In Sickness & in Health
Synopsis: George is hosting investors at his Malibu beach house for the most important lunch of his career. But his wife Anna has her own pressing concerns. Will they come together and resolve their differences? Or will their struggle to accommodate one another culminate in a violent civil war that consumes their very existence?
Michael Mosley (George)
IN SICKNESS & IN HEALTH is a story about two very different people struggling to accommodate one another – a scenario that resonates with me as it surely does for anyone living in America today in this period of intense political divisiveness. This is also a story about marriage. Having been married for nine years, coming out of a lengthy period of quarantine with my husband and young daughter, I know intimately the challenges of marriage and the sacrifices and grace it takes to keep a marriage intact. Yet we live in a culture that is so quick to turn its back on the other half. But what do we sacrifice when we dig our heels in like that? When we refuse to make allowances or see the other side? This film seeks to explore those insidious costs and perhaps inspire a different approach.
Los Angeles-based writer and filmmaker Sarah Smick started graduate school seven months postpartum… and promptly became well-versed in mom guilt. Yes, she was recognized by Humanitas and won the USC Annenberg Fellowship, but it meant ditching her kid and pumping in closets between classes. Mom of the Year. Inspired by these painful trade-offs, Sarah’s work explores the costs of being seen and heard.
Before earning her M.F.A. in Writing for Screen & Television from the University of Southern California, Sarah graduated with honors from Columbia University, then directed and produced indies, working with the Duplass Brothers, among others. Her feature film writing/directorial debut FRIENDED TO DEATH won Best American Indie at the Edmonton International Film Festival. It was released by Gravitas Ventures and played theatrically in Japan and on 17 screens across the U.S. The Washington Post called it, “an assured debut.”