Company

On a winter night in 1975, a mysterious woman named Evelyn arrives uninvited at a holiday gathering and tells the story of Tom, an ageing hermit who rescues a stranded actress during a Colorado blizzard in 1953. To pass the night, the actress recounts an older tale of a farming couple who take in a troubled young drifter as a series of grisly murders spreads fear across the frontier. As the stories intertwine across generations, Company becomes a meditation on grief, vengeance, forgiveness and the quiet acts of compassion that can heal even the deepest wounds.

Telling stories has always seemed to me less like inventing something than discovering it. I’ve often tried to tell one story only to find another hidden inside it, changing shape in ways I never saw coming. The unconscious mind often knows what we’re trying to say long before the conscious mind catches up.
Company began far from where it arrived. It’s my third film and only after finishing did I realize it was the culmination of a trilogy I never knew I was making. My first film is about a man who is almost entirely consumed by himself. The second, a man who is almost entirely selfless. If the first film asks, What happens when we refuse love? and the second asks, How do we love another person as we can?, the third asks, How do we make peace with the lives we’ve actually been given? That’s a question I’ve been living with for a long time.
I spent a lot of my life looking over the ledger, keeping score, frustrated by the debt of kindness. Somewhere along the way I began to realise that the ledger is never balanced by the world. It’s balanced by what you contribute. That’s what this film is reaching for. Not answers, exactly, but more like an invitation to look at the ledger and, instead of asking why you inherited a debt, to ask: What can I add? Because in the end, we aren’t evaluated by how much suffering we endured; we’re remembered for how much love we created in spite of it.
What is Company about? There is an explicit moral debate at the centre, yet it’s difficult to say exactly what Company is about for me. Stories reveal themselves long after they’re finished being told, and perhaps that’s as it should be.
What I do know is that having the opportunity to share it on cinema’s oldest, most prestigious stage, under a roof raised by the most committed film lovers, alongside artists I deeply admire, for audiences who continue to keep this art form alive… fills me with gratitude and awe.

PRODUCTION 1:
Image Nation Studios - Ben Ross
Yas Creative Hub Podium 2 - Yas Island
Abu Dhabi, United Arab Emirates
E-mail: info@imagenation.ae
Web: https://imagenationstudios.ae/en/
Social Media: @imagenationad – Instagram

PRODUCTION 2:
Spooky Pictures - Steven Schneider, Roy Lee, Rami Yasin
Los Angeles, United States of America
E-mail: david@spookypix.com

PRODUCTION 3:
Rabbits Black - Ronnie Exley, Jeremy Ross
Las Vegas, United States of America
E-mail: jeremy@rabbitsblack.com; ronnie@rabbitsblack.com
Web: https://rabbitsblack.com/
Social Media: @rabbits_black – Instagram

PRODUCTION 4:
Artists Equity
9200 W Sunset Blvd. Suite 700 CA 90069 West Hollywood, United States of America
E-mail: clementine@artistsequity.com
Web: https://artistsequity.com/
Social Media: @artistsequity – Instagram

WORLD SALES:
AGC Studios – Stuart Ford & Jill Jones
The Taft Building, 1680 Vine St
CA 90028, Los Angeles, United States of America
Email: david@spookypix.com
Web: https://www.agcstudios.com/ Social Media: @weareagcstudios – Instagram

PRESS OFFICE:
DDA
E-mail: company@ddaglobal.com

Additional press officers: Haydn Biss - Haydn.Biss@imagenation.ae