GUY DEFFERARY KATIA WINTER

ANAPHYLAXIS

A FILM BY AYMAN MOKHTAR

"Anaphylaxis is very interesting.... we are interested in viewing the finished product to discuss UK distribution."

BRITISH FILM INSTITUTE

"The film’s premise is striking and clever. The idea of a man unable to touch anyone is a powerful central motif."

FIRST FILM FOUNDATION

"The central idea of the film – anaphylactic shock as a result of physical contact – is a brilliant one and exceptionally rich in metaphorical suggestion. Also, the concept of

having one’s life story tattooed on one’s own body is fascinating." SCRIPT VAULT

"Anaphylaxis has a very interesting and original voice. It’s a disturbing existential

exploration into the nature of solitude, and the desperate urge of an artistic temperament to express this"

SCRIPT FACTORY

A FILMART PRODUCTION

86 mins 14 secs

100 KENSINGTON CHURCH STREET LONDON W8 4BU

UNITED KINGDOM TEL: +44 (0)207 7922 014 FAX: +44 (0)207 2290 734

VISIT THE ANAPHYLAXIS WEBSITE AT: http://www.anaphylaxisthefilm.com

INTRODUCTION (Director Statement)

Anaphylaxis is a film that speaks a new cinematic language: it employs my new Prosodic Cinema theory to convey its classical narrative. Composed of shots arranged in rhythmic units (Steps) that are projected as pulses on an underlying structure of rhythmic regularity (Runs), Anaphylaxis relies on the inherent rhythmic quality of film as a time-dependent medium to express meaning. The twentieth century cinematic tradition has typically focused on the content, arrangement and continuity of shots in film. Prosodic Cinema (as I described in various publications in 2009), while still observing those traditional rules, also observes an additional prosodic rule. This new rule aims to create a rhythmic succession of shots as part of an overall metrical rhythm in film similar to the meter-based rhythm in poetry. Anaphylaxis has a visual rhythmic structure that is modelled after some of the well-known metrical rhythms in poetry. The main visual metrical rhythm in Anaphylaxis is iambic pentameter (similar to the rhythm in Shakespeare’s Sonnet 18 and Milton’s Paradise Lost). There are also other visual metrical rhythms occasionally used in various places throughout the film; for example, the iambic tetrameter (Pushkin’s Onegin), and the iambic hexameter (Racine’s Phèdre). Poetry is also a central theme in the film’s narrative: the writing on a dead poet’s body is the only salvation for a man allergic to the human touch. As in poetry, the meaning in Anaphylaxis is defined by the emotional and intellectual response the work draws from the recipient. The idea is not to direct the viewer to a particular position, but to create an experience of contemplation and reflection. The film gives each viewer the chance to make his or her own way home through the oblique landscape of metaphor. This poetic ambiguity is important in Anaphylaxis. The film’s events take place in the intangible aspects of existence such as perceptions, memories, consciousness and emotions. These aspects continuously interact in subtle and complex ways to make our reality itself ambiguous. The dreamlike visual style of Anaphylaxis echoes our uncertain reality. The controlled environment of London’s Ealing Studios helped create the film’s surreal mise-en-scène during principal photography. The post-production process further enhanced the film’s unreal look by digitally manipulating image colour and composition. With its prosodic and dreamlike visual style, Anaphylaxis lures viewers into pondering their complex reality – the subtle experiences that give rise to the most difficult questions about the meaning of our relationship to each other.

Ayman Mokhtar

LOGLINE

A doctor allergic to the human touch finds his salvation in writings tattooed on the body of a dead poet.

ONE-PARAGRAPH SYNOPSIS A doctor develops a strange illness – anaphylaxis, a severe allergy to human skin. He struggles with his inability to touch people until he discovers that dead bodies don’t trigger his illness. He changes his job to work as a pathologist, dealing only with dead bodies. This is when he encounters a dead poet. Her corpse appears in his autopsy lab, tattooed from neck to toe with writing. Imprisoned as wife and mother, she suffered from postnatal depression. Writing was her only solace, but she sought escape so much it became a dangerous obsessive compulsive disorder. Her psychiatrist forbade her to write. But she did, tattooing her body with her life’s story – and died as a result. As the doctor reads her tattooed story he discovers a profound bond between his solitude and hers. She becomes his only chance for a human connection and he reaches to her across the boundaries of death with one last act – of love.

SHORT SYNOPSIS A successful doctor, content with life, develops a strange illness – anaphylaxis, a severe allergy to human skin. He tries to defy his illness, but his life is tuned upside down by his inability to touch people. He can’t function professionally, socially or intimately with his fiancée, whom he eventually loses. Then he discovers that dead bodies don’t trigger his illness. He withdraws from life around him to work as a pathologist, dealing only with dead bodies. Life is calm until he encounters a woman’s dead body covered from neck to toe with writing. Intrigued, he starts to read. She was a poet. Imprisoned as a wife and mother, she suffered postnatal depression. Writing was her solace, but she sought escape so much it became a dangerous obsessive compulsive disorder. They locked her in a psychiatric hospital to recover. When released, she was told not to touch a pen again. But she did – to end it all by writing her story on her skin, dying as a result. Reading her story, the doctor discovers a profound bond between his experiences of solitude and those recounted in her tattooed words. The dead poet becomes the doctor’s only chance for a human connection before the next touch kills him. He reaches to her across the boundaries of death with one last act – of love.

ABOUT THE PRODUCTION (Frequently Asked Questions)

What are the classical story and narrative phases in Anaphylaxis? Act I: A world where the two main characters are deluded about connecting with others. First Turning Point (Inciting Incident): Reality hits (with sickness and birth). Act II: They try to hold on to their delusions of possible connection with other people. Second Turning Point: Reality prevails. Act II cont.: They acknowledge and deal with their isolation. Third Turning Point: Reality’s worst hit. Act III: The rock bottom of their journey. Climax: Their stories cross paths with a promise of connection with the other. Resolution: The new world, in which the two main characters connect with each other. What are the unique story and narrative elements in Anaphylaxis?

- Characters don’t have names. - Two different (yet similar) stories of two protagonists, one of them has no

dialogue lines. - One narrative of deep identification/love between two people who never meet. - The two stories are tightly interwoven to run in parallel, yet in a classical

linear chronology. - Each of the two main characters narrates the other character’s story (not their

own story). - The Prologue introduces both stories at their final Climax point. - The Resolution is perhaps a bigger problem than the Inciting Incident.

Why are various visual elements (set, makeup, costumes, image, colour, etc.) in Anaphylaxis stylised to look unrealistic? The stylisation of individual visual elements like sets, costumes, makeup, image, colour, etc. aims to echo (or contradict) the specific story situation on screen in order to enhance expression and meaning in any particular scene. Besides that, there are also overall artistic ends served by such stylisation of Anaphylaxis. A stylised image that is less (or more) than photorealistic suits the film’s sceptical notion about the reality of human connection. A fake image, if you like, suits a story about fake communication. Also, what we witness in Anaphylaxis during those 90 minutes is the main character’s perception of events rather than an objective realistic depiction of them.

What are the unique image colour elements in Anaphylaxis? The visual element of colour in Anaphylaxis’ image is manipulated towards artistic ends. The choice of colour (or the lack of it) varies depending on the narrative phase, reflecting the story situation in each phase. The colour scheme of the various story phases is as follows: Act I: The entire image is B&W (Black & White). Act II: B&W image, but the protagonists’ clothes are in colour (his are red and hers are blue). Act II continued: B&W image, but people’s skin is in colour. Act III: mono-colour image (red for his scenes and blue for hers), but people’s skin is B&W. Climax: Total image colour overlay (red for his scenes and blue for hers). Resolution: The entire image is B&W. The overall cycle of story colours (from a B&W Act I to a B&W Resolution) is one of many subtexts in the film, suggesting a cyclic nature of the story journey in spite of what seems to be a progressive storyline.

What are the unique casting/ acting elements in Anaphylaxis? The cast is unrealistically young, contributing to a feeling of a fake world in which only fake relationships are (or aren’t) possible. Also, actors are more of action and visual element rather than communicating humans, reflecting the film’s thesis about human isolation. So, actors mainly rely on their facial and body gestures and choreographed movements rather than the conventional spoken word to express meaning.

What are the unique cinematography elements in Anaphylaxis? Camera movement This is another element, which reflects the emotional and psychological situation in various story phases and also (together with image colour) alludes to the overall cyclic nature of the story journey. Camera movement is directed towards certain visual metaphoric ends as follows: - ACT I: Camera is always moving in all shots up to the first story turning point - First Turning Point: brings camera movement to a halt for the rest of the film - Resolution: The camera returns to consistent movement in all shots. The camera movement rules are broken at particular scenes/shots, which represent significant story points. For example, at the end of the Second Turning Point, where the two main characters find the right response to their problem, the camera moves throughout the scene. Camera angle/ position Given the film’s sceptical position on human communication, whenever two characters are engaged in a conversation the camera takes a position/angle that doesn’t clearly show us the character’s talking. There is only one significant scene where The Poet reads her poetry to her audience. Apart from that, there are no talking heads in Anaphylaxis. We never see the face of any character when he/she talks – as if the camera turns its back on any talking human. Shot size In various places between the first story turning point and the climax, the shot/frame size follows certain rules in certain scenes to echo the psychology of the situation. For example, on the one hand, the shot/frame size increases from close to medium to wide in many of The Doctor’s scenes as if the camera (he) is pushing the world away. On the other hand, the shot/frame size decreases in many of The Poet’s scenes, inviting the world in. Lighting Lighting throughout the film is of expressionist quality (i.e., instead of reflecting the reality of the place where the scene is set, it reflects the emotional and psychological state of the character/situation). What are the unique editing elements in Anaphylaxis? Temporal (Tempo) Editing (i.e., time dependent) Anaphylaxis achieves its prosodic narration goals via meticulous editing efforts. The film’s editing focus is on shot length (for prosody) while still observing shot content,

arrangement and continuity (for storytelling). The editing builds the film’s rhythmic structure and tells the film’s story at the same time, creating a meaningful and accessible narrative in prosody. Shot transitions This element reflects the emotional and psychological situation in various story phases and also (together with image colour and camera movement) alludes to the overall cyclic nature of the story journey. Three rules for shot transitions are followed in Anaphylaxis’ editing, depending on the story phase as follows: - ACT I: always dissolving shot transitions; - First Turning Point: brings dissolving to a halt and shot transitions become

abrupt cuts; and - Resolution: shot transitions return to dissolving. The shot transition rules are deliberately broken sometimes in particular scenes at significant story points. For example, in one scene halfway through the second part of the second act, when the two main characters find comfort in their solitude, shot transitions change from abrupt cuts to dissolves.

What are the unique set design elements in Anaphylaxis? The entire film was shot in front of a large green screen at Ealing Studios in London. Specially designed interactive set elements (propos and set dressing elements) were used during principal photography. The rest of the set design was composed in post production in a process that took about two years of compositing and special effects work. The result is a film’s world that is surreal rather than real – as surreal as the film’s story itself. Just like its expressionist lighting, Anaphylaxis’ sets are not designed to depict the reality of a place, but rather to create a world that echoes the story situation or the character’s emotional state in a particular scene or phase of the film.

An example of this is the up-scale restaurant chairs, whose legs and backs are wrapped in layers of gauze like mummies. Another example is the Rothko painting that is constantly present in many places in both story worlds of the two main characters. Another important aspect of Anaphylaxis’ set design is that all the film’s scenes are interiors. There are no exterior locations or sets throughout the entire film. This enclosed setting contributes to the feelings of isolation and imprisonment that dominate the film’s story. Anaphylaxis’ isolated and claustrophobic sets echo visually a major theme in the film: we are essentially alone. What are the unique costumes elements in Anaphylaxis? Costume design aims to isolate and differentiate the two main characters and the secondary/ significant characters from the rest of the film’s characters. People, men and women, in Anaphylaxis wear the same uniformly plain clothes that cover them entirely from neck to toe. Only the two main characters and a few characters of narrative significance (depending on the story point) have individual clothes that help characterise them. Also, there are occasional surreal costume designs that appear in certain scenes/ phases, aiming to resonate a feeling in a situation/ character. An example of this is the Poet’s blue domestic attire with functionless, tied-up sleeves, echoing her imprisonment in her domestic role as a wife and a mother. Another example is the Doctor’s autopsy headgear that looks like that of a beekeeper, echoing the attack/ threat situation he faces with people’s touches. Furthermore, costume colour (like set colour) falls into one of four categories: red, blue, black or white. The harmonious/ conflicting use of those colours for the costumes of various characters plays an important visual role in echoing the story phase and the relationship between the two main characters and their worlds as follows: Act I: Doctor wears white (white-dressed world) & Poet wears black (black-dressed world). Act II: Doctor wears red (black-dressed world) & Poet wears blue (white-dressed world). Act II continued: Doctor wears black (white-dressed world) & Poet in white (black-dressed world). Act III: Doctor wears black (red-dressed world) & Poet wears white (blue-dressed world). Climax/ Resolution: Poet wears skin-tone coloured clothes, then both naked. What are the unique makeup elements in Anaphylaxis? Makeup & Hair designs also aim to isolate and differentiate the two main characters from the rest of the film’s characters. People, men and women, in Anaphylaxis wear

the same plane uniformly plain makeup and hair styles. Only the two main characters and a few characters of narrative significance (depending on the story point) have individual makeup and hair styles that help characterise them. Also, there are the occasional surreal makeup elements that appear in certain scenes. An example of this is the open chest of one of the corpses that is designed to look like an explosion rather than a body incision. Another example is the tattoo writing on the Poet’s body. This is designed to look like barbwire wrapped around the body with concentric circles on the torso shaped like a dilemma centred on the umbilicus.

What are the unique sound elements in Anaphylaxis? Sound track (recording and mixing) The entire film was shot on mute at Ealing Studios in London. The whole sound track was composed from scratch in post-production, including dialogue, atmos, fx, etc. The film’s sound mixing aims for subtle expressionism rather than realism by placing certain sound and voice elements on unconventional parts of the surround system. An example of this is placing the narration voices on the side speakers rather than the conventional placement on the front speakers. This achieves the effect of wrapping the audience in the narration instead of forcing them to focus their attention on it. Dialogue Dialogue in Anaphylaxis is “off screen” as the camera always takes a position and angle that avoids seeing in any shot a speaking character on the screen. Furthermore, off screen dialogue is mixed to be heard at a lower level in many places under the ongoing narration. This again puts us at a sceptical distance from any attempt of human communication in the film.

Narration Narration is a major sound element in Anaphylaxis. However, the film’s narration is not used in the usual way as primarily descriptive and analytical of what we see on the screen. Narration in Anaphylaxis is done by the two main characters with each narrator actually narrating the other’s story. Anaphylaxis prosodic visual style structures the majority of the film’s scenes to be shared by both characters. This takes the scene’s narration beyond being descriptive and analytical of what’s on the screen, but rather an auditory element enhancing viewer’s perception of the similarity between the two storylines and the identification between the two story characters. Sound effects Like light and colour, sound in Anaphylaxis also aims in many places for an expressionist rather than a realistic effect. Examples of this are the sound effects of the cardiac electric shock machine used to resuscitate the dying Poet; or the sound of the injection gun used by the Doctor to treat his illness. Music The basis for the film’s music score is the second movement of Shostakovitch’s string quartet No. 7. It only appears in the second half of the film, starting from the second turning point where the two main characters face and live up to their solitude. The piece is a sorrowful chant that Shostakovitch wrote for his dying life-long partner. Besides the deeply and intensely sad mood of the piece, it has two main melodic lines and two key instruments playing. One instrument is a violin (representing the Poet) and the other is a Cello (representing the Doctor). The two play in a contrapuntal then harmonious way that echoes the isolation and then identification of the two main characters.

INTERVIEW WITH DIRECTOR AYMAN MOKHTAR Under what genre can we put Anaphylaxis? Anaphylaxis treads in the borderlands of art, exploring those mysterious regions where the language of images, words, and music meet and speak to each other. I’m trying in Anaphylaxis to shape a visual language for the film that can function poetically. I call that Prosodic Cinema, which is a term I coined for my new theory on rhythm in film as a time-dependent medium. To satisfy our modern obsession of categorising and pigeonholing everything, we can consider Prosodic Cinema as a subgenre, if you like, of the Art Film genre. This makes Anaphylaxis the first prosodic film in this new subgenre. What is the underlying concept behind Prosodic Cinema? Rhythm is inherent in any time-dependent medium, but it is most associated with music, dance and poetry. Film is also a time-dependent medium and therefore rhythm is inherent in film. At the dawn of the twenty-first century, and after the initial twentieth century fascination with the novelty of an image that moves, the rhythmic potential in film as a time-dependent medium needs to be explored and unleashed. This brings new artistic heights to cinema and opens new realms for film to exist in next to poetry, music and dance. What is prosody? Rhythm is the variation of the length and accentuation of a series of events (sounds, movements, etc.). In linguistics, the rhythm of connected speech is called prosody, which may reflect various emotional features of the speech or speaker. There are three categories of prosodic rules which create rhythmic successions: Additive (same duration repeated); Cumulative (short-long); or Counter-cumulative (long-short). Each of those prosodic rules has its own emotional impact on the recipient of relaxation, tension, etc. What is Prosodic Cinema? I have described my Prosodic Cinema theory in several articles and white papers that were published in various media during 2009. In a nutshell, it goes like this: In cinema, the 20th century cinematic traditions have typically focused on the content, arrangement and continuity of shots. While still observing those traditional rules, Prosodic Cinema also observes an additional new prosodic rule to create a rhythmic succession of shots as part of an overall metrical rhythm in film (similar to the meter-

based rhythm in poetry). The successive Shots (Syllables) of defined durational patterns constitute small rhythmic units called Steps (Feet), which are arranged into repeated patterns in larger metric units called Runs (Lines), which flow successively over time in the larger units of Scenes (Stanzas) to make up their characteristic metrical rhythm in the Film (Poem). How is the vocabulary of Prosodic Cinema similar to that of poetry? In various other contexts (not just in Prosodic Cinema) durational patterns are sometimes described using terms borrowed from poetry. This is how the Prosodic Cinema vocabulary is similar to that of poetry

• Shot = Syllable • Step = Foot • Run = Line/Meter • Scene = Stanza • Film = Poem

How is the rhythmic structure in Prosodic Cinema similar to that of poetry? In Prosodic Cinema, the rhythmic units (Steps) and their metrical units (Runs) are described using terms borrowed from the metrical rhythms of poetry. The durational pattern of the shots composing a Step are described using terms borrowed from the metrical feet of poetry: iamb (short shot – long shot); trochee (long shot – short shot); pyrrhic (short shot – short shot); dactyl (long shot – short shot – short shot), etc. Also, the repeated pattern of the Steps composing a Run are described using terms from the metrical rhythms of poetry (e.g., iambic pentameter means that the Run contains five iambic Steps i.e. ten shots of alternating short-long durational pattern).

Why is Anaphylaxis the first example of a true prosodic film? Anaphylaxis is a true prosodic work because it is composed of shots arranged in rhythmic units (Steps) that are projected as pulses on an underlying structure of rhythmic regularity (Runs) throughout the entire film. Anaphylaxis relies on the inherent rhythmic quality of the time-dependent (film) medium to express meaning/ feeling in its (visual) narrative in a new rhythmic/ prosodic (cinematic) language.

How can Anaphylaxis be a prosodic film and a narrative film at the same time? The two terms, narrative and prosodic, are not at all mutually exclusive. While Anaphylaxis is a true prosodic film, it is also a classical narrative film, employing all the traditional and contemporary narrative techniques of filmmaking and storytelling. Anaphylaxis, as a narrative film, achieves its prosodic goal through meticulous editing efforts, focusing on shot length while still observing shot content, arrangement and continuity. The editing defines the film’s rhythmic structure, building prosodic scenes and sequences, and eventually creating an entire prosodic film while still telling a story in a meaningful and accessible narrative.

What is the metrical rhythm(s) of Anaphylaxis as a prosodic film? Anaphylaxis has a visual rhythmic structure that is modelled after some of the well-known metrical rhythms in poetry. The main “visual” metrical rhythm in Anaphylaxis is the Iambic Pentameter (similar to the rhythm in Shakespeare’s Sonnet 18 and Milton’s Paradise Lost). There are also other visual metrical rhythms occasionally used in various places throughout the film e.g. the Iambic Tetrameter (Pushkin’s Onegin), and the Iambic Hexameter (Racine’s Phèdre).

What determines the visual rhythm for a certain scene in Anaphylaxis? The choice of a certain metrical rhythm for a particular scene or sequence in the film takes into account the emotional impact intended for that scene or sequence. For examples, in a hectic and tense scene of the main character having an anaphylactic attack, a pyrrhic hexameter is used as the visual metrical rhythm (each Run in the

scene contains six Steps with each Step made of two very short shots). On the other hand, in a contemplative scene of identification between the two main characters the iambic pentameter is used as the visual metrical rhythm (each Run in the scene contains five Steps with each Step made of a short–long shot succession pattern). What are the Steps and Runs that were used to constitute the various metrical rhythms in Anaphylaxis? In any given scene in the film, shots are arranged in one of the following Steps, which are in turn arranged in one of the following Runs to makeup the metrical rhythm structure for that particular scene: Steps Runs Iamb — 1 short shot + 1 long shot (produces a subtle, stable rhythm)* Pyrrhic — 2 short shots (fast rhythm, used in hectic/tense situations) Spondee — 2 long shots (slow rhythm, a variant within other structures)

Dimeter — 2 Steps Trimeter — 3 Steps Tetrameter — 4 Steps Pentameter — 5 Steps* Hexameter — 6 Steps Heptameter — 7 Steps Octameter — 8 Steps

* Iambic Pentameter is Anaphylaxis’ main metrical rhythm What are the shot length prosodic rules in Anaphylaxis?

• A regular short shot (e.g., used in the Iamb): 2 seconds • A regular long shot (e.g., used in the Iamb): 4 seconds • A very short shot (used in the Pyrrhic): 12-16 frames • A very long shot (used in the Spondee): 8-12 seconds

What are the scene punctuation prosodic rules in Anaphylaxis? Scene End: fade-out to black (usually 1 sec, but can be longer/shorter or abolished, depending on Step/ Run length and content). Chapter End: fade-out to white (usually 2 sec, but can be longer or shorter, depending on Step/Run/Scene length and content). How is the Iambic Pentameter used visually in Anaphylaxis? Weaving Doctor and Poet shots in a Step or a Run normally takes the metrical rhythm of the iambic pentameter, which is the rhythmic metaphor for The Doctor identifying with The Poet as he reads her story. Iambic Pentameter is generally shared by both characters at the level of the Step (a shot each) or the Run (a Step each). However, in some story phases and situations (e.g., the opening Prologue) the entire metrical rhythm (Step and Run) is exclusive to only one of the two main characters, depending on whose story dominates the Scene.

What drives your mise en scène (visual composition) in Anaphylaxis? Perceptions, consciousness, emotions and memories continuously interact in our experience of reality in subtle and complex ways. Since this makes reality itself multi-layered, I layered Anaphylaxis with many different visual elements. To do that I didn’t shy away from using every possible visual vocabulary element of cinematography, lighting, costumes, makeup, set design, actors positioning, movement, etc. available to me during the shoot. The controlled environment of Ealing Studios in London helped me to achieve that. I’m hoping that this multilayered visual composition style can help the viewers approach and explore their complex reality.

Why did you choose this new prosodic visual style for Anaphylaxis? The events in the story of Anaphylaxis exist in the realm of the emotive side of human experience. The cinematic form that I describe as Prosodic Cinema seems to me to be the best way to exteriorise that internal experience. The visual form of Anaphylaxis is not just a container for meaning; it actively shapes meaning. By this I mean that beside the conventional cinematic reliance on dialogue, action, etc. to convey meaning, Anaphylaxis, as a prosodic film, relies also on the visual arrangement of frames on the screen (and the composition of visual elements within each frame) in order to shape a response in the viewer and powerfully affect the way in which meaning is perceived. That’s why any written attempt to paraphrase this work will fall short from capturing the vivid experience of seeing it.

What are you attempting to say in Anaphylaxis? Although many filmmakers today create work that is explicitly social, ethical or political, my film is not intended to take part directly in any debate. Instead, by making emotive poetic images, I hope to create an artistic experience that will compel viewers to consider their own life experiences with greater insight. What are you attempting to say in Anaphylaxis? The film is poetic in its visuals and poetry is also a central theme in the narrative. As in poetry, the meaning of this work has to do with the emotional and intellectual response that it can draw from the recipient. The idea is not to direct a viewer to a particular position (although to a certain degree this cannot be avoided), but to create an experience of contemplation and reflection. What are you attempting to say in Anaphylaxis? What is great in poetry is the infinite, which by its nature cannot be clear and distinct. As in poetry, ambiguity in Anaphylaxis is intentional, through which I’m reaching towards more illuminating questions... questions about the meaning of our relationship to each other and to the world.

Where do you think this new prosodic, multilayered, poetic ambiguity of Anaphylaxis stands in today’s cinema? I believe it’s in the very margins, if not even outside, the circle. Anaphylaxis explores the intangible aspects of existence – the subtler experiences that give rise to the most difficult questions about the meaning of our relationship to each other and to the world – in a new prosodic, multilayered visual language. By contrast, much of today’s cinema has adopted the mass media approach to audience, striving for a simple message that avoids complexity and nuance.

And how do you think this new prosodic, multilayered, poetic film can fit into and survive in today’s world? In this age of mass media – of which cinema is a big part – often the loudest voice, not the most insightful, is the one that’s heard. But I believe that Anaphylaxis, appealing to emotive aspects of human experience, will be in a unique position to be heard. This is because the film’s visuals demand a greater level of interaction from the viewer than today’s mass media usually requires. Rather than pushing the audience down a clear, concrete route, Anaphylaxis gives each viewer a chance to make his/her own way home through the oblique landscape of metaphor.

ABOUT THE CAST

GUY DEFFERARY / The Doctor Since finishing his drama studies in London, the British born actor Guy Defferary has followed his love for acting through a path that took him across the UK, Europe, North America and the Middle East. Guy has worked in numerous films, plays and television dramas for nearly a decade. Guy’s long list of credits includes Story Without Ending, A Beat Of Reality, The Scum Also Rises and Richard III to name but a few. KATIA WINTER / The Poet Swedish born actress Katia Winter has lived in America, Italy and England before pursuing her career in acting. She has gone on to star in a range of television and film roles including Unmade Beds, a drama/comedy directed by award-winning director Alexis Dos Santos and Night Junkies, a horror/thriller directed by Lawrence Pearce. Katia studied film editing and directing before getting into acting. The making of film has always been her passion. JENNA BROOK / The Girlfriend At the age of 16 Jenna took the plunge and moved from Sheffield to London to pursue her acting career, where she gained a scholarship to the famous acting school Italia Conti. After graduation Jenna worked in numerous films, commercials and plays, including London's premier of the stage show Eight Women. After spending time in New York and Los Angeles taking acting classes, Jenna currently resides in London and still very much enjoying the life of an actor in all its shapes and forms. FRAZER DOUGLAS / The Husband After studying drama, British-born actor Frazer travelled Europe, making Spain, Netherlands and Slovenia his home for most of the nineties. At the age of 30, Frazer moved back to London to concentrate on his acting career. He soon landed roles on television (Spooks, Red Cap, Dream Team). He is building his CV as a leading man in films. In 2009, Frazer moved to Los Angeles to further his career.

ABOUT THE CREW

AYMAN MOKHTAR / Producer, Director, Writer, Editor Cinema and medicine; England and Egypt: duplicity has shaped Ayman’s life. Raised in Egypt, Ayman pursued medicine and film-making before moving to England to further both careers. He first began making films while practicing medicine in the early 1990s in Cairo. As part of his training at the prestigious National Film Institute in Giza, he directed a series of short and documentary films. Eager to advance his skills, Ayman made his home in London and studied European Cinema at Westminster University and digital filmmaking at the Metropolitan Film School. In 2007, he directed his debut feature film, Anaphylaxis, shot at London's historical Ealing Studios. The film is not only Ayman’s directorial debut, it is also the first to apply his innovative theory on rhythm in film as a time-dependent medium: Prosodic Cinema. STEPHANIE CHARMAIL / Line Producer After finishing her training in media, culture and communication in both her native France and the UK, Stephanie’s roles in film production have been numerous. Her comprehensive understanding of filmmaking came from her involvement in every stage of production, from script supervising and doing log sheets and continuity to assisting directors on sets during shoots and managing crew and celebrity actors. Over the years Stephanie has advanced her career in film production to become Location Manager, Production Manager and Line Producer on many British features, Franco-American productions and Bollywood films as well as many short films and music videos. Stephanie’s production management credits include Sugarhouse Lane, Hush and Spring In Her Step. STEVEN PERIOVOLOS / Director of Photography After training in physics in his native Athens and London’s famous Imperial College Steven decided to take a different angle and train in cinematography at the prestigious London Film School. Since then Steven has been realising his dream as a world-class cinematographer working in the UK as well as Germany, Italy, Greece, Singapore and the United States. Steven has also been teaching his art as a guest cinematography lecturer in both London and Singapore. The established New York International Film Festival recognised Steven’s talent and awarded him the Best Cinematography Award 2005 for his work on You Like Chinese? Steven’s long list of feature film credits include Harry Potter & The Chamber Of Secrets, Galatea, Into Swans, A Dead End Story, Butterfly Dream, Commedia and Identity: Vampire to name but a few.

NICOLA DIETMANN / Production Designer Trained in Art & Design at Central St Martins in London and Pratt Institute in New York, Nicola Dietmann has learned that a designer must strive to understand the psychological language of colour fabrics, textural surfaces, shapes and spatial dynamics thus giving an audience a more defined message as to what the piece is really about whilst producing a beautiful visual experience. As a designer, Nicola has worked on a wide variety of productions from short films to feature length dramas, from commercials to opera, and from theatre plays to ballet. From such a varied experience, one of the most fascinating aspects that Nicola discovered about design is something that is universally applicable to any project, and that is the way in which design is a fusion of psychology and creativity. Nicola’s wide-ranging production design credits vary from feature films such as Dinner With My Sisters to Andrea Bocelli’s World Concert Tour. BIBO PILLEY / Costume Designer Bibo grew up in Footsbarn Travelling Theatre Company, touring throughout Europe and Australia. Imagery and music were interwoven in her childhood. She now lives and works as a successful costume designer in London, with a long history of work at famous British institutes such as the BBC and the Royal Opera House. Bibo’s impressive credits range from docudramas such as the BBC’s The Real Face of Santa to large feature films such as Atonement, Harry Potter and Bourne Ultimatum. LAURA JANE SESSIONS / Make-up & Hair Designer A fascination of theatre and television from an early age lead to Laura Jane’s obsession with the metamorphosis of people into characters. Following her training in theatrical and media make-up, Laura Jane worked in regional theatre creating hair and make-up designs for dance, drama and musical productions. Relocation to London and a fortuitous meeting nearly a decade ago lead to the decision to focus on establishing herself in the film and television industries. Laura Jane has since worked extensively in film and television as both a Make-up Artist and a Designer. Her work has been screened on terrestrial and satellite channels and in cinemas across Europe and the United States. Laura Jane’s credits include range from TV dramas such as the BBC’s Maestro and Hollyoaks : to feature films such as Iyi Seneler, Who Can I Turn To? and 10 Fish.

FULL CREDITS

CAST

the doctor

GUY DEFFERARY

the poet KATIA WINTER

the girlfriend

JENNA BROOK

the husband FRAZER DOUGLAS

colleague pathologist

CELINE MULLINS

pathology secretary JESSICA JAY

psychiatry nurse RUTH KELLEHER

tattoo man

FRASER KNIGHT

dinner liberal woman DREA KING

old baby girl

CHLOE PAYNE

psychiatrist BLAKE NORTON

pathology secretary’s child

CALLUM FRANKE

oncology nurse SELINA FAIRBAIRN

golf club secretary

ALEX EDWARDS

allergy specialist STATEN ELIOT

hospital morgue woman

ELENA SAUREL

bar woman SOPHIE LOVELL ANDERSON

pianist

TOM MCLARNEY

delivery nurses CAROLINE BOULTON

CLAIRE BROOMBY

priest JAMES LE FEUVRE

emergency room medic

OZGUR KURT

bartender LUCAS VYDRZAL

internist

TRISTAN BAKER gynaecologist

SEBASTIAN TELLER

oncology patient JAMIE VAUGHAN

emergency room nurse

EMMA FLETCHER

dinner conservative man KRISTOPHER MILNES

dinner conservative woman

ULRIKA BELOGRIVA

VOICES

TOM BURCHELL (the doctor’s voice)

HELEN DENCKER-RASMUSSEN

(the poet’s voice)

CAROLINE DEVLIN (the girlfriend’s voice and others)

ASHLEY ALYMANN

(the husband’s voice and others)

PRODUCTION DEPARTMENT

producer AYMAN MOKHTAR

line producer

STEPHANIE CHARMAIL

production manager SIAN SINGH

production assistants

MATTHEW WRIGHT CHRIS RUSSELL

production accountant

JEFFREY LOH

ASSISTANT DIRECTOR DEPARTMENT

1st assistant director SIMON HEDGES

2nd assistant director

SARAH CRISP

3rd assistant director DOMINIC BRANCALEONE

JOSEPH BEAN

CAMERA DEPARTMENT

director of photography STEVEN PRIOVOLOS

assistant camera

LIDWINE TITLI

camera dept runner MAX DEVERE

grip HOWARD DAVIDSON

BEN

takes logging ROSEY TRICK

stills

TOM SULLAM MARK HIBBERT

LIGHTING CREW

gaffers

CHRIS GEORGAS MARK RICKITT

spark

ALDO CAMILLERI

ART DEPARTMENT

production designer NICOLA DIETMANN

art directors JENNY RAY

NATALIE ALLAN

props master SARAH POWELL

art department assistant

LEE CARRUTHERS

set dresser RACHEL HONEYMOON

standby props HEATHER BURTT

STUART

painter ANTHONY GURNER

carpenters ELLIOTT DAY

JAMES RAFTERY

art dept runners WILLIAM BALDWIN

LIZ COONEY JOE CRAWFORD

tower

PAUL AT BLITZ RIGGING

MAKE-UP / HAIR DEPARTMENT

hair and make-up designer LAURA JANE SESSIONS

prosthetics designer

CHARLIE BLUETT

hair and make-up supervisor JUSTYNA DOBROWOLSKA

wig supervisor

RACHEL LISA JONES

hair and make-up artist CHARLOTTE BRISCOE

hair and make-up assistants (dailies)

GEMMA COLLINGWOOD NATASHA DINES

CATRIONA JOHNSTONE SAMANTHA MAXWELL

SUKI MILES LOUISE STACEY CAMILLA TEW YILCAN ZABIT

make-up trainee

KATE BLYTHE MADI DAVIS (DAILIES)

special thanks to BBC RESOURCES BIG JIMS TRIMS

HAIR ON THE HILL GIGGLES PARTY SHOPS

MAC – “MAKE-UP SPONSORED BY MAC” NEIL GORTON / MILLENNIUM EFFECTS

ROBB HORSLEY

COSTUME DEPARTMENT

costume designer

BIBO PILLEY

assistant costume designer MARIALENA KAPOTOPOULOU

costume assistant

YOHANNA ARDES-GUISOT

costume makers CHRIS WINTER

ANNA MARIA GENUISE

knitwear by ALICELEE

special thanks to:

STEPHEN MCGOWAN AERO LEATHER CLOTHING CO.

CRISPIN BENDING LEATHER SWING GANG MITCHAN FUJII

MAGS LINNANE GER SMITH

WILL HUSTLER PETAL PILLEY

ZELDA SELLARS AGNES LENNON JANE WRIGLEY

CROMWELL HOSPITAL STRATFORD WORKWEAR

CATERING

FAYRE DO’s LOCATION CATERERS

INSURANCE

MEDIA & ENTERTAINMENT INSURANCE SERVICES

POST PRODUCTION

PICTURE

editor

AYMAN MOKHTAR

visual effects AYMAN MOKHTAR

post-production consultant MADS JORGENSEN (Mac Million Ltd)

special thanks to:

TOWERGATE UNDERWRITING ENTERTAINMENT APPLE COMPUTERS

THE FOUNDRY ADOBE SYSTEMS

GENARTS WACOM G-TECH

RENTARAID GRIDIRON PEC VIDEO

MATEK BUSINESS SYNTHETIK

DIGITAL PHOTOSOLUTIONS RED GIANT

DIGITAL FILM TOOLS CREATIVE VIDEO

TECHEX 24/7 DRAMA

VISUAL IMPACT FILMSCAPE MEDIA

SOUND

sound design

AYMAN MOKHTAR

sound editing AYMAN MOKHTAR

ADR sound recording

CRISTINA ARAGON (5A Studios)

sound mixing & mastering MICHAEL KODERISCH (5A Studios)

MUSIC

String Quartet No. 7 in F Sharp Minor, Op.108

DMITRI SHOSTAKOVICH

Stella By Starlight VICTOR YOUNG & NED WASHINGTON

SPECIAL THANKS TO

Ealing Studios Operations JONATHAN ABBOTT

CHRISTOPHER GREEN

Filmart Operations MARSHA MOORE

Met Film Management

LUKE MONTAGUE CHRISTELLE BOSSARD

Barclays Bank

PAULENE PORCE (Mayfair) TIMI ALONGE (Soho)

Bexley Council

JEAN SCOTT

Lewisham Council BLOSSOM THOMAS

PAREXEL International

NIMET WATSON HELEN MEASURES JOERGE SEEBECK UDO KIESSLING

written & directed by AYMAN MOKHTAR

COPYRIGHTS FILMART PRODUCTIONS

(all rights reserved) 2009