Written and Directed by Oran Franco
Produced by Tom Shanan
Cinematography by Laszlo Baranyai
Starring Simon King, Maggie Blinco, Peter Sardi, Liza Dennis, Emily Buxton-D’Arcy and Ruby Rees Wemyss
Alex’s mother is terminally ill. She wishes to die but needs his help to do so. Having to keep this a secret from his family, Alex struggles to find a way to grant his mother’s final wish and must finally face committing the ultimate act of love alone.
Written by Oran Franco:
Euthanasia is obviously a very loaded topic and has become increasingly a part of the zeitgeist. The notoriety of Dr. Kavorkian, and more locally Dr. Nitschke in Australia, has divided many opinions and created a whirlwind of media coverage both for and against Euthanasia.
Many people have either directly or indirectly known someone who has suffered a terminal illness or who has had to make a difficult choice and just like Alex and his mother in “Good Boy”, wished there was a simpler solution. In my film I do not seek to pick sides or push an agenda. My intention is to present the audience with a reality which so many people have to face on a daily basis and to take the idea of euthanasia from existing merely as a philosophical construct and dramatise it in a relatable way.
Yes, this topic is divisive. Yes, it will raise eyebrows – but I believe that all good cinema responds to the world around it and to the collective themes that we all share as humans on this earth. Filial obligation. Unconditional love. Freedom of choice. Are we really so different? We all have the same blood coursing through our veins; similar problems and similar fears. When the lights come up at the end of the film, my hope is that the audience will leave asking questions, thinking about and personalizing this subject and engaging in discussion or debate.
Some have asked me ‘why would a young man want to write about such a depressing subject?’ The truth is, I became progressively aware of what so many people around me were having to deal with and I realised how lucky I am. I thought, ‘who says that this horrible reality won’t decide to visit me? My family? My loved ones?’ It’s not something that’s over there, it’s something that could very well be right here, just around the corner. So I asked myself, what would I do?
I hope that for some, the answer to that question may lie somewhere in my film, in between the many shades of grey. And if the question itself only begs further questioning and analysis – well, at least we’re talking about it.