The Bodies

About the Job

Who they are They are the dating-app feed made physical: people as products, swiped past one by one while the Man barely reacts. The film's point lands only if they read as real, individual people treated like stock. • Beautiful and visibly uncomfortable. Each one is folded to fit a tall, phone-shaped window and pressed flat against the plexiglass. • Holding still, the way products do. No posing, no flirting with camera. Just a person enduring the box. • A swipe, not a show. Each body glides in from the left, fills the window edge to edge, and exits right as the next arrives, with a CLUNK on every step. • Individual moments. Woman #3's breath fogs the glass; the Man blinks, as surprised to be there as anyone. Featured bodies should be able to carry one small, honest beat like that. Look and diversity brief The machine has no type: every age, shape and skin tone. The lineup should feel like a genuinely random cross-section of adults, not a casting of conventional models. • Range is the brief. Actively seek variety in body size and shape, age (young adults through older adults), skin tone, ethnicity, height and gender presentation. • Mostly women, at least one man. The script specifies three featured women and one man; additional passes can mix freely. • Everyday clothes. Ordinary, varied clothing that feels like each person's own, with no logos. Physical requirements and performance The box is open on the sides, so nobody is enclosed or trapped; performers can step in and out freely. The real ask is being comfortable pressing your face and body awkwardly against plexiglass, take after take. • Face on the glass. Comfortable pressing cheek, nose, palms and shoulder flat against plexiglass in an awkward, squashed pose. • Unselfconscious. Happy to look unflattering and distorted on camera; that's the point of the shot. • Stillness. Hold still while in the window; any movement comes from the rig, not the performer. • Comfortable with close framing while pressed against