65mm Horror Short
"Daughter of Dismay"
Horror short film "Daughter of Dismay" filmed in Austrian alps in 65mm by
Danish director of photography Ziryab Ben Brahem. They plan to strike 70mm
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The 70mm Newsletter
|Written by: Pictures
and text From
"Daughter of Dismay" Facebook page. Reproduced with permission
Ever wondered what would happen if independent art-house filmmakers were given
the technical resources of films such as
"The Hateful Eight"? This
might be the answer.
As one of the very few independent short film in cinematic history to be shot on 65mm
film, the plot of ‘Daughter of Dismay’ tells the surreal and mystical tale of a
witch, an emotionally broken woman who enters the deep of the woods to fulfil
her biggest desire, her most heartfelt wish, for which she takes extreme and
radical measures, measures that will have sinister consequences, leading to a
heartbreaking and deeply melancholic finale. Portrayed in elegant, painting-like
images, the film will be an epic, moving and emotional trip through a world of
witchcraft and occultism, focusing on a different kind of witch than usually
portrayed in media, one that doesn’t focus on cliched depictions of devil
worship, but on a much deeper and more human side, one that many will find very
With an incredible array of talent, including composer Joseph Bishara (The
Conjuring, Insidious), visual effects artist Justin Schenck (Swordfish, The
Exorcist FOX), cinematographer Ben Brahem
Negative" (honored with an
award by Kodak themselves), Room for Rent) and 1st AC Levente Násásy (Don't
Breathe, Strike Back), "Daughter of Dismay" will be an art-house film unlike any
you've seen before. We're combining the visual elements and music of large, epic
Hollywood blockbusters with those of art-house and horror movies, and are
packing them into a short film.
We're not stopping after post production though: For the exhibition of the film,
35mm and 70mm release prints will be made, which will screen at festivals and
special events all around the world. We're proud to be one of a long line of short films to screen on 70mm, a format largely reserved for much, much bigger
The crystal clear textures and detail, along with the rich natural color
of film and the wide, epic feel are exactly why films like "Ben Hur",
from Arabia" and
"2OO1: A Space Odyssey" were shot in this format, and it's the
same reason we did. This still is what the 35mm (2.4:1) and regular 70mm prints
(2.2:1) will look like in terms of aspect ratio, the
IMAX print will be much
taller at 1.43:1. This will look absolutely beautiful on film.
Final print production is currently set for late December 2018.
|More in 70mm reading:|
"Daughter of Dismay" World
Premiere at the Schauburg
Director of Photography Ben Brahem
Ziryab in Conversation
Photographed on 65mm Film
VistaVision Strikes Back
The Mini IMAX Movies in 15/70
"Where The Trains Used To Go"
in IMAX by Morten Skallerud
"Daughter of Dismay"
Landscape shot from
"Daughter of Dismay". This truly shows the beauty of 70mm
Facebook update by James Quinn, 26.12.2018:
"Daughter of Dismay", currently being scored by Joseph Bishara (The
Conjuring, Insidious). After the score is finished, it’ll go out to our
sound engineer, who’s a triple Academy Award winner and has done the mixes
of some of the most influential films of all time (call scheduled for
tomorrow to talk about the mix), after that, the final cut and mix along
with the negatives will go to LA to FotoKem, where 35mm, 70mm and 70mm IMAX
prints will be struck, supervised by Andrew Oran, who was responsible for
the prints of "Dunkirk"
and "The Hateful
Eight". Extremely grateful for the team we have on this, I
absolutely can’t wait to see it on the big screen for the first time. It’s
shaping up to be even more than I hoped it would be.
We'd like to welcome a new member in the team of
"Daughter of Dismay", who
will be responsible for the sound mix of the film, to ensure it sounds as
good as possible, even in IMAX theaters. His name is Steve Maslow, and he's
been responsible for countless mixes of some of the most influential films
of all time, including Raiders of the Lost Ark, The Empire Strikes Back,
Edward Scissorhands, Escape from New York, Beetlejuice and many more. He's a
triple Academy Award winner and one of the absolute best in the industry,
and it's an honor to be working with him on this film.
May 2019 update:
Cinematographer Ziryab Ben Brahem behind the 65mm 8-perf camera on the set
of "Daughter of Dismay"
From the conversation with Director of
Photography Ben Brahem Ziryab:
We saw all these different things that were really above the 2,20:1
frame, and we thought it would be a shame to lose all that. Plus we thought
this was a short film that would lend itself to that visual experience that
you get by watching it on the biggest screen possible, which is the Imax
format, which is essentially 1,43:1. It is kind of a square, very tall which is nice and you
feel like you are sitting close to the screen and you kind of feel that you
are in the movie. It is very visual and we thought "Well, that could be a
very interesting option", so we ended up deciding,
", well, what if we shoot it in
that aspect ratio? Then we make two different versions of the film. Make
a version that is 2,20 for the 70mm screens and we make one for the Imax
James said "Let's do that". We did
look at 15perf, which is the Imax format, 15-perf, 65mm film. For budget
reasons we thought that that was just a little bit too expensive. We found
this other format which has actually not been used very much. It is 8perf,
65mm, but instead of the film going horizontally [like IMAX] it actually
goes vertically, like 5perf and we thought "Well, this is kind of an
interesting medium", and 8perf 65's projection aspect ratio is actually
very similar to the 1,43:1 Imax. So, you could release it in both formats
without breaking the bank, essentially.
June 2019 update:
born director James Quinn behind the 65mm 8-perf camera on the set
of "Daughter of Dismay".
"Daughter of Dismay" is officially finished! It's been a long journey
that started over a year ago, a soul-crushing and energy-draining one, as
well as the most beautiful experience I've had the privilege of going
through. Getting to shoot a film in 70mm IMAX was something I not only
didn't think was going to happen any time soon, it was an absolute dream to
work with as part of the vision I had for this.
We're in touch with a few absolute legends at the moment, and are already
working on building this into a feature, the first 70mm witch epic ever
made. Can't say anything about it yet, but it's going to be absolutely
gigantic. The last step for now is the production of the 35mm, 70mm and 70mm
IMAX prints, which will take place in August. After that, it's ready to
premiere. More details about screenings will be posted once we can tell you
We upgraded to 8 perf 70mm and are the first narrative short film in
the history of cinema to be a 70mm IMAX project, since we will be striking
15 perf IMAX prints. Triple Academy Award winning sound engineer Steve
Maslow will create a Dolby Atmos mix, which will be
screening as a separate version, additionally to the IMAX, 70mm and 35mm
The film is finished, and we’re about to go into the printing stage. A
trailer is available
James Quinn, director
September 2019 update:
Directed by: James Quinn. Writing Credits: James Quinn.
Produced by: Karsten
Peters and Justin Schenck. Music by: Joseph Bishara. Cinematography by:
Ben Brahem Ziryab. Production Design by: Julian Pargfrieder. Makeup Department:
Magdalena Dula. Stills by: Manuel Ganglberger. Gaffer: Benjamin Költringer.
Sound engineer: Steve Maslow. Print supervisors: Vince Roth and
Andrew Oran (FotoKem)
Cast: Ieva Agnostic (The Witch), Dajana Rajic (The Daughter), Krist Mort (The
Camera: Mitchell 65mm, Hasselblad Lenses. Printed in:
35 mm (anamorphic) (Kodak Vision 2383),
70 mm (Kodak Vision 2383) and
70 mm (horizontal) (IMAX blow-up) (Kodak Vision 2383).
Prints by: FotoKem Laboratory, Burbank (CA), USA. Negative: 65mm (Kodak Vision3 50D 5203).
Running time: 9 minutes
• 70mm print world premiere:
70mm-Festival 2019 at the
Schauburg Cinerama, Karlsruhe, Germany *)
-, followed by 70mm screenings at:
10.10.2018 Three Week Theatrical Run. Every day before the evening show of
"Joker" at the
Schauburg Cinerama, Karlsruhe, Germany
11.10.2019 Savoy, Hamburg, Germany *)
13.10.2019 Pictureville, Bradford, UK *)
18.10.2019 Leo Kino, Innsbruck, Austria *)
24.10.2019 Irish Film Institute, Dublin, Ireland
26.10.2019 Gateway Film Center in
Columbus, Ohio, USA *)
*) with director James Quinn in attendance.
The plot of "Daughter of Dismay" tells the surreal
and mystical tale of a witch, an emotionally broken woman who enters the deep of
the woods to fulfill her biggest desire, her most heartfelt wish, for which she
takes extreme and radical measures, measures that will have sinister
consequences, leading to a heartbreaking and deeply melancholic finale.
Portrayed in elegant, painting-like images, the film is an epic, moving and
emotional trip through a world of witchcraft and occultism, focusing on a
different kind of witch than usually portrayed in media, one that doesn't focus
on cliched depictions of devil worship, but on a much deeper and more human
side, one that many will find very much relatable.
The film stars Dajana Rajiç, Ieva Agnostiç and Krist Mort in the lead roles, and
features on-crew talent such as producer Justin Schenck (Swordfish, The Exorcist
FOX), composer Joseph Bishara (The Conjuring, Insidious, Annabelle), triple
Academy Award winning sound engineer Steve Maslow (The Empire Strikes Back,
Raiders of the Lost Ark, Edward Scissorhands), print supervisors Vince Roth and
Andrew Oran (Dunkirk, Interstellar, Phantom Thread), as well as more who have
collectively worked on films such as There Will Be Blood, The Autopsy of Jane
Doe, Star Trek and Into The Wild.
The film was shot in 8perf 65mm, with 70mm IMAX blow ups made, as well as
regular 70mm prints, all entirely photochemical. To achieve the crispest, most
defined image, it was shot at an ASA of 50, something that proved to be a great
difficulty, giving that it was shot in the dark of the woods. The film was lit
with several 18k lights, so powerful that the cast and crew got sunburnt by
them. The entirety of the light in the film is artificial. No natural light was
‚Daughter of Dismay‘ erzählt die surreale und mystische Geschichte einer
Hexe, einer emotional gebrochenen Frau, die sich in die Tiefen des Waldes
begibt, um ihren größten und innigsten Wunsch wahrwerden zu lassen. Dafür
greift sie zu extremen und radikalen Mitteln – Mittel, die schlimme Folgen
nach sich ziehen werden, was in einem erschütternden und zutiefst
melancholischen Finale mündet.
Mit seinen eleganten und gemäldeartigen Bildern ist der Film eine epische,
bewegende und emotionale Reise durch eine Welt der Hexerei und des
Okkultismus, bei der eine andere Art von Hexe im Mittelpunkt steht als die
in den meisten Medien dargestellte. Bei dieser Hexe liegt der Schwerpunkt
nicht auf klischeehaften Darstellungen von Teufelsanbetungen, stattdessen
wird eine wesentlich tiefere und menschlichere Seite betont, mit der sich
viele sehr gut werden identifizieren können.
Die Hauptrollen des Films sind mit Dajana Rajiç, Ieva Agnostiç und Krist
Mort besetzt. Zur Crew gehören außerdem Talente wie der Produzent Justin
Schenck (Passwort: Swordfish, The Exorcist), der Komponist Joseph Bishara
(Conjuring – Die Heimsuchung, Insidious, Annabelle), der Tontechniker und
dreifache Oscar-Preisträger Steve Maslow (Das Imperium schlägt zurück, Jäger
des verlorenen Schatzes, Edward mit den Scherenhänden), die Print-Supervisor
Vince Roth und Andrew Oran (Dunkirk, Interstellar, Der seidene Faden) und
weitere Mitwirkende aus Filmen wie There Will Be Blood, The Autopsy of Jane
Doe, Star Trek und Into The Wild.
Gedreht wurde der Film in 65 mm (8 Perforationslöcher), mit 70 mm-IMAX-Kopien
und mit normalen 70 mm-Filmkopien, alles komplett photochemisch. Um
möglichst scharfe und klare Bilder zu erzielen, wurde Aufnahme Film mit 50
ASA verwendet, was sich als äußerst schwierig erwiesen hat, da die
Dreharbeiten im dunklen Wald stattfanden. Für die Beleuchtung wurden mehrere
18.000-Watt-Lampen verwendet, die so stark waren, dass Darsteller und
Crewmitglieder einen Sonnenbrand bekamen. In dem Film gibt es ausschließlich
künstliches Licht, es wurde keinerlei natürliches Licht genutzt.
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