Low Water Pressure Film Spotlight
Today’s film spotlight focuses on the short film Low Water Pressure directed by Francesco Filice as part of the Pendance Film Festival.
What is the title of your film and what inspired said title?
The title of my film is “Low Water Pressure”. It is a direct reference to a discussion that is had between the main characters in the film, and is a metaphor the character Jason uses to describe how he feels in his relationship. The thought of not being able to wash off your mistakes no matter how hard you scrub is a big theme of the film. It is inspired by observations I have had of my own and my loved ones’ relationships in the past. I had noticed how lack of
communication lead to a rut in once loving relationships.
Tell us a little bit about the story and origins of your film.
“Low Water Pressure” follows Mellisa and Jason, a couple that is stuck in a rut in their relationship despite doing everything that they can think of to fix it — everything except the right thing, that is. It takes place over one conversation where they have to confront the unspoken truth between them.
The film originated at a time when I was in a relationship that was clearly not working, no matter how much we were both trying to make it work. One day I was in the shower and the water pressure was so low I felt as if I couldn’t wash the soap off. It sounds corny, but it felt exactly like I was feeling in my relationship. Slowly, a conversation started playing out in my head between two characters who were in a similar, yet more intense, situation. Subconsciously, I think it was a way to deal with what was happening in my own life, and by the end of the shower, I had the first draft written in my head. I turned off the water and immediately put the scene to paper. Three years and five drafts later and you have the film as you see it today.
Any films or filmmakers that inspired this film?
The tone and dialogue of the film wasn’t inspired by just one filmmaker, but aesthetically I would say there is a strong influence by the works of Damien Chazelle. He is a director that I have great regard for and the way that he works with character and subtext is phenomenal. I was in particularly inspired by his use of colour in “Whiplash” and his precise use of camera and lighting as an extension of the characters’ headspace in argument scenes in “La La Land” and
“First Man”. He has a way of portraying larger-than-life scenes in a surreal yet grounded reality that doesn’t impede the story. The camera and lighting are always purposeful. I wanted to emulate that in my own distinct way.
I chose to do that by making the colour warm yet slightly oversaturated, juxtaposed against heavy and harsh shadows to symbolize the unspoken weight Melissa and Jason are carrying around in their relationship. I also chose to never show the characters in the same frame together. As they come closer to confronting their issues, they are slowly pushed closer and closer to the edge of their frames, coming nose to nose on screen but always separated by the cut. A thematic wall sits between them. This is a choice that I believe subconsciously adds a layer that can be felt by the audience without distracting from the scene. This would not have been chosen if it wasn’t for the influence of Damien Chazelles’ work.
What is the goal of the film for you?
The goal of “Low Water Pressure” was to make something personal. To express something that was inside of me that I felt I needed to get out into the world. One that I feel will resonate with others. Low Water Pressure is about communication, specifically the act of not communicating what you need and film is my outlet for communication, one that I had neglected for too long. This is my first professional short. It is the first film I have made entirely on my own since I graduated from film school in 2014. After many wonderful years of working in the film industry in front of and behind the camera on other fantastic filmmakers’ projects, I wanted to make something that was my own artistic expression. That is not to say that I didn’t have the best help of talented artists surrounding me; I did and could not have made the movie without the help of my wonderful cast and crew. But the goal was to create something that came from myself and expressed something that was inside me that I had been holding on to. Something that has been inside for years and never spoken of.
What has the journey been like getting the film into production?
The journey to production was smooth, except for one factor that hampered us as we went along — COVID-19. Originally, we planned to go into production in October 2020, but living in Ontario, the world had other plans. That month we went into our second lock down and the production had to be pushed until the new year, when things opened up in January. As soon as Ontario opened up, we got the crew together and planned another shoot date for February, which quickly was pushed as Ontario went into yet another lockdown, which was quickly followed by another lockdown. We decided to push the production far into the future and eventually we were able to begin production in August 2021 — almost a year after I approached my team about the film. The entire time, my crew was fantastic. They never wavered and were always game to help bring the film to life when they were called upon. I couldn’t have made this film without their dedication.
One thing you learned from this project?
One thing I learned is that collaboration is key. Like I said, this is a personal film and the goal was to make something that was my own distinct vision, but that would not be possible without the help of a crew of people all collaborating to make something uniquely their own as well. Whether it was the exceptional cinematography by Victor Oly who brought his eye to help design the look of the film, the set decoration by my producing partner/production designer Martin Plumley who brought an aesthetic and colour scheme to the characters home life, or the brilliant performances by my actors Raechel Fisher and Kenneth Northfield, who after a year of rehearsal helped shape and bring the characters to life, each collaboration was a building block to a final product.
Writing, directing, producing and editing a film is hard. I wanted to make something all my own but as I further collaborated and delegated the film quickly became easier and more fun to produce. Each and every person who worked on the film had a hand in the artistic expression of the final cut. It is as much the crews’ film as it is mine. That was a wonderful lesson to learn and definitely one I plan to expand on for future projects.
How can folks find you and your film online?
“Low Water Pressure” can be seen at the Pendance Film Festival this weekend, March 10 -13, in the festival’s New Voices Section! You can stream the film virtually through their website for an individual viewing or get a pass to the festival and enjoy the countless other great films to be found this year. You can also follow the film on our Instagram page @lowwaterpressurefilm for any updates of future showings.
Any last pieces of advice for fellow filmmakers?
My advice would be if you have a story to tell, then tell it. Don’t wait. This film has been a long time coming. It is one I have waited to tell and did not need to. I don’t plan to go so long before producing another film. I have stories to tell and if you do too, then go out and make your film. There is nothing to wait for.
The Pendance Film Festival runs from March 10-13, 2022.
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