Kuma Brings the Pearls, A love Story on Three Lakes
In this serene, dream like art film, shot on frozen Hudson Valley Lakes, a Jamaican enlists the help of Kuma the dog to win over the Skater.
DAVID BROWN and BETH WORONOFF are first time film makers. Together they directed, acted, edited and produced this film.
Our 20 year relationship, our memories and shared experiences. Formed the concept for Kuma Brings the Pearls; skating on a lake, bringing our dog and filming our experiments. The three actors in the film are the Skater, the Dog and the Jamaican. Though we routinely video our rehearsals this is the first time we have used film as the finished product. The movement is improvised with the David prompting the Beth either through words or through his own movements and the Beth’s own inspiration taken from exploration of the lake and emotions relating to the love story. Before starting each session we decided upon a few scenes we’d like to capture like the Skater finding Kuma wearing the pearls, then taking them off the dog and wearing them. Before heading out to the lake we decided on a few props to bring, the bench, a straw bag, practical things that someone skating on a lake might use. As the story took on life, we discussed adding, a white dress on a hangar which Kuma could lead the woman to, similar to Kuma bringing the pearls, again, the viewer can wonder where the dress came from and who put it there. Each object we choose had personal meaning for us. The story line is an armature for the movement and the camera work which brings texture and tone to the piece. The camera is very mobile following the action and making choices of what the viewer sees and hears. The camera pans the ice showing the markings left by the blade, the camera looks out from behind fur leaves and branches in the woods. The soundtrack includes squeaky boots on the ice, snow crunching underfoot and blades on a tight curve. In one instance, the Man reaches into the frame to help the Woman up after she has fallen. We made decisions about when to keep the camera person invisible and when to allow them to be seen as actors in the film.