France is in recession for the tenth consecutive year. Record unemployment, social misery and urban violence are part of the daily lot. The morale of the households is at its lowest.
Fortunately, the SAFARI PARK begins its new season.
Produced by TN2 in partnership with the Government, the favorite program of the French is much more than just entertainment, it is a program of public utility: In order to reduce prison overcrowding, randomly selected prisoners are regularly transferred to a reserve of 3000 hectares.
Prisoners of common law, prisoners of conscience and political prisoners thus serve their sentences in the open air, delivered to themselves. But to preserve this ecosystem of a new kind, regular beats are essential.
Accompanied by a professional cameraman, 6 candidates from different backgrounds will have 10 days to regulate the wildlife of SAFARI PARK by shooting about twenty prisoners.
Will they succeed in getting along and forming a homogeneous and effective group? Will they come out alive from this dangerous hunt in a hostile environment?
You will know it by following the SAFARI PARK on TN2 and the social networks partners.
Let the hunt begin !
Selective Filmography
FEATURES & SHORTS
WRITER & DIRECTOR :
Safari Park (long feature)
Jungleland (short) (Sitges Festival, Action On Film Festival in Los Angeles)
Schizotypique (short)
Cartes 51 (short) – broadcast on 13ème Rue
Au Royaume des Cendres (short) (DVD French Démence Vol.1)
SECOND UNIT DIRECTOR / VFX SUPERVISOR :
In the name of the king 2 directed by Uwe Boll
SFX SUPERVISOR :
BloodRayne 3 directed by Uwe Boll
Blubberella directed byUwe Boll
Auschwitz directed by Uwe Boll
Designed in its form as a reality show, Safari Park is as much an action movie as a dystopian satire.
Based on a classic scheme from the western movie, (the hunters are cowboys, the prisoners are the Indians and the reserve is the reserve), the film shows a long hunt for the man inherited from a certain cinema of the 70’s (Deliverance , Punishment Park, Southern comfort).
Instead of following the action through a classical cinematographic editing, the viewer will see the movie entirely through the prism of the reality show, so through the point of view of production and the message it wishes to convey.
Thanks to the constant multiplication of points of view (via the cameras grafted into the prisoners, the ubiquitous drones, the professional cameraman, the gopro and the i-phones of the hunters), the TV show will adopt a construction based on the ellipse specific to this type of program and conducive to both emotional manipulation and filling the vacuum.
Assisted by a moralizing and thoughtful voice-over, the editing will do everything to guide the judgment of the spectators in favor of the hunters, worthy representatives of the order and the system. In contrast, prisoners will be shown as vile and savage beings ultimately deserve what happens to them.
Via the social partner networks, viewers will comment on the show. Best tweets will be displayed on the screen at crucial moments such as a participant’s death who’s loved by the public.
By using these different processes and never leaving the point of view of a propaganda, my goal is to ask the audience about the meaning of the images they are looking at while giving them the benefit of a real action movie, nervous and intense.
Of course, all is this, punctuated by advertising spots.
Michaël MASSIAS