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A skilled assassin must navigate the dangerous underworld of Los Angeles while reconciling the increasing demands of her profession.

A SHOT IN THE FOOT  opens with a scene in woman's bathtub, a place of vulnerability and silence. However, this brief moment of peace is shattered by a call to mission, and she is forced to transform into a hardened assassin. Through the use of extreme wides and singular light sources, the director Diane Lac captured the absurdity of the assassin’s world and the intimacy of her internal struggles. Each scene’s color palette was carefully designed to reflect the emotional mental-scape of her personal journey, from successful killing sprees, raving to numb the pain, and her inevitable downfall.

Mirroring her relentless efforts to succeed, the crew worked with a limited budget, no permits, and shot on 15-year-old expired 35mm Fujifilm stock at night. This film is more than just a stylish action thriller—it's a statement of defiance. By placing an Asian woman at the forefront of the narrative, Lac challenges stereotypes and showcases the power and complexity of women in traditionally male-dominated genres. A SHOT IN THE FOOT is a reflection of director's own experiences as a filmmaker and an artist. It's a testament to the struggles and triumphs of those who dare to chase their dreams, even in the face of overwhelming odds.

Diane Lac further says: A SHOT IN THE FOOT was borne from a deep-seated angst—angst towards the creative industry for its relentless demands, and towards myself. It’s a reflection of the complex emotions that come with being a freelancer in Los Angeles. As a director and photographer, I often feel like an assassin moving through the motions with a precision that feels more mechanical than human. My relentless commitment to art is fueled by a need to achieve undying perfection. In this film, I wanted to explore the messy, chaotic reality that lies beneath the surface of the exhausting facade.


Director: Diane Lac @diane_lac
Producer/1st AD: Claire Loudis @claire.dcp
2nd AD: Kuan-Ya Wu @kuanyw____

Cinematographer: Dajiana Huang @dajianahuang
Steadicam Operator: William Christensen @william.christensen.88
1st AC: Matt Mardrosians @mattmardo
Add. 1st AC: Sydney Kaplan @syd_kaplan
2nd AC/Loader: Henry Quirion @boy_the_wonder
Add. 2nd AC: Vanesa Moreno @v__nesa

Gaffer: Ali Flynn @aliflynnn_
Key Grip: Ellia Thornburg @elliathornburg
BBE: Soph Alloggiamento @sophitza
BBG: Megan Sun @megannsun
BBG: Melia Haller @meliahaller

Production Designer: Natasha Parbhu @glittersparkle999
Art Assistant: Will Benzian @willbenzian
Art Assistant: Juliette Huy @juliette_huy
Art Assistant: Dylan Dobler @vomitnosee

Costume Designer: Tiffany Wei @txxiic_
Stylist: Nancy Lianghan @nancy.lianghan
Makeup Artist: Geremi So @gerrids.art

Post-House: DOMA @doma.works
Editor: Sam Hardy @samhardy.editor
Colorist: Nielsan Bohl @_nlsn_
Composer: Noah James Rubin @noahjaems
VFX Artist: Mason Cazalet @ma.y.son
Film Processing: FotoKem @fotokem_la
Film Scanner: Thom Kuo @thom_kuo

Stunt Driver: Steven Chen @criticalerror
Office Location Manager: Steve Wehner @steve.wehner

Assassin: Aiyi Cheng @ay266
Office Victim: Nancy Lianghan @nancy.lianghan
Bedroom Victim: Moira Wu @moirawu_
Parking Lot Victim: Kuan-Ya Wu @kuanyw____

Shot on Arriflex 35 III/SR2/@old_fast_glass SR3 with Zeiss Super Speeds, expired 4-perf 35mm Fujifilm Eterna 500T 8573 & @kodak_shootfilm 7219

Special thanks to Thom Kuo, Addie Loeb, David Herrera, Sean Yu, Mark Van Horne, & the DOMA team for bringing this project home