The News From Red Feline Pictures

[La Reine Margot]

Can’t Wait For The Next Film!



Some of our fans express a strong desire for films to be created as if by magic—envisioning a process where a concept becomes a fully realized film like instant coffee and without any obstacles. The hope is that such immediacy would satisfy everyone’s wishes.

If we could think of a film and like a miracle it comes to life in seconds, minutes, hours, unimpeded, the filmmaking process would seem magical and effortless. Such an experience would fulfill the hopes of all who long for immediate realization of creative ideas, offering a world where concepts are instantly transformed into finished films without delay or obstacles. That doesn’t happen, not even with AI.



The journey from the initial spark of an idea to the completion of a film is a lengthy one. Once a concept is conceived, it often takes months—or even years—before the finished product is ready to be shared with audiences. This extended timeline is a consistent reality in the world of filmmaking.

As a fan, it is entirely normal to experience the wait for the next season of a beloved Netflix series. The anticipation builds as viewers patiently look forward to new episodes, often waiting two or three years before the next season appears on their favorite streaming channel. This pattern of waiting is simply a part of life for both creators and fans alike.

Acknowledging this reality helps set expectations and reminds us that the creative process, though time-consuming, is essential for producing the stories we cherish.

wanttoknowmore I agree AI is still not at the full film stage. However, as I stated before, it can be used to augment scenes with background or non-central characters – for example, a crowd watching a crucifixion as viewed from the victim looking down.

We are currently exploring the use of artificial intelligence for scenes and sequences that require a large number of people or elaborate constructions from specific historical periods. This experimentation aims to address the logistical challenges involved in creating such complex environments on film.

For scenes where a significant number of people are depicted watching a character—such as a view from the perspective of someone on a cross—it is essential to set up the camera behind the character. The shot needs a clear point of reference, which could be the character’s head, shoulders, or arm, to establish the perspective of those below or within the scene. While arranging this point-of-view during production is not difficult, it does require careful planning and coordination.

To utilize AI effectively in these scenarios, the point-of-view shot with a reference to the person on the cross must already exist. In other words, the necessary footage must be captured during production to serve as the basis for further enhancement using AI technologies.

It doesn’t mean that AI will actually generate the images the director has in mind. Maybe, just maybe, after many tries. Like the test below with one picture from Seditiosa.

wanttoknowmore It also looks like these folks are setting up yet another fundraising pitch, be it for pre-production or as a “pre-release purchase” to aid in post production. My advice based on experience is buyer beware. They promise big and deliver small, and late, if at all. If you do contribute, good luck, as they also have issues following up on promised deliverables like download links. My suggestion regarding raising cash is to actually FINISH AND RELEASE the various projects that has been in post-production for over a year.

We have decided not to pursue any fundraising activities for the moment, if ever again. Instead, our focus is on returning to our original system: creating films, selling them, and using the resulting revenue to produce additional movies. This approach allows us to work at our own pace, with the resources we have available.

While our production model grows more sophisticated, we are introducing new methods for distributing our films. These innovations in distribution reflect our commitment to reaching audiences more effectively while maintaining independence in the filmmaking process.

Film postproduction operates according to its own unique rhythm and schedule. The timeline for this phase is heavily influenced by the nature of the raw materials, their specific requirements, and any complications that may arise during the process. For a typical 90-minute film, completing postproduction generally requires a minimum of eight to nine months. However, when multiple projects—such as three or four films—are being processed simultaneously, the duration extends significantly. In some cases, the completion of postproduction for certain films may exceed one year.



Projects are completed according to unwritten priorities. For instance, the film Justine, which was produced after Pygmalion, both at the end of 2015, was released in 2017. In contrast, Pygmalion received its theatrical release only in 2023 and has not yet been made available elsewhere. Currently, there are ongoing negotiations to secure for a broader worldwide release.



Over the course of approximately three decades, our team has built an impressive production record. Within this timeframe, we have successfully created ninety films, (90!!) averaging three films per year. This level of output demonstrates our dedication to consistent and sustained creative work.

Among these ninety films are major documentaries produced for National Geographic, highlighting our ability to deliver high-quality content for renowned international television networks.

Of the ninety films produced, seventy-four are currently available or will soon be available in our Red Feline store. This represents a substantial portion of our total output and underscores the breadth of our catalogue accessible to audiences.

In summary, the volume and consistency of our productions over the years reflect a robust and reliable creative process, affirming our position as a prolific producer in the industry.

JDArts Last year Simonne made her directorial debut with a documentary; I suppose she’ll also contribute some of her experience to Crux Films’ productions alongside Daniela, Mila, and Jac.

The hugely talented artists who choose to work with Jac on these filmmaking projects are motivated by more than financial gain or the prospect of acting roles. Their primary interest lies in the opportunity for learning and personal development. For instance, Amy initially joined the team as an actress. After sharing a script with Jac, he recognized her potential and gave her the chance to direct her first film, Sirwiñakuy. Following this experience, Amy went on to direct additional films. One of her works was showcased at a film festival, many of them were featured at international film festivals, but one in particular was at a great festival where it caught the attention of representatives from a university. So impressed were they by her achievements that they invited Amy to design and lead the university’s film program that didn’t exist until then. She accepted the offer and now she runs the program.



Many of the talented actresses who have worked with Jac have gone on to pursue diverse and successful careers in the film and arts industries. Carmen, for instance, continued her studies in film and drama in France, later making her own films and becoming actively involved in theater. Bea also chose to further her education in film, ultimately deciding to focus her skills and attention on camera work. Mila, after studying both film and art, now runs her own ART oriented business. Simonne ventured into documentary filmmaking and is planning to advance her career in that direction. Ligia is presently working with a variety of companies producing promotional videos. Those are just a few examples.

wanttoknowmor I saw that. Haven’t heard her mentioned in the “new year plan”. Wonder if she met someone at college and has decided she doesn’t want to be shown naked anymore

Each member of the team, including Simonne, pursues her own interests and personal goals outside of their collaborative filmmaking work. This diversity of aspirations is a natural aspect of life. Over time, actresses may encounter new people, start families, or follow different paths. There is no expectation of exclusive or lifelong commitment to Jac or the film production company; rather, team members contribute their skills and dedication for as long as it aligns with their personal journey. When the moment comes to move forward, as it did for Carmen, Amy, Veronique and Bea, to name a few, they do so, carrying with them the experiences and growth gained through their involvement.

Even after pursuing their individual paths, many former team members maintain the option to return and collaborate on new projects. This ongoing possibility of rejoining the group is a common occurrence, reflecting the flexible and supportive nature of the team’s dynamic. Members are welcomed back whenever circumstances allow, fostering a lasting sense of connection and mutual opportunity.

JDArts Well, she never wanted to be shown completely naked in the Crux movies she starred in; she only agreed to show her breasts, which is why she was always crucified in a loincloth.
But I think she’s still working with Jac, Mila, and Daniela.
She’ll be one of the stars of the four crucified women.

Simonne’s commitment to her craft is evident in the variety and depth of her performances. While some of her roles have involved scenes with nudity, it is important to emphasize that there is never any obligation for full nudity among the actresses. Each team member participates in a way that aligns with her own comfort and boundaries, and this approach is fully respected within the group.

Looking ahead, Simonne is slated to portray characters in at least six upcoming films, including the production Crucified Four. Her remarkable talent consistently leaves a lasting impression, and her performances are celebrated for their memorability and depth.

wanttoknowmor IF they ever actually make those films, let alone release them.

Our experience demonstrates a clear track record: whenever a film is produced, it is eventually released to the public. While some projects may encounter delays and are temporarily shelved, they are ultimately completed and made available when the appropriate time arrives. This process is not unique to us; it is a common occurrence in the broader film industry, including major studios such as those in Hollywood, where films may remain unreleased for extended periods due to reasons understood only by the producers.

It is important to recognize that the timing of a film’s release can vary. Some films are ready for distribution more quickly, while others require additional time before they can be shared with audiences. Our commitment remains to ensure that every project sees completion and release, no matter the duration of the wait.

For instance, during the period from November 2010 to March 2011, three films were produced consecutively, Maleficarum, Barbazul and Le Marquis de la Croix. These films were subsequently released according to a reasonable schedule, spanning from the end of 2011 to the end of 2013. This approach illustrates our dedication to bringing each production to fruition.

Cruxlover24 I don’t understand, it is not for sure they’ll make those movies?

Predicting whether a film project will ultimately be produced is, in many ways, a futile exercise. The likelihood of production becomes more tangible only when a project advances to a significant stage in its development. At this point, the momentum and resources invested make its realization more probable. For example, the project Crucified Four exemplifies this process. Although it has experienced various fluctuations and challenges throughout its development, it remains active. The continued progress of Crucified Four demonstrates the persistence and dedication

This process requires us to account for the practical realities present at every stage, starting from the initial development of the film, where Crucified Four is now, moving through the phases of production, which are under planning at this point, and postproduction, which is far ahead, culminating in its eventual release. Each stage presents unique considerations and challenges that must be addressed to ensure the successful completion and delivery of the final product.



To Be Continued

We will have more updates coming up soon. In the meantime you can watch our films!

Get them at https://movies.redfeline.com

Stream them at https://stream.redfeline.com

Get a DVD by mail at https://dvds.redfeline.com

[La Reine Margot]

Never Say Never



The week began as planned. Ligia, Dani and Jac got together on Tuesday for a new sequence for the CruXbound film, a session of torture and mayhem. Ligia suffered the beginning of her crucifixion, she was laying on the cold marble floor, naked, beaten, her wrists bound to the wooden crossbar. Dani was in position, looking at the camera monitor as the action began. Jac placed the tip of a huge nail between the ropes tying Ligia’s wrists to the crossbar, he lifted the hammer and with one loud blow began to brake through Ligia’s flesh and bones into the wood.

Ligia screamed in pain as the hammer fell on the head of the nail as many times as needed to get all the way through and into the hard wooden crossbar.

Soon after, the action moved, followed by the camera, to the other wrist.



The first day of filming for CruXbound in 2026 was a true test of endurance and commitment for the entire team. With only three people on set, each took on multiple roles to bring the project to life. Dani skillfully operated the camera, after helping with Make Up, capturing every moment with precision and dedication. Jac not only directed the unfolding drama but also performed as an actor within the scene, balancing creative oversight and on-screen presence. Ligia, the central figure in the narrative, delivered a powerful performance, enduring the physical and emotional demands of her role. Her portrayal, left vulnerable and exposed before her seasoned and merciless tormentor, embodied the raw intensity that would come to define the film’s impact.

The shooting required repeating the actions many times over and unwavering focus, as the sequence of nailing Ligia to the crossbar needed to be captured from every possible angle.



The production’s intensity reached its peak during the pivotal crucifixion sequence. Jac, assuming both the role of director and actor, was responsible for the delicate yet physically demanding task of lifting Ligia after her wrists had been nailed to the wooden crossbeam. This moment required careful coordination, as Jac struggled to raise her from the ground and then secure the crossbar to a chain suspended overhead, all while Ligia remained on her knees.

The challenge of this scene was heightened by the need for repeated shots of her new torment: the scourging of Ligia while she was on her knees was performed multiple times, each repetition meticulously executed to capture the necessary footage and convey the gravity of her suffering. Through these efforts, the team ensured that every aspect of the scene’s brutality and emotional weight was authentically rendered on film.



The relentless repetition continued until Jac finally declared, “It’s a wrap,” signaling the conclusion of the shooting for the day. The dedicated trio, though exhausted, had persevered through the demanding session, capturing the required footage for the second and third sequences for CruXbound.

The initial segment of the film draws to a close with Ligia’s nailing to the crossbar, but the next stage of Ligia’s ordeal, her agonizing suffering is only beginning. What follows is a sequence marked by complexity and heightened brutality. The execution that unfolds is long, excruciatingly painful, and meticulously orchestrated to maximize its dramatic and bloody impact. Each moment is crafted to convey the relentless cruelty that defines this stage, immersing the viewer in the elaborate agony and emotional intensity of Ligia’s fate.



And now, the continuing saga of a previous post about how we make films and, apparently, don’t release them.

The ongoing journey of making films often brings with it stories that extend beyond the screen. This chapter continues the narrative begun in earlier discussions, focusing on the unique challenges and experiences associated with the process of creating movies that, for various reasons, remain unreleased.

The account delves into the dedication, creativity, and sometimes frustration that accompany these projects, highlighting the commitment of filmmakers to their craft even when the finished product does not reach its intended audience for a while, maybe a month, maybe a year, maybe never. Through these reflections, the saga of how films are made—and for some reason not released—becomes an integral part of the broader story of artistic endeavor and perseverance.

Cruxlover24 I don’t understand, it is not for sure they’ll make those movies?

wanttoknowmor Well, they where supposed to have started filming in August of 2025, with a release projected in March of 2026. Has ANY filming been started? Any dates outlined in recent plans for 2026 announcements.

Also, were ANY of the various films in “post production” released in 2025 (The Simmone CruxBound films. Agent Honey Trap with Dani, Dani’s CruxBound film, to name but a few)?

Jac is ALWAYS on to the next new thing. Seems incapable of focusing on completing a project. Always blames cash flow with realizing if you release new product that people can purchase WILL generate cash flow.

Initially, the team behind Crucified Four launched a fundraising campaign with the goal of going into production around August 2025. This planned timeline was intentionally kept flexible, contingent upon the success of the campaign and the availability of funds. However, it became obvious after a few months that the campaign was not going to generate the necessary financial support, becoming clear that if we wanted to produce the four planned films, alternative methods of securing resources would have to be found.

With no funds available, setting a specific production date became impossible. Despite these setbacks, the commitment to bringing Crucified Four to fruition remained strong. The production strategy reverted to previous practices: focusing on the creation of lower-budget films, releasing them, and relying on their success to generate revenue as well as increasing the sales of our products already in the market.

The hope was that these films, the old and the new, will attract enough buyers to improve cash flow and eventually enable the production of Crucified Four. This pragmatic and resourceful approach reflects the current state of the project.

Cruxlover24 That’s too bad, to announce things that maybe will never be released. Or maybe those films in post production don’t even exist. Hope it’s not what I’m saying though

Never say never. If we work on the production of a film, it’s eventual release is not an IF, but a WHEN. In the latest posts we went over what goes on into the making of a movie. Naturally, it takes a bit of time to read the written word, even more time to analyse it, and finally, to process the meaning of it all. I understand why questions remain.

The films DO exist, if they didn’t I would not have all those images with such detail and sooooooo many.

Having said that all I can say is that all the films we have in post will eventually be released, one at a time, the same way all the over 60 films we have in our stores were. One at a time throughout this year.

It’s not a promise, it’s an estimate based on what I know to be a fact. Period.

JDArts I think he says it more because he lost faith in them, not because they canceled the project. The project of the 4 crucified women is still going on, according to Margot’s latest update.

As previously mentioned on numerous occasions, Crucified Four remains an active and ongoing project. Information regarding its current stage of development can be found both in this post and in earlier updates. Moving forward, updates about the status of this and other projects will be provided as needed, rather than on a regular basis.

One announcement.

The film Romana Crucifixa Est is streaming now!

Stream it at https://stream.redfeline.com

wanttoknowmor So, the Crucified Four series, for which a fund raising effort was kicked off in 2024, which we were told in various post on this site was initially supposed to begin filming in August of 2025, is now in “initial development”. Which means NONE of the series will be released in 2026

The fundraising effort at the very end of 2024 was a bust. If we had raised at least 10% of the goal we would’ve work on the film then. But no. It didn’t happen. We raised a few hundred out of a goal of 40,000 for four films, 10 grand per film.

The intention to produce Crucified Four remains active. The project is in the Pre Production stage with some vital work done and more to come. I will discuss the production stage when we get there. At present, all I can say is that we’re working on it and that’s the end of our announcements concerning Crucified Four.

We have other projects in development, we don’t discuss them although they are very advanced. We’ll talk about them when the time comes.

wanttoknowmor As for the other verbiage, if as much energy was expended on actually finishing films (let alone starting them) as making explanations as to why they aren’t done, cash flow and trust would be a whole lot greater.

There are times when we get a mini flood of comments and we take some time to respond to keep everyone informed. At least one person in our team indulges in verbiage. Not everything written in our posts comes from Margot.

Again, if a film could be made in the time one person in our team writes a paragraph or two, we would all be very happy, but it doesn’t happen that way. This post, that explores into the issues raised with those comments made by a couple of people but they might represent the thinking of many, will be the last of its lengthy kind for some time.

We, the team, will refrain from talking too much, future posts will be limited to announcements of the advancement of the productions, the promotion for new releases and any news we it’s important to talk about.

The production of CruXbound I is advancing.



We will have more updates coming up soon. In the meantime you can watch our films!

Get them at https://movies.redfeline.com

Stream them at https://stream.redfeline.com

Get a DVD by mail at https://dvds.redfeline.com

[MasterKav]

Never Say Never



The week began as planned. Ligia, Dani and Jac got together on Tuesday for a new sequence for the CruXbound film, a session of torture and mayhem. Ligia suffered the beginning of her crucifixion, she was laying on the cold marble floor, naked, beaten, her wrists bound to the wooden crossbar. Dani was in position, looking at the camera monitor as the action began. Jac placed the tip of a huge nail between the ropes tying Ligia’s wrists to the crossbar, he lifted the hammer and with one loud blow began to brake through Ligia’s flesh and bones into the wood.

Ligia screamed in pain as the hammer fell on the head of the nail as many times as needed to get all the way through and into the hard wooden crossbar.

Soon after, the action moved, followed by the camera, to the other wrist.



The first day of filming for CruXbound in 2026 was a true test of endurance and commitment for the entire team. With only three people on set, each took on multiple roles to bring the project to life. Dani skillfully operated the camera, after helping with Make Up, capturing every moment with precision and dedication. Jac not only directed the unfolding drama but also performed as an actor within the scene, balancing creative oversight and on-screen presence. Ligia, the central figure in the narrative, delivered a powerful performance, enduring the physical and emotional demands of her role. Her portrayal, left vulnerable and exposed before her seasoned and merciless tormentor, embodied the raw intensity that would come to define the film’s impact.


The shooting required repeating the actions many times over and unwavering focus, as the sequence of nailing Ligia to the crossbar needed to be captured from every possible angle.



The production’s intensity reached its peak during the pivotal crucifixion sequence. Jac, assuming both the role of director and actor, was responsible for the delicate yet physically demanding task of lifting Ligia after her wrists had been nailed to the wooden crossbeam. This moment required careful coordination, as Jac struggled to raise her from the ground and then secure the crossbar to a chain suspended overhead, all while Ligia remained on her knees.

The challenge of this scene was heightened by the need for repeated shots of her new torment: the scourging of Ligia while she was on her knees was performed multiple times, each repetition meticulously executed to capture the necessary footage and convey the gravity of her suffering. Through these efforts, the team ensured that every aspect of the scene’s brutality and emotional weight was authentically rendered on film.



The relentless repetition continued until Jac finally declared, “It’s a wrap,” signaling the conclusion of the shooting for the day. The dedicated trio, though exhausted, had persevered through the demanding session, capturing the required footage for the second and third sequences for CruXbound.

The initial segment of the film draws to a close with Ligia’s nailing to the crossbar, but the next stage of Ligia’s ordeal, her agonizing suffering is only beginning. What follows is a sequence marked by complexity and heightened brutality. The execution that unfolds is long, excruciatingly painful, and meticulously orchestrated to maximize its dramatic and bloody impact. Each moment is crafted to convey the relentless cruelty that defines this stage, immersing the viewer in the elaborate agony and emotional intensity of Ligia’s fate.



And now, the continuing saga of a previous post about how we make films and, apparently, don’t release them.

The ongoing journey of making films often brings with it stories that extend beyond the screen. This chapter continues the narrative begun in earlier discussions, focusing on the unique challenges and experiences associated with the process of creating movies that, for various reasons, remain unreleased.

The account delves into the dedication, creativity, and sometimes frustration that accompany these projects, highlighting the commitment of filmmakers to their craft even when the finished product does not reach its intended audience for a while, maybe a month, maybe a year, maybe never. Through these reflections, the saga of how films are made—and for some reason not released—becomes an integral part of the broader story of artistic endeavor and perseverance.

Cruxlover24 I don’t understand, it is not for sure they’ll make those movies?

wanttoknowmor Well, they where supposed to have started filming in August of 2025, with a release projected in March of 2026. Has ANY filming been started? Any dates outlined in recent plans for 2026 announcements.

Also, were ANY of the various films in “post production” released in 2025 (The Simmone CruxBound films. Agent Honey Trap with Dani, Dani’s CruxBound film, to name but a few)?

Jac is ALWAYS on to the next new thing. Seems incapable of focusing on completing a project. Always blames cash flow with realizing if you release new product that people can purchase WILL generate cash flow.

Initially, the team behind Crucified Four launched a fundraising campaign with the goal of going into production around August 2025. This planned timeline was intentionally kept flexible, contingent upon the success of the campaign and the availability of funds. However, it became obvious after a few months that the campaign was not going to generate the necessary financial support, becoming clear that if we wanted to produce the four planned films, alternative methods of securing resources would have to be found.

With no funds available, setting a specific production date became impossible. Despite these setbacks, the commitment to bringing Crucified Four to fruition remained strong. The production strategy reverted to previous practices: focusing on the creation of lower-budget films, releasing them, and relying on their success to generate revenue as well as increasing the sales of our products already in the market.

The hope was that these films, the old and the new, will attract enough buyers to improve cash flow and eventually enable the production of Crucified Four. This pragmatic and resourceful approach reflects the current state of the project.

Cruxlover24 That’s too bad, to announce things that maybe will never be released. Or maybe those films in post production don’t even exist. Hope it’s not what I’m saying though

Never say never. If we work on the production of a film, it’s eventual release is not an IF, but a WHEN. In the latest posts we went over what goes on into the making of a movie. Naturally, it takes a bit of time to read the written word, even more time to analyse it, and finally, to process the meaning of it all. I understand why questions remain.

The films DO exist, if they didn’t I would not have all those images with such detail and sooooooo many.

Having said that all I can say is that all the films we have in post will eventually be released, one at a time, the same way all the over 60 films we have in our stores were. One at a time throughout this year.

It’s not a promise, it’s an estimate based on what I know to be a fact. Period.

JDArts I think he says it more because he lost faith in them, not because they canceled the project. The project of the 4 crucified women is still going on, according to Margot’s latest update.

As previously mentioned on numerous occasions, Crucified Four remains an active and ongoing project. Information regarding its current stage of development can be found both in this post and in earlier updates. Moving forward, updates about the status of this and other projects will be provided as needed, rather than on a regular basis.

One announcement.

The film Romana Crucifixa Est is streaming now!

Stream it at https://stream.redfeline.com

wanttoknowmor So, the Crucified Four series, for which a fund raising effort was kicked off in 2024, which we were told in various post on this site was initially supposed to begin filming in August of 2025, is now in “initial development”. Which means NONE of the series will be released in 2026

The fundraising effort at the very end of 2024 was a bust. If we had raised at least 10% of the goal we would’ve work on the film then. But no. It didn’t happen. We raised a few hundred out of a goal of 40,000 for four films, 10 grand per film.

The intention to produce Crucified Four remains active. The project is in the Pre Production stage with some vital work done and more to come. I will discuss the production stage when we get there. At present, all I can say is that we’re working on it and that’s the end of our announcements concerning Crucified Four.

We have other projects in development, we don’t discuss them although they are very advanced. We’ll talk about them when the time comes.

wanttoknowmor As for the other verbiage, if as much energy was expended on actually finishing films (let alone starting them) as making explanations as to why they aren’t done, cash flow and trust would be a whole lot greater.

There are times when we get a mini flood of comments and we take some time to respond to keep everyone informed. At least one person in our team indulges in verbiage. Not everything written in our posts comes from Margot.

Again, if a film could be made in the time one person in our team writes a paragraph or two, we would all be very happy, but it doesn’t happen that way. This post, that explores into the issues raised with those comments made by a couple of people but they might represent the thinking of many, will be the last of its lengthy kind for some time.

We, the team, will refrain from talking too much, future posts will be limited to announcements of the advancement of the productions, the promotion for new releases and any news we it’s important to talk about.

The production of CruXbound I is advancing.



We will have more updates coming up soon. In the meantime you can watch our films!

Get them at https://movies.redfeline.com

Stream them at https://stream.redfeline.com

Get a DVD by mail at https://dvds.redfeline.com

Superb Breasts!