film-maker
In a Lifetime & Third Trinity
Season 2021 Episode 3 | 26m 46sVideo has Closed Captions
We present In a Lifetime by Frantzy Moreau & Third Trinity by Yara Travieso.
In a Lifetime - Olly and Ade are two friends who cherish their bond and relationship. However, one strives to leave the environment by any means while the other grows dependent on the friendship. Third Trinity - A wise Puerto Rican santera bestows a puzzling premonition upon her pregnant daughter, who fears losing her artistic practice to the demands of motherhood.
Problems playing video? | Closed Captioning Feedback
Problems playing video? | Closed Captioning Feedback
film-maker is a local public television program presented by WPBT
film·maker is made possible by: National Endowment for the Arts Art Center South Florida South Florida PBS Arts Challenge Art Center South Florida Lydia Harrison Alfred Lewis The Dunspaugh-Dalton Foundation
film-maker
In a Lifetime & Third Trinity
Season 2021 Episode 3 | 26m 46sVideo has Closed Captions
In a Lifetime - Olly and Ade are two friends who cherish their bond and relationship. However, one strives to leave the environment by any means while the other grows dependent on the friendship. Third Trinity - A wise Puerto Rican santera bestows a puzzling premonition upon her pregnant daughter, who fears losing her artistic practice to the demands of motherhood.
Problems playing video? | Closed Captioning Feedback
How to Watch film-maker
film-maker is available to stream on pbs.org and the free PBS App, available on iPhone, Apple TV, Android TV, Android smartphones, Amazon Fire TV, Amazon Fire Tablet, Roku, Samsung Smart TV, and Vizio.
Providing Support for PBS.org
Learn Moreabout PBS online sponsorshipThis time on Film-Maker...
This program is brought to you, in part, by... Oolite Arts, what Miami is made of.
And by Friends of South Florida PBS.
Hi, my name is Frantzy Moreau and my film is In a Lifetime.
In a Lifetime is about two best friends.
One strives to leave their environment, in order to make a better life for himself; while the other one depends on the friendship in order to thrive.
What's up?
What's up, man?
You ready?
All right.
Go straight, go straight.
That's how I'm going right now!
Go straight.
But you have to, you have to duck.
You have to duck.
How do you duck?
Go... press the button.
Press the duck button.
Press the duck button, man.
I love this place, man.
They make the best fries.
Two tickets, please.
Okay, what would you like to see?
[both] Uh, 54-17.
Okay.
Here's a showing at 8:30 PM, and another at 10:00 PM.
You said two tickets, correct?
Yeah, just two.
Let me just check to see if there's any seats available at the 8:30 showing for you guys.
I'm sorry, something's gone wrong, just give me a second.
Okay, that'll be $23.40 in total.
Okay, fellas, enjoy your film.
Later, bud.
That movie was dope.
I've never seen anything like that, I swear to God.
All right, tomorrow.
Tomorrow.
Ay, 2K; yo, you about to get this work, man.
Ah, c'mon, man.
You ain't even know how that much.
Yo?
You ready?
Ready.
Let's go.
All right, pass the ball.
Pass the ball.
Pass the ball?
Pass the ball, for what?
So you could shoot it?
I'm going to block it.
Wait, wait, wait.
That's what I'm talking about.
That's what I'm talking 'bout, man!
It's one point!
Let's go.
Let's go.
What you going to do?
C'mon, dawg!
I let you score, what you mean?
All right, all right.
Hold on, hold on.
All right, all right.
Clay.
Clay.
- Start it over.
No, no, no, no, no, no.
We're not starting the game over.
Start it over.
No, no.
Let's go.
Let's get it, let's get it.
Go!
That's what I'm saying.
What you, what you, what you... Don't touch me!
What?
See that's why you suck at 2K.
What you talking 'bout?
I'm better than you.
You better than me?
At 2K?
Hey, I know you, guys.
You don't, you don't remember me?
I went to high school with you guys.
Remember, I played football, as a starting quarterback?
C'mon, you was in my science class.
Remember, I used to throw the paper balls at you?
C'mon, man.
And you was in my history class.
You guys don't remember me?
All right, man, whatever.
Y'all good, though?
Y'all good?
Y'all keep your heads up, man.
Y'all gonna be all right, y'all good.
Don't worry about me, though, I'm good, bro.
I'm good, man.
I'mma be all right.
Yeah, I'mma be all right.
All right, go ahead and crank it up.
Is there a problem, Officer?
License and registration, sir.
Listen, I do not have all day.
License and registration.
Man!
Yo!
I can't believe this.
Yo!
What's up?
Yo... What are you doing, dawg?
Dude, guess what?
What?
I got accepted to college, bro.
You got accepted?
Congratulations!
Congratulations!
That's frickin' awesome, dawg.
So when do you leave?
Like, next year or what?
Nah, man, I gotta start packing right now, man.
I leave next month.
Next month?
Like, orientation is next month.
Look, I know what I'mma do, man.
I'mma apply for financial aid, right?
Like probably get, like, 30%, but whatever.
I'll probably get a loan, or whatever.
It's going to be good.
You know, it's going to be okay, because, later on, when I get a degree, I'mma be rich, man.
And it'll make my parents happy, it'll make you happy.
I'mma make everybody happy, man.
And we can finally get up out this place, man.
So good, man.
Look at this, look at this.
I can't believe it.
You call this light?
Hey, where's your friend?
Hey, there.
How can I help you today?
Um... two tick- just, just one.
Uh, one ticket.
Okay, sir, what film?
In a Lifetime.
Yo, what up?
When are you coming back?
Can we meet up?
Ha!
What's up man?
All day!
Yo, I knew you would be here.
I knew it!
The spot!
The ultimate spot.
This is our spot, bro.
You know what I'm saying?
So what's up with you, man?
Why you so sad?
I'm just appreciating the view, man.
Yeah... Yeah, man.
Yo, I'm never going to forget this view, man.
Why'd you leave, man?
Uh, you know, it was a great opportunity.
Stop it.
You just left.
We were supposed to leave here together.
We were supposed to get out of here together.
I had to take it while it was there, man.
I had to.
I had to!
We were going to.
You're the smart one, man.
Not me.
I knew if I didn't do something, that I wouldn't be keeping up with you.
You were the one with the car.
You were the one with the confidence.
I had nothing.
Wrong.
Wrong.
You had what mattered.
You have what mattered, man!
All the other...
It was just a bunch of facades.
Stuck here, realizing we would end up like everyone else.
C'mon, man.
They had cars.
They had confidence, and look where it got them.
Nah, nah, not you.
Because you wanted something none of us did, man.
And what's that?
What do I got?
A brain!
Look, man.
You're, like, the smartest person I know.
It's just different now.
Yeah.
But...
It's good.
And you... Man...
I mean, you're going to be all right, man.
You're so smart.
You know what to do, man.
Nothing can stop you.
So you don't have to let this stop you.
You can just keep moving forward.
I am moving forward.
You sure?
Yeah.
If that's the case, then how are you talking to me right now?
Psych!
Ha ha!
I'm probably busy working on my future, or doing something real dope.
But I'll get back to you.
Can we meet up?
I was doing many favors for people who I knew were... you know, filmmakers, cinematographers, DP's.
Grips, gliding, gaffing.
And I would just nag them all the time and be like, "Hey, I want to make a film with you.
What do you want me to do for you, in order for you to do this film with me?"
And the actor was one of my best friends growing up and we always dreamed about acting in a film together.
And now, we did it.
All the landmarks that you saw, in the film, are all, like, historical in Homestead and in South Florida, all of them.
Like the Seminole Theater; the City Hall, where we did the final scene, where we had the dialogue.
It was all... all of those are very historical sites in Homestead, Florida, which I was raised in.
In three words, In a Lifetime is about romance, loss, and growth.
Hi, my name is Yara Travieso.
And my name is Teo Castellanos.
I am a writer of Third Trinity.
Third Trinity is a film based on a play that was written by Teo Castellanos, Third Trinity, by the same name.
And in the film, we take the story of Teo's own family, and we create a kind of magical, realist poem and an ode to, the women in Teo's family and motherhood and transformation.
[luisa] Hello, Wilma?
You dying?
[mama] Wilma!
I don't know how you've did this twice.
And there is blood everywhere.
Nope.
No, no, no, no, no.
I'm not ready, Luisa.
[luisa] I'm here for you.
[mama] Wilma!
I was back in New York with you.
[frank] Yo, Luisa, get off the phone.
Wilma!
[mama and wilma] Mija... Mam , I thought you were reading my shell.
[mama] [mama] Mam ?
Mam ?
Mam .
Mam ?
Mam , Mam !
Mam !
Mam ?
Mam , Mam !
[mama] Luisa!
Ms. Wilma Lugo?
Sorry.
Yes, this is she.
This is the New York ACPS office, is this Luisa Lugo's sister?
Yes, I'm Luisa's sister.
Ma'am, I'm sorry to inform you that Ms. Luisa Lugo passed away, as of 2:34 this morning.
I understand, but we need to discuss the custody of her two boys.
Would you feel prepared to be their full-time guardian?
I chose that title because there were three boys that came from these two women.
I think for me, the film in three words, would have to... signify, would have to be water, transformation, and... and I wanna say cafecito, because there's something about the, the everyday-ness of the magic, of the Caribbean women, that feels like a cafecito.
So that just came to my mind right now.
I thought about agua pasa con mi casa.
Ooh, I like that.
I like that.
This program is brought to you, in part, by... Oolite Arts, what Miami is made of.
And by Friends of South Florida PBS.
Support for PBS provided by:
film-maker is a local public television program presented by WPBT
film·maker is made possible by: National Endowment for the Arts Art Center South Florida South Florida PBS Arts Challenge Art Center South Florida Lydia Harrison Alfred Lewis The Dunspaugh-Dalton Foundation















