Savanna Crasto
Savanna Crasto began her production company 'The Colour Series' in 2021 and since then, has produced, written, and directed four feature films and two short films, with two more features, and a tv series set to film 2024/25. The production company has seen success in international film festivals, being a multi-award winner at the Cannes Indie Cinema Awards (2022), as well as winner of Best Director at the Cannes World Film Festival (2023).
She has just wrapped on her fourth feature film, 'Love and Lemon Trees' and has begun work on her tv series ' Contingent', which she will be taking over to Los Angeles, as well as two more feature films, in January 2024. She will be working at Charlies on The Lot in West Hollywood on 'Contingent' (tv series), 'Morpheus' (feature film), and 'Nordic Doves' (feature film) and then will be bringing the projects back to Australia to be filmed later on in the year and into 2025.
Learn more about Savanna: https://www.imdb.com/name/nm9577294/
Your project has entered in our festival. What is your project about?
Chasing Lemons is a modern critique of the pursuit of happiness, family obligations, trust, and loyalty. It follows a family of friends that live itogether and are unaware of how the unraveling of their secrets are connected between them all.
What are your ambitions with your project?
The adolescent pursuit of purpose is interesting and relatable in the way that it has no linear form. In a lot of senses, through this pursuit we are walking blindly, and we latch onto people and ideas that seemingly give us some direction. Eventually with this film I would like to turn the story into a tv series where we can explore this journey more thoroughly and hopefully create a place where those who are, and have been, on this journey feel seen and heard.
Tell us something about your shooting? What pleasantly surprised you?
The thing that was almost miraculous with the shoot was how easily everyone not only worked together but become friends. The environment on set was so full of enjoyment and passion that the entire production itself formed into this energy of 'friends making a film'. In many ways the production mirrored the film.
For what group of spectators is your film targeted?
Chasing Lemons is targeted towards spectators between the ages 16 to 28.
Why should distributors buy your film?
Many distributors would be interested in this film due to the potential it has to resonate and reach audiences on multiple platforms. In the world of the unattainable and relatable, Chasing Lemons gives audiences a glimpse into a glamourised world of young adults who are seemingly living the dream yet are presented with conflicts that connect them to all viewers. Not only does the film create an "untouchable" energy, it balances this exclusivity with the drama and conflicts that are relatable, giving audiences a feeling of being a part of an exclusive world.
How would you specify your work? What characterizes your film?
The film is characterised as the otherworldly being that draws you in but only ever at an arm's length. It's a physical representation of one of the main characters', Josephine'.
Why did you decided to become a filmmaker?
It's not so much that I decided to become a filmmaker, it's more that I've always been interested in what it means to be human, and filmmaking is a way to explore that.
Who is your role model?
I admire many people, but a filmmaker who I look up to is Jean-Luc Goddard. There's an interview speaking about his work, and in terms of the films he's made, there's a quote, "We didn't know our films would make a difference, all we knew is that we enjoyed making films." I've definitely butchered that quote, because I only heard it once and have never been able to find that interview since.
Which movies are your favorites? Why?
Favourite movies? I'll need a bit more specifics with that question but in general I'd say, Whiplash, A woman is a Woman, Moneyball, The Lorax, Gia. All for different reasons; filmic wise, cinematography, acting, expression of humanity, and The Lorax is just beautiful and innocent.
Where do you look for inspiration for your films?
I definitely find inspiration for films through people I meet, and things I see and feel. More so, concepts and feelings I feel, that I don't particularly understand. Recently, grief has been something that I've been very interested in. It's connection to love and where it stems from.
Which topics interest you the most?
Going off the previous question, grief is a topic that interests me. How ingrained in our life it is and our perception of it. More specifically I'm interested in its connection to love and whether or not other elements around us have the ability to grieve; If in fact, grief is just love in its purest form without a way to be received.
What do you consider your greatest achievement in your career?
The greatest achievement in my career is definitely the people I've been given the chance to meet. The friendships and connections I've been able to experience. Especially in the arts, you are surrounded by people who are moved by their passion and to have created a platform where these people can express that passion and inner world and feel heard and valued for it is my greatest achievement.
What do you consider most important about filming?
The thing I consider most important about filmmaking is giving the people involved and as well an audience, a space where they feel seen, heard, and valued. Everything else is in pursuit of that.
Which film technique of shooting do you consider the best?
I don't consider any technique of film shooting the best, I don't think there's one universal one. It's dependant on the people involved and how they best express themselves. Personally though, I do love when a shoot is in line more with theatre; long takes, messiness, and a little bit of uncertainty.
How would you rate/What is your opinion about current filmmaking?
I think our current film industry is in a very interesting phase. There are so many filmmakers that are pushing the set boundaries and forming their own way which I think means that the future of the film industry is going to a place where it hasn't been before. Potentially a place where it won't be predictable, and we've seen it for a while, but I feel as though we've only scratched the surface. There's an energy of bravery when it comes to filmmaking which is very admirable of filmmakers, past, present, and future.
What can disappoint you in a movie?
The thing that disappoints me most about a movie is when marketability is valued over an explorative expression of what it is to be human. When decisions have been made for profit over truth and vulnerability.
Who supports you in your film career?
I've been exceptionally lucky that my parents actively support me, and as well to have close friends that, in spite of not being involved physically or emotionally in the film industry, they support me and my involvement. My close friends Tom and Jacob have always supported me, my brother Daniel, my parents, Janni and Chirs, and in recent years that circle has grown but from the beginning, those five have always actively and passionately supported me. I value them more than anything, and I couldn't be more grateful to have them in my life.
What are the reactions to your film? (opinion of spectators, film critics, friends and family)
Even before the production had concluded, the interest in Chasing Lemons was overwhelming. With over a thousand actors across Australia auditioning to be a part of it and critics and general spectators resonating with the exclusivity and the uncertainty of the world and the characters.
Have you already visited any of the prestigious film festivals?
I've been fortunate enough to be present at Sydney Film Festival, Brisbane Film festival and a few others. Even more fortunate that Chasing Lemons was included in the Cannes World Film Festival and was nominated for Best Independent Director, Best Woman Film and Best Independent Film and won Best Independent Director.
What are your future plans in filmmaking carriere?
I have many plans for the future of filmmaking, and as it has always been, those future plans revolve around more effectively exploring what it is to be human and hopefully connecting with people so that they feel seen and valued for their own idea of what it means to be human to them.
She has just wrapped on her fourth feature film, 'Love and Lemon Trees' and has begun work on her tv series ' Contingent', which she will be taking over to Los Angeles, as well as two more feature films, in January 2024. She will be working at Charlies on The Lot in West Hollywood on 'Contingent' (tv series), 'Morpheus' (feature film), and 'Nordic Doves' (feature film) and then will be bringing the projects back to Australia to be filmed later on in the year and into 2025.
Learn more about Savanna: https://www.imdb.com/name/nm9577294/
Your project has entered in our festival. What is your project about?
Chasing Lemons is a modern critique of the pursuit of happiness, family obligations, trust, and loyalty. It follows a family of friends that live itogether and are unaware of how the unraveling of their secrets are connected between them all.
What are your ambitions with your project?
The adolescent pursuit of purpose is interesting and relatable in the way that it has no linear form. In a lot of senses, through this pursuit we are walking blindly, and we latch onto people and ideas that seemingly give us some direction. Eventually with this film I would like to turn the story into a tv series where we can explore this journey more thoroughly and hopefully create a place where those who are, and have been, on this journey feel seen and heard.
Tell us something about your shooting? What pleasantly surprised you?
The thing that was almost miraculous with the shoot was how easily everyone not only worked together but become friends. The environment on set was so full of enjoyment and passion that the entire production itself formed into this energy of 'friends making a film'. In many ways the production mirrored the film.
For what group of spectators is your film targeted?
Chasing Lemons is targeted towards spectators between the ages 16 to 28.
Why should distributors buy your film?
Many distributors would be interested in this film due to the potential it has to resonate and reach audiences on multiple platforms. In the world of the unattainable and relatable, Chasing Lemons gives audiences a glimpse into a glamourised world of young adults who are seemingly living the dream yet are presented with conflicts that connect them to all viewers. Not only does the film create an "untouchable" energy, it balances this exclusivity with the drama and conflicts that are relatable, giving audiences a feeling of being a part of an exclusive world.
How would you specify your work? What characterizes your film?
The film is characterised as the otherworldly being that draws you in but only ever at an arm's length. It's a physical representation of one of the main characters', Josephine'.
Why did you decided to become a filmmaker?
It's not so much that I decided to become a filmmaker, it's more that I've always been interested in what it means to be human, and filmmaking is a way to explore that.
Who is your role model?
I admire many people, but a filmmaker who I look up to is Jean-Luc Goddard. There's an interview speaking about his work, and in terms of the films he's made, there's a quote, "We didn't know our films would make a difference, all we knew is that we enjoyed making films." I've definitely butchered that quote, because I only heard it once and have never been able to find that interview since.
Which movies are your favorites? Why?
Favourite movies? I'll need a bit more specifics with that question but in general I'd say, Whiplash, A woman is a Woman, Moneyball, The Lorax, Gia. All for different reasons; filmic wise, cinematography, acting, expression of humanity, and The Lorax is just beautiful and innocent.
Where do you look for inspiration for your films?
I definitely find inspiration for films through people I meet, and things I see and feel. More so, concepts and feelings I feel, that I don't particularly understand. Recently, grief has been something that I've been very interested in. It's connection to love and where it stems from.
Which topics interest you the most?
Going off the previous question, grief is a topic that interests me. How ingrained in our life it is and our perception of it. More specifically I'm interested in its connection to love and whether or not other elements around us have the ability to grieve; If in fact, grief is just love in its purest form without a way to be received.
What do you consider your greatest achievement in your career?
The greatest achievement in my career is definitely the people I've been given the chance to meet. The friendships and connections I've been able to experience. Especially in the arts, you are surrounded by people who are moved by their passion and to have created a platform where these people can express that passion and inner world and feel heard and valued for it is my greatest achievement.
What do you consider most important about filming?
The thing I consider most important about filmmaking is giving the people involved and as well an audience, a space where they feel seen, heard, and valued. Everything else is in pursuit of that.
Which film technique of shooting do you consider the best?
I don't consider any technique of film shooting the best, I don't think there's one universal one. It's dependant on the people involved and how they best express themselves. Personally though, I do love when a shoot is in line more with theatre; long takes, messiness, and a little bit of uncertainty.
How would you rate/What is your opinion about current filmmaking?
I think our current film industry is in a very interesting phase. There are so many filmmakers that are pushing the set boundaries and forming their own way which I think means that the future of the film industry is going to a place where it hasn't been before. Potentially a place where it won't be predictable, and we've seen it for a while, but I feel as though we've only scratched the surface. There's an energy of bravery when it comes to filmmaking which is very admirable of filmmakers, past, present, and future.
What can disappoint you in a movie?
The thing that disappoints me most about a movie is when marketability is valued over an explorative expression of what it is to be human. When decisions have been made for profit over truth and vulnerability.
Who supports you in your film career?
I've been exceptionally lucky that my parents actively support me, and as well to have close friends that, in spite of not being involved physically or emotionally in the film industry, they support me and my involvement. My close friends Tom and Jacob have always supported me, my brother Daniel, my parents, Janni and Chirs, and in recent years that circle has grown but from the beginning, those five have always actively and passionately supported me. I value them more than anything, and I couldn't be more grateful to have them in my life.
What are the reactions to your film? (opinion of spectators, film critics, friends and family)
Even before the production had concluded, the interest in Chasing Lemons was overwhelming. With over a thousand actors across Australia auditioning to be a part of it and critics and general spectators resonating with the exclusivity and the uncertainty of the world and the characters.
Have you already visited any of the prestigious film festivals?
I've been fortunate enough to be present at Sydney Film Festival, Brisbane Film festival and a few others. Even more fortunate that Chasing Lemons was included in the Cannes World Film Festival and was nominated for Best Independent Director, Best Woman Film and Best Independent Film and won Best Independent Director.
What are your future plans in filmmaking carriere?
I have many plans for the future of filmmaking, and as it has always been, those future plans revolve around more effectively exploring what it is to be human and hopefully connecting with people so that they feel seen and valued for their own idea of what it means to be human to them.