FEATURE SYNOPSIS

by Catherine Mosier-Mills, Director/Writer

In spring 2025, we completed the short proof-of-concept for The Last Romantic, a feature film that is currently in development. On this page, you’ll see select frames from the proof that showcase the beautiful, evocative cinematography of Thaïs Castralli, all shot on 35mm film (200T/500T).

As someone who grew up in the digital age, I never expected to be able to work with film, but learning how to shoot 35mm on a vintage Eclair Cameflex completely changed my approach to filmmaking. Feeling the sprockets engage with physical film as it moves through the camera is a thrill unlike any other; the sensation is like a roller coaster getting into gear as the camera pulls you — and the story— forward. Every frame is precious. Five years into my film experience, there’s no greater satisfaction than seeing the image in my head permanently preserved on celluloid.

Though this time we had the luxury of using incredible Panavision cameras, shooting on film was still essential for a story about crafting an image during the early days of Hollywood. We used 35mm film and “movie star lighting” to show how early cinematographic techniques transformed actors into gods, while sourcing inspiration from paintings; silent films (including many featuring Rudolph Valentino, who heavily inspires the protagonist in the film); lush period pieces like Phantom Thread, The Leopard, and 1941’s Blood and Sand; and the photography of George Hurrell. Every detail was essential, not only from a story standpoint, but also from an aesthetic one. We poured over everything from antique lighters to cufflinks to historic photos of hotels to capture the exact feel of an upscale 1920s ballroom; there is no detail too small when creating a world on-screen. When we couldn’t find something, we made it.

It was also fascinating seeing how the cast adapted to the world of the film — especially the background actors, almost all of whom are working actors themselves, who played the essential role of setting the scene of the ballroom in small vignettes.

The brilliant Thaïs Castralli and her talented camera team are a director’s dream. She is a true collaborator who understands the film not only from the aesthetic and technical level, but from the emotional one as well. She is a thoughtful and dedicated professional who steps into her role with passion, vigor, and insight. I am honored to work with her and look forward to our future collaborations.

Newcomer Nick Olsen stepped effortlessly into his first-ever film role as Julian for the proof. Together, we spent months preparing (albeit virtually, as he was based in New York at the time), with Nick diving deeply into the character of Julian and drawing out his own personal similarities, even writing a diary as the character. (Forrest Walsh, choreographer extraordinaire, came up with a period-accurate waltz routine that Nick easily picked up within a few days and practiced with Julian levels of devotion — and one that would make Valentino proud!)

Heather Langenkamp, best known for her roles as a scream queen in the Nightmare on Elm Street franchise, embody a completely different kind of role — and understand it on a deep, intellectual level, especially as someone who is also accustomed to being a “symbol.”

Billy Keogh, who played Julian’s rival dancer, took some of the gorgeous 35mm and 120mm BTS photos you see down below, which are works of art unto themselves. Billy is a multidisciplinary artist; he is an actor, photographer, and also known for his viral pottery work.

Catia Ojeda, who played Maeve, stepped in on a moment’s notice and learned her waltz routine on the spot right before filming. Katherine LaVictoire made us (literally) cheer for how perfectly she embodied Fay Whitley; it was initially a much shorter moment, but her performance made me expand it.

Diego Garcia, a multi-talented artist, not only shone as the waiter, but also invited me to speak on his wonderful podcast where he has fascinating conversations with fellow artists. And Jessi Spickard, who played a rather enthusiastic female patron, is a talented filmmaker herself and a fierce proponent of shooting on film. (Also, my extended gratitude goes to Anthony Booth, who not only took beautiful super 8 BTS footage, but played many different background characters; and Joanna Ramos, who runs a wonderful (and historically truthful!) Valentino fan account.

Visit the STILLS page for more glimpses into the world, or the BTS page to see how we made this happen!