Re: [Frameworks] Self distribution situation

[Angélica Cuevas Portilla]

 

Actually this list is from the website of Frameworks ;) 

What I don't understand is why the Collectif Jeune Cinéma [6] is missing
from the European list 

http://www.cjcinema.org/?langue=en [6] 

GOOD LUCK!! 

Cheers, 

Angélica 

On 2015-02-05 17:39, Andrea Márquez wrote: 

> I think you're absolutely right, Francisco!
> 
> I just found this list that a friend sent to me a couple of months ago, and I 
> think it might be useful for others:
> http://www.hi-beam.net/org/showindex.html [1]
> 
> Best,
> Andrea 
> 
> 2015-02-04 16:21 GMT+00:00 Francisco Torres :
> 
> so maybe you should concentrate on venues that show mostly experimental 
> films, like micro cinemas and experimental screening series. 
> do not be discouraged, think about the exposure that films like the ones made 
> by craig baldwin, david lynch or guy maddin eventually found. 
> 
> 2015-02-03 18:53 GMT-04:00 Andrea Márquez : 
> 
> Dear Jessica, 
> Thanks for taking the time to make these comments. I'm going to send you the 
> complete version in a separate e-mail. Dear Francisco, Thanks for your 
> response. I believe the intended audience would be people who like 
> experimental films. Even if it's not experimental in the traditional sense or 
> genre, there are several points of experimentation on it, especially around 
> the narrative device. And I sent it to this list because I thought some 
> people might like it, but I wasn't sure.
> 
> I suppose that my concern about distribution is an issue that concerns to a 
> lot of people who make films and try to show them somehow. Basically I don't 
> have money to send the film to festivals. And I'm not saying that if I had 
> that money the film would be necessarily screened. I don't know if it's good, 
> if people will like it, if it achieves the festivals standars, the 
> programming criterion, if it will have lucky, and so on. I do know there are 
> some festivals that don't charge any entry fees, but with features I 
> understand it's not an easy process. In addition this film has a lot of 
> technical problems that make it still more breakable. We made it without any 
> money, without any technical resource, and for all of us who have been 
> envolved, there was a kind of ideological resistance working in this way. So 
> to me it seems a bit hypocritical to pay hundreds of dollars in festivals 
> entry fees.
> 
> I hope this discussion be useful to think (again) this delicate topic of 
> films distribution.
> 
> Saludos!!
> Andrea
> 
> 2015-02-03 16:23 GMT+00:00 Francisco Torres :
> 
> ''The truth is, I don't know how to start to distribute it''
> 
> The first question you should ask yourself is who is the intended audience? 
> Distribution often depends on that. 
> 
> 2015-02-02 16:46 GMT-04:00 Lady Snowblood : 
> 
> The opening sets up -- 
> 
> first, a tension between the actual experience of life as a series of 
> sychronicities via singular point of view (the narrator finds only 
> "fragments") and the very real need for a cohesive story for the psyche to 
> hang on to (the narrator "I was looking for a story" paraphrase) 
> 
> second, the image of three women speaking to each other followed by the 
> voiceover of comparison/competition b/t self & other -- I think of the first 
> narrator having that internal struggle and coming to a space of relating to 
> others (or not) with a half-formed story --- 
> 
> I would love to see the whole thing. I'm pretty good at writing treatments 
> for very liminal work / work playing with elements of narrative. 
> 
> Jessica
> 
> * * * 
> http://drawclose.com [2] 
> 
> On Feb 2, 2015, at 8:34 AM, Andrea Márquez  wrote:
> 
> Dear frameworkers, 
> 
> I would normally repress this embarrassing impetus of writing. I used to have 
> them a lot when I was younger, and I guess I gained some experience. However, 
> I'm going to ask you to watch this small fragment of our humble film called 
> DETOUR. 
> 
> The truth is, I don't know how to start to distribute it. I wish I could list 
> a number of reasons explaining why it's worth watching or tell you something 
> that could awake your interest, but I'm afraid that I can't. It's probably 
> because of my lack of "the art of the pitching", but also because I don't 
> understand entirely how DETOUR operates in spite of me, in spite of what I 
> thought the film might be, what I wanted to make it say and so on.
> 
> Felisberto Hernández, an Uruguayan and a very extraordinary author wrote: 
> 
> "I'll also have to write many things I know very little about; it even 
> strikes me that impenetrability is intrinsic to them. Perhaps when we think 
> we know them we stop knowing that we don't know them, because their existence 
> is inevitably obscure, and that must be one of their qualities.
> 
> But I don't believe I must write only whay I know. I must also write the 
> other things." 
> I enjoy thinking there is a connection between this idea and my lack of 
> knowledge and qualities.
> 
> Director's st

Re: [Frameworks] Self distribution situation

[Andrea Márquez]

I think you're absolutely right, Francisco!

I just found this list that a friend sent to me a couple of months ago, and
I think it might be useful for others:
http://www.hi-beam.net/org/showindex.html

Best,
Andrea

2015-02-04 16:21 GMT+00:00 Francisco Torres :

> so maybe you should concentrate on venues that show mostly experimental
> films, like micro cinemas and experimental screening series.
> do not be discouraged, think about the exposure that films like the ones
> made by  craig baldwin, david lynch or guy maddin eventually found.
>
> 2015-02-03 18:53 GMT-04:00 Andrea Márquez :
>
> Dear Jessica,
>> Thanks for taking the time to make these comments. I'm going to send you
>> the complete version in a separate e-mail.
>>
>> Dear Francisco,
>> Thanks for your response. I believe the intended audience would be people
>> who like experimental films. Even if it's not experimental in the
>> traditional sense or genre, there are several points of experimentation on
>> it, especially around the narrative device. And I sent it to this list
>> because I thought some people might like it, but I wasn't sure.
>>
>> I suppose that my concern about distribution is an issue that concerns to
>> a lot of people who make films and try to show them somehow. Basically I
>> don't have money to send the film to festivals. And I'm not saying that if
>> I had that money the film would be necessarily screened. I don't know if
>> it's good, if people will like it, if it achieves the festivals standars,
>> the programming criterion, if it will have lucky, and so on. I do know
>> there are some festivals that don't charge any entry fees, but with
>> features I understand it's not an easy process. In addition this film has a
>> lot of technical problems that make it still more breakable. We made it
>> without any money, without any technical resource, and for all of us who
>> have been envolved, there was a kind of ideological resistance working in
>> this way. So to me it seems a bit hypocritical to pay hundreds of dollars
>> in festivals entry fees.
>>
>> I hope this discussion be useful to think (again) this delicate topic of
>> films distribution.
>>
>> Saludos!!
>> Andrea
>>
>>
>>
>>
>>
>>
>>
>> 2015-02-03 16:23 GMT+00:00 Francisco Torres :
>>
>>> ''The truth is, I don't know how to start to distribute it''
>>> The first question you should ask yourself is who is the intended
>>> audience? Distribution often depends on that.
>>>
>>> 2015-02-02 16:46 GMT-04:00 Lady Snowblood 
>>> :
>>>
>>> The opening sets up --

 first, a tension between the actual experience of life as a series of
 sychronicities via singular point of view (the narrator finds only
 "fragments") and the very real need for a cohesive story for the psyche to
 hang on to (the narrator "I was looking for a story" paraphrase)

 second, the image of three women speaking to each other followed by the
 voiceover of comparison/competition b/t self & other -- I think of the
 first narrator having that internal struggle and coming to a space of
 relating to others (or not) with a half-formed story ---

 I would love to see the whole thing. I'm pretty good at writing
 treatments for very liminal work / work playing with elements of narrative.

 Jessica


 * * *
 http://drawclose.com

 On Feb 2, 2015, at 8:34 AM, Andrea Márquez 
 wrote:

 Dear frameworkers,

 I would normally repress this embarrassing impetus of writing. I used
 to have them a lot when I was younger, and I guess I gained some
 experience. However, I'm going to ask you to watch this small fragment of
 our humble film called DETOUR.

 The truth is, I don't know how to start to distribute it. I wish I
 could list a number of reasons explaining why it's worth watching or tell
 you something that could awake your interest, but I'm afraid that I can't.
 It's probably because of my lack of "the art of the pitching", but also
 because I don't understand entirely how DETOUR operates in spite of me, in
 spite of what I thought the film might be, what I wanted to make it say and
 so on.

 Felisberto Hernández, an Uruguayan and a very extraordinary author
 wrote:

 "I'll also have to write many things I know very little about; it even
> strikes me that impenetrability is intrinsic to them. Perhaps when we 
> think
> we know them we stop knowing that we don't know them, because their
> existence is inevitably obscure, and that must be one of their qualities.
>
> But I don't believe I must write only whay I know. I must also write
> the other things."
>

 I enjoy thinking there is a connection between this idea and my lack of
 knowledge and qualities.


 *Director's statement:*
 “Detour” or “Around” or


















>>

Re: [Frameworks] Self distribution situation

[Francisco Torres]

so maybe you should concentrate on venues that show mostly experimental
films, like micro cinemas and experimental screening series.
do not be discouraged, think about the exposure that films like the ones
made by  craig baldwin, david lynch or guy maddin eventually found.

2015-02-03 18:53 GMT-04:00 Andrea Márquez :

> Dear Jessica,
> Thanks for taking the time to make these comments. I'm going to send you
> the complete version in a separate e-mail.
>
> Dear Francisco,
> Thanks for your response. I believe the intended audience would be people
> who like experimental films. Even if it's not experimental in the
> traditional sense or genre, there are several points of experimentation on
> it, especially around the narrative device. And I sent it to this list
> because I thought some people might like it, but I wasn't sure.
>
> I suppose that my concern about distribution is an issue that concerns to
> a lot of people who make films and try to show them somehow. Basically I
> don't have money to send the film to festivals. And I'm not saying that if
> I had that money the film would be necessarily screened. I don't know if
> it's good, if people will like it, if it achieves the festivals standars,
> the programming criterion, if it will have lucky, and so on. I do know
> there are some festivals that don't charge any entry fees, but with
> features I understand it's not an easy process. In addition this film has a
> lot of technical problems that make it still more breakable. We made it
> without any money, without any technical resource, and for all of us who
> have been envolved, there was a kind of ideological resistance working in
> this way. So to me it seems a bit hypocritical to pay hundreds of dollars
> in festivals entry fees.
>
> I hope this discussion be useful to think (again) this delicate topic of
> films distribution.
>
> Saludos!!
> Andrea
>
>
>
>
>
>
>
> 2015-02-03 16:23 GMT+00:00 Francisco Torres :
>
>> ''The truth is, I don't know how to start to distribute it''
>> The first question you should ask yourself is who is the intended
>> audience? Distribution often depends on that.
>>
>> 2015-02-02 16:46 GMT-04:00 Lady Snowblood :
>>
>> The opening sets up --
>>>
>>> first, a tension between the actual experience of life as a series of
>>> sychronicities via singular point of view (the narrator finds only
>>> "fragments") and the very real need for a cohesive story for the psyche to
>>> hang on to (the narrator "I was looking for a story" paraphrase)
>>>
>>> second, the image of three women speaking to each other followed by the
>>> voiceover of comparison/competition b/t self & other -- I think of the
>>> first narrator having that internal struggle and coming to a space of
>>> relating to others (or not) with a half-formed story ---
>>>
>>> I would love to see the whole thing. I'm pretty good at writing
>>> treatments for very liminal work / work playing with elements of narrative.
>>>
>>> Jessica
>>>
>>>
>>> * * *
>>> http://drawclose.com
>>>
>>> On Feb 2, 2015, at 8:34 AM, Andrea Márquez 
>>> wrote:
>>>
>>> Dear frameworkers,
>>>
>>> I would normally repress this embarrassing impetus of writing. I used to
>>> have them a lot when I was younger, and I guess I gained some experience.
>>> However, I'm going to ask you to watch this small fragment of our humble
>>> film called DETOUR.
>>>
>>> The truth is, I don't know how to start to distribute it. I wish I could
>>> list a number of reasons explaining why it's worth watching or tell you
>>> something that could awake your interest, but I'm afraid that I can't. It's
>>> probably because of my lack of "the art of the pitching", but also because
>>> I don't understand entirely how DETOUR operates in spite of me, in spite of
>>> what I thought the film might be, what I wanted to make it say and so on.
>>>
>>> Felisberto Hernández, an Uruguayan and a very extraordinary author
>>> wrote:
>>>
>>> "I'll also have to write many things I know very little about; it even
 strikes me that impenetrability is intrinsic to them. Perhaps when we think
 we know them we stop knowing that we don't know them, because their
 existence is inevitably obscure, and that must be one of their qualities.

 But I don't believe I must write only whay I know. I must also write
 the other things."

>>>
>>> I enjoy thinking there is a connection between this idea and my lack of
>>> knowledge and qualities.
>>>
>>>
>>> *Director's statement:*
>>> “Detour” or “Around” or
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> *Adverb that denotes the situation of people and things that surround
>>> other. Outline of a place. Preceding a numerical expression approximately
>>> more or less. Surrounding, around. Metathesis.Movement that is difficult to
>>> determine. Examples: a hug in the darkness, panning that the camera
>>> suddenly stops, sideways glance of the subject that attempts to disguise a
>>> state,

Re: [Frameworks] Self distribution situation

[Andrea Márquez]

Dear Jessica,
Thanks for taking the time to make these comments. I'm going to send you
the complete version in a separate e-mail.

Dear Francisco,
Thanks for your response. I believe the intended audience would be people
who like experimental films. Even if it's not experimental in the
traditional sense or genre, there are several points of experimentation on
it, especially around the narrative device. And I sent it to this list
because I thought some people might like it, but I wasn't sure.

I suppose that my concern about distribution is an issue that concerns to a
lot of people who make films and try to show them somehow. Basically I
don't have money to send the film to festivals. And I'm not saying that if
I had that money the film would be necessarily screened. I don't know if
it's good, if people will like it, if it achieves the festivals standars,
the programming criterion, if it will have lucky, and so on. I do know
there are some festivals that don't charge any entry fees, but with
features I understand it's not an easy process. In addition this film has a
lot of technical problems that make it still more breakable. We made it
without any money, without any technical resource, and for all of us who
have been envolved, there was a kind of ideological resistance working in
this way. So to me it seems a bit hypocritical to pay hundreds of dollars
in festivals entry fees.

I hope this discussion be useful to think (again) this delicate topic of
films distribution.

Saludos!!
Andrea







2015-02-03 16:23 GMT+00:00 Francisco Torres :

> ''The truth is, I don't know how to start to distribute it''
> The first question you should ask yourself is who is the intended
> audience? Distribution often depends on that.
>
> 2015-02-02 16:46 GMT-04:00 Lady Snowblood :
>
> The opening sets up --
>>
>> first, a tension between the actual experience of life as a series of
>> sychronicities via singular point of view (the narrator finds only
>> "fragments") and the very real need for a cohesive story for the psyche to
>> hang on to (the narrator "I was looking for a story" paraphrase)
>>
>> second, the image of three women speaking to each other followed by the
>> voiceover of comparison/competition b/t self & other -- I think of the
>> first narrator having that internal struggle and coming to a space of
>> relating to others (or not) with a half-formed story ---
>>
>> I would love to see the whole thing. I'm pretty good at writing
>> treatments for very liminal work / work playing with elements of narrative.
>>
>> Jessica
>>
>>
>> * * *
>> http://drawclose.com
>>
>> On Feb 2, 2015, at 8:34 AM, Andrea Márquez  wrote:
>>
>> Dear frameworkers,
>>
>> I would normally repress this embarrassing impetus of writing. I used to
>> have them a lot when I was younger, and I guess I gained some experience.
>> However, I'm going to ask you to watch this small fragment of our humble
>> film called DETOUR.
>>
>> The truth is, I don't know how to start to distribute it. I wish I could
>> list a number of reasons explaining why it's worth watching or tell you
>> something that could awake your interest, but I'm afraid that I can't. It's
>> probably because of my lack of "the art of the pitching", but also because
>> I don't understand entirely how DETOUR operates in spite of me, in spite of
>> what I thought the film might be, what I wanted to make it say and so on.
>>
>> Felisberto Hernández, an Uruguayan and a very extraordinary author wrote:
>>
>> "I'll also have to write many things I know very little about; it even
>>> strikes me that impenetrability is intrinsic to them. Perhaps when we think
>>> we know them we stop knowing that we don't know them, because their
>>> existence is inevitably obscure, and that must be one of their qualities.
>>>
>>> But I don't believe I must write only whay I know. I must also write the
>>> other things."
>>>
>>
>> I enjoy thinking there is a connection between this idea and my lack of
>> knowledge and qualities.
>>
>>
>> *Director's statement:*
>> “Detour” or “Around” or
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> *Adverb that denotes the situation of people and things that surround
>> other. Outline of a place. Preceding a numerical expression approximately
>> more or less. Surrounding, around. Metathesis.Movement that is difficult to
>> determine. Examples: a hug in the darkness, panning that the camera
>> suddenly stops, sideways glance of the subject that attempts to disguise a
>> state, silence that precedes certain words.Circumlocution, round about
>> expression, periphrasis.Without circuit, without result.More or less close
>> but without security, without warranty.Shortly before or shortly after.
>> Still unaccounted for.Going away, from a distance.Narrative device that
>> dispenses the linear order of the successive stages leading to.
>> Interruptions. Love.No destination, no teleology, no money.Inefficient,
>> eager for simple stuffs.“Desire, yes, always 

Re: [Frameworks] Self distribution situation

[Francisco Torres]

''The truth is, I don't know how to start to distribute it''
The first question you should ask yourself is who is the intended audience?
Distribution often depends on that.

2015-02-02 16:46 GMT-04:00 Lady Snowblood :

> The opening sets up --
>
> first, a tension between the actual experience of life as a series of
> sychronicities via singular point of view (the narrator finds only
> "fragments") and the very real need for a cohesive story for the psyche to
> hang on to (the narrator "I was looking for a story" paraphrase)
>
> second, the image of three women speaking to each other followed by the
> voiceover of comparison/competition b/t self & other -- I think of the
> first narrator having that internal struggle and coming to a space of
> relating to others (or not) with a half-formed story ---
>
> I would love to see the whole thing. I'm pretty good at writing treatments
> for very liminal work / work playing with elements of narrative.
>
> Jessica
>
>
> * * *
> http://drawclose.com
>
> On Feb 2, 2015, at 8:34 AM, Andrea Márquez  wrote:
>
> Dear frameworkers,
>
> I would normally repress this embarrassing impetus of writing. I used to
> have them a lot when I was younger, and I guess I gained some experience.
> However, I'm going to ask you to watch this small fragment of our humble
> film called DETOUR.
>
> The truth is, I don't know how to start to distribute it. I wish I could
> list a number of reasons explaining why it's worth watching or tell you
> something that could awake your interest, but I'm afraid that I can't. It's
> probably because of my lack of "the art of the pitching", but also because
> I don't understand entirely how DETOUR operates in spite of me, in spite of
> what I thought the film might be, what I wanted to make it say and so on.
>
> Felisberto Hernández, an Uruguayan and a very extraordinary author wrote:
>
> "I'll also have to write many things I know very little about; it even
>> strikes me that impenetrability is intrinsic to them. Perhaps when we think
>> we know them we stop knowing that we don't know them, because their
>> existence is inevitably obscure, and that must be one of their qualities.
>>
>> But I don't believe I must write only whay I know. I must also write the
>> other things."
>>
>
> I enjoy thinking there is a connection between this idea and my lack of
> knowledge and qualities.
>
>
> *Director's statement:*
> “Detour” or “Around” or
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> *Adverb that denotes the situation of people and things that surround
> other. Outline of a place. Preceding a numerical expression approximately
> more or less. Surrounding, around. Metathesis.Movement that is difficult to
> determine. Examples: a hug in the darkness, panning that the camera
> suddenly stops, sideways glance of the subject that attempts to disguise a
> state, silence that precedes certain words.Circumlocution, round about
> expression, periphrasis.Without circuit, without result.More or less close
> but without security, without warranty.Shortly before or shortly after.
> Still unaccounted for.Going away, from a distance.Narrative device that
> dispenses the linear order of the successive stages leading to.
> Interruptions. Love.No destination, no teleology, no money.Inefficient,
> eager for simple stuffs.“Desire, yes, always desire.”Deviation, detour.*
>
>
> I wrote this statement inspired in the way that we made the film. If you
> feel that something there could be interesting for you somehow, and you
> could help us to make this very little project finds its audience, here it
> is the link to watch the opening scene:
>
> http://youtu.be/zMPEyvC1BrE
>
>
> If you like it, I can send you the complete version link.
>
>
> Best regards,
>
>
> *Andrea Márqueze-mail: lejana.c...@gmail.com
> https://floodedhousefilms.wordpress.com/
> *
>
> *Synopsis:*
> DETOUR is a lyrical feature film contemplating the detours of three
> childhood friends who reunite again after ten years. Starting with 1991
> George W. Bush's speech about the coming of a new world order and the
> announcement of Operation Desert Storm, the film explores the paradigm that
> started in the 90s after the dissolution of the URSS.
>
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
> ___
> FrameWorks mailing list
> FrameWorks@jonasmekasfilms.com
> https://mailman-mail5.webfaction.com/listinfo/frameworks
>
>
___
FrameWorks mailing list
FrameWorks@jonasmekasfilms.com
https://mailman-mail5.webfaction.com/listinfo/frameworks

Re: [Frameworks] Self distribution situation

[Lady Snowblood]

The opening sets up --

first, a tension between the actual experience of life as a series of 
sychronicities via singular point of view (the narrator finds only "fragments") 
and the very real need for a cohesive story for the psyche to hang on to (the 
narrator "I was looking for a story" paraphrase)

second, the image of three women speaking to each other followed by the 
voiceover of comparison/competition b/t self & other -- I think of the first 
narrator having that internal struggle and coming to a space of relating to 
others (or not) with a half-formed story ---

I would love to see the whole thing. I'm pretty good at writing treatments for 
very liminal work / work playing with elements of narrative. 

Jessica


* * *
http://drawclose.com

> On Feb 2, 2015, at 8:34 AM, Andrea Márquez  wrote:
> 
> Dear frameworkers,
> 
> I would normally repress this embarrassing impetus of writing. I used to have 
> them a lot when I was younger, and I guess I gained some experience. However, 
> I'm going to ask you to watch this small fragment of our humble film called 
> DETOUR. 
> 
> The truth is, I don't know how to start to distribute it. I wish I could list 
> a number of reasons explaining why it's worth watching or tell you something 
> that could awake your interest, but I'm afraid that I can't. It's probably 
> because of my lack of "the art of the pitching", but also because I don't 
> understand entirely how DETOUR operates in spite of me, in spite of what I 
> thought the film might be, what I wanted to make it say and so on.
> 
> Felisberto Hernández, an Uruguayan and a very extraordinary author wrote: 
> 
>> "I'll also have to write many things I know very little about; it even 
>> strikes me that impenetrability is intrinsic to them. Perhaps when we think 
>> we know them we stop knowing that we don't know them, because their 
>> existence is inevitably obscure, and that must be one of their qualities.
>> 
>> But I don't believe I must write only whay I know. I must also write the 
>> other things." 
> 
> I enjoy thinking there is a connection between this idea and my lack of 
> knowledge and qualities.
> 
> 
> Director's statement:
> “Detour” or “Around” or
> 
> Adverb that denotes the situation of people and things that surround other. 
> Outline of a place. Preceding a numerical expression approximately more or 
> less. Surrounding, around. Metathesis.
> 
> Movement that is difficult to determine. Examples: a hug in the darkness, 
> panning that the camera suddenly stops, sideways glance of the subject that 
> attempts to disguise a state, silence that precedes certain words.
> 
> Circumlocution, round about expression, periphrasis.
> 
> Without circuit, without result.
> 
> More or less close but without security, without warranty.
> 
> Shortly before or shortly after. Still unaccounted for.
> 
> Going away, from a distance.
> 
> Narrative device that dispenses the linear order of the successive stages 
> leading to. Interruptions. Love.
> 
> No destination, no teleology, no money.
> 
> Inefficient, eager for simple stuffs.
> 
> “Desire, yes, always desire.”
> 
> Deviation, detour.
> 
> 
> I wrote this statement inspired in the way that we made the film. If you feel 
> that something there could be interesting for you somehow, and you could help 
> us to make this very little project finds its audience, here it is the link 
> to watch the opening scene:
> 
> http://youtu.be/zMPEyvC1BrE
> 
> 
> If you like it, I can send you the complete version link.
> 
> 
> Best regards,
> Andrea Márquez
> e-mail: lejana.c...@gmail.com
> https://floodedhousefilms.wordpress.com/
> 
> Synopsis: 
> DETOUR is a lyrical feature film contemplating the detours of three childhood 
> friends who reunite again after ten years. Starting with 1991 George W. 
> Bush's speech about the coming of a new world order and the announcement of 
> Operation Desert Storm, the film explores the paradigm that started in the 
> 90s after the dissolution of the URSS.
> 
> 
> 
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