Film: Communication & Art


Cinema is a compendium of several forms of art: photography, fine art, fashion, music, sound design , and last but not least story-telling.The use of elements such as light and darkness, silence, rhythm and continuity make the magic look and feel real. The creative process stands on the principle of Double Mimic, and the ultimate objective is Character of Universality.


The fundamental part of a film is the story. Cinema has it’s own language when it comes to the structure of the plot. It does not need a theatrical or radial structure. Neither can it rely on literary elements, since the action always happens in an eternal present. We are still using Aristotle’s Poetics for the configuration of the protagonist, Antagonist and the structure of the conflic. Other structures have been updated considering the developing maturity of the viewer. The most remarkable being suspense.

Experimental Film

Unspoken Wish

A Sophia von Wrangell Film 

Feature Film Screenplays

Seasoned Professional

I have thirty plus years of experience in the Film Industry in Europe, South America, and the United States.

I work using both standard film practices as well as experimental techniques.






Sophia von Wrangell Film CV

Sophia’s Personal Mission is to break through cultural barriers in order to achieve communication, be it conscious or subconscious. To this end, she has become proficient in all Visual Arts.

Sophia teaches private master classes and Dramaturgy of the Short Film.

September 2007. Sophia presented her acclaimed seminar “Dramaturgy of Film” at the Universal Studios in LA as part of the Moondance International Film Festival.

Sophia’s course in Dramaturgy of Film has its roots in the Aristotelian “Poetics” and has evolved to encourage the development of Cinema as its own genre. The presentation included the basics of film visualization in the eternal present.

1st. of March 2002 Sophia-Louise’s short film screenplays: The Wall, Stardust, and The Escape, were nominated for the NYIIFF, and all three were finalists. The festivals took place in LA (July 10-21) and NY (September 18-28).

The EdgeWork website introduces Sophia-Louise’s workshop in Dramaturgy of the Short Film Screenplay for directors and writers, with the following words: “We are proud to present Sophia- Louise von Wrangell’s acclaimed course in visual storytelling…” February 15, 2002. A student at this workshop wrote:

“Learning to visualize for film is only the first step for an aspiring Screenwriter/ Director.

Using a unique language she developed in her own work, Sophia-Louise von Wrangell writes only what is to be visually seen in a film, and using her extensive grasp of symbolism, that which is unseen is also expressed. She has a gift for finding the problem areas of a script (in structure, rhythm, intention) and she skillfully solves them. She writes as an editor, which makes the post- production of her films a success.

“I first met Sophia earlier this year when I attended her workshop, “Dramaturgy of Film”, at the Moondance festival in my hometown, Boulder, CO. Her energetic charisma immediately captured everyone’s attention, and her insight was only surpassed by her good humor. The class was large, yet each person was given the chance to voice their script ideas and receive her feedback. She left the entire group inspired and craving more. I, personally, was so impressed with her knowledge that I picked up and followed her to Olympia, WA, graciously accepting a position as her


apprentice. It was a decision that is proving to be monumental in my artistic development and a delightful experience.”

Suryananda Rose, April 18th, 2002

Sophia-Louise lectured “Film Structure and Visualization” at the Moondance International Film Festival in Boulder CO, January 24-27, 2002.

Sophia-Louise is lector and consultant of the Berlin Brandenburg film board, since 1993. While in Germany, Sophia worked under the name “Luisa Roger”.

Sophia-Louise founded Visart Productions in 1983. Visart has produced and directed short films, written screenplays for prized feature films, co-written more than 20 feature films, and dramaturgically improved films in production, from the story to the editing table.

Zeit Ohne Schatten (Time without Shadows) that came out under the title “Zugvogel … einmal Nach Inari” (Train Roses, in English). Peter Lichtefeld directed. Awarded the German Silber Bear, Berlinale 1997. This is what the German Press wrote about it and is pertinent to the screenplay, which Sophia wrote under the name Luisa Roger. It was as awarded the New York Times Writer’s Pick, the Prize f the German Kritik. Peter Lohrmeyer won the golden prize as secondary actor and Frank Griebe the golden prize for best camera. Zugovgel was awarded the Prize f European Cinema, 2119:

“A genial mixture of twisted thriller and laconic love story. A journey of lunatics, with the perfect connections. Hannes Weber (Joachim Kröl) is a passionate fan of train connections. Commissar Fank pursues him as a murder suspect. It is known that love falls from heaven. If someone would have told Hannes, the delivery man for a beer company, that he would find it in the exotic loneliness of Finland; and that a detective, obsessed with his capture is stepping on his heels to accuse him of murder, he would have just shaken his head, incredulous. In his journey, Hannes sees himself mixed in the criminal activities of a band of falsifiers. Furthermore, he meets Sirpa (Outi Maenpaa), a Finnish woman lover of roses and falls in love with her – but lets her go. They all meet in Inari: Hannes, Sirpa and …commissar Fank!

Migratory Bird combines a tender love story with a dark comedy and a poetic railroad movie. It is a strange Journey to the end of the world.

Hannes:- When is it most beautiful in Finland?

Sirpa: – The Rushka. You see how the forest explodes in every color. And then comes the snow, and the sun descends further and further. And you turn more and more quiet, and then comes the time without shadows.

Hannes:-Do you mean… when there is light night and day? Sirpa: – No, the never-ending darkness.


Hannes:- Eternal gloom. Isn’t that terrible?
Sirpa:– Yes, it is heavy on your soul.
Hannes:- Is it also like this in Inari?
Sirpa – Yes. Inari is the end of the world. That’s where you are heading for isn’t it? Hannes:- Yes. By the quickest route.

“We do not have to be the quickest but the best” “The best train connection to love”
“A strange journey to the end of the world” “There is too much hurry in the world“

In Inari, a very small town at the farthest point to the north of Finland, Hannes participates in the First International Competition for Specialists of Routes and Train Connections.

Der Spiegel

“ … Migratory Birds is a magical pearl of German cinema, a movie full of humor and charisma, that takes its time to develop a subversive thriller, and a strange love story…”

Suddeutsche Zeitung

Sophia-Louise’s first position was that of director of the Department of Radio and Television of Contacto Publicidad, affiliated with Ogilvy and Mathers. She produced commercials for Charlie, Revlon, Punch TV, and Quaker, the latter said to have been the best ever made in South America. 1983-1984.

In 1990, in Madrid, Sophia-Louise founded Visart – Workshop, a screenwriting and direction school that she directed and administered. There were nine groups of students for the short film workshops (2 weeks duration, one workshop a month) and eight students who remained in the Feature Film Intensive Program (two years).

Films Directed

(Artistic Short Films)

  • In Her Defense, Sophia’s Galaxy, Texas 2009 (In Post-production)
  • Le Gal et Tea, Sophia’s Galaxy, Texas 2008
  • Unspoken Wish. Digital HD. Ten minutes, color. Sophia co-produced with Reel Women, Austin, Texas, 2008
  • The Escape. Digital video (end product 35mm). Ten minutes, color. Production in conjunction with the Olympia Film Festival, October 2003. Presently in post-production.
  • Poeta. Video for The Cero Group, Madrid 1992.


  • Ser. Video for the Country Clinic, Bogotá, 1990.
  • Amor Filial. Video, 1989.
  • Reencuentros. 35mm, Produced by I.A.T.C. Bucharest, Romania, 1980 (International Film Festival, Bogotá, 1990).
  • Maria. 35mm, black/white, 1979.Produced by I.A.T.C. Bucharest, Romania, 1980 (International Film Festival, Bogotá, 1990).
  • With Skies to the Seaside 35mm, color, 1979 Russian Language Support short film. Produced by I.A.T.C. Bucharest, Romania, 1979
  • Sofer 16mm b/w Documentary, 1978. Produced by I.A.T.C. Bucharest, Romania, 1978
  • Daca… 16mm b/w. Produced by I.A.T.C. Bucharest, Romania, 1977
  • Samarkand, Video for Revlon, Bogotá, 1978.
  • Entre Sombras video 3/4′′ for Catalogo Científico, Bogota, Colombia, 1988.
  • Short films currently in the care of the Colombian Film Archives. Commercials
  • The Colors of Samarkand, Video for Revlon, Cali, Colombia 1984
  • Charlie Pefume, Cali, Colombia, 1984
  • La Aventura Comienza, Quaker, Cali, Colombia, 1984
  • Entre Sombras video 3⁄4” for Catalogo Cientifico, Bogota, Colombia, 1985
  • Commercial for Punch TV, Bogota, Colombia, 1987 Screenplays for Television

La Jaula, television special 25-one-hour episodes, Quito, Ecuador, ECUAVISA, Channel 8, 1989

Feature Screenplays to be Produced and Published

  • Searching for Wang Li Ping. Fantastic realism feature about our search for immortality.
  • Argonautica. Fantastic realism feature exposing the phallacy of the Greek myth of the Argonauts and its consequences with Ben Dobyns, Dead Gentlemen Productions, Tacoma, WA
  • Prema and Louise. A magical realism feature comedy. A cultural rite of passage for women on their way to re-definition and real maturity.
  • At Stake. A surrealist feature film. This group of people are locked in the house and cannot escape.
  • Coitus Interrupts Us. Black Comedy feature, explores the real meaning of friendship among women.
  • Featuring Fate. A true story of how an 11 year-old girl conquered death with the help of her mother’s love. Written by Catalina von Wrangell.


  • Titania. Celtic magic in the North Sea.
  • The Inca Princess, a historical drama, feature, told from another point of view.
  • German Salsa, denounces racism in contemporary Germany as destructive for the perpetrators as for the victims.
  • The Song of the Owl, feature, a moribund Spanish town is saved by a magical promise. Written with Ignacio García Valiño in Madrid, 1990.
  • A Journey into Understanding. A documentary on alternative spirituality, with Andrei Zinca, Florida, 2000
  • Dorotea, adaptation of Juan Rulfo’s “Pedro Páramo”, was Sophia-Louise’s thesis. The screenplay obtained a “highest honors” in Bucharest, 1980. Non Fiction
  • Direction and Dramaturgy of Film An instructional workbook that includes around 100 short screenplays written in the Visart workshops to back up the practical theory of film direction and dramaturgy – In process.
  • Access Your Power – Learn to Use It to Re-Create Your Life an empowering self-help book available for Kindle from Amazon. Screenplays of Produced Feature Films
  • Zugvogel … Einmal Nach Inari, a Peter Lichtefeld Film, Berlin 1998 Prized
  • Going Back, with Sarah Gross, Berlin 1995.
  • Der Weihnachts Krieg – Es Kann Nur Einen Geben, with Frank Lukeit, Berlin 1995.
  • Katzen und Mäuse, with Sigrid Niemer, Berlin 1995.
  • Die Katzenkönig, with Susana Salone, Berlin 1995.
  • Blood Ties, with Sarah Gross, Berlin 1995.
  • Das Schafft Sie Nie, with Lih Janowitz, Berlin 1994. Prized.
  • Rita’s Prinz, with Evelin Stähelin, Berlin 1994.
  • Correspondence, with Sonia Witte, theater play, Berlin 1994.
  • Schlag/Mich, documentary about sado-masochism , 1994.
  • Made in Berlin, TV, with Wolfgang Wimmer and Dagmar Cassens, 1994.
  • Neurosia, consultant for Rosa von Praunheim, Berlin 1994.
  • Die Falle, with Dagmar Cassens, Berlin 1993.
  • Unter der Milchstraße, with Mattias Oberg, Berlin 1993 Prized.
  • Erzähl Mir Eine Landschaft with Cristine Wiegand, Berlin 1993.
  • El Concierto with Rebecca Beceril, Berlin 1993.
  • Birds of a Feather, with Dagmar Cassens, 1993.


  • Abbie Conant-Nicht Mehr Lange, documentary, with Brenda Parkerson, Berlin, 1993.
  • La Que Pinta Guacamayas, with Martha Cantier, Berlin 1993.
  • Ein Schritt Darüber, Berlin 1993.
  • The Silver Bear, Berlín 1993.
  • Muros, Madrid 1992. Screenplays for Television
  • Condenadas, TV. Especial. 25-one-hour episodes, Quito, Ecuador, ECUAVISA, canal 8. 1989. TV name: “La Jaula”
  • El Inmortal, TV.
  • Hombre y Mujer TV. Comedy sit-com.
  • Arturo y el Taxista TV. Fantastic.
  • El Talisman TV. Fantastic. 1987. Publications
  • Art critique for the Tacoma Reporter, Tacoma, 2000.
  • Screenings and Forums (Projection of feature classics and subsequent analysis). Visart, since 1983
  • Screenings and Forums. S.U.S.I, Berlin, 1993
  • Papers about cinema in specialty newspapers 1980-1991
  • Photography “Mia” 1988
  • Photography Javeriana University newspaper, Bogotá, 1990
  • Montajul Audiovisual. The theory behind Diaporama Bucharest, 1982
  • Screening and forums. Sophia’s Galaxy, Austin 2007-2009
  • Conferences on history and analysis of film, Cinemateca Distrital, Cali, Colombia, 1990
  • Radio courses – interviews on cinema, radio station of the university “Jorge Tadeo Lozano”, Bogotá 1986-1990
  • Montajul Audiovisual. The theory behind Diaporama. Co-authored with Victor Oprescu. Bucharest, 1982 Skills Languages
    • Fluent: German, English, Romanian, and Spanish.
    • Vernacular: Italian, French and Portuguese.

Word, Photoshop, Final Cut Pro, Premiere, Corel Painter, On One, Aurora, Photor, Bridge, Portrait Pro, Photo Bulk


Professional Affiliations

Berlin Brandenburg Film Board
Reel Women Board
Austin Film Society
NALIP (National Association of Latino Film Producers) WGA (Writer’s Guild of America)

TXMPA (Texas Motion Picture Alliance)
ACIPA (Association of the Filmmakers of the Pacific) FIAP (Federation International de l’Art Photographique) WEAD (Women Environmental Artists Directory)

Online Presence

Website: LinkedIn: Youtube: Instagram: Taoofimagery


SOCORP (Colombian Association of Public Relations Executives)

ANDEMEVE (National Association of Marketing and Sales Executives)


Direction and Screenwriting Workshop Syllabus

Dramaturgy and Direction Course for Cinema

Based on Aristotle’s “Poetics”


The eternal present.


Cinematographic Language vs. Literary Language.

The structure of a short film: beginning, development, and sudden upturn of the situation. The twist. The message.

This section is meant to give the students an insight into the formal use of literary language in order to create images, and the tools they need to structure this idea so as to be able to transmit a message.

For the following session, the students will visualize and write a 5 – 10 minutes screenplay with:



Sudden upturn of the situation.

The twist will transmit the message intended by the author.

The use of dialog is limited to a sentence per screenplay, if unavoidable.


The frame.


The artistic frame.

The shot.

The sequence.

The rythmem.




Composition in movement.

The angle.

The dramatic angle.

For the following session, the students will visualize and write a 5 – 10 minutes screenplay with



Sudden upturn of the situation. The twist will transmit the message intended by the students.

The students will consciously include the use of specific elements of cinema language in their screenplay.The use of dialog is limited to a sentence per screenplay, if unavoidable.


Reality vs. verisimilitude.

The inherent character of cinema is not reality.

The creative process.

Cinematographic medicine, law, engineering and other ‘exact sciences”.

Cine Verita.


This section will deal with the use of a narrative that will convince our spectators of the ‘truth” of our statements. We will let go of reality in favor of credibility and make believe.

For the following session, the students will visualize and write a 5 – 10 minutes screenplay with



Sudden upturn of the situation. The twist will transmit the message intended by the students.

The students will consciously include the use of specific

elements of cinema language in their screenplay.

The students will write a fake documentary in which

everything will have the “flair” of reality.

The use of dialog is limited to a sentence per screenplay, if unavoidable.


Its construction.

The protagonist.

The antagonist.

The anti-hero.

The abstract characters.



Characterization of the absent character.

An author has to be able to create a character that will be consequent with itself and with the plot. We will describe the kinds of possible characters, how to build them and how to use them. We will brainstorm characters.


Cinematographic dialog vs. literary inner dialog.

Cinematographic dialog vs. theatrical dialog.

Cinematographic dialog vs. broadcast dialog.

Dialog in counter point.

The spoken word in cinema has a definite character. It can’t be descriptive or narrative of the image. In this segment we will explore and exemplify the ways to use it for maximum effect.

For the following session, the students will visualize and write a 5 – 10

minutes screenplay withBeginningDevelopment Sudden upturn of the situation. The twist will transmit the message intended by the students. The students will consciously include the use of specific elements of cinema language in their screenplay.Extra care will be giving at respecting the Principle of Double Mimic.The characters will be defined and strong.Dialog in counterpoint will be explored.





Cine time vs. real time.


Symbolic space.

Conventional space.






The Alpha and Omega.

The circle.

The last shot.

As in the written language, cinema has its syntax. The narrative must follow certain rules in order to assure continuity, and the description and use of the elements of syntax open ways of expression for the author and the director that would otherwise take them years of experimentation to discover.

For the following session, the students will visualize and write a 5 – 10 minutes screenplay with




The students will consciously include the use of specific elements of cinema language in their screenplay. Extra care will be given at respecting the Principle of Double Mimic.The characters will be defined and strong.Dialog in counterpoint can be used.The students will choose one or more of the elements of cinematographic syntax and make of it/them the main character in this screenplay.


The moment of suspense. Hitchcock. Modern suspense. The semantic ellipsis. Surrealism. Luis Buñuel. Free association. Fantastic Realism. Comedy. Out of limits: laughter as defense against extreme pain.

Feedback about the course

Consultations & Editing

Screenplay Doctor

Dir. & Screenplay Workshop



will you wear?