The News From Red Feline Pictures

[La Reine Margot]

Can’t Wait For The Next Film!



Some of our fans express a strong desire for films to be created as if by magic—envisioning a process where a concept becomes a fully realized film like instant coffee and without any obstacles. The hope is that such immediacy would satisfy everyone’s wishes.

If we could think of a film and like a miracle it comes to life in seconds, minutes, hours, unimpeded, the filmmaking process would seem magical and effortless. Such an experience would fulfill the hopes of all who long for immediate realization of creative ideas, offering a world where concepts are instantly transformed into finished films without delay or obstacles. That doesn’t happen, not even with AI.



The journey from the initial spark of an idea to the completion of a film is a lengthy one. Once a concept is conceived, it often takes months—or even years—before the finished product is ready to be shared with audiences. This extended timeline is a consistent reality in the world of filmmaking.

As a fan, it is entirely normal to experience the wait for the next season of a beloved Netflix series. The anticipation builds as viewers patiently look forward to new episodes, often waiting two or three years before the next season appears on their favorite streaming channel. This pattern of waiting is simply a part of life for both creators and fans alike.

Acknowledging this reality helps set expectations and reminds us that the creative process, though time-consuming, is essential for producing the stories we cherish.

wanttoknowmore I agree AI is still not at the full film stage. However, as I stated before, it can be used to augment scenes with background or non-central characters – for example, a crowd watching a crucifixion as viewed from the victim looking down.

We are currently exploring the use of artificial intelligence for scenes and sequences that require a large number of people or elaborate constructions from specific historical periods. This experimentation aims to address the logistical challenges involved in creating such complex environments on film.

For scenes where a significant number of people are depicted watching a character—such as a view from the perspective of someone on a cross—it is essential to set up the camera behind the character. The shot needs a clear point of reference, which could be the character’s head, shoulders, or arm, to establish the perspective of those below or within the scene. While arranging this point-of-view during production is not difficult, it does require careful planning and coordination.

To utilize AI effectively in these scenarios, the point-of-view shot with a reference to the person on the cross must already exist. In other words, the necessary footage must be captured during production to serve as the basis for further enhancement using AI technologies.

It doesn’t mean that AI will actually generate the images the director has in mind. Maybe, just maybe, after many tries. Like the test below with one picture from Seditiosa.

wanttoknowmore It also looks like these folks are setting up yet another fundraising pitch, be it for pre-production or as a “pre-release purchase” to aid in post production. My advice based on experience is buyer beware. They promise big and deliver small, and late, if at all. If you do contribute, good luck, as they also have issues following up on promised deliverables like download links. My suggestion regarding raising cash is to actually FINISH AND RELEASE the various projects that has been in post-production for over a year.

We have decided not to pursue any fundraising activities for the moment, if ever again. Instead, our focus is on returning to our original system: creating films, selling them, and using the resulting revenue to produce additional movies. This approach allows us to work at our own pace, with the resources we have available.

While our production model grows more sophisticated, we are introducing new methods for distributing our films. These innovations in distribution reflect our commitment to reaching audiences more effectively while maintaining independence in the filmmaking process.

Film postproduction operates according to its own unique rhythm and schedule. The timeline for this phase is heavily influenced by the nature of the raw materials, their specific requirements, and any complications that may arise during the process. For a typical 90-minute film, completing postproduction generally requires a minimum of eight to nine months. However, when multiple projects—such as three or four films—are being processed simultaneously, the duration extends significantly. In some cases, the completion of postproduction for certain films may exceed one year.



Projects are completed according to unwritten priorities. For instance, the film Justine, which was produced after Pygmalion, both at the end of 2015, was released in 2017. In contrast, Pygmalion received its theatrical release only in 2023 and has not yet been made available elsewhere. Currently, there are ongoing negotiations to secure for a broader worldwide release.



Over the course of approximately three decades, our team has built an impressive production record. Within this timeframe, we have successfully created ninety films, (90!!) averaging three films per year. This level of output demonstrates our dedication to consistent and sustained creative work.

Among these ninety films are major documentaries produced for National Geographic, highlighting our ability to deliver high-quality content for renowned international television networks.

Of the ninety films produced, seventy-four are currently available or will soon be available in our Red Feline store. This represents a substantial portion of our total output and underscores the breadth of our catalogue accessible to audiences.

In summary, the volume and consistency of our productions over the years reflect a robust and reliable creative process, affirming our position as a prolific producer in the industry.

JDArts Last year Simonne made her directorial debut with a documentary; I suppose she’ll also contribute some of her experience to Crux Films’ productions alongside Daniela, Mila, and Jac.

The hugely talented artists who choose to work with Jac on these filmmaking projects are motivated by more than financial gain or the prospect of acting roles. Their primary interest lies in the opportunity for learning and personal development. For instance, Amy initially joined the team as an actress. After sharing a script with Jac, he recognized her potential and gave her the chance to direct her first film, Sirwiñakuy. Following this experience, Amy went on to direct additional films. One of her works was showcased at a film festival, many of them were featured at international film festivals, but one in particular was at a great festival where it caught the attention of representatives from a university. So impressed were they by her achievements that they invited Amy to design and lead the university’s film program that didn’t exist until then. She accepted the offer and now she runs the program.



Many of the talented actresses who have worked with Jac have gone on to pursue diverse and successful careers in the film and arts industries. Carmen, for instance, continued her studies in film and drama in France, later making her own films and becoming actively involved in theater. Bea also chose to further her education in film, ultimately deciding to focus her skills and attention on camera work. Mila, after studying both film and art, now runs her own ART oriented business. Simonne ventured into documentary filmmaking and is planning to advance her career in that direction. Ligia is presently working with a variety of companies producing promotional videos. Those are just a few examples.

wanttoknowmor I saw that. Haven’t heard her mentioned in the “new year plan”. Wonder if she met someone at college and has decided she doesn’t want to be shown naked anymore

Each member of the team, including Simonne, pursues her own interests and personal goals outside of their collaborative filmmaking work. This diversity of aspirations is a natural aspect of life. Over time, actresses may encounter new people, start families, or follow different paths. There is no expectation of exclusive or lifelong commitment to Jac or the film production company; rather, team members contribute their skills and dedication for as long as it aligns with their personal journey. When the moment comes to move forward, as it did for Carmen, Amy, Veronique and Bea, to name a few, they do so, carrying with them the experiences and growth gained through their involvement.

Even after pursuing their individual paths, many former team members maintain the option to return and collaborate on new projects. This ongoing possibility of rejoining the group is a common occurrence, reflecting the flexible and supportive nature of the team’s dynamic. Members are welcomed back whenever circumstances allow, fostering a lasting sense of connection and mutual opportunity.

JDArts Well, she never wanted to be shown completely naked in the Crux movies she starred in; she only agreed to show her breasts, which is why she was always crucified in a loincloth.
But I think she’s still working with Jac, Mila, and Daniela.
She’ll be one of the stars of the four crucified women.

Simonne’s commitment to her craft is evident in the variety and depth of her performances. While some of her roles have involved scenes with nudity, it is important to emphasize that there is never any obligation for full nudity among the actresses. Each team member participates in a way that aligns with her own comfort and boundaries, and this approach is fully respected within the group.

Looking ahead, Simonne is slated to portray characters in at least six upcoming films, including the production Crucified Four. Her remarkable talent consistently leaves a lasting impression, and her performances are celebrated for their memorability and depth.

wanttoknowmor IF they ever actually make those films, let alone release them.

Our experience demonstrates a clear track record: whenever a film is produced, it is eventually released to the public. While some projects may encounter delays and are temporarily shelved, they are ultimately completed and made available when the appropriate time arrives. This process is not unique to us; it is a common occurrence in the broader film industry, including major studios such as those in Hollywood, where films may remain unreleased for extended periods due to reasons understood only by the producers.

It is important to recognize that the timing of a film’s release can vary. Some films are ready for distribution more quickly, while others require additional time before they can be shared with audiences. Our commitment remains to ensure that every project sees completion and release, no matter the duration of the wait.

For instance, during the period from November 2010 to March 2011, three films were produced consecutively, Maleficarum, Barbazul and Le Marquis de la Croix. These films were subsequently released according to a reasonable schedule, spanning from the end of 2011 to the end of 2013. This approach illustrates our dedication to bringing each production to fruition.

Cruxlover24 I don’t understand, it is not for sure they’ll make those movies?

Predicting whether a film project will ultimately be produced is, in many ways, a futile exercise. The likelihood of production becomes more tangible only when a project advances to a significant stage in its development. At this point, the momentum and resources invested make its realization more probable. For example, the project Crucified Four exemplifies this process. Although it has experienced various fluctuations and challenges throughout its development, it remains active. The continued progress of Crucified Four demonstrates the persistence and dedication

This process requires us to account for the practical realities present at every stage, starting from the initial development of the film, where Crucified Four is now, moving through the phases of production, which are under planning at this point, and postproduction, which is far ahead, culminating in its eventual release. Each stage presents unique considerations and challenges that must be addressed to ensure the successful completion and delivery of the final product.



To Be Continued

We will have more updates coming up soon. In the meantime you can watch our films!

Get them at https://movies.redfeline.com

Stream them at https://stream.redfeline.com

Get a DVD by mail at https://dvds.redfeline.com

[La Reine Margot]

Never Say Never



The week began as planned. Ligia, Dani and Jac got together on Tuesday for a new sequence for the CruXbound film, a session of torture and mayhem. Ligia suffered the beginning of her crucifixion, she was laying on the cold marble floor, naked, beaten, her wrists bound to the wooden crossbar. Dani was in position, looking at the camera monitor as the action began. Jac placed the tip of a huge nail between the ropes tying Ligia’s wrists to the crossbar, he lifted the hammer and with one loud blow began to brake through Ligia’s flesh and bones into the wood.

Ligia screamed in pain as the hammer fell on the head of the nail as many times as needed to get all the way through and into the hard wooden crossbar.

Soon after, the action moved, followed by the camera, to the other wrist.



The first day of filming for CruXbound in 2026 was a true test of endurance and commitment for the entire team. With only three people on set, each took on multiple roles to bring the project to life. Dani skillfully operated the camera, after helping with Make Up, capturing every moment with precision and dedication. Jac not only directed the unfolding drama but also performed as an actor within the scene, balancing creative oversight and on-screen presence. Ligia, the central figure in the narrative, delivered a powerful performance, enduring the physical and emotional demands of her role. Her portrayal, left vulnerable and exposed before her seasoned and merciless tormentor, embodied the raw intensity that would come to define the film’s impact.

The shooting required repeating the actions many times over and unwavering focus, as the sequence of nailing Ligia to the crossbar needed to be captured from every possible angle.



The production’s intensity reached its peak during the pivotal crucifixion sequence. Jac, assuming both the role of director and actor, was responsible for the delicate yet physically demanding task of lifting Ligia after her wrists had been nailed to the wooden crossbeam. This moment required careful coordination, as Jac struggled to raise her from the ground and then secure the crossbar to a chain suspended overhead, all while Ligia remained on her knees.

The challenge of this scene was heightened by the need for repeated shots of her new torment: the scourging of Ligia while she was on her knees was performed multiple times, each repetition meticulously executed to capture the necessary footage and convey the gravity of her suffering. Through these efforts, the team ensured that every aspect of the scene’s brutality and emotional weight was authentically rendered on film.



The relentless repetition continued until Jac finally declared, “It’s a wrap,” signaling the conclusion of the shooting for the day. The dedicated trio, though exhausted, had persevered through the demanding session, capturing the required footage for the second and third sequences for CruXbound.

The initial segment of the film draws to a close with Ligia’s nailing to the crossbar, but the next stage of Ligia’s ordeal, her agonizing suffering is only beginning. What follows is a sequence marked by complexity and heightened brutality. The execution that unfolds is long, excruciatingly painful, and meticulously orchestrated to maximize its dramatic and bloody impact. Each moment is crafted to convey the relentless cruelty that defines this stage, immersing the viewer in the elaborate agony and emotional intensity of Ligia’s fate.



And now, the continuing saga of a previous post about how we make films and, apparently, don’t release them.

The ongoing journey of making films often brings with it stories that extend beyond the screen. This chapter continues the narrative begun in earlier discussions, focusing on the unique challenges and experiences associated with the process of creating movies that, for various reasons, remain unreleased.

The account delves into the dedication, creativity, and sometimes frustration that accompany these projects, highlighting the commitment of filmmakers to their craft even when the finished product does not reach its intended audience for a while, maybe a month, maybe a year, maybe never. Through these reflections, the saga of how films are made—and for some reason not released—becomes an integral part of the broader story of artistic endeavor and perseverance.

Cruxlover24 I don’t understand, it is not for sure they’ll make those movies?

wanttoknowmor Well, they where supposed to have started filming in August of 2025, with a release projected in March of 2026. Has ANY filming been started? Any dates outlined in recent plans for 2026 announcements.

Also, were ANY of the various films in “post production” released in 2025 (The Simmone CruxBound films. Agent Honey Trap with Dani, Dani’s CruxBound film, to name but a few)?

Jac is ALWAYS on to the next new thing. Seems incapable of focusing on completing a project. Always blames cash flow with realizing if you release new product that people can purchase WILL generate cash flow.

Initially, the team behind Crucified Four launched a fundraising campaign with the goal of going into production around August 2025. This planned timeline was intentionally kept flexible, contingent upon the success of the campaign and the availability of funds. However, it became obvious after a few months that the campaign was not going to generate the necessary financial support, becoming clear that if we wanted to produce the four planned films, alternative methods of securing resources would have to be found.

With no funds available, setting a specific production date became impossible. Despite these setbacks, the commitment to bringing Crucified Four to fruition remained strong. The production strategy reverted to previous practices: focusing on the creation of lower-budget films, releasing them, and relying on their success to generate revenue as well as increasing the sales of our products already in the market.

The hope was that these films, the old and the new, will attract enough buyers to improve cash flow and eventually enable the production of Crucified Four. This pragmatic and resourceful approach reflects the current state of the project.

Cruxlover24 That’s too bad, to announce things that maybe will never be released. Or maybe those films in post production don’t even exist. Hope it’s not what I’m saying though

Never say never. If we work on the production of a film, it’s eventual release is not an IF, but a WHEN. In the latest posts we went over what goes on into the making of a movie. Naturally, it takes a bit of time to read the written word, even more time to analyse it, and finally, to process the meaning of it all. I understand why questions remain.

The films DO exist, if they didn’t I would not have all those images with such detail and sooooooo many.

Having said that all I can say is that all the films we have in post will eventually be released, one at a time, the same way all the over 60 films we have in our stores were. One at a time throughout this year.

It’s not a promise, it’s an estimate based on what I know to be a fact. Period.

JDArts I think he says it more because he lost faith in them, not because they canceled the project. The project of the 4 crucified women is still going on, according to Margot’s latest update.

As previously mentioned on numerous occasions, Crucified Four remains an active and ongoing project. Information regarding its current stage of development can be found both in this post and in earlier updates. Moving forward, updates about the status of this and other projects will be provided as needed, rather than on a regular basis.

One announcement.

The film Romana Crucifixa Est is streaming now!

Stream it at https://stream.redfeline.com

wanttoknowmor So, the Crucified Four series, for which a fund raising effort was kicked off in 2024, which we were told in various post on this site was initially supposed to begin filming in August of 2025, is now in “initial development”. Which means NONE of the series will be released in 2026

The fundraising effort at the very end of 2024 was a bust. If we had raised at least 10% of the goal we would’ve work on the film then. But no. It didn’t happen. We raised a few hundred out of a goal of 40,000 for four films, 10 grand per film.

The intention to produce Crucified Four remains active. The project is in the Pre Production stage with some vital work done and more to come. I will discuss the production stage when we get there. At present, all I can say is that we’re working on it and that’s the end of our announcements concerning Crucified Four.

We have other projects in development, we don’t discuss them although they are very advanced. We’ll talk about them when the time comes.

wanttoknowmor As for the other verbiage, if as much energy was expended on actually finishing films (let alone starting them) as making explanations as to why they aren’t done, cash flow and trust would be a whole lot greater.

There are times when we get a mini flood of comments and we take some time to respond to keep everyone informed. At least one person in our team indulges in verbiage. Not everything written in our posts comes from Margot.

Again, if a film could be made in the time one person in our team writes a paragraph or two, we would all be very happy, but it doesn’t happen that way. This post, that explores into the issues raised with those comments made by a couple of people but they might represent the thinking of many, will be the last of its lengthy kind for some time.

We, the team, will refrain from talking too much, future posts will be limited to announcements of the advancement of the productions, the promotion for new releases and any news we it’s important to talk about.

The production of CruXbound I is advancing.



We will have more updates coming up soon. In the meantime you can watch our films!

Get them at https://movies.redfeline.com

Stream them at https://stream.redfeline.com

Get a DVD by mail at https://dvds.redfeline.com

[MasterKav]

Never Say Never



The week began as planned. Ligia, Dani and Jac got together on Tuesday for a new sequence for the CruXbound film, a session of torture and mayhem. Ligia suffered the beginning of her crucifixion, she was laying on the cold marble floor, naked, beaten, her wrists bound to the wooden crossbar. Dani was in position, looking at the camera monitor as the action began. Jac placed the tip of a huge nail between the ropes tying Ligia’s wrists to the crossbar, he lifted the hammer and with one loud blow began to brake through Ligia’s flesh and bones into the wood.

Ligia screamed in pain as the hammer fell on the head of the nail as many times as needed to get all the way through and into the hard wooden crossbar.

Soon after, the action moved, followed by the camera, to the other wrist.



The first day of filming for CruXbound in 2026 was a true test of endurance and commitment for the entire team. With only three people on set, each took on multiple roles to bring the project to life. Dani skillfully operated the camera, after helping with Make Up, capturing every moment with precision and dedication. Jac not only directed the unfolding drama but also performed as an actor within the scene, balancing creative oversight and on-screen presence. Ligia, the central figure in the narrative, delivered a powerful performance, enduring the physical and emotional demands of her role. Her portrayal, left vulnerable and exposed before her seasoned and merciless tormentor, embodied the raw intensity that would come to define the film’s impact.


The shooting required repeating the actions many times over and unwavering focus, as the sequence of nailing Ligia to the crossbar needed to be captured from every possible angle.



The production’s intensity reached its peak during the pivotal crucifixion sequence. Jac, assuming both the role of director and actor, was responsible for the delicate yet physically demanding task of lifting Ligia after her wrists had been nailed to the wooden crossbeam. This moment required careful coordination, as Jac struggled to raise her from the ground and then secure the crossbar to a chain suspended overhead, all while Ligia remained on her knees.

The challenge of this scene was heightened by the need for repeated shots of her new torment: the scourging of Ligia while she was on her knees was performed multiple times, each repetition meticulously executed to capture the necessary footage and convey the gravity of her suffering. Through these efforts, the team ensured that every aspect of the scene’s brutality and emotional weight was authentically rendered on film.



The relentless repetition continued until Jac finally declared, “It’s a wrap,” signaling the conclusion of the shooting for the day. The dedicated trio, though exhausted, had persevered through the demanding session, capturing the required footage for the second and third sequences for CruXbound.

The initial segment of the film draws to a close with Ligia’s nailing to the crossbar, but the next stage of Ligia’s ordeal, her agonizing suffering is only beginning. What follows is a sequence marked by complexity and heightened brutality. The execution that unfolds is long, excruciatingly painful, and meticulously orchestrated to maximize its dramatic and bloody impact. Each moment is crafted to convey the relentless cruelty that defines this stage, immersing the viewer in the elaborate agony and emotional intensity of Ligia’s fate.



And now, the continuing saga of a previous post about how we make films and, apparently, don’t release them.

The ongoing journey of making films often brings with it stories that extend beyond the screen. This chapter continues the narrative begun in earlier discussions, focusing on the unique challenges and experiences associated with the process of creating movies that, for various reasons, remain unreleased.

The account delves into the dedication, creativity, and sometimes frustration that accompany these projects, highlighting the commitment of filmmakers to their craft even when the finished product does not reach its intended audience for a while, maybe a month, maybe a year, maybe never. Through these reflections, the saga of how films are made—and for some reason not released—becomes an integral part of the broader story of artistic endeavor and perseverance.

Cruxlover24 I don’t understand, it is not for sure they’ll make those movies?

wanttoknowmor Well, they where supposed to have started filming in August of 2025, with a release projected in March of 2026. Has ANY filming been started? Any dates outlined in recent plans for 2026 announcements.

Also, were ANY of the various films in “post production” released in 2025 (The Simmone CruxBound films. Agent Honey Trap with Dani, Dani’s CruxBound film, to name but a few)?

Jac is ALWAYS on to the next new thing. Seems incapable of focusing on completing a project. Always blames cash flow with realizing if you release new product that people can purchase WILL generate cash flow.

Initially, the team behind Crucified Four launched a fundraising campaign with the goal of going into production around August 2025. This planned timeline was intentionally kept flexible, contingent upon the success of the campaign and the availability of funds. However, it became obvious after a few months that the campaign was not going to generate the necessary financial support, becoming clear that if we wanted to produce the four planned films, alternative methods of securing resources would have to be found.

With no funds available, setting a specific production date became impossible. Despite these setbacks, the commitment to bringing Crucified Four to fruition remained strong. The production strategy reverted to previous practices: focusing on the creation of lower-budget films, releasing them, and relying on their success to generate revenue as well as increasing the sales of our products already in the market.

The hope was that these films, the old and the new, will attract enough buyers to improve cash flow and eventually enable the production of Crucified Four. This pragmatic and resourceful approach reflects the current state of the project.

Cruxlover24 That’s too bad, to announce things that maybe will never be released. Or maybe those films in post production don’t even exist. Hope it’s not what I’m saying though

Never say never. If we work on the production of a film, it’s eventual release is not an IF, but a WHEN. In the latest posts we went over what goes on into the making of a movie. Naturally, it takes a bit of time to read the written word, even more time to analyse it, and finally, to process the meaning of it all. I understand why questions remain.

The films DO exist, if they didn’t I would not have all those images with such detail and sooooooo many.

Having said that all I can say is that all the films we have in post will eventually be released, one at a time, the same way all the over 60 films we have in our stores were. One at a time throughout this year.

It’s not a promise, it’s an estimate based on what I know to be a fact. Period.

JDArts I think he says it more because he lost faith in them, not because they canceled the project. The project of the 4 crucified women is still going on, according to Margot’s latest update.

As previously mentioned on numerous occasions, Crucified Four remains an active and ongoing project. Information regarding its current stage of development can be found both in this post and in earlier updates. Moving forward, updates about the status of this and other projects will be provided as needed, rather than on a regular basis.

One announcement.

The film Romana Crucifixa Est is streaming now!

Stream it at https://stream.redfeline.com

wanttoknowmor So, the Crucified Four series, for which a fund raising effort was kicked off in 2024, which we were told in various post on this site was initially supposed to begin filming in August of 2025, is now in “initial development”. Which means NONE of the series will be released in 2026

The fundraising effort at the very end of 2024 was a bust. If we had raised at least 10% of the goal we would’ve work on the film then. But no. It didn’t happen. We raised a few hundred out of a goal of 40,000 for four films, 10 grand per film.

The intention to produce Crucified Four remains active. The project is in the Pre Production stage with some vital work done and more to come. I will discuss the production stage when we get there. At present, all I can say is that we’re working on it and that’s the end of our announcements concerning Crucified Four.

We have other projects in development, we don’t discuss them although they are very advanced. We’ll talk about them when the time comes.

wanttoknowmor As for the other verbiage, if as much energy was expended on actually finishing films (let alone starting them) as making explanations as to why they aren’t done, cash flow and trust would be a whole lot greater.

There are times when we get a mini flood of comments and we take some time to respond to keep everyone informed. At least one person in our team indulges in verbiage. Not everything written in our posts comes from Margot.

Again, if a film could be made in the time one person in our team writes a paragraph or two, we would all be very happy, but it doesn’t happen that way. This post, that explores into the issues raised with those comments made by a couple of people but they might represent the thinking of many, will be the last of its lengthy kind for some time.

We, the team, will refrain from talking too much, future posts will be limited to announcements of the advancement of the productions, the promotion for new releases and any news we it’s important to talk about.

The production of CruXbound I is advancing.



We will have more updates coming up soon. In the meantime you can watch our films!

Get them at https://movies.redfeline.com

Stream them at https://stream.redfeline.com

Get a DVD by mail at https://dvds.redfeline.com

Superb Breasts!

[La Reine Margot]

Ordeal on the Ladder



The week of January 12 through 16 was marked by a series of events that brought about a mixture of intense emotions, lighter moments, and personal developments.

This period was characterized by several intense experiences, which significantly shaped the overall atmosphere of the week.

Amidst the intensity, there were also moments of enjoyment and fun that helped balance the emotional highs and lows.

One of the notable developments during the week was the emergence of a newfound love for Jac, which brought about positive and meaningful change. He is and was missing Rocky, who passed away three months ago. Rocky was Jac’s companion every single day. He could count on him to make him get over hard times, keep him in shape, introducing him to new friends, including Geraldine who ended up working with Jac in two films and ready for more.

Jac was walking to visit his cat friends at a particular street, 7 of them, they jump down from a wall and run to greet him every morning at around the same time. One day at the beginning of the month, a nice, husky looking dog, join the cats, the dog was cute and he was nice to the cats. After a week of him showing up every day and running to greet Jac with the cats, Jac figured the little dog wanted to go with him and he did.

Yesterday, Saturday, there was a party for Jac’s aunt, who turned 97, and Jac’s brother held a big party in the house, huge house, Duque got a chance to meet a whole bunch of family members.



In contrast, Ligia was not so lucky, she faced considerable suffering many interminable hours during the week, Jac added a layer of challenges and difficulties to her overall experience of suffering for her art… and Jac’s.

During the previous week, the initial scenes for CruXbound were captured, focusing on Ligia’s harrowing experiences. In these opening moments, Ligia was subjected to a series of severe trials: she was stripped of her clothing, then whipped, and subsequently nailed to a crossbar. The ordeal did not end there, as she was scourged further and forced to walk while bearing the weight of the heavy log to which she remained nailed. Each stage of this process was designed to highlight the intensity and suffering that defined her role at the outset of the film.

Wednesday brought a particularly harrowing experience for Ligia. She was compelled to climb a ladder that had been secured to the ceiling with chains. The situation was made even more distressing by the fact that her hands were not free; her wrists were fastened to the ends of a log with large nails, and her arms were stretched out along the crossbar. This left her unable to grasp the ladder as she ascended.



To intensify the ordeal, a rope was tied to the log, threaded through a pulley system. This setup was used to pull the log upwards, forcing Ligia to ascend the ladder step by step. The ascent was slow and excruciating, and she was made to repeat this process multiple times. The repetition was necessary for Dani to capture enough images of the action, prolonging Ligia’s discomfort and making the experience even more challenging for her.



Once all the preliminary shots of the climbing up the ladder had been secured, Ligia was positioned facing it, to prepared for the next phase of her ordeal. Jac then proceeded with the punishment, wielding the scourge to strike Ligia’s back. Throughout this sequence, Dani worked to capture every aspect of the scene, alternating between long shots, close-ups, medium shots, as well as both low and high angle perspectives to fully document the intensity of Ligia’s suffering.

As Jac continued to administer the lashes, Ligia’s cries for mercy intensified. The relentless flogging pushed her to the brink, compelling her to plead desperately, begging for it all to end, her voice breaking as she implored, please kill me now!



This second sequence of CruXbound required an extensive and demanding filming schedule, stretching over two consecutive days. On each of these days, Ligia was compelled to climb the ladder, repeating the arduous ascent described previously. Once she had been secured to the ladder, Jac resumed his role, administering multiple lashes with the scourge.

This process was repeated numerous times to allow Dani to capture every necessary camera angle. Each take demanded precision and endurance from Ligia, as the punishment was enacted repeatedly for the sake of the production. The two days of shooting were marked by physical and emotional strain, highlighting the challenging nature of the scenes being filmed.



During the prolonged filming session, Ligia eventually reached a point of utter exhaustion as a result of the continuous flogging. While still secured to the ladder, her strength gave way—her head drooped forward, her mouth hung open, and her breathing became increasingly labored. As she teetered on the edge of consciousness, a steady stream of saliva trickled from her lips, falling all the way to the floor below. Beneath her, Dani lay on her back, camera poised, intent on capturing the dramatic angle from below. Observing Ligia’s deteriorating condition, Jac began to reconsider the necessity of further takes. Convinced they had captured enough footage, he decided to call an end to the day’s shoot.



Before concluding the day’s shoot, Jac required a comprehensive, full-length shot to capture the entirety of Ligia’s ordeal. This necessitated that Ligia endure additional lashes, even as she was already nearing the limits of her endurance. Dani positioned herself behind the camera, carefully setting it up on the tripod to frame the dramatic scene as it unfolded.

As the final shot of the day concluded, Jac and Dani remained silent, their focus shifting from the camera to Ligia’s condition. The atmosphere was heavy, punctuated only by the sound of Ligia’s labored, strained breathing—a stark reminder of the extreme punishment she had endured over the course of hours.

Despite the intensity of the day’s events, this moment signified merely a midpoint in Ligia’s ordeal. With the shoot wrapped for now, both Jac and Dani knew that her suffering was far from over, as the following week promised even greater challenges ahead.



Following the completion of filming the initial scenes, Jac took on the task of assembling the raw footage. As is typical for him, this marks the beginning of the post-production phase. By methodically arranging each shot on the editing timeline, Jac was able to organize all the material captured during the shoot. Once this process was complete, the total duration of assembled footage amounted to nearly five hours. This comprehensive compilation serves as the foundation for the subsequent stages of editing and refinement.

As the production resumes the following week, Ligia will be subjected to new torments. These forthcoming trials are expected to be even more demanding, pushing her further toward the limits of her endurance. The challenges she faces will not only intensify her suffering but will also test the full extent of her ability to withstand such hardship.

The ladder has played a significant role in previous productions, serving as a notable element in various scenes. Among these instances, one particular production stands out —featuring Amy in the role of Jane. Throughout this project, Amy, as Jane, was subjected to relentless suffering within the confines of the Red Room. The ladder, integral to the staging of these ordeals, became a symbol of the endurance and hardship experienced during the shoot.



After watching the classic film, Red Feline On The Cross, Jane becomes captivated by both its narrative and the mysterious house where the story unfolds. Driven by her fascination, she embarks on a journey to track down the film’s original location. Upon arriving, Jane discovers that the site is no longer the old, abandoned house she expected—instead, it has transformed into a modern building.

Undeterred, Jane enters the building and makes her way to an upper floor, where she notices an apartment door left open, almost as if it is inviting her inside. Compelled by curiosity, she steps through the doorway, unaware that she is about to encounter more than she anticipated.

It is within this setting that Jane comes face to face with the enigmatic Man in Black . This pivotal moment ushers in a sequence of events marked by unpredictability and incredible severity, with Jane soon subjected to ordeals that are both extreme and intensely challenging. The encounter sets a tone of suspense and foreboding, establishing the return of the Man in Black as the terrifying figure whose actions will take Jane’s into a journey through extreme adversity and pain.

We will have more updates coming up soon. In the meantime you can watch our films!

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[MasterKav]

She looks so good!


https://redfeline.com/chronicles/wp-con ... eaming.jpg

[La Reine Margot]

Upside Down – On The Ladder



The production of CruXbound I continued at the start of the third week in January with an intense opening scene. Ligia was positioned once more on the ladder to be subjected to additional torture, but in a unique twist—she was upside down and directly facing her tormentor. The new setup established the tone for the session, emphasizing the extremely vulnerable and painful position of the victim and her physical and emotional tension.



Dani once again assumed control of the camera, kepping a keen focus on capturing the essential shots required for the difficult session. Every angle and moment was meticulously documented to enhance the dramatic impact of the second sequence in the film.

The unique circumstances of Ligia’s position inspired Dani to take an active role in directing her during the scene, effectively calling the shots from behind the lens.

Jac remained intensely focused on delivering Ligia’s punishment with extreme detail. His unwavering dedication was evident in the way he meticulously ensured that every lash on her skin conveyed the full extent of cruelty required for the narrative. By emphasizing the harshness of his actions, Jac sought to amplify the agony experienced by Ligia, ultimately shaping an extreme and impactful sequence that would leave a lasting impression on the audience.



Ligia’s performance during the entire sequence was defined by the severity of her physical ordeal, which proved to be even more challenging than she had anticipated. Although she had previously tested hanging upside down on the ladder several months earlier—with her ankles secured to the top bars—there was a crucial difference this time. In the earlier test, her arms were left somewhat free, allowing her to grasp the ladder for support if needed.

During the filming this week, however, her wrists were tightly bound to the crossbar with both nails and ropes, leaving her unable to free her hands or alleviate her discomfort. This restriction heightened the difficulty and added a layer of vulnerability to her portrayal of the unfortunate slave, underscoring the demanding nature of the scene.



Dani possesses a deep understanding of Ligia’s present suffering, having herself endured a nearly identical ordeal in the past. She openly recounted to Ligia her own experience on the ladder—suspended upside down—when a bucket of water was methodically raised beneath her head until her entire face was submerged. Dani vividly described the sensation of drowning, the water flooding her nostrils, and the overwhelming desperation that accompanied each breathless moment.

This firsthand knowledge allows Dani to empathize profoundly with Ligia’s situation.

Dani’s intimate awareness of the physical and emotional boundaries involved in such intense scenes informs her direction. She is able to guide Ligia authentically through her performance, ensuring both the dramatic impact and the safety of the actor. Dani’s recognition of the limits—both physical endurance and the passage of time—provides a crucial framework for managing the demands of the scene.

Coincidentally, as the month begins, Jac is also editing Agent Honey Trap. During this process, he reviewed a segment of the film that depicts Dani enduring tortures at the ladder. This overlap in timing brings Jac’s editorial focus directly onto the intense sequence that mirrors the challenges Dani has faced, drawing a parallel between the physical trials discussed and those represented in the new film.



Agent Honey Trap was among several movies that reached post-production just before the development of two other notable films: 69 Année Érotique and Seditiosa. At that particular time, neither of these latter films was planned for production.

The concept for 69 Année Érotique had been on Jac’s mind for some time. He had already completed a script, waiting for the right circumstances to move forward. When those favorable conditions finally arose, Jac decided to temporarily set aside his other ongoing projects, including Agent Honey Trap, with the intention of returning to them as soon as possible. Instead, he dedicated all his energy and resources to bringing this new film to life.

Beginning in August of 2022 and throughout the year 2023, Jac was actively involved in the production of 69 Année Érotique. This film was particularly notable for its complexity, being set in contemporary times and requiring careful coordination of various elements. The project involved a substantial number of extras, which added to the scale and logistical demands of the production. Shooting took place at a variety of interesting locations, highlighting the modern setting of the story, while portions of the work were also carried out in the studio to achieve specific visual and technical effects necessary for the film’s vision.



While Jac was midway through the production of 69 Année Érotique, he received an unexpected offer to direct a film centered on the story of a female Christ. This proposal was accompanied by a financial incentive, making it an appealing opportunity. Believing in his ability to manage the demands of both projects simultaneously, Jac accepted the challenge and decided to take on the new film while continuing work on 69 Année Érotique.

In contrast to the contemporary setting of 69 Année Érotique, Seditiosa was conceived and realized as a period film deeply rooted in the era of the gospels.

The project presented considerable challenges inherent to its historical context. Authenticity was paramount, requiring meticulous attention to detail across various aspects of production. This included the creation of period-accurate costumes, the careful selection of filming locations that would convincingly evoke the era, and the acquisition and construction of props appropriate to the time and the needs of the production, including three crosses. Additionally, the scale of the production necessitated the involvement of a large principal cast and a significant number of extras to faithfully depict the world of the narrative.



Jac was personally responsible for every stage of the film’s creation. He wrote the script and, simultaneously, managed the development of the production. This included organizing a fundraising campaign, which required the preparation of promotional materials to generate interest and attract support. As funds began to arrive, Jac swiftly moved into pre-production, overseeing the preparation of costumes and casting for additional roles—all accomplished in record time to meet the project’s ambitious goals.

Finally he was ready to go into production. Principal photography for the project commenced in May 2023 and wrapped up in July of that same year.

The principal photography for the film was conducted exclusively on weekends, starting on May 20th and concluding on July 29th. The shooting schedule consisted of two weekends in May, two weekends in June, and three weekends in July, amounting to a total of seven shooting days. This approach, as noted in production logs, contrasts with the typical feature film shooting schedule, which generally spans four to six weeks with filming occurring six days per week.



Throughout this period, Jac showcased a strong dedication to the project by initiating post-production processes even as filming was still underway. This simultaneous approach to production and post-production highlighted Jac’s commitment to realizing the ambitious creative vision for the film within a notably condensed timeline, particularly considering the scope and scale of the endeavor.

Following post-production, Seditiosa was released to audiences during Easter of 2024, aligning its premiere with the season most relevant to its subject matter.



After completing work on Seditiosa, Jac remained actively engaged with the ongoing production and post production process of 69 Année Érotique. Not only did Jac continue to oversee the post-production stages and additional filming for that film, but he also turned his attention to organizing and assembling footage from the several films that had previously been put on hold during the making of Seditiosa.

Following the completion of Seditiosa, the cast expressed a strong desire to pursue additional creative opportunities. Motivated by the collaborative work underway for 69 Année Érotique with Dani, Simonne, Ligia, and Mila, Jac began to consider new possibilities. He recognized the need for a fresh period film—one that would not be constrained by a singular subject. As Jac reflected on this, the concept of a film, or potentially a series of films, began to take shape. This new project would feature four distinct protagonists, each with their own narrative, yet their stories would intertwine. It was through this process that the idea for Crucified Four emerged.



To be continued.

We will have more updates coming up soon. In the meantime you can watch our films!

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[La Reine Margot]

Upside Down – On The Ladder Part 2



Ligia spent the afternoon once more balanced upside down on the ladder, her body suspended in a now familiar but painfully uncomfortable position. The day offered a distinct contrast to the previous session—this time, the warmth was palpable, perhaps even edging into heat. The sky alternated between sun and clouds, creating an unpredictable, almost whimsical atmosphere. The weather’s capriciousness seemed to linger, making the experience unique and memorable.

The session got off the ground with Ligia carefully positioned on the ladder. Dani and Jac worked methodically, first securing her ankles to the top rungs, ensuring she remained stable and suspended. Once her legs were properly fastened, they moved to bind her wrists to the crossbar, completing the setup. With Ligia now firmly in place, she was fully prepared to endure yet another afternoon of challenge and endurance atop the ladder.



Once Ligia was securely positioned on the ladder, Jac meticulously prepared to reenact the entire sequence of torment from the previous session. Every step was repeated with deliberate care, ensuring the experience mirrored what had transpired before.

Meanwhile, Dani positioned herself on her back to capture dramatic low-angle shots of the scene, intent on documenting every detail from a unique perspective. In addition to operating the camera, Dani continued to guide and direct Ligia’s movements throughout the process, ensuring that each action was precisely executed and faithfully recorded.



Although Dani handled both the camera work and the direction of Ligia’s actions—a dual role that kept her thoroughly engaged and was, in fact, something she greatly enjoyed—ultimately, Jac maintained overall creative control of the shoot.

At one point during the session, Jac instructed Dani to obtain high-angle shots from the top of the ladder. While Dani was initially skeptical about the effectiveness of these particular angles, feeling they might not contribute positively to the visuals, she nevertheless complied, following Jac’s guidance as the director.



Dani continued filming diligently, ensuring that she recorded every necessary angle for the sequence. With focused attention, her camera work documented each crucial moment, bringing the unfolding events into sharp detail. Jac, meanwhile, carried out his role with unwavering intensity, administering the lashes without hesitation or mercy. His actions were methodical and relentless, pushing Ligia to her limits. As the lashes accumulated, the toll on Ligia became evident; her strength began to wane, and she gradually slipped toward unconsciousness under the relentless assault.



During the session, Dani took on her directorial role with particular attention to detail. At one point, she instructed Ligia to count each lash, continuing until she reached twenty. Only after reaching this specific number was Ligia to begin showing signs of fainting. Dani’s directive ensured that the progression of the ordeal would be clearly marked and synchronized with the filming process, allowing for precise documentation of Ligia’s reactions and the impact of each lash. This methodical approach underscored Dani’s commitment to capturing the sequence faithfully, aligning Ligia’s actions with the requirements of the shoot.

After a prolonged and taxing period of filming, Jac determined that the sequence was complete. He was satisfied that they had captured sufficient footage of the action, including every necessary angle as planned. To wrap up, a final long shot was needed: Ligia would remain under the lash until she eventually lost consciousness, after which Jac would lift her head to check if she was truly fainted or merely pretending. Satisfied she was not faking, he would administer a few more lashes, then turn and walk away, leaving her behind. Once the final moments were recorded and enough time had passed to allow for the closing shot, Jac announced the end of the scene, signaling the completion of their work for the day.



With the shoot concluded, Dani and Jac carefully untied Ligia and assisted her as she climbed down from the ladder. Remarkably, despite the intense and realistic ordeal she had just endured, Ligia remarked, “It felt better today, my feet didn’t hurt as much and I was more comfortable.” Her comment stood out as particularly unusual given the circumstances, highlighting the unexpected nature of her experience during the session.

With the conclusion of the second session of the week, Jac felt confident that the Ladder Sequence had reached its end. He believed that they had captured enough material to craft a powerful and dramatic third sequence for the film. Given the extensive footage and the intensity of the scenes recorded, it appeared that nothing further was needed for this segment. Looking ahead, the trio anticipated that their next meeting—scheduled for the last week of January—would focus on developing the fourth and final sequence of the film. This forthcoming session would mark the completion of “CruXbound I,” bringing the project to its culmination.



CruXtreme II – The Roommate is streaming now!
https://stream.redfeline.com

A beautiful young woman responds to an add for a room for rent. As she enters the house, she likes what she sees. The place is sunny, warm, there are plants. The man who owns the place offers her a drink, she must be thirsty. As she drinks, the woman explains that she’s looking for a job, she left her hometown in search for something better for herself.

After a few moments she feels dizzy, tired. “I’ll show you to your room” the man says. As they enter the dark room she notices that there’s no bed in the room, but she’s too faint to react. She can’t do much as the man takes her shirt off and bends her over what looks like a medieval rack, tying her wrists to the sides.

She found more than a room, she has entered a depraved lair where she will suffer the torments of hell at the hands of her new roommate.



We will have more updates coming up soon. In the meantime you can watch our films!

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Stream them at https://stream.redfeline.com

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[La Reine Margot]

Pygmalion – Our First Release of 2026



The long-awaited release of Amy Hesketh’s Pygmalion has finally arrived!

After much anticipation, audiences can now experience this remarkable work by the acclaimed director known for her films Olalla, Sirwiñakuy, Barbazul, and others.

Pygmalion, written by Jac Avila and directed by Amy Hesketh, draws its inspiration from George Bernard Shaw’s celebrated play.

Over the years, Shaw’s work has been adapted for stage, cinema, and television, with the most widely recognized version being the classic film My Fair Lady.

The narrative in this version of Pygmalion centers on Hendrix, a film director who attempts to cope with the end of his relationship to Heather, his ex-life partner and loyal collaborator, by embarking on an ambitious experiment.

He encounters Vera, a young violinist performing at a cable car station, and decides to transform her into the ‘perfect woman‘ for his upcoming film. The goal is to prepare Vera for the role of Elisa Doolittle—a character who is vulgar, poor, tactless, and uneducated—in his very personal and erotic adaptation of the classic play Pygmalion.

Heather challenges him by wagering that he will not succeed in this endeavor.


Mila Joya plays Vera, the violinist and actress, as well as Elisa, the character in the famous play.

Under the direction of Amy Hesketh, the film evolves into a layered narrative, it takes a third turn, thus becoming a movie within a movie, within another movie, blending elements of play staging, subtle docudrama, and an intimate expression of catharsis. This approach marks a departure from postmodern conventions, shifting into what Hesketh herself identifies as “meta modernism,” a style notable for its highly self-referential nature.

Filmed entirely in La Paz, the city itself assumes the role of an additional character, with the iconic and legendary cable car system prominently featured. The film serves not only as singular piece of entertainment with a denominational twist, but also as both a window into Hesketh and Avila’s creative realm, a unique calling card and a distinctive experience for global audiences looking for something a little different, innovative, unconventional and far off the beaten path.



This release marks a significant moment for both fans and followers of Hesketh’s distinctive cinematic style. Her previous films have captivated audiences with their unique storytelling and artistic approach, setting high expectations for Pygmalion. Now, viewers have the opportunity to witness the director’s latest vision come to life, continuing her legacy of innovative filmmaking.

Pygmalion was finally completed in 2018, with plans to unveil the film to audiences by 2020. Amy was prepared to return to Bolivia and attend the premiere event in La Paz, scheduled for March of that year. However, the global outbreak of Covid-19 led to widespread disruptions, forcing the premiere to be postponed again and again for an extended period.

The importance of a theatrical release remained paramount, and the delay underscored the significance of presenting the film to audiences in a cinema setting, preserving the intended experience and impact.


Amy Hesketh, the director, plays Heather, the ex, and Ms Pickering, the character normally played by a male in the play.

With the global Covid-19 pandemic finally subsiding and travel restrictions easing, preparations for the premiere of Amy Hesketh’s Pygmalion resumed. The event was rescheduled for March 22nd, 2022, providing a long-awaited opportunity for the film to be showcased in a theatrical setting. Amy set out for La Paz to attend the premiere. Her journey marked the culmination of years of anticipation and challenges, as she looked forward to presenting the film to audiences as originally intended.

The premiere of Amy Hesketh’s Pygmalion was met with success, drawing audiences to theaters where the film enjoyed a multi-week run. As the theatrical engagement concluded, the team was preparing for a broader global release. However, new opportunities soon emerged in the form of film festivals and further industry possibilities. Notably, Amy’s film was nominated for the internationally distinguished Premios Platino. Given these promising developments, the decision was made to pause the wide release in order to fully explore these avenues and maximize the film’s reach and recognition.



The growing notoriety of Amy Hesketh’s Pygmalion drew attention from several parties within the film industry. As interest in the film increased, discussions were initiated regarding its distribution and representation. These negotiations soon expanded beyond the film itself, encompassing other works by the director and the company. The team engaged in conversations aimed at securing opportunities that could benefit not only the current release but also other films in Hesketh’s portfolio, reflecting the broader impact and recognition her work was beginning to receive.

After careful negotiations and consideration of various options, non-exclusive agreements were finalized for the distribution of several films. This strategic approach allowed the team to pursue alternative avenues that would best serve the interests of the works involved. As a result of these arrangements, Pygmalion is now set to be released to audiences worldwide, marking a significant milestone in the film’s journey and ensuring its accessibility to a broader audience.

Part of review by Carlos Gutierrez Andrade, published in a newspaper:
To paraphrase Henry Higgins, cinema is the dance of the eyes, but also of the ears. The production is a tribute to the city of La Paz from the very first tango heard, a twilight lullaby: Tango Illimani, which lends the city an atmosphere of yesteryear. An anachronistic Andean city whose god is the eternal snow-capped mountain. The tango that the viewer will enjoy is Luis Rico’s interpretation. And the composition by Néstor Portocarrero, which from then on will only be heard instrumentally. The same is true for the other compositions: Adiós Nonino, Flores, etc. The film can be enjoyed both with the sense of hearing, with eyes closed, and with eyes alone, since Mila Joya’s performance is unsurpassed. She commands the screen. If it were a silent film with only subtitles and background piano music, the connection with the viewer would not be diminished in the slightest. A few pouts, Mila and Jack’s glances, and some gestures complete the histrionic paraphernalia of the parody. A true dance of the eyes and humor. No clowning around. They barely laugh in the film. Henry (Jack) remains like a porcelain cat or a hermit monk. But they do allow him to laugh in the documentary interspersed with interviews.

Jac playing Hendrik the director and Higgins, the character in the play, with Mila playing Elisa in a scene of the film.


You could almost say the film is a sequel to Sirwiñakuy. It is, in turn, the last tango in Paris. A déjà vu where a farewell is eternally repeated. In fact, in one of the last scenes, after she has already won the bet, Eliza, Vera, Mila, or the conceited cockroach, or whatever she is, is standing in front of the Sirwiñakuy poster.

Part of review by Carlos Gutierrez Andrade, published in a newspaper:
And that is the moral: to what extent are we willing to love someone, accepting them with their virtues and flaws? To accept heaven upon meeting them, purgatory and hell upon discovering their flaws, but willing to burn in those embers? Or to be the eternal Casanova searching for his eternal Galatea, the perfect one, the young one, the perfectible one? But I invite you to see the film, where the seriousness of the characters will elicit uproarious laughter that will have you rolling with laughter. Don’t miss this spark of divine fire that is Amy’s cinema, exquisite and not suitable for the uninitiated.

Get Pygmalion at:

https://movies.redfeline.com

Pygmalion marks our first release of the year. This film sets the stage for a series of upcoming projects, with many more releases planned to follow throughout the year.

Below a post from the past, Pygmalion: Tales of A Premiere.

https://redfeline.com/chronicles/2023/0 ... -premiere/

[La Reine Margot]

The Final Days of Filming: Ligia’s Crucifixion Sequence



With the conclusion of the second session of the week, Jac was confident that the Upside Down Ladder Sequence had reached its end. The extensive footage and the intensity of the scenes recorded, were what was needed for the sequence. Looking ahead, Dani, Ligia and Jac anticipated that their next meeting—scheduled for the last week of January—would focus on developing the fourth and final sequence of the film.

During that week, the production schedule reached a peak of intensity with two particularly demanding workdays dedicated to completing the film’s final sequence. On those days, the focus was on capturing the final stages of the dramatic crucifixion of Ligia—a pivotal and dramatically charged moment in the storyline.



For this sequence, and to conclude Ligia’s crucifixion, the creative team made a significant change to the staging, opting for a more conventional portrayal. With her back resting against the ladder, her arms stretched out to either side, and her wrists firmly nailed to the crossbar.

After enduring the distress of being crucified upside down for an extended period, Ligia was relieved to be positioned upright for the culminating moments of her ordeal. This change in orientation heightened the emotional impact of her suffering and provided a powerful conclusion to her character’s journey. Unlike traditional depictions, her feet remained free at first, offering a brief respite from the earlier discomforts.



With the camera repositioned to capture the intensity of the new sequence, Dani ensured that every detail would be recorded. Ligia prepared herself, fully aware of the ordeal she was about to endure. Jac, taking his place beside her, began administering the whipping. The lashes grew more severe, and Ligia’s suffering became increasingly evident as her body eventually went limp and her head fell back in exhaustion. In pursuit of the most compelling footage, the scene was filmed multiple times, with Dani carefully reviewing each take until she was satisfied with the results and ready to proceed to the next segment.



For the next segment of Ligia’s ordeal, the focus shifted to the nailing of her feet onto the rung beneath her. The production team opted to first capture this moment with close-up shots, emphasizing the details of her feet, the nails, and the flow of blood as the nails broke through her flesh and bones and into the wood. This approach sought to illustrate dramatically the intensity of the suffering and the authenticity of the scene. Once these shots were completed, filming for the day was concluded. The final sequence of the film was scheduled to continue on the following day, allowing the team to regroup and prepare for the concluding scenes.



On the following day, the enthusiastic three assembled for what was planned to be the concluding day for the film. The day began with the filming of wide shots that captured the dramatic act of Ligia’s feet being nailed to the rung. After this harrowing scene was recorded, Ligia was left to endure the aftermath of the intense suffering depicted, emphasizing the emotional and physical toll the sequence was meant to convey.

With the initial ordeal of nailing concluded, the production moved into the final and most harrowing part of Ligia’s suffering. This sequence focused on capturing multiple shots of Ligia enduring a relentless and brutal lashing. The camera work emphasized the cruelty of the act, drawing out each moment to highlight the prolonged nature of her agony. Each strike served both to intensify the depiction of her pain and to bring her closer to the end of her ordeal, underscoring the emotional and physical toll of the scene. The team was meticulous in portraying the severity of this final punishment, ensuring that Ligia’s suffering was both palpable and central to the film’s dramatic conclusion.



As the final scenes of the film were completed, the atmosphere on set was one of accomplishment and quiet reflection. The first production of the year had officially wrapped, marking a significant milestone for the entire team.

Dani, responsible for the camera work, expressed satisfaction with how she was able to capture the emotional intensity of the sequences. Her technical and creative decisions throughout the shoot contributed to the overall vision of the film.

Jac, while cautiously optimistic, believed that the footage achieved during the shoot met the expectations set out at the beginning of production. He conveyed a sense of confidence in the material, while remaining attentive to the final outcome during post-production.

After being removed from the demanding torture setting, Ligia shared her thoughts and feelings about the filming process. She described a unique sensation she experienced while she was upright during the scene—an almost out-of-body perspective, as if she could observe herself from outside her own body. Ligia compared this moment to a memorable shot from the film Red Room, where the character played by Amy, Jane, stretched and bloodied on her own ladder, appeared to be looking down at herself as she endured her own suffering. This parallel further highlighted the emotional and psychological depth of the scene, as well as Ligia’s deep engagement with her character.



During the first week of February, the team reconvened to review the progress of their completed work and to discuss plans for upcoming productions. Among the projects considered for the future is Crucified Four, which remains a key element in their ongoing creative agenda.

At the meeting, Dani introduced a fresh concept to the group. She volunteered to take the lead on this idea by drafting the story herself and then exploring the possibility of adapting her narrative into a new film project. This initiative reflected the Dani’s commitment to further collaboration as the team looked ahead to future endeavors.



Pygmalion is OUT IN THE WORLD!

A film you must watch!

You can get it at https://movies.redfeline.com