On the eve of his debut record release, burgeoning artist Virgil Baker traverses LA's underground music scene — full of misfits, dreamers and seekers — as lingering debts to a drug kingpin force him to confront the direction of his life and the fracturing of the relationships that matter most.
Virgil Baker, a city-wise, warehouse-party-dwelling artist days away from launching a music label with his best friend Aaron, has the pressure put on when he's confronted by the muscle of a drug kingpin he owes money to. His plan to repay his debts by the end of the day comes crashing down after the product lined up for a bulk-buyer is stolen from his car. Now with a serious threat placed over his head, Virgil is given just 24 hours to say goodbye to his girlfriend Faye and his best friend — sending him on a meandering journey through the hedonistic temptations of LA's underground misfit art scene.
Deep Unlimited was made outside the system. Principal photography wrapped on an ultra-low budget, financed independently and built almost entirely on favors — locations opened up by friends, gear passed between shoots, a crew who showed up because they believed in the material.
That constraint became the method. The film is set in LA's underground art and music scene and was shot inside it: real warehouses, real lofts, real after-hours rooms, with the people who actually populate them. Nothing was recreated on a stage. What’s on screen looks like a film that cost many times what it did — because the community it depicts is the same one that built it.
Trey Braheem co-wrote, co-directed and produced Deep Unlimited, is cutting the film himself, and plays Virgil — the artist at its center. Working across every stage of the project made the ultra-low-budget approach viable: decisions that would normally travel through a chain of departments were made on set, in the moment, by someone who knew what the edit would need.
Deep Unlimited is carried by an ensemble of largely emerging talent — performers early enough in their careers to still be discovered, anchored by Dash Barber, whose credits include Little Women (2019) and The Queen (2005).
Principal photography is complete and the edit is underway. We are raising $45,000 to carry Deep Unlimited through delivery: picture finishing and color, sound edit and mix, music licensing, and festival deliverables including trailer and marketing assets.
Financing at this stage buys into a largely finished asset. The film is shot, the cast is locked, and the development and production risk that defines most independent film investment is already behind us. What remains is a defined, costed path to a completed feature and a festival run, on a post schedule of roughly two months.