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Two years ago, we started with a small budget thanks to relatives and friends who have supported us since the beginning of the adventure. This allowed us to edit a pre-rough cut and incur necessary expenses such as minimum fees for special effects and voice recordings. To meet the technical and artistic challenge of this project, the crew has done and continues to do a colossal job. It takes not only energy and time but also money and we do not have enough to finish the first cut and better still, to turn it into a real movie.

Finalizing the current rough cut is the main objective of this campaign. All the money that will exceed our announced objective of 26,000 euros will allow to move from a rough cut to a film worthy of the big screen. It will also make it possible to settle the fees needed to be paid in order to obtain the screening licence for movie theatres.

Our film budget is divided as follows:

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By reaching our objective of 26 000 € WE FINISH THE FIRST CUT. This is the minimum we need to complete the current rough cut with just as much elbow grease, volunteering and getting by on a shoestring. At this stage, the indispensable is done, we have a first cut of 1 ½ hour/90 minutes intended for a restricted audience, you among others. This is the essential step to defend this innovative project among the rights holders and film industry professionals.

With 35 000 € WE POLISH THE FIRST CUT +++

A film is first of all a story but it is also a technical prowess. At this point we make a technical qualitative leap that will enable us to tell the story in the most beautiful way. In concrete terms: we add special effects that will support the narrative fluidity. We optimize sound editing with new voice recordings and finalize subtitling. At this stage we have a good technical 90 minutes cut that will motivate the decision makers and will open the doors of many film festivals.

With 50 000 € WE GET OUT OF THE CHRYSALIS At this point we stop fiddling. We can go to the post-production stage at a professional level. In concrete terms: we pay the rights of the essential images we need and we obtain the original sequences of the movies we need. We begin the image processing in laboratory. We treat ourselves to a recording studio for the post-synchronization of the actors’ voices. We initiate rallying events around the movie’s love message. The emotion spreads. At this stage, the impossible is in progress, we can pay something to the people of goodwill (thank you all) and we are very proud of the achieved work.

With 80 000 € THE CATERPILLAR TURNS INTO A BUTTERFLY You can pay more fees reasonably negotiated and polish even more technically and artistically. In concrete terms: We “pamper” the visual rendering. We add the original sequences newly negotiated. We enhance the special effects. And to carry out the magic of cinema, we do a crucial step: colour grading. At this stage: we are delighted with the miracles we have achieved together, we launch the promotional operation, we organize private screenings and the movie becomes known to the general audience.

With 100 000 € WE MAKE IT TO THE BIG SCREEN

In concrete terms: We treat ourselves with original music (you will love the OST). We complete the dubbing/mixing. We come closer to the Grail: the screening licence. We do the mastering of the film and we launch copies for the distribution in movie theaters. At this stage: we win awards at film festivals. The buzz is increasing.

With MORE AND MORE WE REACH THE GRAIL

In concrete terms: we obtain the screening licence for the big screen. At this stage, we are all filled with gratitude. We have jointly co-created an original, audacious movie that reaches the general audience with themes that do good. Our message spreads at light speed in the heart of the audience.

Congratulations and thank you! Your name appears on the film's website and your picture of participative angel figures in the credits of a film that will leave a permanent mark in the history of movie industry. Whereas many UFOs (Unidentified Film Objects) have never been able to leave the parallel circuits.

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1. Because you believe in love and this film will remind you why you are right to believe in it despite everything.

2. Because it is quite rare to get the opportunity to link one’s name with an innovation.

3. Because you love cinema and this film is a tribute to the past images that moved us and made our soul travel to infinity and beyond.

4. Because it is urgent to build bridges between art and spirituality to re-enchant the world.

5. Because this film can save you a few years of therapy for the price of a cinema ticket.

6. Because talking about the cine qua non with your friend Sophie, Aunt Huguette, your darling or your children will become easy.

7. Because moving the jurisdiction over copyrights of yesterday's images will allow the audiovisual heritage to serve tomorrow’s creation.

8. Because money is the sinews of war and it is time for it to become the sinews of love.

9. Because in heaven, angels will be happy to help you in return.

10. Because we dream that the film makes it to the Cannes Film Festival and rock the red carpet.

+1. Because you are an angel.

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MY ACCCOMPLICE JEAN-PHILIPPE NEIVA - HEAD FILM EDITOR Working on La Nostalgie de l'Ailleurs with Arouna gives me the opportunity to immerse myself in the cinematographic heritage and to become the co-creator of a new history within the history of cinema. Based on Arouna's innovative ideas, her poetic imagination and initiatic briefings, I search for the right set, the good acting, a look, a light. I become, sometimes a location scout or casting director, another time the chief operator and I explore the infinite magic power of editing. By recomposing new sequences with the selected fragments of images, I have the creative pleasure and the honor to give them a second life. As an editor I could not dream of a more challenging and exciting cinematic adventure. JP Neiva Motion Design: Studio Hyphen & Emilie Vial Director of production and artistic consultant: Jean-Claude Marchant. Post-production director: Laurence Hamedi. Consultants: Maurice Koster - Prune Berge - Bernard Gabay - Philippe Chanet - Jean-Paul Mugel - Joële Van Effenterre.

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“In view of the foretaste presented, the film appears promising and constitutes for us a challenge to be met.”

Serge de Poucques – Nexus Factory (co-producteur belge de La famille Bélier, Les garçons et Guillaume à table etc.)

“I’m interested to follow the advancement of your project and its budget in order to discuss with you the concrete points of our collaboration.”

Sophie Dulac – Les écrans de Paris Distribution

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“With Love and Angels, we have a real opportunity to set a precedent in the history of cinema. It would be the first feature-length movie without shooting, made only from other movies excerpts. Let’s dare the question of rights and prices. Let’s simplify the legislation without dispossessing the right holders of their essential rights. Let today’s filmmakers produce the films of tomorrow. Let us unlock this creativity which only asks for it. We are convinced that it’s possible to proceed with an ethical use of existing works, while remaining on the side of the law. This is why we wholeheartedly support this project.”

Catherine Paoli - Le Chaînon Manquant.

“An innovative and creative project like Arouna Lipchitz’s is a real opportunity not only to bring back to life well-known and already exploited images, but also to take forward the complicated and sometime unclear legislation on the use of images and artworks of others. The main purpose of this film is of course to lead us through emotions, to tell a story in a way that has never been done before, but also to become a reference in the matter of copyright and use of the works of others. It should serve as a springboard for a new charter of proper legal use, at the very least in its practical application.”

Isabelle Errera - Doc & Stock

"Being part of such a project is an exciting adventure for Marelle Films, which has been committed to supporting a different cinema since its creation. We are proud to work and support this unique film."

Sarah Darmon - Marelle Films

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Note de la production

• Les contreparties liées à des évènements (projections, ateliers, etc.) s'entendent hors frais de transport.

• Cette campagne pour le film d'Arouna Lipschitz est menée par la société Angels and Love Films, c'est elle qui recevra les fonds en cas de réussite de la campagne.

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La Nostalgie de l'Ailleurs - Le film