The Foursome (2025)
Project Background
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Objectives
The film is based on a short story from the book, Moments: Short Stories. The brevity and underlying gravity of the story make it ideal for a short. It is a tale about everyday people, but with an undercurrent of how women are perceived and treated by men in contemporary society. We wanted to honor the essence of the short story by following it closely. The story prompts readers—and in the film, the audience—to ask questions rather than giving them answers. There is no hero, no correct vision. The perspectives of each character are based, of course, on his own experiences, yet the choices he has made become the bases for what has happened in his life, and therefore his truths. It was important to portray how today's behavior is not only a product of the past, but an attempt to justify that past. Also, we think this thought-provoking story is timely. Currently, so many issues are percolating about the role of women in societies, and how men perceive and act toward them. The Taliban victory in Afghanistan has re-plunged women into dark ages, as they're banned from jobs, education, freedom of association—and forced into full veil and true slavery. Gisèle Pelicot is a French woman whose husband drugged her, invited strangers to rape her, and then posted movies of the horror online. Gisèle made the trial of his crimes open to the public. When asked why she did not shield herself by making the trial private, she declared that she is not the one who should hide and be ashamed; the victim is not the criminal. |
Rebecca Cheptegei, who ran in the Paris Olympics, was set ablaze—murdered—by her boyfriend in Kenya. He was envious of her successes and angered by the independence her accomplishments had given her.
Questions abound about sexuality, second-class citizenship, and brutality toward women. "The Foursome," played by an all-male cast, explores one tiny facet of the evolving awareness of double standards when it comes to women. We want to showcase that.Another goal is to tout the book, Moments from which the story is drawn. If someone likes "The Foursome," they'll probably enjoy other stories in the book as well. So, this short will help spread the word. A fourth goal is both giving and selfish: we want to create a film that both entertains others and gives ourselves joy in the creating. The actors and crew who brought this to life practiced their craft and added their artistry to their fullest. What goals don't we have? It isn't to garner glory, so it won't be entered into festivals in hopes of winning an emblem or a trophy. |
The Music
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He Who Has My Heart
© 2025 Kathleen Bailey and Jean Dorff I won’t stay the night, Only the time we need To soothe my heart’s unrest And quench this fire in me. Though I crave you now Tomorrow, someone new And it won’t be long Till your memory fades from view I want to wake with him, He who has my heart. My passions are so fleet But love for him stays true As age turns fire to ash Flings will lose their spark; I’ll still be by his side He who has my heart Though I crave you now Tomorrow, someone new And it won’t be long Till your memory fades from view |
Tallulah is a character whose presence is vividly felt in the film, but she's never seen. She has a highly individualistic view of life and love, and about what is moral and is not. We thought a strong way to represent her is through song. It plays at the end of the movie, after all's said and done.
The music is by Kays Al-Atrakchi and is sung by Leah Letta. Lyrics are by Kathleen Bailey and Jean Dorff. Listen to He Who Has My Heart
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The Film Style
If you can convey something through action instead of dialog in a film, then do so. But there's a caveat that shouldn't be ignored: if you must take significantly more time to convey through action rather than dialog, it may not be worthwhile. This is what was on our minds when pondered about the staging of The Foursome.
Cutting to the chase, we decided not to change the nature of this dialog-focused story. Rather, we seek to highlight the dialog. We don't need a well-dressed set; we need a minimalist one. As in a black box theater, such a set allow us to explore concepts and emotions more purely, without distractions or the need for supplemental technology and "stuff" that, whether intended or not, can degrade the focus on dialog and quality of acting. So here is our focus: we want to showcase the actors and what they're saying. And by doing so, we are allowing the directors, cameras, and other crew to shine. And that brings us to our hope for the short. We want to achieve a piece of art that attracts viewers and is a mark of pride for all those who participated in making it.
If you can convey something through action instead of dialog in a film, then do so. But there's a caveat that shouldn't be ignored: if you must take significantly more time to convey through action rather than dialog, it may not be worthwhile. This is what was on our minds when pondered about the staging of The Foursome.
Cutting to the chase, we decided not to change the nature of this dialog-focused story. Rather, we seek to highlight the dialog. We don't need a well-dressed set; we need a minimalist one. As in a black box theater, such a set allow us to explore concepts and emotions more purely, without distractions or the need for supplemental technology and "stuff" that, whether intended or not, can degrade the focus on dialog and quality of acting. So here is our focus: we want to showcase the actors and what they're saying. And by doing so, we are allowing the directors, cameras, and other crew to shine. And that brings us to our hope for the short. We want to achieve a piece of art that attracts viewers and is a mark of pride for all those who participated in making it.
The Premiere July 28, 2025
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There is nothing quite like seeing a movie on the big screen in an old theater worthy of film world. So we were excited to show The Foursome for the first time publicly at the Texas Theatre, an historic venue that couples a very wide angle with exceptional sound.
The evening began with a short introduction by Director KC Bailey about some of the objectives she sought to achieve with the film, one of which was to prompt viewers to ponder the different standards by which women's infidelities are judged versus men's. The introduction is available here. The first showing of the 20-minute film was then followed by a panel discussion featuring Bailey as emcee and guest speakers Stephen Becker of KERA radio and Jean Dorff, host of the podcast Dance GEM. Their discussion was videoed and will be available on this website. The evening went off without a hitch...almost. When the crew arrived to prepare for the filming of the introduction, there were items on the stage—a whiteboard, chair, table, and rug—that needed to be removed and couldn't be. The reason? Theatre personnel were waiting on approval of the set from Francis Ford Coppola, who was expected to call in at any moment to okay it as the set for his own performance at the Texas Theatre the following day. It makes for a nice story to have been held up by such a luminary as one of the greatest directors ever! |
The Premiere event crew. From left: Ethan Talladino, Anthony Santopetro, Neil Sqrow, KC Bailey, Peter Raebel, Eliana Sqrow.
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On premiere night, two supplemental videos were shot. The first is an introduction to the film given by Director KC Bailey. It's available here. Second was a panel discussion with Bailey, Stephen Becker of KERA radio, and Jean Dorff, podcast host and co-lyricist for the film's theme song. The panel discussion is available here.
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Director KC Bailey and Event Coordinator Neil Sqrow. Neil was also Line Producer and Second Assistant Director on the shoot.
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Two views of the marvelous Texas Theatre where the premiere of The foursome was held.
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©Kathleen Cordelia Bailey. All rights reserved.
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K.C. Bailey
[email protected]
1321 Upland Drive, #1081
Houston, Texas 77043
~~~~~~~~~~
K.C. Bailey
[email protected]
1321 Upland Drive, #1081
Houston, Texas 77043