Project Detail

Game Keepers Without Game

Synopsis

Game Keepers Without Game is a film set within the structure of a feature length melodrama. Formally based on the Spanish dramatist Pedro Calderón de la Barca’s Play La Vida es Suena (Life is a Dream), it follows the narrative of the return of a child who had been banished from the family home. Translated into contemporary British life, the film is comprised of a mixture of acted scenes where nothing and nobody touches each other. Still shots of objects become characters and a drumming sound track builds up and breaks down like the building of a house.

Details

Year: 2010
Type of film: Features
Running time: 87 mins
Format: 16mm
Director: Emily Wardill 1st Feature
Producer: Tom Dingle
Editor: Emily Wardill
Director of Photography: Tim Sidell
Sound: Dominic Fitzgerald
Music: Jamie Gomez
Principal cast: Chloe Wilson, Holli Dempsey, Marco Aponte, Julia Dagger, Glenn Conroy, Akhram Girmay, Alison Girmay

Genre

Experimental Woman Director

Production Status

Complete

Production Company

Tom Dingle

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Based on the life of Sarah Winchester and the Winchester Mystery House, Fulll Firearms presents the story of Imelda, a woman haunted by the victims of the guns sold in her father’s company. She uses her inheritance to work with an architect who builds a house for these ghosts. When a group of people squat her half finished building Imelda is convinced that they are the ghosts that she expected. The narrative touches upon themes of displacement and storytelling, and stands in the tradition of melodrama. The characters find themselves constantly having to adjust their expectations of each other so that they might be able to communicate within each other’s logic. In her films, Emily Wardill creates situations that examine conditions of precarity in society and how these affect people’s relationships with each other. Her films are fostered by improvisations and workshop sessions, that are set up by the artist to develop themes and characters in a collaborative manner. “The house in the film produces an echo, because those who occupy it articulate their voices in relation to the making and writing of a history. Tracing the echoes of actions through the production of social spaces does not remain solely within the diegesis of the film. Instead, it extends to the exchange initiated by Wardill with her collaborators as they produce a film together, and also attempt to implicate the viewer in a film that is also a body – one that is constantly living and growing.” - Jacob Korczynski, 2011

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