Current Projects

Cold 

(short 2019)

Writer/Director Kirsty (KJ) Hamilton, Producer Kirsty (KJ) Hamilton, Date of Completion September 2019, Film Category Short, Production Location New Zealand, Shooting Format 4K, Exhibition Format DCP, Aspect Ratio 235:1, Picture Format Color, Sound 5.1 Surround, Running Time 10 minutes 34 Seconds, Genre Drama, Main Dialogue Language English. Not yet released; currently in submission process for Festivals.

Log Line

An estranged brother and sister meet. She wants him to apologize for the past. He wants to leave it behind. Will they find peace?

Synopsis

Alice, 40, Jaden’s estranged sister visits her brother, Jaden, 45, at his place of work where he is busy trying to complete a complex project. Alice wants to receive an apology and understand abuse she suffered at his hands in their childhood. Jaden wants to leave it all behind, be forgiven and move on from his own pain. They dig at each other passive aggressively, jog each others memories of terrible events, deny, reveal previously undiscovered truths, dance in a moment of joyful memory, blame, fight, and finally gain a clearer understanding of each other. However a surprising event means it may well be too late to find true reconciliation.

IMG_3697

Rehearsal Footage above with Matthew Sunderland And Kirsty Hamilton.

https://www.imdb.com/title/tt8835688/?ref_=nm_flmg_act_1

Without Sin – Harakore  (feature film) 2020 in development

Associate Producers Bioanna – Red Oxygen Films, Chile, Emma Mortimer New Zealand

https://www.facebook.com/redoxygenfilms

https://www.redoxygenfilms.com/en/

Currently Seeking Lead Producer

Log Line

An incest survivor must decide whether or not to donate her bone marrow to save her abusive fathers life.
Theme Line
In order to heal and find self empowerment one must understand one’s past and find compassion for the self.

“Forgive yourself, sometimes there are only bad choices”.

Feedback on the Screenplay

‘In Erin, you’ve created a compelling and original female character, full of intriguing contradictions: she is strong and weak, faltering and persistent. She is full of unreasonable guilt and disturbed by her past, yet trying to ‘save’ others and believe in her innocence; she hides her sensuality in public, but can access this in private; she is hyper-aware of the need to protect herself from the threat posed by men (constantly wary), and yet also takes ‘crazy’ risks (short cut through the park, going to Johnny’s house); she is both loyal and disloyal.

You explore themes of trust and the abuse of this; of what it means to survive instead of thrive – to be more than a ‘survivor’; of the experience of freezing in fear and of the pursuit of impossible security/safety – locks on doors, on the past, on ourselves. Visually, there is some powerful use of the image of butterflies and souls. You also play with ideas of strength and
weakness – the tiny wily mouse who steals the cheese, the weak abuser who gets to live, the strong man who is unable to protect his lover, and the rapist who weeps for home. ‘ – Pippa Best Script Consultant – UK

‘Erin is a well-rounded, well-drawn complex individual that appears on the page as a bundle of her past experiences. It is often the case that less experienced writers like their main characters too much and as such don’t let them suffer too much or do bad things. This is not the case in this story. – Seed  Fund Feedback 2018

Excerpt from the associate producer statement – Emma Mortimer

‘Without Sin – Harakore is an honest, naked, brutal yet delicate portrait of a survivor. Erin navigates life through the filter of her damaged psyche, paralysed by anger, fear, guilt and perceived inadequacies. When I first read the script, I wanted to reach into the pages and embrace her – apologise for the world, keep her safe and guard her private existence. Yet at the same time, I felt (and feel) compelled to wake the world up to it, and bring her into the light. This is why I have come on-board as an Associate Producer. We’ve all been privy to (or experienced) similar expressions of fear, resentment and anxiety that plague Erin. Many of us have neighbours, colleagues and friends that have suffered from abuse, sexual harassment, violence. Kirsty has reached out to these people and researched tirelessly, in consultation with experts and professionals in the field. She also has the lens of her own personal experiences. Thus the complex layers of Erin’s character are so carefully articulated to encapsulate the experiences of the many. Erin’s story, her particular point of view, is not so singular after all – it is for every woman. I believe this is why it resonates so strongly with readers, and in tin turn, will reach our desired audience. Without Sin is a painfully honest portrait of a survivor who whilst damaged, is sane, and also has the capacity for great love, warmth and joy. Evident in her relationship with David, this balance is key – because although we worry about her and we are angered by her situation, we also feel hopeful. If Erin can trust the good, let it in and allow herself to be loved, then she has a chance to really, truly engage with the world and find peace.’

HISTORY OF THE PROJECT – IN BRIEF
The screenplay itself at draft 9 obtained second round consideration for 2019 Sundance Writer’s Lab. It has also been submitted to Iris Writers Lab, Seed Fund twice, Script to Screen Workshops in 2018 and 2019, Tribeca All Access Lab 2019, and Breaking Through the Lens.  We want to submit, once a lead producer is on board, to NZFC EDF and ADF funds for development and production.

Look Book is available on request.

Contact: Kirsty Hamilton – writer/director at lakatwriter@gmail.com