Length: 90 min | Genre: Post-apocalyptic Survival/Thriller
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Music by Michael Maurice
After tracking down the man who stole his crucial medicine, a hardened survivalist stumbles upon a defiant young girl held captive in a abandoned camp.
Now hunted by marauders, the two are thrust into a violent fight for survival, forging an unexpected bond in a world where trust is a risk.
In a post-apocalyptic world, Elias is a reclusive survivor suffering from an unexplained illness. When his camp is raided by two drifters, he puts up a brutal fight and manages to kill one, but the other escapes with his crucial medicine. Desperate, Elias tracks down the remaining assailant, only to find himself reluctantly forming an uneasy alliance. Along the journey, Elias encounters Maya, a 12-year-old girl held captive and battling the same disease. Together, they must navigate a lawless and hostile world to survive.
In a world ravaged by a virus, humanity lies in ruins. Despite the outbreak being contained, some individuals—known as the “Positive”—remain as carriers. Marked by a plus-sign tattoo on the back of their hand, they endure crippling headaches and rely on a rare, life-saving medicine to survive. They are hunted…
Elias is a carrier and a hardened survivalist. He has lived alone in the wilderness for years, clinging to a strict routine to survive. His isolation has been his shield, and the medicine, injected into the nape of his neck, is his only lifeline. But when two drifters invade his camp, Elias is forced into a brutal fight. In the chaos, one of the looters is killed, and the other, wounded, escapes with Elias’s life-saving medicine. Without it, Elias knows his ability to survive will quickly fade. Desperate to retrieve it, Elias embarks on a dangerous pursuit. He tracks the wounded looter deep into the forest, eventually catching up to him. Called Ian, he lies on the brink of death. Elias, driven more by necessity than mercy, decides to spare him and follow his directions to an abandoned camp where more medicine and supplies may be waiting.
During their journey, Elias and Ian cross paths with The Reapers—a ruthless group convinced that eliminating the infected is the key to ending the pandemic. The encounter is tense. Elias, relying on his survival instincts, outsmarts them by catching one of their members off guard. Though he forces them to retreat—for now—both Elias and Ian know they will come back for them.
The next morning, Ian succumbs to his injuries, leaving Elias with only vague directions to the abandoned camp. Elias ends up finding it, but the camp is stripped of medicine and supplies. However, it’s not that abandoned—he discovers a wild, defiant young girl named Maya, chained to a tree.
To Elias’s surprise, Maya bears the same plus-sign tattoo, marking her as one of the virus carriers. Faced with an unexpected burden, Elias must decide whether to free Maya or leave her behind. His long-held preference for solitude complicates his decision, but he decides to help her.
Maya, hostile and desperate, resists Elias’s attempts at aid, even attempting to kill him in his sleep. When he overpowers her, Elias offers her freedom rather than captivity. Despite their hostility, they begin to form a tenuous bond. Together, they learn to survive, though their uneasy peace is disrupted when the Reapers reappear and start to track them down.
In a deadly confrontation, Elias is forced to fight the Reapers to protect Maya, a girl he never intended to care for. The battle is brutal, and Elias takes them down. As the dust settles, Elias begins to reckon with the weight of his actions in a world where violence seems to be the only path to survival.
In the aftermath of the fight, Elias and Maya are left standing together, an unlikely pair in a world that has claimed so many lives. As they stare out at the bleak horizon, there is a flicker of hope between them, though it remains uncertain whether this fragile hope can survive in such a harsh and unforgiving world.
Thank you for your interest in The Edge! I truly appreciate your curiosity for the project.
The Director’s Treatment offers an in-depth look into the film’s creative direction.
To preserve the story and avoid spoilers, the treatment is available on a separate page, so if you want to explore the project in its full context, it’s this way.
I’m still open to any questions you might have and always welcome words of support!
The Edge is a love letter to genre cinema—born from a relentless desire for creative freedom and independence.
The journey began in 2014 with Rhesus, a short film concept about a bloodborne virus decimating civilization. The imagery was there, but the story was still forming. The project stalled, yet the idea never left me.
By 2020, the narrative had matured. But with a real-world pandemic unfolding, continuing with a virus-driven story felt opportunistic. So I waited, still, the film lingered in my mind.
By 2024, I finally sat down to write The Edge with clarity and purpose. The first draft came together quickly; the story had been waiting for the right moment, becoming something richer.
Inspired by filmmakers who built their careers on independent, low-budget genre films, I developed The Edge to thrive within the constraints of small-scale production.
My name is Frankie, and I’ve been a filmmaker and video editor for over 20 years, working across every aspect of production—from directing to post. I’ve been on over 300 sets, from large-scale commercials to fast-paced guerrilla shoots, sharpening my craft and storytelling instincts along the way.
Yet, despite a fulfilling career, I’ve always felt the pull toward long-form, narrative-driven stories that resonate on a visceral level. That’s why I wrote The Edge—not just as a film, but as a statement. A leap toward making the kind of cinema I’m truly passionate about—films driven by iconic imagery, choreographed camera movements, and immersive atmospheres.
This project is the culmination of everything I’ve learned, both technically and creatively. Even my academic background in filmmaking and media production, including my master’s thesis, Alternative Ways to Movie Production, directly informs The Edge’s approach.
At this stage in my life, I refuse to wait any longer. Some might see me as a late bloomer, but I see it differently. I’ve been writing scripts since my teenage years, and The Edge is the perfect debut feature—crafted with intention, built for a low-budget, independent production, and designed to maximize its constraints as strengths.
With The Edge, I’m not just making another post-apocalyptic film. I’m creating an experience—an intense, emotional journey that grips its audience with raw atmosphere and striking visuals.
This is the film I want to make. This is the film I need to make.
Thank you for your interest in The Edge! I truly appreciate your curiosity for the project.
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I’m open to any questions you might have and always welcome some words of support!