Nameless is a 17 minutes cinema-thrill in one-take. First time director C.J. Stussi raised a mini-budget of only $770 via Kickstarter and sponsors to realize her vision to create a film consisting of a single continuous take.
Next was the search of a theme that would best be told in such a format. The continuous inducement without any breaks that defines psychological manipulation seemed like a perfect fit. The visual translation of this theme was elaborated in collaboration with manipulation expert and bestseller author Dr. G. Simon.
The film won Best Actress at the Barcelona Planet Film Festival 2017, Semi Finalist for Best Actor at the Stars Hollywood Festival 2018, Honorable Mention for Best Actress at the NYC Indie Film Awards 2017 and was selected as a finalist at the Move Me Productions Belgium 2017, the Alternative Film Festival 2017, the International Women's Film Festival 2016, the Lucerne International Film Festival 2014 as well as the Wizard World World Oregon Comic Con Film Festival 2014. Nameless has been screened at numerous other festivals and at the Playhouse 7 in Pasadena. It has also been implemented into continued professional training classes by the UMCH (union for mediators with a university degree in mediation in Switzerland.) Lastly, it also got a great review and worldwide distribution by the Canadian Filmmakers Distribution Centre.
To emphasize the continuous process of psychological manipulation, the camera circles around the actress like a predator to spin her into a net of confusion while the circles get tighter and faster.
Since most people are to a certain extent on both sides of manipulation - being manipulated by someone else and manipulating themselves - the camera has the Point of View of the manipulator but the film itself creates in the audience the feeling of the manipulated person of confusion and inner turbulence. As for the involved person, there is no escape while the predatory circles keep spinning and it just won't stop. In the film the involved person realizes what is happening but since all attempts to free herself fail, she ends up using the same manipulation techniques on the manipulator, thereby becoming one herself. Thus the camera stops circling and is now circled itself by the actress. This emphasizes also the converging boundaries between manipulator and the recipient.
A Canon 5D was chosen to create an additional continuous flow and coalescence of boundaries by merging the shooting location of a theatre with a cinematic look.