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Annabelle & Bear

Annabelle & Bear is the dramatic, tender story of a man who finds himself suddenly thrust into fatherhood, and the unexpected journey that leads him to discover the life-altering love found in the heart of his little girl.

Story

A film by Amy S. Weber Annabelle & Bear is the dramatic, tender story of a man who finds himself suddenly thrust into fatherhood, and the unexpected journey that leads him to discover the life-altering love found in the heart of his little girl. There are moments in life that can change a person forever. For a biker named Bear, this philosophy has proven to be true, time and time again. The moment his father died and he lost his best friend. The moment his mother was remarried to a family friend, just two months after the death of his father. The moment his longtime love Annie, chose drugs and a heartless dealer named Raymond over her family. And the moment he realized he would never be a father to his newborn daughter. Our hero, Bear (Michael Spillman), is an introverted and rebellious soul, living life tinkering with engines and emotionally disconnecting from everyone and everything, including his past. Until one day, the past shows up at his front door. Annie, Bear’s ex-girlfriend of 15 years, stands before him, clearly strung out, two years after abandoning him. And she is not alone. Next to her stands the tiny and innocent Annabelle, their 2-year old daughter Bear has never had the opportunity to know. Before he can refuse Annie’s demands to take Annabelle off of her hands, she slips out, leaving Annabelle behind, in search of her next high. Suddenly thrust in to fatherhood, Bear finds his life in disarray. He struggles to balance his new responsibilities with his former life, and concludes that the only solution is to turn to his mother whom he has not spoken to in five years since she remarried. She agrees to take Annabelle and raise her. Trading in his motorcycle for an old Cadillac and a used car seat, Annabelle & Bear head off to Grandma’s house, traveling from Michigan to Maine. A journey that will not only take them half way across the country, but one that will change a man forever, thanks to the healing power of the unconditional love found in the heart of a little girl named Annabelle. A raw and relevant film about forgiveness and redemption, love and loss, Annabelle & Bear will open your heart and have you rooting for the most unlikely of heroes.

Cast & Characters

Melissa Hughes Submission Contact Production Amy S. Weber Director; Executive Producer Melissa Hughes Associate Producer; Production Coordinator Tina Weber Producer (1st Project,1st Feature); Production Coordinator Tracey D. Sims Associate Producer; Script Supervisor Writing Amy S. Weber Co-Writer (1st Feature); Story Tracey D. Sims Co-Writer Cast Cole Corey Supporting Curt Massof Lead Actor Dal Bouey Supporting Jason Myres Supporting Kimberly Cruchon Supporting Olivia Walby Lead Actor Rick Wooley Supporting Ruby Harris Supporting Tommie Ealy Supporting Camera Dean Horn Gaffer Gregg McNeill Assistant Camera Peter Sensor Cinematographer/DP Art Department Daniel Tello Production Designer Post Production Justin Hynous Editor Matthew Downey Sound Editor

Comments (2)

  • Janet Browne

    Janet Browne

    15 June 2010 at 01:14 |
    We just saw Annebelle & Bear at the Waterfront Film Festival in Saugatuck. SEE IT!! It was so well made and well acted - 100% product of Michigan. Great job all round - I can see this as a commercial success if it gets picked up.
  • Nick

    Nick

    26 July 2010 at 00:44 |
    The film Annabelle & Bear which premiered this past June in Detroit is good film. One of the major flaws of the film is that its writer/director Amy S. Weber, knows it’s good. The film is about a “biker” known as Bear (Michael Spillman) and opens during a birthday party for the aforementioned protagonist at what we are left to assume is a “biker” house with “biker” friends. Bear looks the part as the bald headed, bearded, burly man that he is. The character is done all too well as understated being that “Bear” is a man of few words (god knows we’ve never seen such a character like this before; the loveable and bearish, soft-spoken man). In the midst of his birthday party, Bear’s meth addicted ex-girlfriend shows up to drop off their two year old daughter. Bear is as surprised to find he has a daughter as he is to see his ex. Or rather we assume he is surprised, as little emotion at best ever wrestles itself out of Bear’s hairy façade. The next half hour is spent with Bear getting awkwardly aquainted with his new found daughter Annabelle (Oliva Walby). After deciding Bear is in over his head with regards to parenting (balancing bike mechanic with child-rearing is too much) Bear sells his beloved father’s motorcycle, buys a beat up old Cadillac and heads to Maine-ward in order to drop off Annabelle with his estranged mother (Oh look, a pattern!). STOP! I’m not giving away the ending. And my cynicism is perhaps due to my perceived arrogance on the part of the Weber. The script is good. The premise is good. But the dialogue is simply too surreal. Every character in the film speaks as though they have spent years studying language. “Fuck” and “Shit” are completely omitted. Nevermind the fact they are all supposed to be bikers, one would expect to hear this talk in a bike shop at the very least. In the rare scene were appropriate vernacular is used; it comes off as forced and completely unconvincing. This may not entirely be the fault of the actors but rather, poor casting and a writer that was in no way connected to her characters types. The faulty dialogue may also derive from a lack of script work-shopping (friends and relatives don’t count as work-shop participants and actors are not to be trusted).
    All of this is not to say that the film was a bad submission. On the contrary the story was very touching. The acting on the part of Spillman and Walby was outstanding as long as they were the only two on screen. Being that the film centers around the relationship of the two, and their journey to and from the east coast, the heart of the film is therefore pure. While children can often be problematic on the screen, Walby is magnificent. Bear, when not made awkward by minor characters, shines as the caricature he is supposed to represent.
    This is a film that probably would have benefited significantly from direction coming from someone other than that of the writer. A writer too in love with their work to make the necessary changes needs a director to tame such arrogance.
    Overall I would give this film a C+. Cutting the minor characters (sans the mother of Bear) and the painfully cliché montage at the end would boost this to grade of B+. It seems Ms. Weber needs to re-submit for the better grade.

    Speaking of grades; the DWIFF website fails miserably. No clickable links for films to showtimes and synopsis? The call for entries for 2010 was still plastered to the site (from last year?). According to the website it would seem that the festival only exists for the sake of the festival. As Detroit is becoming more and more of a little Hollywood, one would think that those behind the festival might take advantage of this. Where is the presence of the organizers during the rest of the year? The lack thereof, coupled with the fanfare and audience surrounding Annabelle leads one to think that the festival exists for a select few to show off their work. While there is nothing necessarily wrong with this philosophy (an artist must work to promote themselves), I would be more comfortable with it if it was not billed as a sort of benefit or community service. A good start might be to change the “org” to “com”. A non-profit for the sake of the few seems hardly a community service.

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