How to Get Back to the Forest is a dystopian fiction SCAD student thesis film. The story takes place at a government mandated camp, where a rebellious friendship with Cee awakens Jamie’s defiance and reveals a secret: the metallic bug implanted in her esophagus. Jamie is too afraid to purge her own and stays behind when Cee runs. Twenty-seven years later, stuck in a monotonous life, Jamie spots Cee on a wanted poster, an encounter that forces her to choose: vomit the bug or remain trapped forever.
Directed by: Ana Coelho
Produced by: Marija Krkovic and Anna Schmeichel
Cinematography by: Alessa Maiuri
Where your donation goes:
Equipment
- Lenses, lighting gear, sound gear, and grip equipment needed to achieve a professional cinematic look and ensure clean image and audio capture.
Catering & Craft Services
- Meals, snacks, and water for cast and crew during long shooting days—essential for safety, morale, and keeping production on schedule.
Locations
- Fees and permits for filming locations, plus any site-related costs to legally and responsibly shoot the film.
Costumes
- Wardrobe pieces that define character, time, and tone, including rentals, purchases, and alterations.
Props
- Story-specific items actors interact with on screen, from everyday objects to handmade elements critical to the world of the film.
Set Design
- Materials and labor to transform locations, build or dress sets, and create a cohesive visual world that supports the story.
Music Rights
- Licensing existing music or commissioning original compositions to legally and ethically enhance the emotional impact of the film.
Hard Drives
- High-capacity storage for safely backing up footage, sound, and post-production files throughout the editing process.
Expendables
- Consumable items used on set such as batteries, tape, trash bags, paper goods, and other supplies that are essential but quickly used up.
Safety Personnel
- Payment for required on-set safety professionals—such as a fire marshal and water safety personnel—to ensure a secure working environment for cast and crew.
Distribution
- Festival submission fees, deliverables (DCPs, captions, exports), marketing materials, and other costs necessary to get the finished film in front of audiences.
If you’re Brazilian, donate through PIX (Se você é brasileiro(a), doe por PIX): Click to Donate
Learn more about the film, our crew, and fundraising at our website: Click to View
Organizer and beneficiary
Anna Schmeichel
Beneficiary