Aliens projects

Aliens projects are (realistic) horror feature films about causes and consequences of refugee flows.
It concerns a serial of movies, having the same structure, not complement each other: each story is different.

Aliens stands for 'outsiders', people (refugees) coming from a "different" World.
The 'Aliens projects' are feature films for cinema, DVD, internet (-)TV.

Each film has a duration of 90 minutes, and belongs to the category drama* edutainment*.
Drama is a serious play focused on suffering and possible solutions of this suffering.
The entertainment is reflected by played acts in the genres of horror / thriller / humor / adventure.
The edutainment express educational information about all refugees related problems.

An Alien project consists of reconstructions of historical happened realities, undergone by multiple / different persons, combined into one story, in which one (or two) fictional lead role(s) experience these events.
This makes each movie (there are now 18 basic stories) based on real happened facts, adapted with fiction intertwined in the story-telling film.

There is chosen for the refugee problem, because it is one of the largest sources of suffering that can happen to a Human Being:
‘Refugees' lost everything because of violence and threat:

their happiness, their homes, their native region/country, their social relationships such as family and friends, their privacy and self-respect; they are also often physically and mentally raped.

The effects of refugee flows dislocate a region completely and are to feel Worldwide.

Goal of the 'Aliens projects' is to give the viewer access and awareness about all the refugees problems by the feature films, to take away prejudice and bring compassion instead.
Compassion is defined as to help by activities to let become people free of suffering and the causes of suffering.

Presently there are 11 projects in active development and we search for pre-production producers to train – on basis of no cure, no pay).

The story structures.

Each story begins with titles.
Followed by a question written and to be heard in black screen.
This question is related to the source of the refugee story, and it is stated by a supporting role from the tactical story line.
After this as 'ignorant' corresponding question, the introduction start with conflict images of the country where the source of refugees occurs, first visualized by a map (that manifest on different form-ways).

Each film has a "hopefull end"; in other words, all movies give at the end a favorable image of the future by showing positive opportunities and possibilities for the fictional (refugee) lead role.

To prevent ''propaganda'', the story-to-play-roles and relationships in it are without direct reference of real names of living persons, and they are in case of a particular belief (e.g. religious events), stripped of moralistic terms, meaning that 'all possible in the film appearing (spiritually) institutions proclaim compassion without the motive to win souls for their churches, temples and/or mosques. Each one has its own path but proclaim the same target: peace, following that route, love and compassion, equal: all us Humans.

Each feature story has 3 story-lines, that redeem each other constantly wavy:
1          The strategic (= direction giving) story line:
Describes problems and possible solutions as 'the messages' of the film.
This story line is to see as the information provider for the viewer about causes, consequences and possible solutions of refugee flows.
These cases are to show indirectly.
Thus, each film story has its own specific view about life and/or death (e.g. in The Angola twin:
'death is real and comes unexpectedly; all body’s will become a corpse').
This story line is set in the future time.

2          The tactical (= thinking within the given direction) story line:
Describes the point of view (P.o.V.) on the story-telling.
Each story is narrated by an actor-refugee, to one (or more) ‘official(s)', these are characters who can provide asylum (for example, officials of State institutions, such as the Customs or the Immigration
Naturalization Service, an official of NGO Refuge Care related, etc.) cq. who is doing a related activities (for example, -unlimited- lawyers, and/or employees of Non-Governmental Organisations, etc.).
The view always follows procedures by which the 'official' formally is functioning.
This story line is set in the present.

3          The technical (= concrete) story line:
This story-line shows the events that the fictional leading role(s) have undergone from the beginning till the present (= the tactical story line), possibly mixed with flashbacks*.
These events are the visualizations of faction* reconstructions*,  experienced by the fictional leading role(s), and serve as main frame of the movie.
The technical story line is set in the past.

Around these 3 story-lines there (at least) 2 red wires woven (per story different):
A material red wire (for example: diamonds, or an expensive brand watch, etc. whereby the manufacturer is also a main sponsor of the film), which is always related with the complete story, and where the material manifest itself through inscript- and productplacements in (mostly) the technical story-line.
An immaterial relationship red wire (for example: the relationship overpopulation and poverty, or source of suffering and anti-dote), which is related indirectly with the strategic story line as educational narration.

The refugee stories:

There are 18 stories selected.

Because each film separately is created by unpredictable creativity and originality, an AP film story goes beyond the ''normal'' conceptual mindset of the viewer.

With regard to the horror genre.
In all of these movies the violations against the integrity of being Human is central.
No perversions; but Shock and Awe.

No bizarre and/or morbid cult films with pus or mucus or extreme sexual glorifications;
but explicit visualizations of violations of Human Rights.

No 'crush' or teenager fantasies of masks-without-texts who are stalking their victims;
But war- and survival conflicts between the ‘’strong’’ and ‘’weak’’, with Special Effects that focus on the fear to be killed, the hatred and the ignorance of the oppressor;
the false self-image of rapists, and terror that comes forth from the illusions of immeasurable manifestations of ‘gaining momentum at the expense of another’.

The target audience: from the age of 16 years, some movies from 12 years (if so: the genre has more thriller adventures ingredients).

Locations and environmental factors: Paradise, exotic natural and cultural environments; in which no order, no size and no traditions of Human inner values predominate. Cold/chilly weather with fog and nights with full moon that announce abominations; interspersed with exotic music and dance at campfires and/or fairy-tale sceneries.

Showing violence: basically this is always to show explicitly in black/white images;
Butchers elements such as heels, break, skinning, impale, beheading and castrating are indirect. ''Fountains of blood'' and torture, if 'structural policy means of perpetrators' are explicit.
If they are ‘individually stimulant of the perpetrators', it is showed by implicitly.

Audio: in the combination of audio-ingredients usually there are no more than 2 through each other interwoven; 3 sound elements is regular, but it is not standard.
The music is only to compose after the scenario is written, so special key scenes will be rewritten to the music.
There is one format-recognition composition, in which each film has its own hue, that in terms of rhythm and musical instruments goes back to the original culture of the leading role(s)-refugees, and in which the multi-applicable tune of the format brings recognition to the public.
In addition, each movie has at least 2 own music compositions per block, to use free by film-director.

All the stories are played and produced in the English language, including dialectintegration from the regio. There is emphasis on the intelligibility of mono- and dialogues.
The main roles of refugees are played by actors/actresses from the country where the source of the refugee problem occurs.

The characters develop during the story, but the story-telling has the focus.
Change of the psyche of characters / the spiritual states of mind change per block.

Supporting roles are played by actors and actresses and extra’s in all figuration from countries of the scenes during the flight.

In principle are the locations where the stories have happened not the same as where the film is to produce.
We produce in areas that exhibit a similarity in terms of nature and culture (to act) with the country of origin, but where it is safer for crew and cast.

There is relatively few studio work.

The product is filmed with ultra HD / 4K digital hardware.

Broad outline of film production costs
Each story has its own content, making the costs per film is different.
To sketch still financially a global directive by minimum average costs per film, they are estimated E. 2.5 million (euro) excl VAT per film, (in that case it concerns a (very) low-budget feature film)  -if you order that by a ‘Filmthis!...command’, its below a spiritual ½-god level of the mind.

Distribution languages.
The distribution of movies goes through:
firstly by cinema followed by (TV) and internetTV.
In first instance, for first première, the language is English, for the different international distributions, but soon the product can be subtitled cq. synchronized in the asking respective country language.
In between the film will also be made in dubbing of max. 2 languages of the region where the source of relevant refugee flows is located, if have received  financing.

Planned sales.
To payout all international distribution channels their shares according to the given order above, the sales efforts needs to be of at least 500% of average production cost per film.

This is a summary.
For more information, such as how to we optimally realize these films, please contact Casting International by using the button below.