Late Fragment is North America’s first dramatic interactive feature film. It was written and directed by Mateo Guez, Daryl Cloran and Anita Doron. A product of the Canadian Film Center, this 168 minute long interactive film lets the audience piece together and experience the cinematic narrative in a number of ways.
Late Fragment retains the focus on complex character-driven stories surrounding love, hate, death, revelation and justice. The story revolves around three strangers whose lives are shredded by acts violence. There are 3 acts, 9 chapters, 3 endings, 139 scenes, 380 components, 10 loops and 10 rabbit holes. The viewer has the option to click “enter” to continue on with one character’s storyline, or scene or click another film clip to view another storyline.
Late Fragment is the first project created and produced, through the CFC Media Labs, which is primarily designed for a DVD platform. The CFC Media Lab has been experimenting with the creation, development and production of the interactive films since 1997.
Eyelids smeared with black shadow, a teenage girl stands at the foot of the bed and pulls the trigger. The man waking from sleep barely knows what has just happened to him. In a single moment, lives can shatter:
An oblivious and regretful mother is haunted by love, lust, betrayal and memories of a dead man. She lives in a world of denial.
A repressed middle-aged security guard has lost everything – his marriage, a thriving career, and the respect of his teenage son. He sees real blood on the floor. Then it’s gone.
A beautiful young man has a penchant for cutting himself in ritual sessions of self-abuse. Onstage in a nightclub, he dances provocatively for an older man. He could be a lover. Or a father. Or a stranger.
Faye, Kevin and Théo – three troubled strangers, three lives fractured by thoughts and acts of violence. In the interactive feature film Late Fragment, their narratives interlock in a unique cinematic experience in which you play a creative and interactive role. Navigating through the movie, you uncover their stories and their secrets, at will, controlling the flow and direction of the elaborate sequencing with a simple click.
These characters, unknown to one another as well as to themselves, would never have met were it not for their participation in a series of Restorative Justice group sessions. In this process, perpetrators and victims of violent crime, broken by their lives, look for wholeness, balance, forgiveness, safety – and perhaps even redemption. In just such a setting, Faye, Kevin and Théo are compelled to confront their histories and unravel their secrets. The truth can be plain but it is not often simple.
Restorative Justice is one thing; personal amnesty, quite another. You, the audience, piece together, both literally and figuratively, the cinematic narrative in front of you.