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Victor Quinaz Makes 'Imperial Palace' his HQ; Killer Films and Before the Door Back Katrina Pic

Posted by Eric Lavallee on Nov 02, 2011
Source: Killer Films

Hurricane Katrina's path of destruction has inevitably become a source of inspiration and the backdrop for new filmic material as is the case for Imperial Palace - a new Killer Films and Before The Door Pictures venture that'll go into production sometime in the spring of 2012. Behind the director's chair and working from his screenplay we find Victor Quinaz, who so far has a couple of shorts and commercial work on his CV and just completed his feature film -- an untitled debut known as a found footage rom com with Before The Door Pictures and Anonymous Content's Steve Golin producing. Expect to hear some casting bits for what appears to be a male lead and a pair of supporting female characters.

Gist: Christine Vachon mentions that Quinaz has written the rare kind of film that puts its finger directly on the pulse of today's America. The country experiences these tragedies, be they man-made or (in this case) levied by nature, which bring out both the best in communities and the worst in our government. Imperial Palace is a compelling story about the people who are caught in-between the human response of empathy and the social reaction of bureaucracy in the aftermath of such a tragedy."

IMPERIAL PALACE takes place six hours after Hurricane Katrina hits the gulf, and centers on the jaded manager of a Biloxi casino who must juggle the chaos that arises when FEMA sets up headquarters at his establishment bringing with it an old flame and an ensuing love triangle.

Worth Noting: Outside of his visual work, Quinaz wrote the graphic novel MR. MURDER IS DEAD. Here is Quinaz's vimeo channel.

Do We Care?: A triage - love triangle? Both the context, backdrop and personal rapport aspects sound intriguing to say the least. After Margin Call, this appears to be right up BTD Pictures' alley.



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Review: The Kid With a Bike

Review: The Kid With a Bike

"Despite the one-dimensionality of its anti-patriarchal theme (appeasing the knee-jerk expectations of European film fest audiences), the Dardennes avoid cheapening the story with ideological smugness, achieving an emotional resonance without easy sentimentality."


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"Encoded in the outlandish humor that pervades the film are bits of commentary on everyday life. The most overt is Dupieux's urging to appreciate the relationships around you, which is manifested in the dog kidnapping, but also in a subplot in which a woman from the pizzeria moves between men without even realizing they have changed. Another cultural critique is found in the rainy office, an instantly recognizable visual metaphor for how dreary a 9 to 5 job can be."


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