Upside Down – On The Ladder – Red Feline Chronicles

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.