Funded! This project was successfully funded on May 14, 2012.


In the middle of nowhere, two women juggle the threat of forest fires, the world market, Japanese investors, and each other.

In For the Plasma, two young women find themselves living and working at an unlikely intersection between the digital and the real, between the seen and the unseen, the objective and the subjective, the lived and the imagined. It is a film set in a specific time and place, but that inhabits a space that is difficult to define. Its premise is science-fiction, its imagery pastoral; its intentions and ideas are its own.

It is a micro-budget feature film, but one whose aesthetics and thematic content make shooting on 16mm necessary. The cast and crew are small and made up of talented individuals sympathetic and artistically attuned to the project.

The video above is not representative of the look or feel we aim to achieve in the finished film. Instead, it playfully presents some of the key ideas and motifs of For the Plasma in an essay or scenario form.


From the beginning we have been intent on doing a lot with very little, with using a minimal budget and crew to create something much larger in scope and ambition. We are looking into other sources of funding that would allow us more leeway and flexibility during production, but are turning to Kickstarter for our primary funding. Our entire cast and crew are working for free, and thanks to a grant from Panavision our equipment costs will be minimal. The money earned here would go toward purchasing film stock, renting the primary location, feeding cast and crew, paying for equipment insurance, dolly rental, travel expenses, prop design and manufacture, and film processing and editing fees.

Please give whatever you can. This is a very personal project for everyone involved, and our gratitude will be deeply felt.


The entire film will be shot on location in Port Clyde, Maine over the course of three weeks in June. It was conceived from the ground up with the landscape of Northern Maine in mind and will take full advantage of the area's natural beauty and distinct cultural history. We are the grateful recipients of a Panavision New Filmmakers grant and will be shooting using Panavision equipment and on Super 16mm film. All pre and post-production will take place in New York City.


Anabelle LeMieux as "Charlie"

Rosalie Lowe as "Helen"

Ryohei Hoshi as "Ohira"


Directors: Bingham Bryant & Kyle Molzan

Writer: Bingham Bryant

Cinematographer: Sean Williams (Frownland, Beetle Queen Conquers Tokyo, The Color Wheel)

Other Positions: Elizabeth Bernstein, Farr Bryant, Malcolm Donaldson, Jacob Halpren, Samuel Henry, Erica Hill, Derelle Ishmael, Julian Labat, Juan Melo, Bill Moran, Rye Skelton, Gemma Soldati


Helen, a serious, somewhat difficult young woman, has found work in Maine as a technician and lookout responsible for monitoring a large swathe of nearby woodland for fires. While there she has made an odd but lucrative discovery: by analyzing the images of the forest and environs that surveillance cameras relay to her base in a seaside 19th century house, she is able to predict future developments or trends in the world financial market. Secretly paid for her services by big business and stock market speculators, she finds security and intellectual satisfaction in this new work, but also self-doubt. What does she see, how does she see, and how can she be sure? Helen turns for help to Charlie, another young woman and an old school friend. But when the inquisitive and demanding Charlie arrives at the house, Helen finds herself challenged and unsettled by her friend, and the two girls’ relationship begins to unravel. At Helen’s request, Charlie embarks on a series of expeditions into the forest to check her analyses. Helen plots small revenges against her friend in her absence. A friendship struck up with an aged lighthouse keeper and brief excursions into the wider world further complicate their relationship and hinder their work. Then Helen receives a commission from an international client to analyze a different kind of image: photographs retrieved from satellite telescopes. Her reluctance to include Charlie in this new venture forces the two into a nighttime confrontation which leaves the house in confusion. After this outburst, it would appear that Charlie and Helen go on as if nothing had happened, but in reality they cease to acknowledge each other’s presence. Before long, Charlie steps into Helen’s old role as lookout, and Helen sails off quietly with the lighthouse keeper.

2012. Cochin Moon Productions


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