HOLD is a tense, spare, and lean drama about a young couple's relationship in the aftermath of a violent home invasion. Featuring no musical score and filmed in claustrophobic closeups, it investigates the frailty of the hero complex by putting a microscope on American paranoia.
A 2010 Venice Days candidate, 2010 top 20 IFP Narrative Labs Finalist, and 2011 Langdon Review of the Arts recipient, HOLD was proclaimed "one of the best films of 2010" (CINEMALOGUE), "bold, stark, and unflinching" (UK CINEHOUSE), "a practically flawless piece of filmmaking" (PEGASUS NEWS), and "daring and well made that Frank Mosley was born to make movies" (GORDON AND THE WHALE). It had its theatrical premiere in spring 2011 at the ReRun Theater in Brooklyn, NYC, and is now proud to be released by Fifth Column Features.
Frank Mosley (DIRECTOR/EDITOR/PRODUCER) is a 2015 Berlinale Talent (and the only American admitted into their Acting Studio that year), a 2011 Langdon Review of the Arts in Texas recipient, and both a 2012 Culture Column Award and 2013 Visionary Award winner from FW WEEKLY, the publication which featured him as a June cover story and announced him as "the John Cassavetes of North Texas". He has been called "a superb actor and filmmaker" by Matt Fagerholm of ROGEREBERT.COM. His starring turn in Cameron Bruce Nelson's SOME BEASTS (IFP Narrative Lab 2014, Wroclaw US In Progress, AFS grant), was proclaimed by TRUTH ON CINEMA to be "a subtle, quiet miracle...a career-making performance that is a thing of beauty". Frank's also appeared in films such as Shane Carruth's UPSTREAM COLOR (Sundance, Berlinale, New Directors/New Films), Eric Steele's CORK'S CATTLEBARON (Maryland Opening Night, Hamptons FF, Austin Film Fest, VIMEO Staff Pick), Jon Jost's THEY HAD IT COMING (Jeonju Film Festival 2015), Brandon Colvin's SABBATICAL (Wisconsin FF, NOFF 2015, NoBudge), and Zachary Shedd's AMERICANA opposite Kelli Garner and Jack Davenport. His breakout role in Justin D. Hilliard's THE OTHER SIDE OF PARADISE was nominated for Best Supporting Actor at the 2009 AOF Festival and hailed as "a potent dose of sexual chutzpah" (VARIETY), "an appealing performance with intriguing elements of depth" (THE HOLLYWOOD REPORTER), and that he "induces simultaneous states of humor, menace, intrigue, and sexual bravado" (SMELLS LIKE SCREEN SPIRIT). As a director, his films and video installations have been featured at the likes of The Dallas Museum of Art, The Edinburgh Art Festival, Sidewalk Moving Picture Film Festival, 14 Pews, Kinoscope Film Series at The New School/NYC, The Northwest Film Forum, and the Micro Wave Cinema Series. They are are now available through Simple Machine, including his feature debut HOLD, which was named by CINEMALOGUE as "one of the best films of 2010", and sophomore feature HER WILDERNESS, which INDIEWIRE deemed "a truly unique work with a distinctive voice". He's lectured at KD Conservatory and SMU Meadows School of the Arts, and been a panelist and juror for The Dallas Video Festival, The Lone Star International Film Fest, and Oak Cliff Film Fest. He's discussed his filmmaking with NPR, Good Morning Texas, Art N Seek, and FILMMAKER Magazine, and is a co-founder of the Dallas film series FAMILY MOVIE NIGHT. Visit Website
Robby Storey ("ALAN"/WRITER/PRODUCER) is an award-winning actor, writer and filmmaker from Arlington, Texas. He graduated from the University of Texas at Arlington in 2005 with a B.A. in Psychology. In addition to producing and directing a myriad of short films over the past several years he has written and co-written two feature films, HOLD and SMALL TIMERS, respectively, that are both available on dvd and VOD. Robby is one of the executive producers of the web-based series COOL WHEELS which has accumulated a significant fan-base. He was the winner of the Best Actor and Best Screenplay Awards at the 2007 Dark Horse Film Festival for the short film RELATION and most recently produced Mosley's second feature film HER WILDERNESS.
Stephanie Alayne Rhodes ("LAURA") was involved in many stage productions throughout her childhood and adolescence in Lubbock, Texas. It was in college that Stephanie's interest turned to the film industry. She began by studying Meisner Method and going to film auditions. In 2005, she signed with Linda McAlister Talent Agency. Stephanie has had leading roles in many Texas and Los Angeles produced independent films. Aside from HOLD, some of her favorites include: "Home By Six" (La Llorona) which she filmed in Guatemala, "The Straight and Narrow", Jon Keeyes' Gothic horror film "Phobia", and Tv's "The Night Shift". She was also cast as the camp counselor that beheads Mrs. Voorhees in Michael Bay's 2009 remake of Friday the 13th. Visit Website
Farah White (EXECUTIVE PRODUCER)was born in Dallas, Texas, and began acting professionally in 1999. In addition to being a 2010 semi-finalist for "The Most Beautiful Woman in Dallas" in D Magazine, you can also see Farah in films such as Miss Congeniality, Serving Sara, BandSlam, The Final and the 2009 SXSW hit, ExTerminators. Most recently, she has appeared in the screwball comedy A Mind of Its Own and guest starred as a sexy, gun-toting housewife on an episode of FOX's "The Good Guys". She both produced and starred in John Wildman's post-feminist horror film LADIES OF THE HOUSE (Sarasota Film Festival, Sidewalk Film Fest, Dallas International), DAYLIGHT'S END opposite Lance Henriksen, and ABOUT MOM AND DAD...opposite Brent Anderson and Joe Nemmers. She has a voracious appetite for the entire independent filmmaking process and spends her time between homes in Texas and Los Angeles. With her company, Femmewerks Productions, she is in development on her first feature film "DoMmy" slated to begin production in 2015. She most recently produced Mosley's second feature film HER WILDERNESS and Clay Liford's hit short film S/ASH.
Ron Gonzalez (DIRECTOR OF PHOTOGRAPHY) has worked in the film industry for over fifteen years as an award-winning cinematographer, editor, director, and actor. He received a film degree from Full Sail Film School in Orlando, Florida and in 1999 helped produce the pilot for the first HD television series in the world, Texas Tales & Legends. He then shot a documentary with two-time Oscar-winning director Barbara Kopple. Ron has edited and DP'd for several networks including HBO, ABC, FOX, HDNET, DISCOVERY, TRAVEL, and DISNEY. In 2007 Ron directed his first feature film, LAWN BOY which garnered attention at several U.S. film festivals. He has since DPed on indie films such as SUBURBANITE, BEYOND THE FARTHEST STAR, RASPBERRY JAM, SMALL TIMERS, and Mosley's second feature HER WILDERNESS. Visit Website
David Pinkston (EXECUTIVE PRODUCER) has been a professional cinematographer and freelance editor since 1980. He holds a BFA in Studio Arts with concentration in Cinematography and Photography from the University of Texas at Arlington. His film work includes features, industrials, commercials and PSAs. David has also been an Adjunct Professor of Cinematography at UT Arlington for several years. As of 2009 he has executive-produced two feature films and several shorts. Visit Website
Johnny Marshall (SOUND DESIGNER) began his musical career in Dallas playing acoustic guitar at age 10. He studied jazz, opera, and piano studies at Southern Methodist University, Cedar Valley College, and North Texas University before spending most of the seventies touring with rock bands across the United States. The eighties brought Johnny back to Dallas where he spearheaded the development of the largest audio post-production facility in the Southwest. There he worked with a number of world-reknown artists as Phil Collins, Stevie Ray Vaughan, Pantera, and ZZ Top, hit television shows such as "Quantum Leap" and "Northern Exposure", and numerous feature films such as as Steve Martin's "Leap of Faith". Johnny's earned three Gold Records, three Platinum Records, one Double Platinum Record, awards from the New York and USA film festivals, numerous bronze and silver Tellys, and Emmy-award nominations for his work with CBS and A&E/Biography Channel. He has sound designed several films that have played the Hamptons, SXSW, Maryland, Sarasota, Berlin, and most recently, Cannes (with Patrick Wang's drama "The Grief of Others"). He won a Special Jury Prize for Sound Design at the 2013 Sundance Film Festival for his work on Shane Carruth's mind bender, "Upstream Color". Visit Website
We've recently acquired U.S. distribution through Fifth Column Features! HOLD is officially available for rent/download, so check it out and spread the word: http://fifthcolumnfeatures.com/films/hold/
Read our distribution press release at FILMMAKER magazine HERE.
-The ReRun Gastro Pub Theater: Brooklyn, NYC: May 4th, 2011: 7pm. *with an introduction/q&a by special guest, filmmaker/critic Michael Tully -The Historic Texas Theater: Dallas, TX: June 11th-12th, 2011: 5pm. *with an introduction/q&a by filmmaker Eric Steele OFFICIAL SELECTION -2010 Kent International Film Festival WINNER* The Sleeping Giant Award (feature) -2010 Dallas International Film Festival (World Premiere) -2010 Glen Rose Neo-Relix Film Festival WINNER* The Audience Award -2010 Venice Days candidate -IFP Narrative Labs-Top 20 Finalist -Named "One of Best Films of 2010" by Rubin Safaya of CINEMALOGUE -Honorary Inclusion into 2010 Langdon Review of the Arts in Texas Journal -2010 Endeavor Cinema Group Showcase -2011 Upstart Films Showcase -2011 Relevant Film Group Showcase
listen to our NPR interview HERE.
watch our GOOD MORNING TEXAS interview HERE
see our INDIEWIRE release HERE.
see our mention in FILMMAKER MAGAZINE HERE.
read our FORT WORTH STAR TELEGRAM story HERE.
read the FW WEEKLY blog HERE
watch our 1st GORDON AND THE WHALE interview HERE
watch our 2nd GORDON AND THE WHALE interview HERE
watch our DALLAS FILM SOCIETY interview HERE
watch our 1st REALTV FILMS interview HERE
watch our 2nd REALTV FILMS interview HERE
watch our KDUX-TV interview HERE
watch our UTA SHORTHORN interview HERE
listen to our CHIRBIT interview HERE
watch our RED CARPET CRASH interview HERE
listen to our PEARL SNAP DISCOUNT live interview HERE
"Frank Mosley's HOLD is a practically flawless piece of filmmaking. Working from a smart, spare script by Robby Storey, this intense psychodrama never strikes a sour note as it builds to an emotionally satisfying conclusion." -John P. Meyer, PEGASUS NEWS
"HOLD is a very carefully orchestrated and sharply executed film with sharp performances. I am completely impressed with what Mosley pulled off and I admire the shit out of his desire to build tension without the crutch of music. It's a really bold idea and they pull it off. He's taken a real leap in making this film and fully succeeded on his terms, proving that he has a strong voice that is clearly going to keep getting stronger. Many people would (or should) kill to have his talent at riding this kind of tonally consistent tightrope all the way to that excellent extended final shot."
-Michael Tully, HAMMER TO NAIL critic and director of SEPTIEN, PING PONG SUMMER
"I've seen many indie directors come and go. It's really hard to make it in this business while working full-time at another job and trying to make a living off making movies. Low-to-no budget films are some of the best ones out there, but collecting revenue is tough. Every so often, one of these movies crosses my path that's so daring and well-made, I have to tell the world about it. Today, that movie is HOLD. Director Frank Mosely was born to make movies. This boy wonder succeeds in all the things I've seen other indie filmmakers fail at. Writing a screenplay about such a serious topic is obviously not an easy task and it's going to be a hard movie to sell. You need to make sure to accurately capture the subject nature and make it damn believable. Do they succeed with HOLD? You bet they do."
-Chase Whale, GORDON AND THE WHALE
"HOLD is a great piece of work. I was really amazed by how restrained and assured Mosley's directing was. And for his first feature no less!"
-Yen Tan, director of PIT STOP and CIAO
"I was rather impressed with HOLD, where Arlington-born filmmaker Frank Mosley shows no shortage of ambition. It is satisfying to see this film set in a McMansion in suburban Dallas dressed up in all its unsexy pragmatism. The large, echo-y living spaces, the rudimentary streets, the extra rooms and places to hide in the house underline the dissociation of the films main characters. The film gets at that ineffable feeling that after certain kinds of suffering, there is no returning to the person you were before. This is the first time I've heard that writer/lead actor Robby Storey is blind, which is absolutely phenomenal, considering his performance was the movie's highlight. Turns out the filmmakers deliberately kept Storey's disability quiet so that their movie wasn't pigeon-holed as the "the one with the blind guy." Much respect.
-Peter Simek, "Front Row", D MAGAZINE
"Wonderfully acted and beautifully directed, HOLD takes a tough subject matter like home invasion and shows the healing that can come over time. Kudos to Frank on this debut."
-Matt Mungle, "NEIGHBORS GO.COM"
"A really good movie that is so well structured and shot and acted. Upon hearing that the original short film was simply elaborated upon, it was impressive being able to find such room for expansion, which is no small feat. Good work."
-David Lowery, director of AIN'T THEM BODIES SAINTS and PIONEER
"It takes a very interesting direction and shows us things mostly from the perspective of the husband and how he is coping with the situation. The subject of rape is never an easy one so I should make it clear that I am making an assumption here, but I think both the writer and director handled the husband's feelings of inadequacy and his reservations toward intimacy very well. The overall story is tightly woven and engaging and Stephanie Rhodes, as Laura Marsh, does a good job of conveying this tragic circumstance. There is no mistaking Frank Mosley's talent. The scene that shows the couple leaving their house and going to church is evidence of his ability to tell a strong story with little to no dialogue. The talent is there and once a bigger production budget crosses his path I expect to see great things."
-Gabriel Barboza, THE MOVIE POOL
"HOLD deals with the slow disintegration of a marriage after the wife is raped during a home invasion, though "sensationalistic" and "sordid" are not in Mosley's vocabulary as a director. He trades in for the kind of lo-fi tension that can only be achieved with a careful combination of wide angles, long takes, minimalist sound effects, and unsettlingly perceptive performances achieved partly through intensive rehearsals and on-camera improv. Call it "eerie realism" if you need to call it anything, but Mosley is unique among young North Texas filmmakers in the scrupulous, humane detail of his work. Keep your eyes on this prodigiously talented writer-director...his work is just beginning to get the wide attention that it deserves."
-Jimmy Fowler, FW WEEKLY
"It's easy to take what goes on behind the scenes for granted. To write, produce, finance, cast, direct, and finally distribute a film requires untold hours of not-so glamorous hard work and perseverance. Only the brave survive to take a spark of imagination and fan the flames to emerge on the other side with a feature film. One such brave person is Arlington, Texas native Frank Mosley, who is a man of many talents. He has emerged on that other side with a carefully crafted feature length film that pulls you into a psychological character study with onion-skin layers of emotional depth. HOLD is a film that moves slowly and deliberately, giving a tone and feel far more European than some audiences might appreciate. As a filmmaker, Mosley relies on a strategic sense of timing and framing. Long, lingering close-ups open opportunities for nuances-a raised eyebrow, a down-turned lip, an ever-so-slight grimace that would otherwise be missed. Mosley uses the power of suggestion rather than graphic violence, asking lots of questions about what it means to be a man and how best to cope when society's expectations don't square with the need for tenderness and love. If you're of a mind for a thoughtful, engaging film that will make you think long past its 85 minutes, then don't miss this one."
-Marilyn Robitaille, THE STEPHENVILLE EMPIRE TRIBUNE
"I admired Mosley's technique in HOLD, which worked quite well. This is a very powerful film."
-Kyle McKinnon, Lead Programmer of the 2010 Sidewalk Moving Picture Festival
"Hold is an amazingly sparse drama, there are no musical cues for us, the audience, to follow, so we're left to make up our own minds about things. And, after a while, we begin to both feel the pain that these people are going through and think about what we might do in these circumstances. Hold gives us not only a great movie with great acting, but a moral dilemma as well, what would you do if these awful things happened to you and your loved ones? And would you be strong enough to overcome them? Great question asked by a great and effective movie. I'm giving Hold 4 out of 4 cigars, it's a morality tale that will keep you on the edge of your seat until the end...and then it'll make you want to go tell everyone in your family how you feel about them."
-Brian Morton, ROGUE CINEMA
"HOLD is brilliant and one hell of a great micro-budgeted film."
-John W. Yost, FILMMAKER MAGAZINE
"Mosley has done a fantastic job with HOLD. I found the story to be thought-provoking and powerful. There's great use of the camera, particularly in building tension. What an incredible job by Stephanie Rhodes. She was amazing and her performance makes me definitely want to work with her in the future. Over all, a film to be very proud of."
-Jon Keeyes, Academy Award short film finalist, director of LIVING AND DYING
"Thankfully, in stark contrast to exploitative rape/revenge films such as Straw Dogs, Irreversible and I Spit On Your Grave, HOLD's plot does not unfold in a sensationalist manner. We only see the aftermath of the crime that took place, the details of which are left explained in a stark, unflinching monologue given by Laura directly to the camera. Images of smashed glass become all the more poignant given the unknowable horror of the crime.
Director Frank Mosley often employs long takes as well as tightly focused cinematography in order to draw tension and isolation, and what results is a considerate pacing that is unafraid to linger in the silence that begins to fill Alan and Laura's lives. We are sometimes privy to intimate personal moments as they both search their fractured relationship for signs of normality: a smile, a laugh, a touch - these scenes in particular were most effective in drawing me into their plight. However I was pleasantly surprised by the bold inclusion of a scene where Laura faces the resulting damage the rapist has left on her body - something I don't recall being dealt with as devastatingly on film before.
The overarching themes of deterioration within a picture-perfect suburbia shows influences of Todd Hayne's Safe, and a long shot of the front of their home that is mirrored on the film's website brings to mind Michael Haneke's home invasion story Caché. The website also has a perpetually looping background sound-effect of birds chirping intertwined with police sirens, a detail that is probably incidental but unsettling nonetheless.
Some scenes appear to hint at larger concerns with chauvinism, the role of faith as a healing force and the acclimatising of a victim back into society, but the keen focus on Alan's insecurities plays well given the small cast, preferring character and mood to drive story rather than extraneous scripting. Frank Mosley clearly knows how to explore mature ideas with great skill and I hope he has many more features to come."
-(excerpt) Pierre Badiola, CINEHOUSE UK
"Rape is obviously one of the toughest subjects for actors to contend with. The characters of Laura and Alan could not have been easy ones to portray, especially with so much focus on their expressions and actions. Without the crutch of expository dialogue to rely upon, Rhodes and Storey (who co-wrote the script with Mosley) prove that they are certainly up for the task. To say that Hold relies on them as actors is an understatement; because it is, quite literally, their faces that convey the story; their eyes are the windows to the film's soul. With no musical score and long dramatic pauses between dialogue, Mosley allows the film's sense of anxiety and tension to build not by words or sounds, but by the expressions on the actors' faces. Mosley's frequent use of close-ups really drives home the importance he places on the visual display of emotions to convey his story. This technique lends Hold a John Cassavetes-like sense of naturalism, in which scenes play out organically. (The intense sense of psychological and existential turmoil boiling within the characters -- not to mention the scathing critique of the perceived utopia of suburbia -- bares strong similarities to Michael Haneke's films.) Mosley is not afraid to allow the camera to linger a few extra beats after the action would traditionally end; a strategy that, as it turns out, drastically increases the dramatic tension of the scenes. Avoiding the use of expository dialogue and a musical score while also allowing the scenes their own natural breath, Mosley wears his patience and confidence as a filmmaker proudly on his sleeve. Mosley never panders to the audience, nor does he go out of his way to hide details from us or provide us with all-too-obvious clues. Mosley also remains remarkably tenacious in maintaining a consistency in perspective -- we may see what Alan sees and hear what Alan hears, but we do not know what Alan thinks. The camera therefore does not represent Alan, we are merely watching the events from over his shoulder (which is exactly what the opening shot alludes to us)."
-(excerpt) Don Simpson, SMELLS LIKE SCREEN SPIRIT
"Sometimes the very worst thing that happens to us is that it happens instead to the one we love. HOLD is a film that takes us on a hard journey with Alan and Laura Marsh, a young couple devastated by the aftermath of a home invasion and sexual assault. With an evocative tone and strong imagery, HOLD delves into the wrenching heartache and guilt survivors must bear. Along the way, the audience gains insight into the complexity of self-expectations and a male's supposed role of "hero." While tense and broken, the world of this film manages to still contain hope and offer some beauty. Stephanie Rhodes turns in a quietly nuanced performance that adds to this honest (yet respectful) examination. But the backstory alone, of how director Frank Mosley and writer/actor Robby Storey overcame great challenges in their collaboration, makes this film truly special."
-Bridgette Poe, Press Agent for the 2010 Dallas International Film Festival
"The film begins simply enough. A man flirts with a girl at a party, dismissing it, "No, actually I was looking at the girl next to you." It's a conventional Meet Cute fake-out; the couple turn out to be Alan (Robby Storey) and Laura Marsh (Stephanie Rhodes). The opening scene establishes a healthy, romantic relationship between the two principals, as well as their social dynamic before tragedy strikes. Laura is gregarious, self-assured and motivated-currently working on her Master's thesis. Alan is a loving, yet insecure in the company of other men, or rather, independent men and women-including his wife. Save for a conversation on the drive home, in which Ms. Rhodes shows her acting chops with her character's muted offense to an insensitive remark by Alan, very little setup is given to the characters. First-time feature director Frank Mosley avoids overt exposition. Instead, after Alan leaves for work one day, the camera pauses on a street-level shot of the house for several seconds-no music. One's immediate reaction may be puzzlement at both the duration of the shot, as well as the flat angle. It's the last time you see the whole exterior-the household as one.
The very next shot reveals a battered Laura, recounting her brutal assault and rape. Ms. Rhodes breaks the fourth wall, looking directly at us. This moment connects us viscerally with her character so that in the second act, as their relationship begins to unravel, we identify instinctively with her. From here, the film steps away from the contrivances of plot by abandoning it entirely. Instead, a character study ensues."
-(excerpt) Rubin Safaya, CINEMALOGUE
***named one of the Best Films of 2010***
"HOLD is an intelligent, beautiful and intentionally-slow film that deserves an audience willing to give it their full attention. Mosley is one hell of a filmmaker. The script and film are intentionally very basic (or even primal) in plot, but display such emotional depth in characterizations and actions that the precise finished tone of the film is extremely effective. Stephanie Rhodes displays a controlled subtlety in her arc from recovering assault victim to role of the wife trying to reconnect with her emotionally muzzled husband. She is pitch perfect. Upon second viewing, I connected with Robby Storey's performance on a whole other level. He has a brilliantly-nuanced performance that perfectly captures the character's need to deal with the assault by simply responding as how he believes a man should respond. His breakthrough scene had me in tears this time around. His performance, along with the script and Mosley's direction, put an intelligent yet painful magnifying glass on men's issues with masculinity and the hero complex."
-Justin D. Hilliard, director of THE OTHER SIDE OF PARADISE
"HOLD is a piece of art. It is a film to be proud of. The characters came alive. They breathed, and, even more significant, I felt the audience breathe with them. Robby Storey really did a wonderful job. I loved the originality of it. No cliches, no pretense. Camera out of focus for reasons. Mosley's choice of what to let the viewer see; and it was always right. It never took me out of the film thinking, he's just trying to make an artistic point. I felt like the audience felt strange laughing at certain parts, but it was perfect. That's what you want. The intensity to be built so high, people can't even let out a breath."
-Cameron Bruce Nelson, director of SOME BEASTS