Filmmakers of "A Mosquito in the Ear" Recruited Fellow SCAD Graduates to Reconstruct a Family's Memories.

      Five years after completing their studies at the Savannah College of Art and Design (SCAD), Emily Dillard and Nico Rinciari are set to release their debut feature film in theaters.

      Based on Andrea Ferraris’ graphic novel Una Zanzara nell’Orecchio, A Mosquito in the Ear tells the story of an American couple traveling to India to adopt a young girl who is hesitant to leave the orphanage she considers home.

      The independent film features Jake Lacy (The White Lotus), Nazanin Boniadi (The Lord of the Rings: The Rings of Power), and newcomer Ruhi Pal. It was filmed on location in Goa, India, and represents the first feature project for the married duo.

      The film also symbolizes a creative collaboration that originated at SCAD. Dillard and Rinciari first connected while pursuing their Film and Television degrees, graduating together in 2020. While at the university, they worked on various projects, including Our Side, which won a College Television Award Emmy.

      Over a dozen SCAD alumni and faculty members contributed to A Mosquito in the Ear, including director of photography Kai Dickson, editor Devon Solwold, sound designer Ryan Sullivan, mixer Matt Yocum, and faculty members Stephen Stanley and Frank Hall Green.

      By the time they arrived in India to start principal photography in 2024, Dillard and Rinciari had already immersed themselves in the story for years.

      Rinciari discovered Ferraris’ graphic novel through a publishing list and instantly connected with its themes.

      “I fell in love with it,” the director shares. “It resonated with many themes and aspects of life and intercultural relationships I was exploring in my personal life.”

      He introduced the book to Dillard, who readily agreed to collaborate. Upon learning that the film rights were still available, they began discussions with Ferraris and eventually traveled to Milan to meet him and his family in person.

      “What really made the difference was flying to Milan to have lunch with the author and his family,” Dillard explains. “We had a heartfelt conversation, as this story belongs to them too.”

      These discussions influenced their adaptation, co-written by the couple. While the graphic novel provided the base, interactions with Ferraris and his family uncovered experiences and details not present in the book.

      The filmmakers had access to invaluable resources, including hours of documentary footage taken by Ferraris during the adoption process. This footage became a crucial creative reference for the project.

      "We watched everything to understand the vibe,” Rinciari notes. “When someone films or photographs, you can perceive their interests, what captivates them.”

      Rather than merely referencing the footage, the filmmakers analyzed it to grasp how the family experienced India. Certain shots inspired specific sequences, while others were directly recreated for the film, with original footage of the real family included at the film's conclusion.

      “There were moments not just of shots we created based on a photograph or documentary footage captured by the father,” Rinciari elaborates. “We recognized moments where we could bring those images to life on screen through movement.”

      One photograph of the daughter looking over her shoulder was recreated with nearly the same framing.

      “We aimed to capture it with the same framing because we wanted to achieve that feeling,” he adds.

      The dedication to authenticity extended throughout the production. The filmmakers shot in Goa and collaborated closely with Indian production partner Les Sutra Pictures to manage permits, location selection, and local hiring.

      This partnership also allowed the filmmakers access to heads of departments who could help root the story in the provided culture and locations, which Rinciari emphasizes was crucial for authenticity.

      This approach was particularly vital during large crowd scenes, where the young girl becomes separated from her family. Some footage was captured documentary-style in actual locations, while other sequences were carefully staged with a large number of extras.

      “A lot of that is a mix of B-roll taken in real places and guerrilla-style shooting,” Rinciari explains. “However, many scenes included staged moments with 130 extras.”

      Finding a young actor capable of handling those scenes proved to be a challenge. After reviewing hundreds of auditions and widening their search just before filming, they cast newcomer Ruhi Pal.

      “She had a soul behind her eyes,” Rinciari states. “She wasn’t acting per se; she was just playing pretend with us.”

      Although A Mosquito in the Ear is their first feature, Dillard and Rinciari did not embark on this journey alone. During development, production, and post-production, they relied on the relationships nurtured at SCAD.

      Stanley emerged as a pivotal mentor as the filmmakers navigated financing and business decisions.

      “I would email him with a list of 20 questions every week,” Dillard recalls.

      Many collaborators who had partnered with the duo on student films returned for the feature. For Rinciari, reuniting with former classmates and longtime creative partners felt more like a reunion than assembling a crew.

      “It felt like a homecoming,” he expresses.

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