NUMBERS is the first film of a trilogy - NUMBERS, NAMES, HUMANS. 

Trilogy Logline:
​In a society where  humanity has all but been forgotten and days are reduced to robotic repetition, a rogue group strives  to take down a system  regulated by color, but nothing is black and white.  

A young woman,  P9-222, is the key, but can she remember her past before it is too late?

NUMBERS  Logline:
In a society where people have numbers instead of names, a young woman must gain the courage to go against the safety of her computerized  world in order  to rescue  her long-lost brother or risk losing her own humanity.

This trilogy creates a venue for looking at the pros and cons of living within the limits of a “Coke or Pepsi” society versus a culture of infinite choices with no societal responsibility. It combines the hierarchy of Aldous Huxley’s Brave New World, mixed with the antiestablishment themes of William F. Nolan’s Logan’s Run, and the revolution of Veronica Roth’s Divergent.

The story focuses on the conflict between ideologies of two cultures – the “Numbers” and the “Names”. The Numbers’ government seduces its citizens with the safety of structure and terrorizes them with the consequences of straying from the fixed order. The Names’ way of life is one of complete freedom where its members can choose to disagree with others and follow their own path – leading to acceptance of each other, but also causing chaos and inertia.

Within the Names, there is a rogue group in search of people who were kidnapped from their society by the Numbers as children – including P9-222. Members of the rogue group embed themselves in to the Numbers society in the hopes of finding a way to take over the computer technology that runs the Numbers’ world order. They believe P9-222 holds the key to this venture.

As P9-222 tries to reconcile the logical minds of the Numbers and the creative souls of the Names, she learns what it truly means to be a human being. As she is exposed to the Names’ way of life, she is forced to think for herself for the first time and question the rules of the only society she’s ever known. By understanding where she has come from and where she has been raised, P9-222 becomes the conduit for unifying humanity.
The Numbers live in a world in which every moment of every day has an exact order. People feel like they are making choices, but in actuality they have restrictive acceptable ways of behaving and thinking.

Subversive programming through government propaganda to instills a fear of being different and a need to fit in above all else. A laugh track cues people to laugh; a sobbing television character cues people to cry. Movement is completely controlled including which side of the street to walk on, what pace to travel at and how to perform structured line dances when out for an evening of fun. Routine is the ideal. Self-segregation is the norm.

When continuous pressure to maintain the ideal causes a person’s veneer to crack, reprogramming is attempted and if the person is deemed “broken” beyond fixing, the person is executed. Any emotional response to the death is redirected with monetary compensation to distract loved ones from pain and discontent. People are further medicated with consumerism.

The Names - on the other hand - live in a world in which there are no clocks, spontaneity is encouraged and artistic expression is held on a pedestal. Only basic survival chores – such as cooking – are required. When societal needs are raised, the citizens become engrossed in debate rather than in creating and implementing a concrete plan. As a result, art thrives, but the progress of science is slow.  Therefore, many curable diseases are left uncured and society as a whole does not evolve.

The Numbers and the Names are needed for the survival of the human race, but each groups’ inability to see each other’s value prevents them from working together for the benefit of all.    
Unlike in the past, when a country’s laws segmented people, we live in a society that claims to unite people, but quite often divides people in to groups in which they can be easily controlled, manipulated and distracted from bigger issues.

Unbeknownst to them, people choose their groups by which football team they root for, their religious choices or what corporate office they work for.

Everything is black and white in this world. Every aspect of a person is Enhanced and perfected; the uniqueness is gone. In the past, we had a world of film and great fine art. Now we see banner ads and factory produced paintings. Photoshop is in; authenticity is out.
This project looks at the slow moving destruction of what makes a person a human being.

While the viewers will enjoy the twists and turns of the plot and the futuristic science/technology of the series, they will also be witnessing the evolution of a person becoming an individual. It is a constant struggle between the desire to fit in and the need to be understood for who you are.

“Numbers” shows people who are reliable products of a world of strict conformity or who are outspoken products of a world with very few rules. Neither is really better than the other. Somewhere there must be a balance.

Visual Style

 This project will have two distinct looks: one of a slick and perfect nature where all flaws are hidden or destroyed (NUMBERS world) and one of a wild and imperfect beauty that embraces all (Names world).

One will be made to look and feel like a digital manufactured world and one will look and feel more like a van Gogh.

One will be shot digitally and one on film (Super 16 and Super 8)

People in the Numbers world will move in a structured well-organized group, like an army where the people in the Names world move erratically. The editing of the scenes, the style of the dialogue and choreography of the movement will bring this across.

Time will move at a regimented rate in the Corporate World Government, but time in the society outside and the society of P9-222’s past will move at erratic and non-linear fashion. We will move forward with P9-222 on one timeline and will hop through her past in another.

Creative Team
 Shari Berman is an award winning filmmaker and a member of Film Fatales. Her two features and breakout short have all garnered awards and accolades. Shari produced, directed, wrote and edited her first feature film - MY LIFE AS ABRAHAM LINCOLN - receiving rave reviews from The New York Times, Variety, Film Journal International and others. ( ) She is the director and editor of SUGAR! which stars Tony Award Winner Alice Ripley and SAG Award Winner Robert Clohessy. SUGAR! has just started its festival run winning top awards at every festival it has played to date. ( ) Shari's breakout short - the 3-D Expressionist film THE TRIAL OF JACK - played at over 30 film festivals worldwide including the Sarasota Film Festival, the St. Louis International Film Festival and the Rhode Island International Film Festival.  Shari was also a producer on the feature film THE UNSPEAKABLE ACT, which premiered at Rotterdam and played at BAM.  Shari lives in Brooklyn with her husband and dog. She volunteers at East Rockaway Jr/Sr HS as a choreographer for their school musicals, donates her time as an editor to filmmakers making films on tight budgets and is the volunteer web mistress and back up chapter leader for Film Fatales.

Shari Berman

Stacey’s first feature film “The Other Side” was selected by the screenwriting website THE BLACK LIST as a Top 10 Finalist in the Hasty Pudding Fellowship for a screenwriter focusing on satire and social commentary.  That script was further selected to be a part of the Black List Table Reads series and was produced as a podcast starring Darren Criss, Eddie Kaye Thomas, and Jerry Adler. She wrote and produced her second feature film “Landing Up” through her production company Bold Compass Films. The films stars, Ben Rappaport (Mr. Robot, Outsourced), E’dena Hines (5 Flights Up), and herself. She also directed the short film “HEAD” (New Fest 2016 Official Selection) and wrote the short film “Museum” (Audience Choice Award Winner 48H FF). She has produced feature films, short films, web series, commercials, and music videos.

Stacey Maltin 

Chris Benker studied film at the New York State Summer School of the Media Arts as well as at SUNY Buffalo, where he graduated with a BA in Media Studies.  He moved to New York City where he has worked in both independent film and cable TV shooting on film, digital video and in 3D.  Chris has worked as Director of Photography on numerous feature films as well as being a prolific filmmaker himself. His  cinematography  (DP Reel: )  has received critical acclaim from The New York Times, Film Journal and Variety, among others.  ( )  

Chris Benker

Jennifer is an American casting director for film and television. Many of her films including SUGAR (w/ Alice Ripley), MBFF (w/ Zazie Beetz), SISTERS (w/ Lindsay Burdge), THE POETS (w/ Susan Louise O'Connor & Jeff Hiller), LOVE TRUE (Dir: Alma Har’el), and DISGRACE (w/ Devin Druid) have screened at various festivals including the Dallas International Film Festival, Denver and Maryland Film Festivals, Schnit International Festival, and Tribeca. Upcoming films include LAST NIGHT IN ROZZIE (w/ Mark Feuerstein), TRUE BLUE (w/ David Warshofsky & Michael James Shaw) and RAPID EYE MOVEMENT (w/ Francois Arnaud). Prior to her independent work, Jennifer worked for veteran casting directors Cindy Tolan, Bernard Telsey, Avy Kaufman, and Liz Lewis. Full bio and recent projects available at

Jennifer Peralta-Ajemian
Casting Director

Contact Us
Numbers will go in to production in the fall of 2017.

To  inquire further, please  email  numbersfilm(a)