Mine Mine


Running Time: 07:00

Format: HD / Short Film

Genre: Horror / Drama

Language: English

A depressed young woman bordering insanity finds the way to invoke the demon who possesed her when she was a teenager and demands to be taken again.

Elaine's life was marked by an event that changed her forever: she was possesed by a Demon when she was a teenager. However, far from traumatic, this experience completed Elaine's life. When finally the Demon was removed from her in a brutal exhorcism, her life was empty, meaningless. Her only goal was to see her Demon again and be together forever.

Mine is a metaphor of possessive relationships. One of those where your hapiness depends on having the other person next to you. They are usually negative, dangerous relationships that never end well. In a way, in these relationships, one person tries to posses the other. This is what inspired me to do Mine, and to do so I used a demonic possession (not far from the truth). Mine is a horror movie with a romantic side. I wouldn't call it scary.

There are other ideas I wanted to explore with Mine. I remember I watched a movie about possessions. It was scary and effective, but it was kind of the same as all the others: Demon possesses girl, she goes crazy, finaly they exorcise her, done. I was wondering... why all possessions in film had to turn the host crazy and make her head spin around? Could a possession be, somehow, positive? As in the Demon makes her stronger mentally? And also, is there any possibility of having someone, not a Demon, possess another creature?

We filmed for one day at the Miramar Community Center in Wellington (New Zealand) with a great team of professionals. The location was spacious and clean but nothing like the abandoned attic we wanted to create. Paul Irving designed and built a series of wooden boards to simulate a very old floor, and then painted it with satanic symbols. We nearly break our backs carrying it to the location, just 200 meters away from our operations base. Paul brought all sorts of stuff, including a dead rat! On the shooting, we used a fantastic Sony FS5, together with a crane, Ronin stabylizer and tripod, all under the command of Ed Davis. For sound we used directional mic+pole and wireless lavalier microphones. For the moon lighting we mounted a 2K fresnel light on a high stand and put it outside pointing at the window.

The movie has quite a few visual effects, some of them to remove microphones and people from the shot, others to extend the boards because we hadn't enough, others a bit more spectacular like Demon's eyes or moonlight from the window. The great Alfred Mürrle (compositor supervisor on The Hobbit) is doing a fantastic job. Finally William Kenlon composed an atmospheric score from Boston/USA, Paul Galati created an impressive color grading from Chicago and Bryn Bayliss and Zachary Rogers made the sound mix from Australia. An international project!

Mine will be ready soon for the Festivals run and available for private viewing.


The Film


Ingrid Saker
Oliver K. Heinrich


Jesus Diez Perez
Jesus Diez Perez
Art Direction
Paul Irving
Make up
Sarshya Wilkinson
Ed Davis
Sound Recorder
Fraser Rudman
Paul Irving
DOP Assistant
Anthony Balmforth
Behind-the-scenes Photography
Manasi Subramanian
Lidia Martinez
Kathrin Gunther
Jesus Diez Perez
Sound Editor
Bryn Bayliss
Sound Mixer
Zachary Rogers
Color Grading
Paul Galati
Alfred Mürrle
Jesus Diez Perez
Manasi Subramanian
Kylie Boxall
Jesus Diez Perez

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