UNICEF's Motociclista metephor
In a powerful, 16mm-shot film, director Eugen Merher details the emotional damage inherent to victims of child marriage.
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Credits
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- Production Company Freelance
- Director Eugen Merher
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Credits
View on- Production Company Freelance
- Director Eugen Merher
- Production Company Sterntag
- Production Services Metropolis Films/Uruguay
- DP Diego Rosenblatt
- Editor Raquel Caro Nunez
- Sound Designer Denis Elmaci
Explore full credits, grab hi-res stills and more on shots Vault
Credits
powered by- Production Company Freelance
- Director Eugen Merher
- Production Company Sterntag
- Production Services Metropolis Films/Uruguay
- DP Diego Rosenblatt
- Editor Raquel Caro Nunez
- Sound Designer Denis Elmaci
Using a dream of freedom as a striking visual metaphor, Eugen Merher's emotionally charged film for UNICEF explores the loss of potential associated with the practice of child marriage.
Engagingly shot on 16mm - the stock giving the images a timeless quality - Motociclista divides its narrative between timelines of a young girl's future wishes, her overwhelming nuptials and her eventual fate.
"After shooting a commercial in Uruguay," explains Eugen Merher, 'I decided to stay a few weeks longer and use the money to fund this short film / PSA - an independent passion project, with added financial support by German production company Sterntag Film. It was an amazing experience for me on a personal level to be able to make all of my own decisions while wearing the hats of both director and executive producer.
"With the warm help of the local service production Metropolis Films, the amazing cinematographer Diego Rosenblatt and the people of Estación Migues, the small town where we shot the film, it became an experience that I will never forget.
"It was also my first time shooting on analogue 16mm film and it was an eye-opening experience for me on set to be much more restricted with the material and wasn't really being able to see the result until the very end. But because of this, I was able to shoot much faster than on digital because I wouldn’t shoot 27 takes and I would work much closer with the actors, rather than sit behind a screen all day.
"The adventure of finding film stock, shipping it from Brazil to Uruguay and then taking the undeveloped material to a lab in Belgium across three flights was a whole different story of course, but to me it was all worth it and I would definitely do it again."
