Filipina actress Adelina Amosco as Eleanor with a birthmark on her face.


I’ve read that many professional filmmakers look back on their poverty-ridden independent film days with nostalgia.

And I have to say, even though I’m spending all my money and getting no sleep, the dream of creating a powerful work of art — even if I do not succeed in this dream — has a way of keeping my spirits lifted at all times.

I am currently working on a film called “Dream Brother,” which is set partly in the Filipino community.

It is a feature length film intended for festival submission and international theatrical distribution.

I wrote the script for a Filipina actress whom I believe to be one of the greatest acting talents in the world.

Remember this name: Adelina Amosco.

We met four years ago when she auditioned for my new translation of Euripides’ Medea, and we knew since that time that we would find more ways of working together.

The film is about Eleanor, a troubled young Filipina-American girl growing up in New York, who is bullied at school because of a birthmark on her face.



Catharine Kinder of “Dream Brother.”


She retreats into a beautiful dream world, where she has a dream brother with the same birthmark on his face.

They embark upon a long journey across magnificent, unearthly landscapes together, but they know their paradise cannot last.

The theme of the film is that reality and dreaming both have aspects of truth and falseness to them.

Although I adore gritty realism in movies, I love just as much a fantastical sense of escape; a glimpse of a world more simple, beautiful and ordered than this life.

It appealed to me to combine the two, not as a genre mash up, but as a commentary on each other.

In the script, Eleanor’s real life, with its arbitrary hurdles and waves of unfairness, comes to feel false and absurd when juxtaposed with her dream life, which is a vast, gorgeous wilderness of mountains and oceans, and a true friend.

In rehearsal, Adelina was asking why there were so many random-seeming moments in the script, and my response was that that is how real life feels.

I appreciate most the kind of film that can include all these little confusing, arbitrary moments of life and, then, if the ending is sufficiently strong, they make a kind of indefinable sense in the larger picture — a feeling that that is how life is.

I am praying that we can get the ending right.

It took me about a year-and-a-half to write the script, and it’s scary but exhilarating to get going on the production side.

We are planning to shoot in March and April, so we are starting the casting process now.

We started with auditioning professional actors, then decided to widen our net to the Filipino community in New York.

I am placing ads, as well as approaching people at random.

If you are reading this and realize that I am the random white lady who came up to you at a party and asked if you were interested in being in a film — I’m sorry I interrupted you!

But on the other hand, my line dancing skills have never been so good.

If you are interested in a role in the film, or helping out on the production side (shooting, locations), please get in touch with me!

Website: www.slow-burn.com

Number: 216.904.5696.





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