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The Yellow Room (2012) Joseph Eulo, Press Kit, The Yellow Room, Assal Ghawami, NYU, Tisch, Grad Film, Joe Eulo
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w w w . T h e Y E L L O W r o o m - F I L M . c o m
2012, UNITED STATES, 10:53 MINS. HD 1.85:1 IN ENGLISH, W/ENGLISH SUBTITLES
A n A s s a l G h a w a m i P r o d u c t i o n Assal Ghawami
NYU Tisch School of the Arts Kanbar Institute of Film and Television 721 Broadway, Mailbox 47, 10th Floor
New York, New York 10003 [email protected] | (917) 744-‐6368
P r e s s C o n t a c t Chrissy Keeley/ Public Relations
press@TheYellowRoom-‐FILM.com | (973) 349-‐0966
S C R E E N E R L I N K http://www.TheYellowRoom-FILM.com/screener
PASSWORD: PRIVATE-SCREENING
S o c i a l M e d i a / W e b L I N K S http://www.fb.com/TheYellowRoomFilm
http://about.me/theyellowroom
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I n t h e N e w s
March 2013 Review by Sarah Seltzer of RHrealitycheck.org
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April 2013 Review by Columnist Leigh Kolb for BitchFlick.com
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W h a t P e o p l e a r e s a y i n g
“ Extraordinary ” — Tony C. Janelli, Cinematographer (Silence of the Lambs, Philadelphia)
“ It is so rare to be in the presence of significant art and this film qualified. ”
— Prof. Michael Z. Murphy, Assistant Professor, Union County College
“ Assal Ghawami has written and directed
a striking short film ” — Sarah Seltzer, Journalist
RHrealitycheck.org
“ Ghawami's film is beautiful I found myself aching for more then 10 minutes ”
— Leigh Kolb, Columnist BitchFlick.com
“ Beautifully filmed and emotionally stirring.”
— Dr. Cynthia Singer, Senior Professor, Union County College
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S y n o p s i s
A troubled Pakistani teen seeks help from a Hispanic medicine woman at her obscure tenement home. There she must live with another woman who shares her own delicate secret.
L o g l i n e
We are our choices.
D i r e c t o r ’s S t a t e m e n t
When I first spoke to others about making The Yellow Room, many were surprised to learn about ‘Ruda,’ a medicinal herb that women have used for centuries to end their unwanted pregnancies. I had recently learned of the herb, from a newspaper article about a teenager from New York City, who had taken ‘Ruda’ when she was six months pregnant. After taking ‘Ruda,’ she disposed of the fetus in a trashcan.
Why make a movie about a drug, used to have illegal abortions? Why bring to light a dark secret women don’t want to talk about?
One man that I spoke to, asked what the debate over abortion is about if it is that easy to have an abortion? “Just take a pill! It’s easy, cheap and fast!”
Because nothing that’s cheap and fast is ever easy.
Throughout the entire debate among pro-‐choice and anti-‐ choice activists, people rarely consider the experience itself, the feelings it leaves behind, or the emotional aftermath of the decision for the woman.
Many women find themselves emotionally damaged. With the hostility that drives the political climate of this social issue, pro-‐choice women may find it hard to admit that abortions can leave them with psychological scars. At the same time, anti-‐choice women find it hard to acknowledge that there may be times when no life, may be better than a life in turmoil.
The Yellow Room, similar to “The Yellow Wallpaper,” is an exploration of an old female conundrum. Either be trapped by patronizing laws when wanting to take control over your own body, or feel trapped by guilt as a result of the decision.
Freedom is relative and it will always come at a relatively high cost. No matter if you are pro-‐choice or anti-‐choice, it's the women, who ultimately deal with the consequences.
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Assal Ghawami | W r i t e r / D i r e c t o r
Born in Iran, Assal Ghawami is a New York based filmmaker and human rights activist. She grew up in Germany and studied acting and music at Folkwang School of Performing Arts, while majoring in journalism. Assal completed her BA in Media and Cultural Studies at The New School University in New York City. She spent a year in Portugal studying the art of film directing and Portuguese language as a DAAD scholarship recipient. Assal also worked for WDR News Channel and ARD in Germany.
Assal is a young woman driven to use film as a tool to address issues concerning the social injustices facing immigrants and women. She is an active human rights advocate, using her artistic abilities to bring some of these issues into the spotlight in hopes of aspiring the audience to engage in the issue.
Assal’s debut film, “Sturm,” received nominations and an award for best directing at VGIK International Festival Moscow. Her other films have shown at numerous international film festivals across the globe, including Mexico’s International Film Festival, where her film, “Ey Pari Kojai” won the Bronze Palme.
S e l e c t e d F i l m o g r a p h y 2012 The Yellow Room
Kurz und Knapp International Film Festival, Zurich 2013
2011 Ey Pari Kojai Mexico International Film Festival: Bronze Palm Award, 2012 Hamptons International Black Film Festival, 2011, 8th New York Downtown International Short Film Festival & Audience Choice
Screening, 2011
2011 Ali Smiling 8th Detmold International Film Festival, Germany, 2012 NYU Tisch School of the Arts MOS Festival 2011
2009 Beistand in Bedlam New Filmmakers New York, 2009
2008 Sturm Mediawave Visual Arts Festival, Hungary, Fec-‐Cambrils Reus European Film Festival, Spain. Nominated “Best Film” at the VGIK International Festival, Moscow, Arouca Film Festival, Algarve, AIP Estudantil Sony, Lisbon, “Best Director” -‐ won 6th Mostra Internacional de Cinema ESAP,
2007 Margo Breast Fest Film Fest, Toronto. 2009
2006 E-Ratio Bochumer Video Festival , Germany
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ALEX KEYES | P r o d u c e r
Alex began her producing career at Oxford University with The Oxford Revue, a comedy sketch group of over fifty years' history. The Oxford Revenue has nurtured the careers of Rowan Atkinson, Dudley Moore, and Michael Palin. Alex’s next projects took her to China, where she worked both in front of and behind the camera as a model/actress and member of production staff.
Alex continued to pursue producing while working for the government education board in Japan, creating an original series, Let's Go Eigo!, which was screened in schools across the country. Most recently, Alex has produced for NYU Tisch graduate productions, including Assal Ghawami's A Yellow Room, and Francesca de Sola's Act Two, both currently in consideration at major festivals. Alex is currently enrolled in NYU’s MFA/MBA (Tisch/Stern) Producing Dual-‐Degree Program.
Joseph Eulo | P o s t - P r o d u c t i o n P r o d u c e r
Joseph Eulo is an independent writer, producer, and director working and studying in the New York City Area. His objective is it to make a difference in the lives of others through film, video, and community projects, which center on cultural awareness and/or current social, economic, or political issues facing society.
He enjoys collaborating with other artists, filmmakers, actors, and producers who share his interest in creating stories that entertain and educate.
Currently, Joseph is working with a number of filmmakers to establish an organization that teaches at-‐risk youth the craft of filmmaking. The purpose of the organization is to provide young people an alternative means of creative self-‐expression, a medium to develop a personal narrative, and ultimately a forum to give voice to their hopes, their fears, and their dreams.
In 2013, Joseph launched IndieFILMsites.com, a company providing promotional, web-‐design and hosting services for independent filmmakers and their projects. Additionally his company provides affordable web-‐design, photography, editing, and videography services to actors.
Joseph is the post-‐production producer for THE YELLOW ROOM, and the executive producer for A DAY IN EDEN, Assal Ghawami’s 2nd Year NYU film.
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Sheldon Chau | D i r e c t o r o f P h o t o g r a p h y
Born and raised in Los Angeles, Sheldon grew up in a Cantonese family with parents that fled Vietnam during the Fall of Saigon. It was in high school where his interest in films began developing and not until university where he began realizing the power of storytelling – particularly inspired by his parents’ tale of survival.
After completing several personal films about himself and his family, as well as gaining experience as a cinematographer on documentaries, short films and music videos, Sheldon is now currently pursuing an MFA in Cinematography at NYU Tisch School of the Arts.
Laura Dickens | So u n d D e s i g n e r & C o m p o s e r Laura Dickens is a Music Technology Graduate Student at NYU's Steinhardt School of Culture, Education, and Human Development. The focus of her degree rests largely on composition and sound design for film and multimedia.
Her compositions include concert works such as: Bounce for solo Harp and Four Miniatures for solo Cello, an original score for Assal Gawami's short film, The Yellow Room, as well as many short works for electronics and new media. Currently Laura is working to complete her thesis on algorithmic composition for animation.
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Sabba Hussain | a s S a n a z Sabba began acting at Stony Brook University and instantly became enamored with its unique cathartic qualities in prompting her to empathize with and explore the personal motivations of characters.
Similar to the themes of The Yellow Room, her experience growing up as a first-‐generation Pakistani-‐American has elicited direct confrontation with the societal clash of views on women and sexuality.
When she is not acting, Sabba enjoys creating mixed-‐media artwork, writing or can be found outdoors: skateboarding or
playing Frisbee. Sabba has contributed to various student films.
Yvette Mercedes | a s t e r e s a Yvette Mercedes has been part of Strasberg for over 24 years. She has an acting degree from the University of Puerto Rico. Yvette has been teaching young actors at Strasberg for over 20 years.
Yvette worked stars such as Natalie Portman and Zack Braff in Garden State, Andy Garcia and Sidney Lumet in Night Falls in Manhattan, Jack Black, Billy Crudup, Sean Penn, Dennis Hopper, Holly Hunter and Samantha Morton in Jesus’ Son, and Woody Allen in Sweet and Low Down.
alexandra manzano | a s a m y
Alexandra is an alumnus of the William Esper Studios in NYC, where she studied with Terry Knickerbocker. She has done work on TruTv’s Forensic Files, as well as voiceover and commercial work.
Theatrically, she has performed for several Spanish theater companies. Since she was a young girl she’s always dreamed of being an actress. Alex remembers watching “Annie” on Broadway as a child, and knowing at that moment, that she wanted the opportunity to entertain others.
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C r e d i t s
Executive Producer Alexander Trebby Based on “The Yellow Wallpaper” by Charlotte Perkins Gilman PRODUCERS Alexandra Keyes Assal Ghawami Richard Salem Joseph Eulo PRODUCTION DESIGNER Assal Ghawami ASSISTANT DIRECTOR Oscar Hernandez Yun Liang Alexander Trebby Alexandra Keyes ADDITIONAL PHOTOGRAPHY Dagny Looper ASSISTANT CAMERA Raisa Bonnet 2nd ASSISTANT CAMERA Dania Bdair
GAFFER Stefon Bristol Dania Bdair Faraday Okoro SOUND RECORDIST Joyce Booth Marly Hernandez Cortes Jorge Murillo BOOM OPERATOR Yun Liang Faraday Okoro SOUND DESIGNER Laura Dickens ORIGINAL SCORE BY Laura Dickens SOLO CELLIST Luis Alberto Mercado EDITOR Assal Ghawami PUBLIC RELATIONS Chrissy Keeley Genna Preston
SPECIAL THANKS Ashley Michael Hoban Stefon Bristol Dagny Looper Ting Liu Felipe Vara de Ray Reinaldo Green Yun Liang Kristina Klebe Dania Bdair Alexander Trebby Blake Lyons Asha Spina Faride Rahmani Anthony Janelli Larry Gross Kenneth Friedman Mick Casale Peggy Rajski Peter Schneider Alexander Rockwell Barbara Schock Jenn Ruff Lester Cohen Jay Ananania Keith Davis Seth Wright Henrique Meyer Handheld Films Post Production Center NYU
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B e h i n d T h e s c e n e s
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W e b s i t e
The Yellow Room website will feature full screen video, biographies, photo galleries, and interviews with the director, producers, cast, and the filmmakers.
Fan’s can subscribe to film news and updates and find out about upcoming screening times and more.
Biographies
Photos Galleries
Videos
Responsive & Visual Design. Can be viewed on mobile devices.
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Q & A a b o u t T h e Y e l l o w R o o m
Sarah Seltzer from RH Reality Check recently spoke with Assal Ghawami about her influences, why she decided to make the film, and more. Sarah’s full review can be found here http://goo.gl/V9VuI
What inspired you to bring the themes of “The Yellow Wallpaper” together with a story of a contemporary back-‐alley abortion?
I read an article about a woman in New York City who had used RUDA, a medicinal herb, to end her pregnancy and then had gotten rid of the fetus in the garbage. It was shocking to me that any woman would feel forced to take that route.
What do you imagine might have driven your young protagonist to this place? You mentioned in your director’s statement “patronizing laws.” Is this someone who would have struggled to get a legal abortion? Why?
Sanaz is an immigrant who comes from a conservative, Muslim upbringing. A friend of mine worked in London in a sexual health center on the east side where she met a lot of girls similar to Sanaz. A lot of the patients looking for help at the center had often tried using herbs and other pills before they finally went there to seek professional help. The fear to be caught by relatives and friends drives them into taking dangerous health risks. In other cases, the problem is a language barrier, lack of insurance, or an illegal immigration status.
What about Perkins’ iconic feminist story resonated in particular?
Following the public discourse about reproductive rights is like watching a really bad B movie: The characters are one-‐dimensional, the plot is predictable, and their performance lacks style and good taste. When you write a script, you look at a character from all possible and impossible angles. In Gilman’s short story, a woman is kept in the attic by her husband. He prescribes her strict isolation in order to treat her postpartum depression. She starts seeing another woman behind the wallpaper and starts tearing the paper down in order to free the woman. At the end she claims the woman is free, and so is she when she steps over her husband, who faints in shock. In a way, women are still in that attic that Gilman describes in her story. The Yellow Room, similar to “The Yellow Wallpaper,” is an exploration of an old conundrum. Ultimately it’s the women who deal with the consequences, no matter if you are pro-‐choice or anti-‐choice. I just want people to look at the debate from a new angle—from the eyes of the woman who goes through with the experience itself.
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On a personal level, from where do your interests in both the classic story and the contemporary health/political issue arise?
My whole life I’ve been surrounded by very courageous and amazing women, including my mother and my best friends. When I was three my mother left Iran and my father and build a new life for us in Germany. She was tired of the macho mentality and wanted to offer me a more liberal lifestyle. She was in her mid-‐20s then, couldn’t speak German, and went to medical school while raising me. Her courage and discipline have always been a source of inspiration for me to strive for something bigger than myself. It infuriates me when people want to disempower women and objectify them for their own political purposes.
Very few films actually have abortion scenes, and yours is basically one long abortion scene. Did you realize you were breaking a taboo?
I don’t believe in taboos. They’re made by people who don’t want to face reality. The truth doesn’t hurt anybody. Only lies do.
Any other films with abortion scenes that you’ve seen that interested you?
4 Months, 3 Weeks and 2 Days from 2007, about two young women in Communist Romania who prostitute themselves in order to get an abortion from a dubious doctor. I remember watching it and praying it was going to be over soon. It was really painful, emotionally, and even a bit physically. Another one is Revolutionary Road about an American housewife in the ’50s who wants to end her pregnancy and emancipate herself from her unfaithful husband. The oldest I know is Where Are My Children from 1916. After a woman’s abortion she and her husband have to live an unhappy, childless marriage. In all of these films, women pay a high cost for taking control of their own lives. Sad that not much has changed for women in over 100 years of emancipation.
Tell me about the setting—it’s among immigrants in a tenement house with a courtyard that has a very memorable clothesline with laundry hanging outside. How did you imagine it, and where did you film it?
The movie was shot at a house only a couple blocks away from the Empire State Building in New York. In the script I had originally written a line for Teresa, the Hispanic medicine woman, which never made it into the final cut: “Los trapos sucios se lavan en casa!” (You should wash dirty laundry in your own house!”) The protagonist finds herself in the courtyard alone, and yet we can feel the presence of the women who have come before her and the ones yet to come. The camerawork is intense and unusual, making me as a viewer feel claustrophobic and panicky. This definitely resonated with the Gilman story. I worked very closely with my director of photography, Sheldon Chau, to create a subjective, visceral experience. We chose to shoot the entire film with only one lens, a 50mm, which conveys the sight of the human eye. The camera creates a feeling of nausea, dizziness, and confinement. The world of the film is the world as Sanaz feels it.
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I know the very haunting music in the film is original. How did that collaboration come about?
I met my composer, Laura Dickens, at the New York University Film School. We just clicked somehow and share a similar sensibility regarding emotions that are evoked by music. It’s funny how one of my male teachers was very adamant about taking the music out of the film. To him it seemed to come from “different place” then my protagonist. With all due respect to his opinion, I decided that the music is 200 percent right.
You make films that explore issues of social justice. How much of your obligation is to the art and how much to the social cause, or do they go together?
I don’t think art needs a cause, but every social cause, hell yeah, needs art! People are so brainwashed by preconceived opinions and propaganda made by politicians and lobbyists. The only brain function most people use is their memory, in order to remember what others have said, thought, done. With our non-‐stop need for productivity and superiority, we don’t invest enough time in originality. Films can be a canvas in which we can find our own truth. Art encourages free thinking. I was raised very liberal by my mother. She grew up in Iran during the Shah regime so she raised me somewhat anti-‐authoritarian because of her own upbringing.
How can audiences see your film, beyond the trailer?
We have film screenings coming up at several colleges and film festivals. Submissions to the top-‐tier festivals are starting now. We are planning a one time online screening for our followers on March 31. If you are interested, follow us on our Facebook page. After the film festival screenings we will be showing the film in more public locations throughout the New York-‐New Jersey area.
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T h e Y e l l o w R o o m ( 2 0 1 2 ) T R A I L E R
URL: http://www.theyellowroom-‐film.com/Trailer2012
T h e Y e l l o w R o o m ( 2 0 1 2 ) – S c r e e n e r ( ENGLISH SUBTITLES)
URL: http://www.TheYellowRoom-‐FILM.com/screen PASSWORD: PRIVATE-‐SCREENING