2026 a New Year a New Cycle
And so, the new year begins. The start of this New Year marks for us the beginning of what we consider a New Cycle. We see this period as an opportunity for fresh starts, where new beginnings and plans take shape. Even plans that were previously set aside or postponed can be revitalized and approached as if they were new, simply by reprogramming them to fit our current goals and circumstances.
As we move forward into the year, we will have new releases and the production of new films, large and small. Importantly, these endeavors will be undertaken using somewhat new approaches to working, allowing us to adapt to changing environments and embrace the new methods in front of us.
Our new baby, the Streaming Channel, is experiencing steady growth. This positive trend is evident in the data, indicating that our audience is increasingly engaging with the platform. As a result, the Streaming Channel has become a clear priority for us, and we are committed to sustain its continued development and expansion throughout the upcoming cycle.
During the first month of the year, we will be adding more films to our Streaming Channel. Beginning with with the release in our platform of Romana Crucifixa Est, setting the tone for ongoing content growth and offering our audience fresh viewing options right from the start of the new cycle.
Rather than providing a list of upcoming releases or new productions in bold black and red letters as they are on our whiteboard, we have chosen a more dynamic approach to sharing news. Announcements will be made in real time, as each release or production occurs, instead of beforehand.
As the current projects advance, I will continue to share updates regarding our plans and ideas as they arise and evolve. These insights will be provided as the situation develops, with the understanding that no definitive commitments are being made at this stage. The intention is to keep all interested parties informed of the project’s direction and progress while maintaining flexibility to adapt as circumstances change.
I might share something like this:
Jac thought of a great idea this morning, he thinks it can be a great movie, it involves crucifixion and a burning at the stake, preceded by the nasty work of the inquisitors. Jac is thinking that Dani can be the fantastic protagonist whose suffering is endless.
In that spirit, what I can say for sure is that for two weeks beginning in January 5th, Ligia will be put through hell. She will be nailed, scourged, torture and subjected to various forms of torment. Jac will be responsible for orchestrating these demanding scenes, ensuring that Ligia experiences a level of suffering unprecedented in her previous roles. Dani, following in-depth consultations with the director regarding the desired camera work, will be in charge of capturing these moments on film. Jac anticipates that filming of CruXbound I will require at least three days each week to complete all the necessary scenes.
The production days for CruXbound I will take place predominantly during the late afternoon and extend into the early evening. This scheduling allows Jac to dedicate the earlier part of each day—specifically, most mornings and early afternoons—to essential preparatory and administrative tasks. These activities include accounting, pre-production planning, editing, and writing, all of which are vital to ensuring the smooth operation and creative development of the projects.
On the afternoons each week when active production is not taking place, Jac focus will shift entirely to post-production work. These sessions are extensive, requiring many dedicated hours to ensure the highest quality in the final output. Looking ahead to the upcoming two weeks, it is anticipated that Jac will allocate a significant portion of these post-production hours to advancing CruXbound III, the film featuring Dani, which is now approaching completion. Additionally, considerable effort will be devoted to finalizing Agent Honey Trap, as it nears its completion and release.
The work outlined above will be carried out on weekdays. In addition to these regular activities, the next two weeks will include important steps toward securing the location for the upcoming production, Crucified Four. This process involves traveling to the chosen site on a weekend in order to meet with the location administrators and finalize the agreement.
During these meetings, the dates for the production will be determined, and plans will be made for the pre-production phase, specifically the construction and/or decoration of the necessary sets at these locations. While some scenes for Crucified Four will be filmed in interior spaces at the site, the majority of the filming will take place in exterior settings.
At present, I am able to comment on the developments expected to take place during the first month of the year. However, detailed information regarding specific dates, schedules, or other logistical aspects is not yet available. These elements remain a work in progress as part of the ongoing planning for the films previously mentioned.
wanttoknowmor So I guess you did nothing with regard to producing the Crux 4 films with the good weather in December. Are you going to offer those of us who provided funds during your fundraising period a refund? Or are these funds just gone?
I wouldn’t say nothing was done. It would be inaccurate to suggest that no progress has been made. In fact, much of Jac’s activity over the past couple of months has directly contributed to the ongoing work for Crucified Four. These efforts form a significant part of the preparations and development required for the project, reflecting a continuous commitment to moving the production forward.
At this very moment, as I write this on Wednesday 31st, at 6:58 PM, and as the end of the year reaches its last few hours, it’s raining heavily in La Paz. It was raining this morning, except for a couple of hours, it was raining all week… and practically all month with the exception of a few hot and sunny days, preceded and followed by heavy rains and extremely cold days. It snowed up in the mountains and the wind brought the icy cold to the city.
The weather in the region has recently become highly erratic and unpredictable, making traditional approaches to scheduling production activities less feasible. Due to this volatility, Jac has determined that spreading work across several weekends over a couple of months is the most practical strategy for completing this film. This approach allows for greater flexibility and minimizes the risk of weather-related disruptions.
Rather than attempting to mobilize at a moment’s notice whenever favorable weather appears, the production team is emphasizing careful planning. Coordination among the cast, crew, and essential service providers, such as hired transportation, is a priority. This methodical preparation ensures that all necessary personnel and resources are available when needed, supporting a smoother and more reliable workflow despite the challenging weather conditions.
For the production of Seditiosa, transportation logistics were efficiently managed by reserving both a minivan and a large bus for each scheduled production day. This ensured that all cast and crew members could travel to filming locations reliably and comfortably.
The team operated according to a well-established schedule, which contributed to the smooth execution of daily activities. No to mention that adequate financial resources were available throughout the production period, supporting the transportation arrangements and other operational needs.
The production of Crucified Four presents greater complexity and higher costs compared to a film like CruXbound. Filming the scenes at the remote location presents significant challenges, primarily due to the demanding and intricate nature of the crucifixion sequences. These scenes require careful preparation and coordination, as they are both physically and logistically complex for the cast and crew involved.
To address these challenges, and to maximize productivity and ensure efficient use of resources during filming, the plan involves utilizing several extended weekends—specifically, three-day weekends—to conduct filming at the distant location. This approach involves lodging on-site for two nights, thereby allowing the team to dedicate all available time to advancing the production of each film. By staying at the location, the crew can focus on intensive work sessions, minimizing downtime and travel interruptions and maximize productivity during each trip.
It is anticipated that this three-day, on-location schedule will be implemented at least four times, with one dedicated weekend for each film.
The cabins where the cast and crew will be spending the resting hours are pretty nice and they are very comfortable with spacious sleeping quarters to ensure all team members have a comfortable place to rest after long working days, a fully equipped kitchen, modern bathroom facilities, complete with showers, dedicated spaces for dining providing a welcoming environment for shared meals and downtime. One of the rooms within the cabins will be specifically set up for make-up work, ensuring that the cast has a private and well-equipped area for preparation before filming.
The work carried out on the CruXbound films serves as essential preparation for the actresses facing difficult scenes. The experiences and elements encountered during the CruXbound productions have parallels to what will be required in Crucified Four. In this way, these films act as a valuable foundation, helping the actresses adapt to and endure the demanding circumstances they will encounter during the more challenging sequences of the project.
As the pre production on Crucified Four progresses, I will be able to provide further updates on the project’s development in the near future.
It is important to emphasize that this undertaking extends beyond a single film; in fact, the project comprises four full-length feature films. The magnitude of this endeavor is considerable, and it must be approached with the appropriate scale of planning, resources, and coordination that such an extensive production demands.
navi All I want is the film with Ligia to be released
If I’m not mistaken, CruXbound I, with Ligia, will be the first of the four CruXbound films to be released. But that’s just a comment of mine, not an announcement. I will be announcing releases when I get the dates and order of the releases, not before.
Ligia will have at least three releases this year in addition to the theatrical release of 69 Année Érotique where she plays a very intriguing character. She’s the first ‘victim’ of Mr Hyde in the opening sequence of the film. And of course, she plays the runaway slave in Crucified Four, where she suffers three separate crucifixions.
Cruxlover24 what movie is this picture Of Danielle and this handsome guy from???
The image of Dani with Alejandro is taken from 69 Année Érotique, in which Alejandro reprises his role as Alan from Pygmalion where Alan is an actor interested in Mila’s character, Vera, who plays Eliza Doolittle. Vera becomes the focal point for Jac’s characters—Hendrix, the director, and Professor Higgins, who is determined to transform Eliza into his ultimate Galatea.
In this collaborative adaptation of Pygmalion, Jac wrote the script, Amy directed the film, the actors are not simply playing characters from the original play. Instead, they are portraying actors who themselves are engaged in the process of making a film adaptation of the famous play Pygmalion. This means each performer is taking on two roles simultaneously: their own (as an actor within the story) and the classic character from the play (such as Eliza Doolittle or Professor Higgins). In addition they all play themselves making Pygmalion a complex film within a film within a film.
In 69 Année Érotique, the narrative employs a layered storytelling technique, similar to Pygmalion. The primary film, 69, serves as the main story, while within it, Jekyll and Hyde operates as the movie within the movie. This structure allows for a complex exploration of character and performance, inviting the audience to engage with multiple levels of reality and fiction.
Alejandro portrays Alan in 69, a character who harbors romantic feelings for Lucy, played by Dani. Lucy, however, does not reciprocate Alan’s affections, adding emotional tension to their interactions.
Dani’s role is multifaceted; she plays a bass player and actress named Lucy in the overarching movie, and in the movie within the movie, she embodies Mona as well as her dual persona, Nadya. This duality mirrors the Jekyll and Hyde dynamic of Dr Jekyll, a psychiatrist who has a new patient, the timid and secluded Nadya, and Mr Hyde, who has an intense sadomasochistic relationship with Mona, presenting two distinct personalities within a single character in both cases, Jekyll and Hyde and Mona and Nadya. Dani’s performance captures the complexity and transformation required by these intertwined roles, demonstrating her range and skill as an actress.
Alejandro’s career within the company reveals a remarkable versatility and commitment to his craft. His first role was as the young priest in Maleficarum, marking the beginning of his collaboration with the team. In Dread But Dreaming, he played a young soldier, whose blood feeds the Vampire played by Mila. He then stepped into the complex role of “Young” Felipe in Olalla. In Justine, he took on the role of a gay aristocrat who sells Justine. Alejandro’s ability to embody antagonistic figures was evident in Seditiosa, as he played the nasty centurion responsible for crowning Yahel with thorns. This trend continues with his upcoming appearance in Crucified Four, where he is set to portray another harsh Roman character.
You can see all those films now!
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