A. DIRECTOR’S NOTE:

I still remember when my best friend told me that the man I had known for years as his father, the one who welcomed me into his home and appeared in every family photo, was not his biological father. When I asked if he knew his biological father, he said no, but admitted he was consumed by the need to know who this person was: someone so close in blood, yet so distant in reality.

Since then, I have watched their interactions with a new sense of admiration. Seeing Mr. Manuel present at our first short film premiere, our college graduation, and every birthday, I’ve come to value his presence even more. That curiosity about the meaning of fatherhood and the weight of biological roots is what inspired the story of Fading Tracks.

With this film, I want to challenge the Nature vs. Nurture debate. Through a painful but revealing journey, I’ll explore how, regardless of whose DNA we carry, it is our experiences and the presence of those around us that ultimately shape who we are. Because DNA makes a parent; choice makes a father.

B. LOGLINE:

On a quest for self-identity, Beatrice tracks down the father who abandoned her, only to realize that the roots she sought are with the step-father who raised her.

C. FILM SUMMARY:

Nineteen-year-old Beatrice travels to a remote town to find Damián Montero, the biological father who abandoned her as an infant. While her mother is preoccupied with raising her new baby brother, only her stepfather Benedict is aware of her mission. Beatrice arrives at a local gastropub owned by Montero, navigating the quiet, isolated setting with a clinical, rehearsed focus.

Inside the pub, Beatrice poses as a PR agent to secure a meeting with the chef. When they finally sit across from each other, Montero fails to recognize his own daughter, instead delivering a rehearsed speech about his farm-to-table culinary concept. Observing his hands and his detached demeanor, Beatrice realizes she is looking at a stranger and that a direct confrontation is pointless.

Emotionally drained by the encounter, Beatrice abandons her plan to take the train and calls Benedict to pick her up. When he arrives, his immediate concern for her wellbeing highlights the gap between biological DNA and the man who actually raised her. The film ends with Beatrice collapsing into Benedict's arms, finding closure in the father who stayed.

E. ABOUT THE FILMMAKERS

JUAN RICARDO DUEÑAS – COWRITER & DIRECTOR

Juan Ricardo Dueñas is a filmmaker, musician and digital strategist with over five years of experience in audiovisual direction and production. His work blends creative storytelling with strategic vision, having led high-impact productions and campaigns for global organizations such as Save the Children and United Nations agencies like IOM and UNFPA. Through these collaborations, he has specialized in crafting powerful audiovisual narratives that inspire social change.

In 2024, Juan was awarded the prestigious Chevening Scholarship by the UK government. Under this fellowship, he is currently pursuing an MA in Filmmaking at Goldsmiths, University of London. His artistic growth has been further shaped by his participation in renowned international film festivals and markets through Iberoamerica, including SANFIC, MAFIZ, DocsMX, and CRFIC.

His recent portfolio includes the short film Angel Dust (2024) and his debut feature-length documentary, The Echo of the Innocents, which is currently in post-production.

VERONICA PÉREZ – PRODUCER

Veronica Perez was born and raised in Panama. She quickly developed a curiosity for how the world works and communicates and moved to London to study Sociology and Media Communication at Goldsmiths University of London. After graduating, Veronica’s fascination for publishing and print grew, leading her to enrol at Conde Nast College of Fashion & Design to learn, first-hand, how the industry works from the world’s best editors, writers, retailers and brands.

After 3 years working as a Fashion Writer for numerous international publications, Veronica embarked on a new trajectory and pivoted to the world of image making as Senior Stylist at The Rake Magazine, where she created Fashion Editorials, produced Cover Shoots and worked closely with luxury brands; creating specialised content and campaigns while travelling the world and collaborating with world-renowned photographers.

With over a decade of experience across various sectors of the publishing world, Veronica remains fascinated by the pursuit of accurate, organic storytelling that allows the image to speak for itself. Now, as a film producer, Fading Tracks marks her definitive first step into the world of filmmaking.

CHRISTIAN EDSALL – EDITOR

Christian Edsall is an editor with a diverse skillset including motion graphics, colour-correction, sound design and editing capabilities. With 10 years prior experience as an Assistant Director in single and multi-camera television, he has a unique understanding of both production and post-production workflows. As an avid fan of character studies, Christian is extremely excited to explore the rich world within Fading Tracks."

NICOLETA APPERTI - COWRITER

Nicoleta Apperti is a screenwriter, assistant director, and voice-over artist based in London and Bucharest. Her current written practice is focused on the research of underage trafficking in eastern Europe for a feature film. She has written and produced two short films which are currently in post-production, one of which was a collaborative piece set in Mexico. She is an active freelance 3rd and 2nd AD. She’s worked as a 3rd Assistant Director and Assistant for Castel Film productions, including ‘The Gray House’, ‘Capra Cu Trei Iezi’, and ‘Paris Christmas Waltz’. Alongside her work in film, she is also a voice-over artist on the history of Hollywood for the youtube series ‘Hollywood Mysteries’.

LAWRENCE MA - CINEMATOGRAPHER

Lawrence is a Director of Photography specialising in narrative filmmaking and documentary work. His visual style blends technical precision with emotional expression, with a strong emphasis on storytelling and layered visual composition.

Based between China and UK, Lawrence has worked across a wide range of projects, bringing a cross-cultural perspective and versatility to his work. His cinematography is characterised by refined composition and a strong sense of atmosphere.

Through an ongoing exploration of visual language, Lawrence is committed to creating imagery that balances aesthetic sensibility with narrative depth.

RUONAN CHEN – CAMERA OPERATOR

Ruonan Chen is a cinematography student currently based in London. With a background in Communication University of China, she has worked across documentary, narrative, and commercial projects. Her practice is shaped by experience in both remote environments and constrained shooting spaces, where she has gained hands-on experience navigating practical challenges on set. She approaches cinematography with a focus on clarity and consistency, supporting each project through grounded and considered visual storytelling.

F. ABOUT THE SHOOT

The shoot will take place over four consecutive days, from May 15th to May 18th. We will be filming at three distinct locations: Beatrice’s house, the train station, and the gastropub where Montero works. Led by the Director and Producer, the crew includes a Director of Photography, camera operators, sound designers, assistant directors, a script supervisor, and other key roles. The film will be shot in 4K resolution using an ARRI AMIRA with prime lenses, with a final 5.1 surround sound mix optimized for theatrical release.

We are honored that this project was selected by the Goldsmiths, University of London 2026 filmmaking cohort and faculty to be produced as an okicial graduation film. This selection marks a significant milestone, integrating the project into the university's slate of final degree productions.

G. WHERE YOUR DONATION GOES

Selected by the Goldsmiths, University of London Department of Media, Communications and Cultural Studies as an okicial 2026 graduation film, this project received an initial development grant of £3,000. While this has been a vital start, we are now seeking further support to secure the remaining budget for production and post-production.

Below is a transparent breakdown of how the minimum goal of £5,000 will be used.

Production: £3k

This covers the essential cost of shooting the film safely and professionally:

- Production design

- Locations

- Transport

- Insurance

- Wardrobe

Post-Production: £1.2k

- Color Grading

- Foley Artists

Contingency: £800.00

Every film has unforeseen costs. This ensures the production stays safe, on schedule, and protected.

To give this film the shot it deserves, comes down to all of us coming together. Let's make it happen.

See you on the other side,

Juan & Verónica