Mardi Gras


FILM: Mardi Gras


Mardi Gras

Starring: Zoe Page, Ariel Anderssen, Lil Missy, Hywel Phillips

Crew: Steve

Zoe’s been driving for HOURS. She can hardly keep her eyes open, but she’s in the middle of nowhere. She hasn’t seen so much as a village in miles. Finally – relief! She catches a glimpse of a hotel through the trees by the side of the road. It looks old and creepy and weird, but beggars can’t be choosers.

Zoe parks up and heads up to the door as the sun sets behind her. The door is answered by a tall, elegant blonde. “I was wondering if you had a room for the night?” stutters Zoe. The hostess welcomes her and escorts her to a room – the room where all new arrivals are put, she says. It’s all a bit off-kilter, especially when she announces that the electric lights are out – they clearly were on in the hallway…. Zoe starts to wander what she has gotten herself into?

Images flicker and haunt the edges of her sight. Other girls, other times… some in rope, some in handcuffs. A girl being spanked in the lounge. A slave girl being fed by a masked mistress over breakfast. A whirl of naked dancers encased in rope. Doors, corridors, endless rooms, endless stairs, the place is a maze… Will Zoe survive Mardi Gras?

This bondage music feature film has been a long time brewing. You’ll almost certainly know the song that inspired it, but licensing the original would be way beyond my means. It all came together with Audio Network’s magical music library when I heard “Mardi Gras”. We’d already shot the film! I’d done a rough cut of the edit on location because a) I was excited to see it and b) this very staccato cinematic filming style is difficult to pull off without extensive storyboarding, and we never have time or budget for that much pre-production. I knew it hadn’t quite come together in that rough edit – but when I heard the chorus from “Mardi Gras” it all clicked. I sat down at the computer as soon as
I got home and eight hours later I had the final edit.

Filmed in true cinematic style with Anamorphic lenses on a Sony FX9, with skilled camerawork by Steve (and a bit less skilled camerawork by me) brought it to life and gave it the depth I knew the film needed to carry off the nightmarish feel of the story.

We hope you enjoy it!