Post production

All Inclusive

The screenplay is based on the several year long documentation of recordings taken by tourists from different countries and excursions. Everything constitutes one, never-ending, emotional POV - everything is a composing part of a Human-Tourist. We observe that a constant, almost obsessive recording of visited sites changes the meaning of the journey and becomes its essence.

In the first scenes of the film the Tourist is satisfied with everything he encounters on his way. When the protagonist becomes bored with organized and spontaneous attractions he sets off from the hotel paradise to experience something extraordinary. He wants to gain some trophies - get some exceptional shots. Every time he manages to record something interesting - he feels happy. At the same time, however, he notices dozens of other tourists - his excursion mates, also recording non-stop, and getting the same shots as himself. He can never reach the real wild, as his own presence makes it impossible. Ephemeral landscapes cannot be filmed. The moment that the Tourist desires to record – fades. These constant failures push him to undertake more radical actions.

In pursuit of more intensive emotions, the protagonist enjoys filming situations in which he breaks his taboos or violates the norms of his culture. The camera becomes an excuse for excess. But the real, extraordinary experience as well as the trophy are still to be obtained. The Tourist decides to separate from the group and have a lonely walk. Now, he could obtain his trophy - record exceptional shots. Out of the
familiar mass tourism environment, he has lost self-confidence and feels unsafe. He decides to buy an exceptional video of someone else. The protagonist loses himself in the world of images. It seems that nothing can be real in this journey, everything is a mere recording.
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