A MYSTERY TO ME
Chapter 1-3
It was only ten years ago that she was saved at the age of 16. Now, as a new mother, Vanetta must confront the immense sacrifice that her own mother has made to keep her alive.
Shot entirely remotely during the pandemic, “A Mystery To Me” is a series of three short documentaries chronicling the lives of incredible people living with the rare and deeply mysterious auto-immune disease, Myasthenia Gravis.
CHAPTER 2
After 30-years of pulling people out of burning buildings came to a screeching halt when he was diagnosed with MG, a life-long firefighter searches for a new purpose in life and confronts the fact that now the person that needs rescuing might be himself.
CHAPTER 3
Teresa, a small business owner and mother of three, reflects back on her massive cache of home videos — tapes she started recording after her diagnosis with MG to help her children remember their childhood by the happy moments.
Produced by SAROFSKY PICTURES
In association with KARTEMQUIN FILMS
Associate producers TIM HORSBURGH & GORDON QUINN
In Association with Kartemquin Films,
and Museum & Crane
Post Producer: Joel Signer
Camera Assistant: Arturo Ochoa
Sound Recordist: Richard Walters
Post Supervisor: Marisa Ohara
Additional Camera Assistant: John Houston
Assistant Editors: Dianne Lee and Meaghan Rahamut
Supporting Editorial: Joan Laduca, Tom Pastorelle
Featuring: Vanetta Drummer-Fenton, Christian Fenton,
Vanessa Drummer-Harvey
Directed by BEN STRANG
Cinematography by DAVID BOLEN
Edited by MANUEL CROSBY
Original music by CASEY TRELA AND BOBAK LOTFIPOUR
Sound recorded by RICHARD WALTERS
Color by ARIANNA PANE
Produced by ERIN SAROFSKY
CARYN CAPOTOSTO & KAREN CARTER
SHOOTING A
DOCUMENTARY
REMOTELY
Much like the rest of the world, our production schedule for A Mystery To Me came to a grinding halt in April of 2020.
What we didn’t know at the time was that the new limitations created by the quarantine would push us to innovate in ways we never thought were possible.
Along with award-winning cinematographer David Bolen, sound recordist, Richard Walters and Sundance-renowned editor Manuel Crosby, we set a plan in motion that involved shipping our subjects remote-controlled cameras and audio-recorders and producing the entire film without ever meeting each other face to face.
The result of this completely remote production was a series of films far more intimate, cinematic and personal than we could have ever imagined.
