Where the Boys Are

: Narrative Feature
GENRE: Drama
STATUS: Development


Two lonesome employees at a virtual reality sex center search for physical intimacy in a world of digital relationships.


Maggie spends her days welcoming clients to a virtual reality sex salon called EROS where they can explore their innermost fantasies, but she has desires of her own. Maggie vies for the attention of her curious coworker whose obsession with a local TV star brings the three lonely souls together.


I feel the pull of technology constantly dragging people in opposite directions. Social media tethers us together but removes the most important parts of experience: touch and time. Virtual reality hopes to bridge this gap, and that scares me the most. It offers users a lucid dream state. An uninhibited fantasy.

Pornography in the internet age has already created an erratic male libido, and any push toward a more immersive experience will only enhance its power. But where does that leave us and our desires for each other’s touch?

By making this lm, I am allowed to explore the ne line between pleasure and intimacy, between self- grati cation and connection, between touch and feeling. I want these values to blur and battle. I want to explore how our subconscious drives guide our conscious ones and at what point we would rather nd comfort in our vices and our devices. is lm is about my fear of losing touch with reality and my hope that our best impulses will win out in the end.

In broader terms, I hope the project can foster a conversation around a more humanistic approach to technological evolution that takes into account the socio-political needs and realities, rather than preying upon the animalistic drives that work against our own best interests. A digital world can ll our minds, but an analog one can ll our hearts.

Like my work, I am quiet. I watch more than I speak.

I am deeply interested in the idea of artistic meditation and the transcendent. I want the chance to observe and learn. To experience time, not to pass it. Time is the inextricable tool of cinema. A slowing of thought. A felt moment. A mindfulness of the current moment without anticipation for the next.

In this search to create a waking dream, I value wonder over logic. I want to be surprised.

I don’t want science. I want magic.

I've tried hard to create work that, while imperfect, seeks to bring people together - with a silent nod, a quiet smile, a eeting glance - accepting that for all it's rough edges, we will all be okay.

I’m con dent that this lm will be a dream people can wander in. I’m eager to get to work and sculpt something curious, complete & magni cent.


Alexandra Byer - Producer
Alexandra Byer is a Brooklyn-based producer who most recently produced Matt Porterfield’s Sollers Point, currently in post-production. Byer has worked closely with Porterfield and director Tim Sutton, producing his feature film Dark Night (Sundance ’16, Venice ’16) and co-producing Memphis which showcased at the 2013 Venice Film Festival with the support of the Biennale College - Cinema and premiered at the 2014 Sundance Film Festival. Byer also co-produced Stand Clear of the Closing Doors which won the Special Jury Mention at the 2013 Tribeca Film Festival and is being distributed by Oscilloscope Laboratories. Alongside her feature work, Byer produces short films and works in production on commercials, branded content, and music videos. Clients include Anheuser Busch, Ben & Jerry’s, Carhartt Vineyard, Dunkin’ Donuts, NetJets, and Twitter.

Giulia Caruso - Producer
Born in Italy, Giulia Caruso is a Los Angeles-based producer and director. She has collaborated with Nonetheless since its inception where she has been responsible for producing projects like her own directorial debut Aurora Notte (BAFICI ‘14), Ian Samuel’s “Myrna the Monster” (Sundance ‘15, MTV) and Columbus (Sundance ‘17, Rotterdam ‘17) directed by acclaimed video-essayist kogonada starring John Cho and Parker Posey. Giulia was awarded the John Cassevetes Award at the 2017 Independent Spirit Award for her work producing Andrew Ahn’s debut feature Spa Night (Sundance ‘16) and continues to produce a wide range of work for film and TV.

Ki Jin Kim - Cinematographer
Ki Jin Kim is a cinematographer and producer, working and living in Los Angeles. In 2012, he co-founded Nonetheless Productions, tapping into the talents of a diverse group of artists to create content for a variety of platforms. He has since produced films such as Spa Night which premiered at Sundance 2016 in US Dramatic Competition and won the John Cassavetes Award at the Independent Spirit Awards in 2017. Ki Jin also co-produced video-essayist kogonada’s feature film debut, Columbus, which premiered at Sundance in 2017. Ki Jin has shot and produced commercial work for MTV, Intel and GoPro and was invited to the Rotterdam International Film Festival’s Producer’s Lab in 2017.

Emily Moran - Costume Designer

Emily Moran is a Los Angeles-based costume designer whose recent credits include COLUMBUS (Sundance '17, Rotterdam '17), THE FEELS (Seattle '17, Outfest '17), and SEARCH (Sundance '18). She also designed the 2016 Film Independent Spirit Award-winning film SPA NIGHT. Her other work ranges from short form narrative such as MAGIC BULLET (Slamdance '18) and ICE BOX (Live Action Short Film Shortlist, Oscars '18) to commercials to TV and branded content.  She received her BFA in Costume Design from The California Institute of the Arts (CalArts) in 2014, and continues to use her diverse design background to create complex characters in authentic visual worlds through her costumes.


Connect With The Filmmakers:


IFP Fiscal Sponsorship Program 2018
Flies Collective Film Grant
Best Emerging Writer (Screenplay), Oaxaca FilmFest 2017


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