ANYWHERE BUT NOW (previously titled Screenshots)
Narrative feature: Fiction, 93 pages.
Genre: Romance.
Status: In post-production.
Logline: in this modern L’Atalante, a young pickpocket steals a phone and falls for the girl on the other side of the screen.
SODA
Narrative feature: Fiction, 105 pages.
Genre: Drama.
Status: open to inquiries.
Logline: Unjustly accused of a fatal accident, Jay, a teenage skateboarder, teams up with a flamboyant female drug lord to ferret out the real culprit. As they roam the city, an unexpected mother-and-son bond develops, but the victim’s own mother is out for revenge.
Screenplay competition finalist feedback:
“Soda is like some sort of surrealistic fever dream; it tackles highly current events while being a timeless coming of age story, while also being a journey of revenge and repentance. What’s so interesting about this script is that it has the frenetic energy of someone telling you an outrageous story while also taking the time to highlight the setting and vibe of the city around the characters. It’s a Flannery O’Connor-like sun-dazzled drama reminiscent of a Harmony Korine films in the sense that it’s a funhouse mirror for a world that a lot of Americans choose to ignore”.
THE DOORMAN
Episodic narrative: 12 episodes.
Genre: Comedy, social satire.
Status: open to inquiries.
Logline: A doorman is enlisted by the detective in charge to solve a murder case at a New York luxury rental building with low, mixed-income, and market-rate tenants.
Note: this screenplay was written three years before Only Murders in the Building with which it bears some resemblance but it’s more of a class satire.
ACCORDING TO HER
Narrative Feature: Fiction, 95 pages.
Genre: Drama, social satire.
Status: Released in 2017
Logline: Love, motherhood, and a musical career strike dissonant chords in this dark tale of a young migrant woman who tries to keep her balance among wealthy French ex-pats in New York.