A sullen woman in a mundane job, with a demoralizing boss, seeks asylum in the ladies room where she begins to receive cryptic notes from the universe.

BREAKis a modern-day fable that transcends age, gender, time, and place. We have all been in a situation we’ve needed to break away from – whether it be at work, at home, on the freeway, at the DMV, at the doctor’s office. We’ve all been somewhere and known that we deserved to be somewhere better. Our protagonist, Tracy, is Everywoman… Everyman… andwhat evolves promises to leave a lasting imprint on audiences.

I’ve always believed in the magic of the movies. After all,thatcrushed velvet seat I’m sitting in is a time machine that takes me to the 1940s and Im trembling from fear on thetrain tracks in Germany, or its the 1960s and Im dancing with a gang of Puerto Ricans across the sidewalks of New York,or its the 1980s and Im sailing across the moon on a bike. Then Im magically transported back tomy crushed velvet seat, wet with tears of sadness or joy or sheer awe, and I cant move until the last credit rolls away and they remind me they have to clean up the time machine now.

BREAKis a film that represents a fundamental theme that emerges in many stories I write: the reminder that time is precious.BREAKexplores a small window in time for one woman in the doldrums of her sad life, seeking a respite in the ladies room, and heightens that reality, giving it an importance that only the moving picture can capture. I intend to use every frame to highlight nuance, tension, and the inner turmoil of every excruciating beat. Suddenly, that seemingly non-descript moment becomes the most important time in this womans life. This is the innocuous break that wakes Tracy from the stupor she has fallen into at her wearisome position behind her terrifyingly generic desk. Time is ticking. Why waste it?

As I love to see magic on screen, fittingly, BREAKis a magical story and will utilizemagical realism. Tracy is a woman who has become numb to her world and her own dreams. I plan to heighten the senses around Tracy: the incessant ticking of the clock, the absurdity of a plastic comb moving through the fibers of her boss toupee, the repellant snapping of the nail clippers, the razor-sharp precision of the women preening in the bathroom. Every action will crackle. I find inspiration in the films of the Coen Brothers (BARTON FINK, INSIDE LLEWYN DAVIS): beautiful, tight shots that penetrate a frame. A simple object takes on a hunger, a despair, or a desperation. In a dreamier fashion, I also delight in the humor and whimsy of Jean-Pierre Jeunet (AMELIE, DELICATESSEN). I love the way he expresses human emotion through inanimate objects, as well as his techniques of elevating light and sound.There are many other filmmakers who have influenced and inspired me, but I plan to draw upon the magic that these filmmakers, in particular, continually conjure up.

As womenin this crazy business, we’re often left sitting in chairs, waiting in the wings. We’re excited about being female filmmakers, telling stories about women with a majority of female characters… that holdsuniversal appeal. We look forward to giving our audiencethe keys to their own little time machines, where they can laugh, cheer, shout, or bawltheir eyes out and eventually get chased out by a cleaning crew that pretty much knows the feeling.

Jennie Fahn

Writer/Director

Current Team

Sapna Gandhi

Co-Producer

Actor

Patrick Duncan

Actor

Kiko Suura

Director of Photography

Jason Stare

Sound Designer