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Unauthorized use, disclosure, or duplication is strictly prohibited.
The materials presented are confidential and the exclusive intellectual property of the creator. Access is granted for evaluation purposes only.
Unauthorized use, disclosure, or duplication is strictly prohibited.
DURATION 120 MINS
GENRE Procedural Crime Thriller
LANGUAGE English
FORMAT Gen AI Film Production
LOGLINE
A family’s Christmas celebration turns into a nightmare when the husband is found brutally murdered and his child mysteriously kidnapped. As a highly publicised media circus ensues, a seasoned detective must unravel the lies hidden beneath water tight alibis and the only witness’ fading memory.
SYNOPSIS
Christmas Eve. Lakewood Estate.
A 911 call comes in and the voice of Iris Ji-won Cross barely holding itself together as she speaks.
"My husband has been stabbed. I can’t find my child"
When veteran homicide detective DS John Jewels arrives at the Walker family's sprawling, snow-swallowed Lakewood estate, he finds a crime scene destined to dominate global headlines.
Richard Cross, founder of the RAD X beverage empire, lies dead on a blood-soaked kitchen floor.
His eight-month-old son and heir, Baby June, has vanished. The sole witness to the violence is Iris’s father, William Walker, a highly decorated former FBI agent suffering from early-stage dementia. Found unconscious in the living room, his memory of the night is a blank slate.
The rest of the family appears beyond suspicion. The wife Iris, her brother Riz, and their mother Linda were together at the family's private lake while Richard, William Walker and Baby June remained behind at the house. Every timeline checks out. Every piece of digital surveillance confirms their story.
For Jewels, the explanation is obvious. This is a violent home invasion and a kidnapping for ransom. A desperate countrywide search begins for the missing child. However, 48 hours later there is no breakthrough, crushing the hopes of the family and the detectives.
Then suddenly a Christmas miracle.
Baby June is returned. Alive. Unharmed.
There is no ransom note. No demand. No communication of any kind, leaving the detectives perplexed.
If things weren't already strange, the autopsy arrives throwing the case in an altogether new direction.
Richard Cross was not murdered by the knife.
The bloodbath that shocked the nation was a fabrication.
The murder was not impulsive. It was a perfectly executed, locked-room killing.
As Detective Jewels turns his attention inward to the wife, he discovers that their glossy public image concealed something far darker. Behind the magazine covers, charity galas, and success story lay a harrowing reality of quiet suffering. The deeper he digs, the more he realizes that Richard Cross was not the only victim of the night.
Victims of the Night is a procedural crime thriller intentionally employing a true-crime documentary style, unfolding through direct-to-camera interviews, chilling bodycam and CCTV footage along with subjective cinematic reconstruction.
At the centre of this locked room murder mystery stands Detective John Jewels, who understands that the most dangerous crimes are not the ones hidden by lies, but the ones hidden inside truths everyone has agreed not to see.
TRAILER
TONE & STYLE
Victims of the Night weaponizes the true-crime documentary format before slowly culminating in pure cinematic fiction. The film's distinct visual style initially relies entirely on an objective, mixed-media mosaic weaving together raw police bodycams, erratic dashcams, eerie CCTV surveillance, intimate smartphone videos, and direct-to-camera detective interviews and interrogation in stark rooms. By mimicking the aesthetic of a high-end true-crime docuseries, the film establishes a voyeuristic, chilling procedural realism as the meticulously staged crime scene is unraveled frame by frame. However, as the emotional truth of the case comes to light, the strict documentary lens begins to fracture. In the climactic final act, the film deliberately closes the fourth wall, explicitly abandoning the "docu-style" conceit to place the audience directly and subjectively alongside the detectives. This seamless transition from an objective, evidence-based investigation into a deeply personal, fictional narrative - following the lead detective into the privacy of his own home - perfectly mirrors his internal shift, trapping the audience in the devastating emotional weight of his final choice.
The overarching atmosphere is claustrophobic, dark, and freezing. The opening scenes immediately establish a tense, isolated tone as a sprawling mansion is completely swallowed by a severe Christmas Eve snowstorm. To elevate the typical documentary the film strategically breaks traditional documentary rules by diving into fluid, moody "Reconstruction Scenes"; keeping the visual momentum high and the tone highly suspenseful.
The pacing alternates between the suffocating, fast-paced frenzy of overlapping media broadcasts and the slow, meticulous tension of digital forensics, like scrubbing through footage frame-by-frame. Thematic tone shifts seamlessly from a frantic kidnapping thriller into a dark, melancholic family drama centered on buried trauma and an ultimate sacrifice. The film culminates in a subtle, quiet climax steeped in moral ambiguity; rather than an expository monologue.
CHARACTERS
DS John Jewels
A straight-backed veteran homicide detective with thirty years of experience who brings a sharp, pragmatic approach to the chaotic true-crime media circus surrounding the Lakewood estate. Acting as the steadfast anchor of the investigation, he meticulously unpicks the family's alibis and engages the suspects in a high-stakes psychological game of poker inside the cold interrogation room
Iris Ji-won Cross
The victim's grieving wife, a former actress who was adopted by the Walker family as a young child. She is thrust into the center of a media storm after making a harrowing 911 call reporting her husband's murder and her baby's disappearance.
Richard Cross
A 47-year-old billionaire business tycoon and the highly successful founder of the RAD X beverage empire. His brutal murder inside his holiday home sets off a massive investigation, exposing the stark contrast between his glossy public image and his private life.
Riz Walker
Iris’s adopted brother of Indian descent who shares a deeply protective bond with his sister. Despite struggling to find his own footing in life with a history of rehab stints, he remains a vital, loyal part of the close-knit Walker family traditions.
Mr. William Walker
A 71-year-old, highly decorated former FBI agent and the father of Iris and Riz. Recently diagnosed with early-stage dementia, he is the sole witness to the brutal crime but struggles to provide the detectives with any memories from the night of the incident.
Mrs. Linda Walker
A 66-year-old dedicated philanthropist with a strict, military-like appearance who runs foundations for the underprivileged. As the deeply protective matriarch of the Walker family, she insists on upholding family traditions and acts as a steady presence for her children.
Nina Hall
A dedicated housekeeper who has worked for the Walker family for over 31 years, viewing them as her own family. She becomes a key figure in the case when the missing baby is mysteriously returned to the doorstep of the home she is currently looking after.
Detective Choi
A detective in his early 40s who is one of the first responders to the Lakewood estate. He assists DS Jewels with interrogations and plays a crucial role in meticulously tracking the digital footprints, phone records, and statements of the Walker family.
Detective Lisa Hannigan
A sharp, athletic rookie who is only in her third week on the force and brimming with eager enthusiasm for her first major homicide. Desperate to prove her worth to the veteran investigators, she relentlessly scrubs through hours of tedious CCTV footage and excitedly chases down unconventional digital leads with an overzealous energy.
Dr. Glass
A forensic expert with a crisp, professional demeanor who meticulously analyzes the complex crime scene. She plays a pivotal role in the narrative by delivering a detailed autopsy report that completely changes the trajectory of the homicide investigation.
CINEMATOGRAPHY
The cinematography for Victims of the Night (VOTN) relies on a highly stylized, mixed-media approach that blends gritty, found-footage realism with slick, atmospheric cinematic sequences - taking the viewer on a journey of unravelling secrets and deception.
High contrast lighting, interplay of steady tracking shots punctuated with moments of sudden stillness will help mirror the characters own internal conflicts and uncertainty heightening the suspense with every step. To create a voyeuristic, true-crime documentary feel, the camera seamlessly shifts between multiple distinct media formats.
Macro shots, extreme close-ups, recurring strategic angles will help us really get into the emotional state of our characters and atmospheric wide shots will enhance the ever present tension.
Smooth visual transitions between past and present will help blur the boundaries between reality and memory.
The critical use of practical lighting or dimly lit crime scene reveal important details and clues adding an air of gritty realism.
VOTN is a complex web of deception woven in a non-linear narrative challenging the viewer to piece together a puzzle alongside the detectives.
The cinematography is carefully designed through interplay of lighting, framing and movement, to guide the viewer through the labyrinth of deceit.
References for Cinematography - The Perfect Neighbour, Dossier 137, Don't F**K with Cats and Decision To Leave.
EDIT
The precise pacing, skilful use of cross-cutting, manipulation of time and space, attention to visual cues, and effective sound design will all contribute to the story's gripping narrative and unsettling atmosphere.
As designed in the script, the film employs a mixed-media narrative structure, which the editing shall handle skilfully, seamlessly jumping between different timelines and perspectives.
Some scenes in the film will be deliberately slow to create a looming sense of horror and threat to the characters. A good example of which would be the artful storytelling in Memories Of Murder.
While some scenes are specifically designed to be edited in quick dynamic cuts that create a sense of urgency, shock or thrill for the character and audience. (Like done in Decision To Leave).
The editing shall also pay attention to minute visual details, which subtly convey important information and foreshadow events. Quick cuts to significant objects or gestures, close-ups of characters' expressions, and subtle changes in camera angles contribute to the suspense and provide insights into the characters' true intentions.
To heighten the psychological tension during the interrogations, the edit will rapidly cut between four distinct, simultaneous camera angles, including a wide ceiling CCTV and hidden cameras, keeping the suspects trapped in a claustrophobic cat-and-mouse game with the detectives.
The pacing will intentionally juxtapose chaos with meticulous procedural detail. Frantic, overlapping barrages of news broadcasts and quick cuts of flashing crime scene images will simulate a suffocating media circus. In stark contrast, the editing will slow to a crawl for the digital investigations, utilizing fast-forwards, rewinds, and meticulous frame-by-frame pauses as detectives scrub through pixelated footage to uncover hidden truths.
To guide the audience through the labyrinth of deceit, the edit will incorporate dynamic on-screen elements, such as episodic chapter titles smashing into frame, real-time search bar typing, and text messages popping up to reveal hidden timelines.
Smooth visual transitions, time-lapses, and deliberate match cuts, such as a character suddenly vanishing from a lunch table, will be used critically to blur the boundaries between present reality and the fading memory.
SOUND DESIGN
The sound design of VOTN serves as the psychological pulse of the film, anchoring the audience deep within its voyeuristic true-crime reality. We will seamlessly blend raw, diegetic audio from heavy-breathing police bodycams, frantic 911 calls, and erratic smartphone recordings with a highly stylized, cinematic score.
To establish a chilling atmosphere, the auditory landscape will heavily rely on eerie, escalating tension reminiscent of Philip Glass. We will also weaponize sound through striking juxtaposition, such as playing the upbeat, festive "Carol of the Bells" over police dashcam footage as officers arrive at the devastating, blood-soaked crime scene.
The pacing of the audio will intentionally alternate between suffocating chaos and microscopic procedural detail. We will use frantic, overlapping news anchors and aggressive press questions to simulate a claustrophobic media circus. In stark contrast, the soundscape will isolate critical digital clues, amplifying the faint electronic beeps of a dishwasher timer or the quiet click of a mouse during the meticulous digital forensics.
WRITER/DIRECTOR DUO
NISHTHA+DHAVAL
Nishtha Shailajan and Dhaval Shah are an award-winning writer-director duo whose work spans television commercials, documentaries, short films, music videos, and long-format series. Nishtha is a graduate of the National Institute of Design, Ahmedabad, while Dhaval studied at FAMU, the Film and TV School of the Academy of Performing Arts in Prague.
Over 15 years, they have directed advertising campaigns for global brands including Ralph Lauren, Amazon, Unilever Asia, Volkswagen, Microsoft and L'Oréal. Together they run their production house Tumblefree Films.
They directed Spike, India's first nine-episode fictional volleyball series starring Rasika Dugal, produced by Endemol Shine India & Imber Media. Watch Trailer.
Most recently they created and sold an original crime thriller series to Netflix India.
Early adopters of Generative AI since 2022, their work has earned recognition at festivals and award platforms across the globe.
Awards & Recognition
PEACH (2025) · Art Film
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Winner, Second Prize, K-AI Contents Award, Art & Culture (Korea, 2025)
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Winner, 1st Annual International AI Media Award (Switzerland, 2025)
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Honorable Mention, MIXED* (USA, 2026)
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Finalist, Africa AI Creativity Week & Awards (Morocco, 2026)
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Official Selection, Black-AI Fest (UK, 2025)
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Official Selection, Dutch AI Week, AI Video Awards (Netherlands, 2025)
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Official Selection, Cloudwalk AI Shorts Festival (Brazil, 2025)
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Official Selection, Miami Art Tech Summit (USA, 2025)
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Official Selection, OMNI MINI: SOUND 2026 (Sydney, 2026)
Double Cheese Pizza (2025) · Short Film
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Official Selection, Miami Art Tech Summit (USA, 2025)
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Official Selection, Türkiye International AI Film Festival (Türkiye, 2025)
My Son Pankaj (2014) · Documentary
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Winner, Most Authentic Film, International Film Festival "Seize This Day With Me" (Novi Sad, Serbia, 2014)
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Winner, Second Prize, AutisMovie 2014 (Italy, 2014)
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Official Selection, 11th International Student Film Festival (Hong Kong, 2014)
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Official Selection, International Documentary & Short Film Festival of Kerala (India, 2014)
DOP
ADRIAN TAN
Adrian Tan is a Singapore-based cinematographer driven by a deep belief in the power of visual storytelling. With a body of work that spans over 100 commercials and internationally acclaimed feature films, he brings emotional depth and visual integrity to every project.
His feature film credits include My Magic and Be with Me, both directed by Eric Khoo and celebrated at the Cannes Film Festival, as well as Spirit World, starring legendary French actress Catherine Deneuve, and his latest feature Luck My Life.
From global brands such as Mercedes, Audi, DBS, Sony, and the Singapore Tourism Board to intimate cinematic narratives, Adrian’s work reflects a rare balance of artistry and precision. He is sought after by collaborators who value thoughtful collaboration and imagery that leaves a lasting impression.
Adrian Tan has been closely associated with VOTN, since the conception of the project. And he will be the key person guiding the cinematography of the project through his wisdom and experience.
