The Truth About Emanuel is a character-driven, psychological, drama/thriller about a troubled girl (Emanuel) who becomes obsessed with her new, mysterious neighbor (Linda). To get closer to this woman, who looks uncannily like her dead mother, Emanuel offers to babysit her newborn and unwittingly enters a fragile, fictional world, of which she becomes the gatekeeper. Even when arrested for an imaginary crime, Emanuel doesn’t betray Linda’s imaginary world. But Emanuel will have to go to a place that she herself has never dared to enter to truly save Linda and ultimately herself.
At its core “Emanuel…” is about salvation and redemption. Unable or unwilling to save ourselves, we rise to the challenge to save another and in so doing ultimately save ourselves.
“Emanuel…” is a tale that unfolds and unravels in secrets; the secrets we keep from each other and the secrets we keep from ourselves (often the most dangerous variety), creating blind-spots that will at best keep us from moving forward, at worst derail us completely.
In many ways this film is a choreographed piece between sorrow and fantasy; a haunting dance between its two main characters, Linda and Emanuel.
The subject matter of this work is loosely drawn from my personal landscape. As a director, part of my strength comes from my ability to fully inhabit the material, because as the writer, it is born of me, of my subconscious, of my demons. But it is in the communication and collaboration with the actors and department heads that the orchestra in my head is given its true voice.
“Emanuel…” is aesthetically bold and sonically rich, set to a patient but expectant pace, capturing the interplay between fear and seduction; like an invitation, saturated with possibility, somewhere between the hope of a genuine human connection and the dread of an unwell underbelly being exposed. A world layered with subtext and heavy with mood, grounded in true human emotion and yet flexible enough to stretch its wings into magical realism.
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