|Cast: ||Nate Washburn, Galia Barkol, Dan Toren, Magdalena Borlando, Gil Givoni, Lucas Rainey, Daniel Danielson|
|Crew: ||Producers: Galia Barkol - Screenwriters: Galia Barkol |
Since losing her ability to dance due to an injury, Mia has escaped life in Tel-Aviv for a temporary life in Brooklyn. She lives in a dorm room, where she suffers from insomnia due to the noise in and outside of her head. She takes origami classes, and to support herself, she works as a cat sitter for Justin, a married, sales agent who is only in New York on the weekends. Mia finds comfort in her employer's quiet, empty space and in his cat, and eventually secretly stays in his bed on the nights when he's away. When he returns to NY earlier than expected, and catches her in his bed, she is mortified. Determined to prove to him that she is "not that kind of person," she offers to take him out to dinner, leading the pair into an unexpected friendship and living situation.
NYC-based actor and filmmaker, Galia Barkol graduated from Paris-Diderot University in Paris, France, with a B.A in Film & The Performing Arts. She was awarded a scholarship for the program "MICEFA", with distinction, and completed an Acting conservatory program at HB Studio.
Galia founded Ring the Bells Productions, where she concepted and produced several experimental shorts, with the intention to explore the relationship between structure and narrative in film. Through discoveries made in these works, Galia crystallized her approach to filmmaking.
This lead to writing the script for the feature dramedy MIA (Sundance Screenwriters' Labs finalist) - now on the festival circuit - in which she also plays the lead role. Galia is currently developing a pilot for an original comedy series, and recently appeared at the Tribeca Festival's VR section.
When I was discharged from the mandatory military service in my home country, I dreamed of moving to a big, cosmopolitan city, with the grand hopes of breaking free of the conditioning of my upbringing and reinventing myself. The experiment 'failed', but I discovered that rather than switching one identity with another, life away from home enabled me to let old stories lose their power, and even to challenge my need for self-definition.
And so in MIA, my intention was to capture those moments where life is most vivid – when we find ourselves in between narratives, and in between identities. When Mia loses her ability to dance and her career in Israel, she is forced to let go of the role she had been identified with her whole life, and to see who she might be without her story.