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.

The funding challenges and adjusted production approach

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.