SYNOPSIS

Ray writes novels. He has a stack of 40 finished and enough paper for 40 more. It’s his whole life, except he’s become so removed from society that he’s not even writing books with human characters any more. His exile seems to have reached its end point, but then he starts getting visited by people from his old life and the currents of mimesis coalesce and implode.

He finds his brother Nick, now married, secretly living in the flat after spending all his money on his wedding. Nick tries to get Ray into the world and hooked up, but the woman he finds is Gaia; the goddess of nature. Ray can’t resist his desire and impregnates her, then she gives birth to a universe and dies. This universe expands and forces Ray out of his flat and to his publisher, who has just sold up and bought a mountain. He wants to die literally at his peak and for Ray to document it. Ray agrees, lost in the outside world, and they retread their lives symbolically until they hit the top.


OUTLINE

Mosquito is a micro-budget feature film that punches above its budget with the controlled use of special effects and an interest in storytelling that extends beyond realism. A limited cast starts in a stark, flat interior and ends on the vast peak of a mountain.

The production ethos will prioritise time over efficiency to involve a very stripped down crew with a generous schedule. Natural light will be used almost exclusively and locations will be selected around this requirement.

The budget, minuscule by most standards, services the production without mark-up. The profit for the production team is in the content and the backend strategy is an art-house exhibition. Fundamentally Mosquito is rooted in art, rather than commerce, although the scale of the budget allows for recuperation through a series of special event screenings at universities and independent cinemas.