Genre
Synopsis
Chicago, on the day of a total solar eclipse. In the bustling chaos of the car pound, a motley crew of characters converge, each with their own tale of woe and absurdity. Charles, a septuagenarian with a penchant for chaos, finds himself embroiled in a collision with a car full of illegal immigrants who vanish into the night. Meanwhile, Ronny and Royce, mischievous twins with a proclivity for identity swapping, face a birthday debacle when their gun-switching antics go awry.
From a pulsing rave to the Salt District’s cobblestone streets, the city's corridors witness the adventures of Zen, a perpetually high raver on a quest to retrieve his abandoned vehicle. At the same time, Sonya and Victor, a mobster duo, weave through Chicago's underground and prison system with a car that becomes an inadvertent treasure trove of contraband and a live human, Luca, trapped in the trunk. Luca's daughter, Tassa, and her Moldovan grandparents scour the city in desperation, hoping to find him. Kaleah, lacking a driver's license, and her hapless entourage move from parking lot parties on the South Side to wreak havoc within the pound's confines. Zachary, a quiet figure with a troubled past, heralds from Chicago's hospital district while grappling with personal tragedy and financial ruin. Crystal, the cantankerous car pound clerk, reigns supreme as the bane of the towees' existence. Then there's Dale, the derelict, crack-smoking tow-truck driver, who navigates the city's streets in pursuit of chaos.
As tensions mount and tempers flare, the convergence of these disparate narratives culminates in a climactic showdown within the car pound. In a shocking twist, Zachary, the unlikeliest of protagonists, unleashes his pent-up anguish in a desperate bid for control, triggering a chain reaction of chaos and calamity. As the chaos reaches its zenith, a total solar eclipse casts an eerie glow over the scene, illuminating Dale's crack pipe in a surreal spectacle. Mesmerized by the celestial phenomenon, Dale careens his tow truck into the fray, sparking pandemonium and providing a fleeting moment of distraction.
In the midst of the mayhem, Crystal emerges as an unlikely hero, restoring order to the tumultuous tableau. Against the backdrop of a darkly humorous saga, the denizens of the car pound navigate the absurdities of fate, finding camaraderie and redemption amidst the wreckage of their misadventures.
Bio
Maria Allred is an award-winning filmmaker known for her innovative approach to cinema, blending bold content with experimental techniques while captivating audiences. Her debut feature film, described by critics as "unapologetically bold," won multiple awards during its festival circuit and later achieved a theatrical release in four major U.S. cities before widespread distribution. She is the founder of Allred Films, a boutique production company, which specializes in groundbreaking films and new models of financing, marketing, and monetization.
Before directing her feature, Allred's short films made waves with successful festival runs and three television premieres on PBS. One of her films was featured in a 30-minute Emmy-nominated episode, "Art Beat Goes to the Circus."
Allred's rich artistic history is rooted in a life of exploration and adventure. At 15, she left home on a year-long quest that took her across the country, living primarily in the woods and embracing the raw beauty of the natural world. This unique journey profoundly shaped her life and artistic vision, infusing her work with a sense of wonder and a fearless spirit of discovery.
With a lifelong passion for painting, poetry, philosophy, and dance, Maria's filmmaking reflects her multifaceted creative background—her films are celebrated for their poetic, painterly visuals and philosophical depth. She graduated summa cum laude from Portland State University with a BS in liberal studies.
Critic Maggie Stacu remarks, “What she has created is, simply put, one of a kind. Not only that, but it’s poignant to our time." Willamette Weekly writer Bennett Campbell Ferguson states that Allred is "daring Portland directors to think bigger, grander, and zanier."
