“I first watched AFTER HOURS in film school and I loved it. Not only did I think it was Scorsese’s best film but also his most unknown! The main character gets into progressively more trouble every step of the way. A great side cast, a twisted plot and an extremely satisfying ending! Years later my father lost his violin artwork in the back of a taxi and we went on a desperate search for it through the night. Suddenly, I remembered AFTER HOURS and thus, THE VIOLIN CASE first draft was born. I even leave a direct homage to it in THE VIOLIN CASE and I’m happy to challenge audience members to spot it. AFTER HOURS was incredibly simple but at the same complex, dealing with social issues and challenges of 1980s New York City in an absurd manner, which made it even more cinematic! I remember the pacing was frenetic the locations kept changing but followed the same accountant. And I imagined and wanted that for THE VIOLIN CASE.”
Max BESSMERTNY
In a Manhattan cafe, word processor Paul Hackett meets and talks literature with Marcy. Later that night, Paul takes a cab to Marcy's downtown apartment. His $20 bill flying out the window during the ride portends the unexpected night he has. He cannot pay for the ride and finds himself in a series of awkward, surreal and life-threatening situations with a colourful cast of characters. He spends the rest of the night trying to return uptown.
Directed by Martin SCORSESE