THE COURSE
My goal as a director is to glorify the unpleasant, the vulnerable - to cause the viewer to have a strong emotional reaction. Grief is a universal human experience. Over time it changes you - emotionally, psychologically, and physically. The goal is to create a dialogue in the uncomfortable, using visual and audible arts as a catalyst for vulnerability and healing.
DIRECTOR's STATEMENT
INSPIRATION
On July 30th, 2018 my dad was shot and killed in my childhood home while defending my mother and sister from an intruder. Four years after his murder, I look back at my emotional journey.
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How did I heal?
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My dad was a huge outdoorsman, and it is because of him that my adventurous spirit is so strong. He taught me how to pitch a tent, how to catch a fish, and I went on my first backpacking trip with him. He was addicted to the mountains and riding his bike. That’s the first place I ran after he was shot.
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Something about riding was healing.
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It was the distraction of the trees flying by, the technicality of the trail, and the feeling that my dad was guiding my line. In those moments, I had my thoughts and I had my memories. It was in the mountains where I was able to heal from my dad’s tragedy and, today, they continue to be my lifeline.
FILM OUTLINE
1 Shock. Establish the environment. Vast landscapes, big open skies. Suddenly, there is a single gunshot and the world seems to change. Slower shutter speed, blurred sounds.
Location: White Mesa, Bernalillo.
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2 Guilt. Visuals are in reverse. Sprints to relive the past. Chasing something that doesn't exist.
Location: Alamos Vista, Santa Fe.
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3 Anger. Critical lines. Big drops and lots of dust. Battling with the trail.
Location: Dale Ball, Santa Fe.
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4 Depression. Snow. Fat bike. The film slows down. Black and white. Shots are introspective and close up. Eyes. Hands.
Location: Windsor Trail, Santa Fe.
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5 The Upward Turn. Ashes are released in the wind. Saddling up.
Location: The Towers, Santa Fe Ski Basin.
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6 Reconstruction. Finding a rhythm. Working through lines that were previously a challenge.
Location: Galisteo Basin, El Dorado.
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7 Acceptance. Finds the trail and rides in harmony. The landscape is Spring. The world is coming back to life. Drone footage. Feels like flying.
Location: South Boundary, Taos.
This film explores the human relationship with grief and discovering the mountains as a place of healing. Using simple black and white chapter headings for each stage of grief, the viewer will experience the course of grieving.
STYLE
The film is about hitting ground zero, healing, and finding the strength to keep pedaling. We will create a style that sets this film apart from typical mountain biking content, and instead create a relatable human experience.
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Sound: To bring the viewer on the emotional journey, the score and sound design will create pacing with moments of chaos, vulnerability, and introspection. We will create an original score that is one song that flows seamlessly through each stage of grief. The score will not be afraid to use silence.
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Visuals: We will create a moody, pensive tone through aerial and landscape cinematography. Shooting mostly in low light. We will utilize different camera techniques for each stage of grief. For example, wide shots for shock (to create distance from mind and body) and drones for acceptance (to feel like flying).
Locations: This film will be shot in Land of Enchantment (New Mexico). This will grant us the opportunity for completely different scenics from desert to mountains to canyons and more. Each landscape will create the emotion around a stage of grief. For example, we will shoot at White Ridge, which is often described to look like the moon, for Guilt (chasing something that doesn’t exist). We will shoot Depression in the Winter on fat bikes (slowing down and leaning into the isolation and quietness that Winter represents).
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Casting: My dad has a small group of friends that he rode with consistently. They are like family. Each rider will take a stage of grief based on their connection to their own grief in this tragedy.
DIRECTOR + Producer
Jordyn is an award-winning filmmaker challenging and changing the norm to make films that matter.
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Hailing from the Rocky Mountains of Santa Fe, Jordyn's upbringing immersed her in the wonders of the wilderness, igniting her deep love for the outdoors. Armed with a BFA in documentary filmmaking from Chapman University, she embarked on a journey that has led her to produce work around the world. Her films are a testament to her unwavering commitment to crafting character-driven narratives that inspire, empower, and foster a sense of belonging for every viewer. With an unwavering belief in the transformative power of storytelling, Jordyn Romero continues to breathe life into her stories, amplifying voices that need to be heard and creating a cinematic tapestry that resonates with audiences worldwide.
In her acclaimed film, We Are Like Waves, Jordyn tells the story of one of the first female surfers in Sri Lanka. The film's distribution with The LA Times Short Docs, full theatrical run, qualification for the 95th Academy Awards, and multiple festival awards demonstrate the impact of her storytelling prowess.
