two women share an intimacy that sets the starting point to create a new family.

For eight years, Beatriz gives the postman the letters to her husband and in three weeks, he brings back the answers. One day, she receives a letter where her husband says that he is coming back. She is surprised and wants the last letter to be changed but the post office is no longer in business. Beatriz settles at the postman´s house to convince him to write a new letter and there she discovers the true reason to the letter writing.

After four years away, Renata goes back to reunite with her husband and two kids whom she left when leaving for the US to work. Her husband and kids seem strangers to her and the dynamics of reunión are filled with silences. The husband´s mother prevents Renata from taking charge of the household. Renata is confronted by the news of her mother´s death and the discrimination by the neighbors. Carnival times give Renata and her family a new chance in spite of the community´s strict ways.

Director´s statement.

Due to the economic crisis which imploded in September 2008, and migrationpolicies tighten even stronger, many Mexican migrants have been forced to go back creating new challenges to their communities. I am interested in exploring how their everyday life changes when the migrant returns.

Using mythical references and mixing fiction and reality, the film explores theimaginary aspect of migration which has been disregarded by films that favorexplorations on the economic, political and social aspects of this phenomenonthat marks and changes the dynamics of the communities.

Being a migrant myself, I want to make a film that explores the struggle ofwomen when men come back, how they view their return, how they adapt.What is the locus of communication between those who have been apart for such a long time and artificially united by words and technology? How does the community react to the new comer?

The stories refer to the contradictory desires which women harbor, their disappointment, the conflictive intergration of men, the negotiations of their new spaces of co habitation, her fantasies about habiting the other side, erasing the husband, being another woman so that mutual knowldge is impossible upon return.

Production and postproduction Crew

Director- María BernsProducer- Juan Ángel Salas Pérez

Director of Photography- Javier MorónArt Director- Héctor Villanueva

Costume design-Sound-Víctor Contreras

Editor- Felipe GómezMusic- Kevin Ernste

Sound Design- Matt Taylor

MARIA BERNSmariaberns@yahoo.com

WRITING/ FILM/ TELEVISION2009

Coordinator of Office of Correspondants in México City, NOTIMEX. 2008

Coordinator of Office of Correspondants in México City, NOTIMEX. Visiting filmmaker, School of Film, Istanbul Bilgi University.

2007Visiting filmmaker, School of Film, Istanbul Bilgi University.Scholar, Writing, Department of Creative Writing, University ofTexas, El Paso.

2006Scholar, Writing, Department of English, University ofTexas, El Paso. Writer novel In the Time of Deers and ButterfliesWriter script Camilo's Secret

2005Scholar, Writing, Department of English, University ofTexas, El Paso. Writer script In the Time of Deers and Butterflies,to be produced by Cine Ojo.Writer, Bilingual Creative Writing Program, University of Texas, El Paso

2004 Scholar, Writing, Department of English, University ofTexas, El Paso. Writer, Bilingual Creative Writing Program, University of Texas, El Paso

Head of Dialogues and Scriptwriter, Teleset, Special Projects, Colombia.2003

Writer, Bilingual Creative Writing Program, University of Texas, El PasoHead of Dialogues and Scriptwriter, Teleset, Special Projects, Colombia.

2002

Visiting Professor at the School of Film and Animation, Rochester Institute of Technology, Rochester, NY, 2000-2002.Wrote and directed Short Stories around a Bed (20:00), DVCAM, Rochester

Wrote and directed Black Ice (10:00), 16 mm, B/W, Rochester.Visiting Writer at the School of Art and Design, Universidad Autonoma de Ciudad Juarez, Mexico.

2001Visiting Professor at the School of Film and Animation, Rochester Institute of Technology, Rochester, NY, 2000-2002.Wrote and directed short film Jamaica in Winter (12:00), in collaboration with composer Kevin Ernste, Rochester, NY, Image, Movement and Sound Festival RIT, SUNY and Eastman School of Music.

2000Visiting Professor at the School of Film and Animation, Rochester Institute of Technology, Rochester, NY, 2000-2002.Wrote and directed the feature-length narrative film Diario de la Vida Privada/Diary of the Private Life, DV, Mexico, July- August.Taught courses on languages and film, UCSD.

1999 Wrote the feature-length narrative film Family Impersonators. Wrote, directed and produced Splendors Before Death (20:00), 16 mm, USA-Mexico production, funded by UC Humanities Award and Kodak Eastman.Taught courses on languages and film, UCSD.

1998Wrote the feature-length narrative Un Diario Ruso/A Russian Diary.

Co-wrote feature-length narrative script The Ticking Clock, with filmmaker Ana Coyne Alonso. Co-wrote and co-directed Fragments, with filmmaker Ana Coyne Alonso, 35 mm, USA. Wrote feature-length narrative script Nuestra Pequena Senora/Our Little Signora at the UCLA Graduate Screenwriting Program.Taught courses on languages and film, UCSD.

1997Wrote, directed and produced La Novia/The Bride, (17:10), 16 mm, USA/Mexico production, winner of the Festival de la Frontera 1997 Award and the UC Humanities Award.Wrote, directed and produced the ethnographical video Un Cuento Ruso/A Russian Tale (20:00), winner of Festival de la Frontera Award and screened at the Berlin Ethnofilm Festival, 1998.

1996 Wrote feature-length narrative script De Caza/Out Hunting, at the UCLA Screenwriting program.Translated to Spanish IMAX-film Yellowstone, for distribution to Latin American market.

1995Wrote, produced and directed Television spots sponsored by Telefonos del Noroeste for the UNICEF International Children's Day for Broadcasting, Broadcasted Channel 12, Mexico/USA. Director of First Film Workshop for Children, Tijuana Cultural Center, Mexico.

1994Wrote, directed and produced, Regina o la Historia de La Princesa Calva/Regina or the Story of the Bald Princess, 16 mm, Mexico, funded by CCC (Centro de Capacitacion Cinematografica/IMCINE).Developed the series Album de Familia/Family Album, for Channel 22, Mexico; Scriptwriter for the first three episodes.Scriptwriter for Television WeekNews program Weekly Contact/Enlace Semanal, Channel 11, Mexico (1993-1995)Scriptwriter, Cambio 94/Change 94, Television documentary series, Channel 11, Mexico.

1993Developed mini-series Historias de Hoteles/Stories of Hotels, and wrote a three-part script, Channel 22, Mexico.Wrote and directed Spots on Art for TV program Creadores de Tierra Adentro/Creators from the Hinterland, Channel 13, Mexico. 1992Wrote, directed and produced Minima Historia de una Seduccion/Minimal Story of a Seduction, (8:00), Mexico, funded by CCC (Centro de Capacitacion Cinematografica/IMCINE), Mexico.

THEATRE ARTS1988-89

Actress, Experimental Theatre Workshop, Foro Contigo... America, Mexico.1987

Oral Narration Workshop, with Francisco Garzon Cespedes, collective show at El Juglar Theatre, Mexico. 1982-86Actress, University of Buenos Aires, Argentina.

SOCIOLOGICAL RESEARCH 1996

Visiting Researcher, Communication Department, University of California, San Diego, Memory and Film in the Russian Community of Valle de Guadalupe in Baja California, Jan-June 1996.

1989-92International Scholar, Filmmaking and Politics in Argentina: 1969-1989, El Colegio de Mexico, Mexico.

1986-88International Scholar, 1968 Student Movement: A Political and Intellectual Front, Mexico.

1986 Researcher of Acculturation and Learning Strategies: The Mapuche Community of Los Toldos, Argentina, Latin American Committee for the Education of Adult People (CEAAL),1986.

1985-86

Researcher of urban marginal communities in Buenos Aires Argentina, Urban Renewal Project, Ministry of Social Welfare, Interdisciplinary Team, Argentina.Co-wrote Latin American Intellectuals: Seven Stories with Marta Navarro, Fundacion Bariloche- National University of San Juan, Argentina.

1984-85Life Story of a Dweller of a Marginal Urban Community in Buenos Aires, BA Thesis, Argentina.

FILMOGRAPHY.

Madre Patria (20:00)El Paso Art Festival, Rubin Art Gallery, 2007.

The Heroes of the Free Shop (40:00)Play staged during UTEP Theater Festival (2007)

Short Stories around a Bed (90:00)

Black Ice (10:00)Image, Movement and Sound Festival 2002, Rochester.

Diary of the Private Life (36:00)Ajijic International Film Festival, 2001, Rochester Short Films Festival, 2001.

Jamaica in Winter (12:00)Image, Sound and Movement Festival, 2001,Rochester.

Splendors Before Death/A Russian Diary (20:00)Visual Arts Open House UCSD,1999; Tel Aviv University Film Festival (1999), Rochester Facutlty Show, 2001.

The Bride/La Novia (20:00)Festival de la Frontera (1997), National School of Fine Arts Festival of Buenos Aires, 1997, Tour of Film screenings in

Cultural Centers of the Northwest of Mexico, 1998, Miradas de Mujeres Art Destival, 1998, El Paso Independent Film Festival 2003.

A Russian Tale (20:00)Festival de la Frontera (1997), Goettingen Film Festival, 1998; Berlin Ethnofilm Festival (1998), El Paso Independent Film Festival 2003.

Spots for television sponsored by Telefonos del Noroeste for the UNICEF International Children's Day for Broadcasting, Broadcasted Channel 12, Mexico/USA.

Regina or the Story of the Bald Princess (25:00)Festival Hispanoamericano de Television para Ninos (1995)

Minimal Story of a Seduction (8:00)Festivals: Primer Festival Internacional de Escuelas de Cine, Mexico, 1993;San Diego Latino Film Festival 1996; San Francisco Latino Film Festival, 1996; Tel Aviv University Film Festival, 1999; Women of Color Film Festival, San Francisco,2001, El Paso Independent Film Festival 2003.

SCRIPTS AND PUBLICATIONS

Guión See(a)side, a ser producido por Brokendollfilms en abril, 2009Novela Javi en Hollywood.Novela El Lenguaje Secretos de Ciervos y Mariposas.

Script Memoria del Animal a ser producido por Sherpafilms en Septiembre, 2009.Cuento A Man with no Name, publicado por San Fernando Bicentennial Anniversary Foundation, Argentina.Teatro, Heroines of the Free Shop, puesto en escena por Department of

Theatre, UTEP.Cuento, Aeropuerto, publicado por Rio Grande Review.Cuento Myself Inside the Hydrogen Bomb, publicado por Café de las Ciudades.Guión Imperfect Past, guión de largometraje, finalista Sundance Institute.Colección de cuentos, Predators, publicado por Café de las Ciudades.Cuento Architecture for a Moving Landscape, publicado por Bordersenses Magazine.Guión Short Stories around a Bed shot in Rochester, New York.Guión de largometraje Nuestra Pequena Senora/Our Little Signora.Guión de largometraje De Caza/Out Hunting.Crónica South American Intellectuals: Seven Stories co-escrito con Marta Navarro, publicado por Fundacion Bariloche- National University of San Juan, Argentina.Crónica Life Story of a Dweller of a Marginal Urban Community in Buenos Aires.

RECOGNITIONS AND AWARDSSquaw Valley Writers’ Seminar, Selected participant, 2007

Ibermedia Seminar, In Times of Deers and Butterflies, Santiago de Chile, 2006.Karrvaz Foudation, Writer's residence, 2006.I ENCUENTRO IBEROAMERICANO DE CO PRODUCCION CINEMATOGRAFICA, Festival Internacional de Cine de Guadalajara, 2005Hubert Bals Fund, to write and develop script In the Time of Deers and Butterflies, 2004.Texas Filmmakers Producers Fund, to produce The Heroes of the Free Shop, 2004Sundance Institute, Finalist Screenwriting Program, 2002.RIT Collaborative Grant, 2002, to produce Black Ice.RIT Collaborataive Grant, 2001, to produce Jamaica in Winter.Wagganam Grant, 1999, to posproduce Splendors Before Death.Kodak Eastman Grant, 1998-1999, to produce Splendors Before Death.UC Humanities Senate Fellowship, 1998, to produce LaNovia/TheBride.

International Center Grant, University of California, San Diego, 1997, to produce A Russian Tale.Festival de la Frontera Award, CONACULTA-CECUT, 1997, to produce La Novia/The BrideRussell Foundation Grant, 1997, to produce La Novia/The Bride and Un Cuento Ruso/A Russian TaleRockefeller Foundation, Multicultural Fellowship, nomination,1995

El Colegio de Mexico Award, 1990-91, to write Filmmaking and Politics in ArgentinaFundacion Bariloche Grant, Argentina, 1985, to write Latin American Intellectuals: Seven Stories

EDUCATION

University of California, San DiegoInternational Scholar, Master of Fine Arts in Film, Visual Arts Department.

Centro de Capacitación Cinematográfica (CCC), MéxicoStudies in Scriptwriting and Film Direction.

Buenos Aires University BA/Licenciatura, Sociology.

JAVIER MORON TEJERO A.M.C

Barcelona, España, 24 de Enero de 1969 Nacionalidad española y mexicana 100% de inglés Estudios 1997 Egresado sumo cum laudem del Centro de Capacitación Cinematográfica, C.C.C. como director de fotografía. 1993 Curso de Fotografía avanzada en NY University, N.Y.U. 1990 Foto fija. Colegio Americano de foto “Amsel Adams” Filmografía 2008 EPILOGO, cortometraje ficción. 11 minutos. Color 35mm 2008 3.3 largometraje de ficción. 90 minutos. Color 35mm 2007 PARTES USADAS largometraje Ficción. 100 min. Color 35mm. Mejor opera Prima en el Festival Internacional de Cine en Guadalajara 2007, Mejor opera prima en el Festival Internacional de la Havana, Cuba 2007. 2006 SEÑAS PARTICULARES, cortometraje ficción. 11 minutos. Color 35mm. 2005 EL INMORTAL Largometraje Documental, 80 min. Color 35mm. Mejor Documental en el Festival Internacional de Cine en Guadalajara 2005. CLUB EUTANASIA Largometraje ficción. 90 min. Color 35mm Premio del Publico, en el Festival Internacional de Cine en Guadalajara 2005. 2004 JAL Cortometraje ficción 9 min. Color 35mm 2003 LA PASIÓN DE MARIA ELENA Largometraje Documental, 70 min. Color 35 mm. Mejor Película en la Sección Oficial Mexicana del Festival Internacional de Cine

en Guadalajara 2003. Mejor Película, Sao Paulo Internacional Film festival 2003. 2002 ¿DE QUE LADO ESTAS? aka Francisca.Largometraje ficción. 90 min. Color 35mm. 2001 LA CUARTA CASA, UN RETRATO DE ELENA GARRO. Cortometraje documental. 40 min. Blanco y negro 35mm 2000 EL EXCUSADO Cortometraje ficción. 8 min. Color 35 mm. Selección oficial de la Mostra Internazionale di Cine de Venezia. 2001 LA MESA SERVIDA Cortometraje ficción. 20 min. Color 35mm. Mejor Cortometraje en el Festival Internacional de Cortometraje en Nueva York 2001. 1999 EL AGUACATE Cortometraje ficción. 22 min. Color 35 mm. Premio mejor fotografía, Festival Internacional de Cortometraje y Documental “Expresión en corto” Guanajuato 2000

1998 EL METODO Cortometraje ficción. 10 min. Color 35mm 1997 RASTROS Cortometraje ficción. 28 min. Color 35mm Premio mejor fotografía, Festival Internacional de Cortometraje y Documental “Expresión en corto” Guanajuato 1997. Premio a la mejor fotografía en el V Festival Internacional de Valdivia Chile 1998 Director de fotografía de publicidad desde 1995 (comerciales y video clips) Contacto javiermtdf@yahoo.com.mx cel. 04455 5436 5874 México df

FELIPE GOMEZ TORRES. Fecha de nacimiento 23 de Abril de 1966, México D.F. Estudios De 1990 a 1994 realizó la carrera de estudios superiores de cinematografía en el Centro de Capacitación Cinematográfica CCC, de CONACULTA De 1984-1989 realizo la carrera de Ciencias y técnicas de la Información en La Universidad del Nuevo Mundo. Experiencia Profesional Co-direccion, edición y producción de la Película “Historias del Desencanto” dirigida por Alejandro Valle. Dirección del Largometraje Tres Cruces producido por Video Mundo, (en proceso de post) Co-Dirección del cortometraje “Mi Radio” en formato 35mm producido por Mariana Miranda e IMCINE Co-Dirección del cortometraje “Srita C.J.” en formato 16mm producido por Mariana Miranda. Edición de la pelicula largometraje “Mordidas” de Diego Muñoz Edición de la pelicula largometraje “Moto-Cross” de Salvador Cartas Edición del Largometraje documental 1982 La Nacionalización de Luciana Kaplan Edicción del Largometraje documental Presunto Culpable de Roberto Hernández Edición de la película cortometraje de Carlos Cuarón “Sístole Diástole” Edición de la película cortometraje de Diego Muñoz “Rastros” Edición del cortometraje “Cupido con amor” de Carlos Sariñana Edición del cortometraje “Sandalias de Goma” de Carlos Sariñana Edición del cortometraje “Solo los Miercoles” de Fernando Sariñana Edición del cortometraje “Disfraces del Amor” de Salvador Cartas Edición del cortometraje “Vista Panoramica” de Salvador Cartas Video Arte “Miedo Liquido” pieza en video para composición del músico Rodrigo Sigal interpretada por el “Marteen Altena Ensmble” de Holanda en el festival de del Centro Histórico el 30 de Marzo en San Ildefonso, el 1 de abril de 2005 en el Museo Virreynal de la ciudad de Puebla, el 13 de Abril en Ámsterdam y el 26 de Abril de 2005 en EL Korzo Theatre en LA Haya Holanda. Formato Video digital y material de Stock (Dirección) Participa como director de 5 fragmentos en el Video arte “El Despertar de Roberta” de Fabián Castro. Este video se presenta en Cinerama a manera de video instalación en Rótterdam Holanda. Video digital (Co-Dirección) Televisión Dirección del programa “Rock Liquido” producido en TV Azteca patrocinado por Coca- Cola (Dirección)

DIRECCION Y PRODUCCION VIDEO CLIPS video Clip Musical de Molotov de la canción “El Carnal de Las Estrellas” con Universal Music México. Formato 16mm Video Clip Musical de Molotov de la canción “Cerdo” con Universal Music México. Formato 16mm Video Clip Musical de Molotov de la canción “Puto” con Universal Músic México.

Formato Súper 8mm Video Clip Musical de Molotov de la canción “El Mundo se va acabar” con Universal Music México. Formato 16mm Video Clip Musical de Alex Sintec de la canción “Tu necesitas ” con Emy Music México. Formato 16mm Video Clip Musical de Azul Violeta de la canción “Ella Quiere Mas” con Emy Music México. Formato 16mm Video Clip Musical de Molotov de la canción “El Parásito” con Universal Music México. Formato 16mm Video Clip Musical de Natalia Lafourcade de la canción “Te quiero Dar” para Sony Music Formato 16mm Video Clip Musical De Elefante De la canción “El Abandonado” de la segunda Versión para el mercado internacional. Sony Music. Formato 35mm Video Clip Musical de El Tri de la canción “Solamente Dios” con Warner Music. México Formato 16mm También trabaja dirigiendo en la publicidad de 1998 a 2004 en casas productoras como Pedro Torres y asociados, Cine Concepto, Eduardo Fernandez y Asociados, Carambola Films, entre otras. Realiza comerciales para Six Flags, Coca –Cola, Dominos Pizza, Marinela,

Casting

The plan is to cast professional and non professionals, people from the community. As I was writing the script, I thought about working exclusively with people from the community, that idea produced a first budget. Now, I am considering casting non professional actors not only for secundary parts but also for main parts.

Additionaly, casting Emily will probably attract foreign producers.

List of Locations

The story and the film production takes place in the region of Sotavento in the State of Veracruz on the Gulf of Mexico. This is a great basin which include Papaloapan, Jamapa and Blanco rivers. The region comprises communities and territories which experienced great economiv development in the past and now are abandonded as the work of the land doesn´t provide the expected outcome. The majority of the communities depend on the money that their relatives sent from the United States. These communities are mostly populated by women, children and elederly people.

When I started the project, I was considering shooting the film in four different communities, but now the film will be shot in the town of Alvarado where Papaloapan river meets the sea, as it includes all the dramatic situations of flofing, economic crisis and climate as well as the settings required by the story.

* Uscanga´s one storey house* Street lined with one storey houses* Beatriz´s house * Main Street * Grocery store * Cementery* Violeta´s house-hotel* Highway in Veracruz* Long distance bus* Tropical landscape* Street by the river* Mudded stret* Lunch place* Doña Esther´s house * Municipal Sports Center * Supermarket * School* Basketball court* Doña Encarnación´s house * Natalia´s house* German´s garage * Internet cafe * Lobby of hotel* Emergency room in hospital * Postal Office

* Travel agency * Hotel* Area of demolition in town* Tourist tramway * Newly built area in town * Lunch place by the seaside * Seaside* Main Plaza * Don Antonio´s house * Old car* Camping place * Lagoon * IFE office * Plaza at Civil Registry

Production Schedule.

Pre Production....................... 2 months Production.............................. 6 weeksPost Production..................... 4 months

June-July 2010Pre production startsRehearsal with the actorsReview of storyboard Visit of location with creative crew of locationsReview of budget with producersCostume rehearsal with all the actors

August-September 2010Shooting starts and continues for six weeks

September 2010Developing of filmRank on one lightDigitalization of filmEditing starts

October-November 2010 Editing continues

December-January 2011Data to FilmReference for soundSound and music designRedubing THXLab ProcessingCopy 0

Financial Plan

So Long´s financial plan comprises four components: - Foreign co producers. - I plan for the 49% of the budget support from FOPROCINE (Fondo para la Produción Cinematográfica de Calidad), public institution which can provide up to10,000,000 Mexican Pesos (750,000 US$). - I am open to apply for post production funds from FROPOCINE- Private investors through Article 226, fiscal stimulus on the 10% of the capital gains tax. - Contribution of goods and servicies from private entities and State and Municipal governments.

As for the aplication for FOPROCINE funding, the project already obtained the financial support from IMCINE (Mexican Institute of Cinematography, only public entity fo finance films in Mexico) to write the script. That gives the project a plus due to the solidity of having started in the same institute.

As the film will be shot in the state of Veracruz, the state government is keen on supporting film production taking place in its towns. We have the contacts to secure support in items such as transportation, lodging, and food. Taylor Post production Company in Los Angeles will provide sound post production services. Considering that one of the stories include an American woman, we plan to cast a foreign actress that might attract foreign private funding to the project. 

At the moment, I am seeking co producers. There are several posibilities to this scheme. For example, if I obtain support from foreign producers, Foprocine can finance the postproduction.

Additionally, National Geographic through its program All Roads Seed Grant awarded a grant to the production of the making off as they are interested in recording the conversations among the women who served as inspiration to So Long.

The Other So Long

For the last six months, I talked with Mrs. Peregrina Hernandez who is a informal chronicler of the town´s happenings. As Peregrina and I chatted with the door of her house open, the vecinas approached and started telling their stories and playing with the idea of creating a long film in which their experiences could be represented.

The house was transformed into an informal storytellers´ workshop in which everybody contributed. The process of telling is the heart of the film, that is the exchanges and negotiations in the telling of the stories as multiple perceptions of coming back are revealed. Not only the content of these exchanges but the conversation itself had drama elements as every creative collective process includes. Mixing real and fictional characters, the women were able to exteriorize hidden feeling and thoughts, secrets, show what they cannot express directly.

Conversations and everyday life between the newcomers and the women who stayed will be shot as well as part of the process of the making off of So Long, the behind the set experience and events. Also, I would like to explore how the movie affects the future relationships among women and men within the community.

Broken Doll FilmsBased in Veracruz, Mexico, Broken Doll Films has been producing short films, scripts and content for television and art exhibitions since 1992. Owned by María Berns and Juan Angel Salas, the produced films have been screened in international festivals.

At present, we are producing the First International Film Festival of Boca del Río, Veracruz and a multimedia exhibition called The Brides in Nightgown based on the stories of the elderly women living in the port of Veracruz.

The company has worked with top notch profesionals in Mexico including Rafael Santamaría, Executive Producer. He was executive producer of television popular series Mirada de Mujer and several award winning Mexican films. He is one of the parners of Sherpafilms, a production company based in Mexico City. Javier Morón, Director of Photography. He has photographed award winning The Passion of Maria Elena and The Inmortal. He was the Director of Photography of feature films that toured international film festivals including Francisca and Used Parts. Felipe Gómez, editor, worked on feature films including Mordidas by Diego Muñoz, Moto Cross de Salvador cartas, Carlos Cuaron´s Sístole Diástole and Historias del Desencanto.

Some Broken Doll films productions include: Madre Patria, The Heroes of the Free Shop, Short Stories around a Bed, Black Ice, Diary of the Private Life, Jamaica in Winter, Splendors Before Death, The Bride/La Novia, A Russian Diary, Spots for television sponsored by Telefonos del Noroeste for the UNICEF International Children's Day for Broadcasting, Regina or the Story of the Bald Princess and Minimal Story of a Seduction.

Broken Doll Filmsmaria berns

OFICINAUribe 169 91900 Veracruz Veracruz México

Teléfono Fax 52 1 55 2883 6975 1 501 639 1008

E-mailmariaberns@yahoo.com

Webissuu.com/brokendollfilmsissuu.com/solongfilmhttp://brokendoll.blip.tv/