Carnevale is a contemporary romantic adventure inspired by Shakespeare’s “Midsummer’s Night Dream”.
A young hipster American couple go to Venice during the time of Carnival, to party and experience the clash of old and new, and test their relationship, which leads to a quarrel and eventual split up.
Fate would have it that both individually meet one half of trendy Italian couple also temporarily estranged.
Through a series of mishaps our four college students become the owners of a stolen diamond mask that makes them the target of rock stars, crooks, the police and an assortment of eccentric local Venetians.
Each of the four lovers finds what was lacking in their former partners.
Romance and passion blossoms amid a festive mood where the line between reality and fantasy merges.
Eventually true love shines through and the couples re-unite, switch and rediscover their former mates.
1 year, 4 seasons, 1 couple, 365 love scenes – imaginary or real?
Screenplay
Synopsis
365: Love Journal is an experimental feature screenplay that explores the evolution of a relationship through a single year.
On New Year’s Eve, in a crowded East Village bar, John—a struggling screenwriter who pays the bills as a plumber—meets Jane, a gifted Juilliard dance student. Their attraction is immediate.
John proposes an unusual experiment.
Instead of drifting through a year of casual relationships, he wants to experience every possible emotional and physical dimension of intimacy with one person. They will make love 365 times over the course of a year, documenting each encounter in a journal.
Jane laughs at the absurdity of the idea.
Then she says yes.
What begins as a playful challenge gradually transforms into something neither of them expected. As the seasons change, desire becomes ritual, ritual becomes performance, and performance slowly gives way to genuine vulnerability. The journal that was meant to document love begins to shape it.
The film unfolds through more than 365 numbered fragments—moments, memories, conversations, dreams, dances, arguments, fantasies, silences, and acts of tenderness. Together they form a mosaic of a relationship rather than a conventional narrative.
The Four Seasons
Winter
The Beginning
The first ninety-three encounters capture the intoxication of new love. Their attraction is spontaneous, playful, obsessive. John documents everything, convinced that love can somehow be understood through repetition.
Spring
Discovery
As intimacy deepens, the experiment expands beyond the bedroom. Their conversations turn philosophical. They explore identity, art, faith, memory, and what it means to truly know another person. Jane begins quietly reclaiming authorship of the story.
Summer
Disintegration
A journey to Los Angeles exposes ambition, jealousy, addiction, and temptation. The relationship fractures under the weight of performance and self-documentation. Unknown to John, Jane has begun recording the relationship from her own perspective through photographs and social media, creating an entirely different journal.
Autumn
Transcendence
Their final season takes them to India, where the search for spiritual meaning briefly dissolves the boundaries between love, ego, memory, and desire. Returning home, they must decide whether their relationship has become an experiment—or whether the experiment has become their relationship.
The story concludes with separation, reconciliation, a marriage proposal, and the possibility of new life—suggesting that love ultimately escapes every attempt to define, measure, or document it.
Themes
At its heart, 365: Love Journal asks a simple question:
Can love survive the moment we begin trying to capture it?
The film explores intimacy as performance, memory as fiction, and documentation as both preservation and destruction. In a culture obsessed with recording every experience, it asks whether the act of observing life inevitably changes it.
Rather than presenting sexuality as spectacle, the screenplay treats physical intimacy as another language—one through which two people negotiate trust, identity, vulnerability, and time.
The journal itself becomes a metaphor for cinema.
Every numbered scene is a fragment of memory, inviting the audience to assemble the emotional truth between the images.
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Body as Landscape
The visual language transforms the human body into cinematic landscape.
Extreme close-ups become mountains, deserts, oceans, clouds, skin becoming geography. The smallest gesture acquires epic scale.
Before filmmaking, I studied sculpture, and the work of Aristide Maillol, Auguste Rodin, Henry Moore, and Alberto Giacometti continues to influence how I think about the human figure—not as an object, but as emotional architecture.
The goal is never explicitness.
It is poetry.
The imagery should feel dreamlike, tactile, and hypnotic, moving freely between reality, memory, fantasy, dance, dreams, and imagination.
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A Cinematic Experience
I imagine 365: Love Journal as a four-hour cinematic event presented in four seasonal chapters:
Winter • Spring • Summer • Autumn
Each chapter possesses its own visual rhythm and musical identity.
A continuous electronic score flows throughout the film, allowing scenes to dissolve into one another like memories. Time fractures. Moments repeat, overlap, disappear, and return. The audience experiences the relationship not chronologically, but emotionally.
The soundtrack itself becomes another narrator.
I envision collaborating with four different composers or DJs, each creating the musical language for one season.
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An Immersive Premiere
The ideal premiere would be a live immersive presentation.
Projected across three synchronized screens, the audience would experience all four chapters with intermissions between seasons, accompanied by live musical performance.
The installation would then evolve into a touring event before being released as a feature film for theatrical exhibition and streaming.
Like the journal itself, every presentation becomes another performance of memory.
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Director’s Statement
Love is often remembered in fragments.
Not entire conversations, but the way someone looked across a room.
A hand.
A laugh.
The smell of rain.
The first kiss.
The final goodbye.
365: Love Journal is an attempt to build a feature film entirely from those fragments.
It is less interested in the mechanics of a relationship than in the emotional archaeology of memory itself.
The film asks whether the most intimate moments of our lives can ever truly be documented—or whether they exist only in the stories we tell ourselves long afterward.
Ultimately, this is not a film about sex.
It is a film about two people trying to discover whether love can exist beyond performance, beyond memory, and beyond the impossible desire to hold onto time itself.
A High School Bollywood Style musical set in Los Angeles
Devdas (2002 India) Directed by Sanjay Leela Bhansali
I keep of thinking of Bollywood musicals which I remember fondly when we were living in India – and have been thinking of an independent film to be shot in Los Angeles as a Bollywood musical and a starring Pooja Batra.
The story would go something like this (this is just notes):
Rona was a young star in Bollywood, but her career ended after she fell in love with a wealthy man who ended up moving to Los Angeles. He could be an Indian or an American. Now she is living in a fancy compound in style, drives a Mercedes – but feels isolated and uprooted and misses the film business. She feels trapped and unfulfilled – leading her to take a job teaching at a performing arts High School as a dance teacher, inspiring a young generation of performers – while secretly living in her memories. It’s a magnet school – with performance arts gifted kids from all over the city – a multicultural environment with kids from all kinds of economic sectors.
Laura is 16, from an artsy Silver Lake family – she is a single child and has high aspirations of going to Juilliard to become a serious dancer. She is into ballet, jazz, free-form – an introvert – pouring all her time and energy into her dancing.
Nas comes from Compton – he just got released from the juvenile hall for robbery, and has been identified as gifted in dance – he is a street dancer – but does not take it seriously. He is troubled and thinks school sucks, would rather hand with the homies, but knows if his grades fall or he cuts classes he faces the risk of being sent to juvie – he is on probation.
Nas and Laura are like oil and vinegar – and clash immediately – especially when Rona puts them together as dance partners.
Everyone is curious about Rana and she keeps her Bollywood background a secret until the kids find the tapes locked in her desk.
They pull a prank and the whole class breaks out into a spoof of a Bollywood dance number when she enters the classroom – dancing on desks, etc. making fun of her. But she joins in and turns ridicule into inspiration.
Can one combine modern dance, with the street dance and wrap it up in a candy-colored Bollywood confection set in a San Fernando strip mall parking lot?
Can one create an Electronic Dance number – with instruments from India – rap and pop – of course – it’s done every day on every dance floor with a clever DJ.
And break out in song in a convertible on Ventura or a city bus.
How about remaking JaiJai on an open-air tourist bus cruising down Hollywood Boulevard instead of on top of a train car heading to Kashmir?
How about a Bollywood dance number in a skatepark with skateboards
Or the cheerleading routine at the home game when the football players turn into dancers, helmets and shoulder pads included. All hell breaks loose!
A dance number on Zuma beach in bikinis and bathing suits and surfers.
And prom – have you ever seen an all American prom done Bollywood – it would be wild!
Besides there is a dance contest coming up -the choreographer’s Ball – where talent scouts search for the next group of dancers to go on tour with Beyoncé.
Anything is possible if Nas and Laura would bury their differences and with Rena’s guidance be the couple that they were meant to be.
And they can… despite all they are attracted to each other … however, they hate to admit it…
Practice on rooftops, alleyways, Silverlake, Compton, outside Disney Hall, even in the parking lot as they buy tacos…
Gang banger parents, neither the artsy Silver lake snobby mom and dad can stop them.
When things look like they may fail they end up on Rana’s doorstep for the encouragement – she’s been there more than often.
She shows her clips of the movies she was in – they share their memories.
The night before Nas gets arrested and it all might just fall apart…
But in Bollywood~Hollywood everything ends like it should.
A happy ending.
New ideas to add:
Girls pajama party – they sing dance in underwear ripping pillowcases – feathers fly
Boys robbery in rap intercut / Dance
Him stealing jewelry in her house
She confronts him – he’s a thief!
Perhaps as they rehearse – a rooftop love scene? (Do we want to go there or keep the movie more pure?)
Multi-ethnic classroom:
There is the Latino girl
The sensitive gay guy
Oriental girl
Huge fat girl and guy who are great dancers
