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Logline

Set in 1970, the mother and daughter of a notoriously rich family cope with the return of their lost child/brother.

Synopsis

1970s. It’s been six years since the disappearance of Tom Winters, the son of the Winters family, a notoriously rich family living in upstate New York. Barbara Winters, the matriarch of the family, mourns the loss of her son and recent death of her husband. She wishes to move on with her life by selling the family business, a once-great corporation in decline. Her daughter, Marjorie, a high school senior, rebels against her conservative family and holds onto the fading hope that Tom is still alive.

Then one day, Tom returns. While everyone else rejoices, Marjorie is not convinced that the person who returned is the “real” Tom. She confronts Barbara about her suspicion that he is an imposter. However, Barbara denies it and suggests Marjorie is just in shock. While the rest of the family welcomes Tom back, Marjorie starts investigating.

At an intimate family dinner, Barbara announces that she wants Tom and the other Winters brothers to take over the company instead of selling it. Marjorie is shocked and her anger finally forces her to confront Tom in front of the whole family. She expresses her distrust of him, that he is nothing like the Tom she knew. The other brothers start to become convinced by Marjorie’s perspective, particularly struck by the idea that Tom is trying to take their money. Eventually, Barbara throws a glass against the wall, screaming “ENOUGH!” She insists that Tom is in fact her son and that the family must accept him back.

The brothers acquiesce to their mother and can only watch on in mortified silence. Marjorie is left completely disillusioned from the family, once again mourning the brother she knew. We end on Tom. Or is it Tom?

Through this film, we explore topics of grief, loss, and identity.
 

Meet the Filmmakers

Quinn Sheehan-Hipple – Director
Born and raised in Los Angeles, Quinn Sheehan-Hipple has had a passion for filmmaking since high school. After graduating from New York University, where he studied film and photography, Quinn has worked on a myriad of commercial movies, such as The Lost City (2022), Knock At The Cabin (2023), Ghosted (2023), The Velvet Underground (2021), and May December (2023). Having worked in the art department, costume department, editorial department, and as an assistant to Todd Haynes on multiple films, Quinn has gained an array of experiences that have informed his vision as a writer/director. Personally, he has lived and worked around the world (New Orleans, Los Angeles, New York, Philadelphia, Dominican Republic, London, and Madrid) and has had many experiences that color his world view. His first narrative, directorial debut is a short film entitled The Botanists.

Stephen Fitzgibbon – Producer
Stephen is a Producer based in Los Angeles. In addition to producing he also has extensive experience as a Development, Production & Acquisitions Executive. He most notably acquired and distributed titles such as Winter’s Bone starring Jennifer Lawerence, Pawel Pawlikowski’s Oscar winner Ida and 2017 Oscar nominated documentary Fire at Sea for ANZ company Curious Film.

As a producer he works on multiple mediums from film, commercials and music videos. Some recent commercial and music project highlights include a Dolce and Gabbana campaign shoot by acclaimed DP Janusz Kaminski, the 2022 Spotify Wrapped x Bad Bunny campaign and the “Say No To Racism” campaign directed by and starring Taika Waititi.

Recent film projects as Producer include US feature Warm Blood, the Hugo Weaving lead Australian feature Hearts and Bones, which had its international premiere at the 2019 Toronto International Film Festival and Celeste which recently premiered at the BFI London Film Festival.

He is currently attached to produce a number of projects including Christopher Blauvelt’s Disco’s Out…Murder’s In based on the acclaimed book of the same title, from the same writers The Los Angeles Man.

Corrine Dye – Producer
Corrine is a story-centered producer. Her talents lie in fostering unique narrative projects—bringing an idea to life from initial concept through final delivery. She is recognized for her ability to identify an artist’s voice and draw their intent to the forefront in development. In building relationships with creatives and crews, she is trusted as a calm and decisive leader on set. Corrine has an MFA in Producing from the American Film Institute Conservatory. Prior to narrative film, Corrine’s background is in producing advertising and music videos working for ten years with North Six, a global collective of image creators.

Christopher Blauvelt – Cinematographer
Christopher Blauvelt is a third-generation film craftsman. A protégé of Harris Savides, Chris worked on with Harris on films for directors Noah Baumbach, David Fincher, Tom Ford, Spike Jonze and Gus Van Sant.

Chris’ work as a cinematographer includes Sofia Coppola’s edgy commentary on spoiled youth, The Bling Ring, The Disappearance of Eleanor Rigby for director Ned Benson, Jeff Preiss’ directorial debut Low Down which Sundance awarded him Best Cinematography at the 2014 festival. I Am Michael for director Justin Kelly, premiered at Sundance in 2015, Chris lensed Indignation, which is the directorial debut of Focus Features veteran James Schamus. In 2017 Chris was chosen by one of his lifelong mentors Gus Van Sant to shoot Don’t Worry He Won’t Get Far on Foot. He then went on to shoot the directorial debut of Jonah Hill Mid 90’s and Emma starring Anya Taylor-Joy, with director Autumn De Wilde.

Chris has a long working partnership with Kelly Reichardt, including Meek’s Cutoff, Night Moves, Certain Women and First Cow. Their newest film Showing Up was in the main competition at the Cannes International Film Festival in 2022.

Chris most recent collaboration as cinematographer was May December directed by Todd Haynes.

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Contact

For inquiries, please contact fiscalsponsorship@filmindependent.org.