CAST
Martha
A strong willed woman worn down by the church with dark hair and a gothic look who turns angry over time. Previously secure in herself, an independent soul forced into conformity. Throughout the film she loses her sense of self through the image that the church projects onto her, a mask forced upon her, her voice taken. She is a ghost of her former self and creates a friendly facade to trap other women into the same trap that she found herself in all of those years ago
Played by Elisabeth Hall
Eli
Eli is soft, innocent, and vulnerable. Unaware of the corruption of the church, she goes to them seeking a positive change in her life. She’s trusting to a fault, unsure in herself, making her an easy target. Overwhelmed by life and the expectations of her, she seeks the church as an escape from society, for answers, for anything. The perfect victim. Martha acts as a comforting force for her and the two create a close bond, or so Eli thought.
Played by Charlotte Hall
CREW
EMILY FREER (Director)
I was the director and producer of Testament, this means that a lot of the visual style and artistic direction came from me. I ran the shooting days, I managed actors, I managed crew. Many of the ideas for different shots came from me, I was inspired by films like The Passion of Joan of Arc and Derek Jarman’s Wittgenstein. I liked the theatrical and abstract design as I wanted to encapsulate the emotion behind being ostracised within the church rather than specific events. This experimental approach to filmmaking is what sets apart Testament from other religious films.
HANNAH MILES (Lighting)
As the Gaffer, I was responsible for safely assembling and operating the lighting equipment on set. I contributed to the visual mood and atmosphere of the film and worked closely with the Director and DOP to achieve the desired vision.
YASMIN ROBERTS (Screenwriter)
I wrote and developed the script using research and editing skills. In the production phase of the film I was responsible for the marketing, creating an eye catching website and social media page.
ANDREA HROVATIC (DOP + Cinematographer)
As a DOP I’m in charge of the vision of the film. The scene, light, product design and framing are consistent. I am in a communication with the director who comes up with the idea, and I am here to execute those ideas, solve any problems that occur along the way and make sure the filming runs smoothly. As a cinematographer, my hands are on camera, lenses and most importantly, I am the boss of the exposure triangle. If the image is under of overexposed, there has to be a valid reason for it.
LIBBY MITCHELL (Editing + Sound)
As an editor, I oversee post-production. All the footage ends up in my hands. After filming is wrapped up, I am looking for the best way to tell the story. As a sound technician, I decide everything you hear, and everything you don’t. I collect sounds and keep them in the folder that could one day become foley. On the filming set, I am recording sound to match the image. Then again in studio to have it fresh and easy to manipulate in editing. I am in a constant lookout for sounds that can create a certain emotion for a scene.