As a seasoned movie buff with a penchant for unconventional narratives and deep emotional journeys, Emilios Avraam’s debut feature, “Smaragda – I Got Thick Skin and I Can’t Jump,” has piqued my curiosity. The film’s unique blend of humor, introspection, and visual experimentation resonates with my love for stories that challenge the status quo.
Emilios Avraam’s first film, “Smaragda – I Acquired Thick Skin and Can’t Jump,” a tale about growing up later in life, is making its global premiere tonight in competition at the 2023 Tallinn Dark Nights Film Festival held in Cyprus.
The main character of the movie struggles with environmental allergies, unsuccessful relationships, and a stationary TV hosting career. Unhappy with her life, Smaragda transitions to being a children’s entertainer at a vacation spot and gains both popularity and criticism through social media for her online presence. Unfazed, she sets off on a personal exploration journey.
Made by Bark Like A Cat Productions, the film “Smaragda” received financial support from the Cyprus Deputy Ministry of Culture and Creative Europe MEDIA (Mini Slate). It was created through the First Films First and Torino Film Lab Extended Script Development Programs and showcased at the Connecting Cottbus coproduction forum in 2021, Dot on the Map Industry Days in 2023, and presented at KVIFF Works In Progress in 2024.
Prior to the global unveiling of the movie, Avraam shared insights with EbMaster regarding his first film project. He discussed the origins of the narrative and elaborated on why Smaragda’s tale doesn’t revolve around a midlife crisis.
What inspired you to tell this story? Is it based on something or someone from your own life?
This tale is deeply influenced by the life of someone dear to me, marked by hardships and unforeseen turns, leading her to opt for a secluded lifestyle. However, solitude doesn’t equate to emptiness; her odyssey has been incredibly enriching in ways that might surprise many. Despite the fact that life today isn’t objectively worse for everyone, it seems as though it never felt so bad for many. We tend to view the world as a place on the decline, and this pessimistic outlook influences our decisions, not always aligning with our fundamental human desires.
What was formerly tied to our sense of identity through communal bonds and traditional values, frequently moves into uncharted territories and non-traditional environments that challenge societal and gender expectations. This resonates strongly within me.
Absolutely, the world isn’t perfect; it’s filled with flaws, selfishness, inequity, and accidents. We’re all aware of this reality. Yet, it’s also teeming with splendor, ready to be accentuated. If we opt to view the world as essentially good, we can strive to improve it, bit by bit, family by family. Occasionally, it’s minor adjustments in our perspective that ignite the most profound transformations.
In contrast to numerous films that depict a midlife crisis, Smaragda’s tale doesn’t seem to fit the traditional narrative of a crisis to me. Could you share insights on how you crafted this unique midlife narrative?
In penning this tale, I didn’t intend to follow the conventional path of a midlife crisis narrative. Instead, it delves into a midlife awakening, where the protagonist isn’t falling apart, but rather growing and transforming. This character is not disintegrating, but evolving, molded by personal anxieties and dilemmas I’ve grappled with personally. I aimed to delve into the intricacies of midlife, interweaving them with pressing, contemporary issues such as climate change and the abyss of social media. These aren’t merely theoretical topics; they permeate our lives, impacting the decisions we make on a deeply personal level. By merging these aspects, I strove to craft a narrative that mirrors the ways we mature, adapt, and grapple with understanding a world that’s swiftly changing around us.
Visually speaking, I found the abundance of colors in this movie quite striking. Was it significant to carefully manage the lighting and color palette, as it appears to resonate or intensify Smaragda’s emotional condition in each particular scene?
In close partnership with our cinematographer Yorgos Rahmatoulin, production designer Christy Polydorou, and costume designer Marios Messios, we painstakingly designed the film’s aesthetic. We delved into every detail, creating a realm where atmosphere occasionally aligned with the overall feel, while at other moments intentionally contrasted it. I desired a whimsical undertone throughout the movie, so I motivated our creative crew to take risks fearlessly. This liberty enabled us to challenge conventions and discover unforeseen interactions, resulting in a visual style that feels vibrant and unexpected.
What was it like for you to shift from directing shorts to full-length features? Did any challenges arise that took you by surprise, or did your past success with short films fully equip you for this change in scale?
Reflecting on my short films, it’s clear I was merely testing the waters. I experimented with various genres such as stylish neo-noir thrillers and quirky comedies, which are not only entertaining to watch but also fulfilling to create. However, when it came time for my feature debut, I yearned to share something deeply personal, a narrative that echoed my own worries, though not necessarily derived from my experiences. When inspiration struck from a cherished source, everything fell into place. It was then that I felt empowered to articulate my unique voice.
Once we received the go-ahead, I found myself grappling with self-doubt. With two short films and one during lockdown under my belt, I couldn’t help but question my decisions. I should have taken more risks, made the process less of a struggle. I won’t mince words: I made errors. There were instances where I seriously wondered, “Am I truly prepared for this?”, and my chronic anxiety was unyielding.
However, we’ve completed the task. Admittedly, there are areas where I would have approached things differently if I had another opportunity, but it was my creation nonetheless. Towards the end, I managed a timid self-congratulatory pat on the back and thought to myself, you’ve accomplished it. You truly did it. Now, I can hardly wait to share my next tale, which holds deep personal significance for me.
Have you been working on this movie for eight months now? It seems like the preview I received was published that long ago. I can’t help but feel eager for this film to finally be released and seen by audiences!
I initiated work on this screenplay seven years back, initially intended as a brief movie script. Over time, it blossomed into a comprehensive feature film. In 2018, we received script development funding from Cyprus’ Deputy Ministry of Culture, which marked the beginning of rapid growth. The screenplay continued to develop through Goethe Institute’s First Films First program and Torino Film Lab Extended the following year. By 2021, we secured additional development funds that granted us access to coproduction opportunities at Connecting Cottbus and Dot on the Map Industry Days forums.
Did we manage to get all the necessary funding? No, but since we’re storytellers at heart, we found a way to make it happen regardless. With Tonia Mishiali, an amazing friend and producer, on our side, this project was bound to come to fruition no matter what obstacles came our way. Of course, that meant letting go of some cherished narrative and visual elements as we moved forward, but sometimes simplicity can be more powerful, even if it’s a bit painful.
Regarding that Vimeo link from eight months back, here’s some context: I was sharing links for feedback during the initial edit, frequently swapping them with newer versions as they accumulated. The exact version I eventually finalized, I won’t specify. To put it simply, anxiety played a role in the confusion that ensued.
Indeed, you’ve hit the nail on the head. I’m eager to unveil this tale to the world. I believe many will find resonance with Smaragda, a complex and imperfect character who embodies beauty in her messiness. After all, isn’t life itself a beautiful manifestation of chaos?
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2024-11-18 11:19