Fresh Kills

Make history with the first feature film financed & traded by a global fan base.


More than a movie, it’s a movement. Written and to be directed by Jennifer Esposito.

Offering Type:
IPO

Asset Type:
Preferred Shares

Offering Size:
$3,500,000

Minimum Investment:
$25

Proposed Ticker Symbol:
FRESH

Invest in Fresh Kills *Not available to U.S. and Canadian citizens and permanent residents.

Purchase Fresh Kills NFTs *NFTS are available to everyone

Entertainment Film Female-driven Preferred-return-dividends

Visit Support Center for help with Upstream.

FRESH KILLS is the first independent feature film (to our knowledge) designed from the ground up to be owned by a large group of supporters who have the ability to then trade these shares on a global stock exchange.

  • You will receive a preferential rate of return of 110% of your investment or USD$1.10 per share, before any distributions are made to common shareholders.
  • Following the return of the USD$1.10 per share, the Preferred Shares will automatically convert into Common Shares representing 25% ownership.
  • FRESH KILLS may make dividend distributions of any profits earned on a quarterly basis to shareholders. 
  • You will continue to receive any future profit distributions based on your equity ownership in the film.
  • Plans to be listed on Upstream to trade among investors.
  • Exclusive FRESH KILLS NFTs

Offering Type: IPO

Asset Type: Preferred Shares

Offering Size: $3,500,000

Investment Minimum: $25

Proposed Ticker Symbol: FRESH

Post Offering Valuation: $4,500,000 (as converted to Common Stock)

Invest in Fresh Kills
*Not available to U.S. and Canadian citizens and permanent residents.

 


Offering Docs:

Prospectus

Investment Deck

More than just a film

Experience the excitement of filmmaking from start to finish as a shareholder. In addition to sharing in any financial success the film may have, fan investors will have access to unique engagement opportunities including NFTs, livestreams with creators, and more.

It's a movement

More than just a feature film, FRESH KILLS hopes to pave a road for filmmakers to seek an alternative and innovative funding path outside of traditional Hollywood funding practices; practices that don’t always support the voices of all artists, such as women, minorities and other underserved communities. We believe the world only benefits when everyone is being represented. We also intend to allocate at least five percent (5%) of investment profits to films made by women.

Women-written, directed

You will not only be investing in a film but investing in the idea that female-driven content matters. It has become more important than ever to combat age-old stereotypes in the portrayal of women on all screens.

FRESH KILLS, a gripping drama that tells the story of the loyal women of an organized crime family that dominated some of the boroughs of New York City in the late 20th Century. Written and to be directed by Jennifer Esposito.

  • The WRITER/DIRECTOR, Jennifer Esposito, is a SAG Award, Critics Choice Award and Hollywood Foreign Press Award recipient for Best Ensemble for her work in the Academy Award Winning Film, CRASH. She is also a NY Times Best Selling Author and has done over 70 films and TV shows.
  • The CASTING of the actors is done by one of Hollywood's top Casting Directors who has cast over 80 feature films.
  • The CINEMATOGRAPHER (closing the deal) is an award-winning Cinematographer who has done multiple films around the world.
  • CAST, we are closing the deals with some amazing talent, most of whom you would know from movies and television.
  • MUSIC, we are in talks with a female, world renowned, ACADEMY AWARD nominated, songwriter to write tracks for the film.
  • Our PRODUCERS, Alexis Varouxakis (GOOD TIME, ARKANSAS, BLOOD) and Christine Crokos (PIMP) have a combined 45 years of experience in the film industry and have worked on award-winning films.
  • Slated to begin filming this fall 2021.

Come Join Us on this Journey

  • Seeing a story go from page to screen is truly exhilarating. We love that you’ll be able to experience the journey alongside us as we breathe life into FRESH KILLS.
  • We believe the opportunity to “come along for the ride” during the events leading up to commercial release creates grassroots support and buzz that can help increase the odds of success once the film is released.

Late 1980’s- Meet the Larusso family. Joe, the loving father and up and coming mafia kingpin. Francine, the lovingly flawed wife and mother. Connie, the son Joe never had, and Rose, the inquisitive, withdrawn young girl. New to Staten Island by way of Brooklyn and looking to make a better life. We follow Rose, the youngest daughter, as she reluctantly discovers who her father is, her place within this family and the world around her. Her eventual desire to break free from the life set before her not only threatens her existence but makes enemies out of her closest allies; her mother and sister. Like every mob movie you’ve never seen before, this is the story of the women of this life. The fear, violence and rage that dictates who they are and who they become. A search for freedom within a world they may never leave.

My dream was to go to NYU Film School. I believe that connecting with people through storytelling is a beautiful thing. While I couldn't afford NYU, I ventured into acting as an alternative to telling such stories. I left home at 18 and waited tables to pay for my acting classes. After many years of study, doing small theatre productions and students' films, I was presented with an opportunity of a lifetime — to work with a brilliant independent filmmaker. The experience was life changing in many ways. When the film came out I was catapulted into Hollywood and had many offers from some of the biggest studios and producers.

I chose to accept a smaller role in one of those big budget films. The film’s producer was a notorious, ruthless, powerful person who could "make or break your career." I was warned. I was also warned to lay low and say nothing. In the time leading up to filming I was informed that this producer didn't want me for this role as he said I wasn't "all American enough" and was currently trying to recast. The harassment, the threats, the demand from this producer is to this day some of the most brutal behavior I've ever experienced. The day he was able to recast, I was fired. Never stepping foot one day on set. It didn't stop there though. He went on to block me from future work and destroy my reputation. He literally took a young girls’ dreams and ended them with his words, just because he could. That was my first experience witnessing such abuse of power.

My story is not unique. What I went on to witness in my career and careers of friends in the business made me ask myself many times, why do you continue to do this? I continue for the young girl with big dreams. I continue for the love of the art and beautiful stories. I continue because I believe there is magic and great healing in sharing our stories, ALL our stories.

It's taken me many years to get to this realization and even more years to give myself permission to do what I knew I was capable of, not what I was made out to be.

FRESH KILLS is less about the mafia world and more about the journey of the women in it. It's a film I wrote and while it's in the genre of the Mafia, it's much more about the struggle to find a voice of one's own in a world that tells you to not have one. It explores the issues of wanting more than you were allotted for in life. A theme almost all can relate to. What I’m exercising here is looking at those unspoken rules of our society and then seeing if we have the courage to break them for ourselves and the generations to follow.

- Jennifer Esposito

Do You Want to Make a Movie and Change the World?

If only it was that easy. To say deep systemic change needs to happen on all fronts is an understatement. How does Hollywood fit into this though? Let us explain. The content that comes into our homes shapes the world around us. It dictates trends and sets up stereotypes. That trickles down into how we feel about ourselves, how we feel about each other and how we feel about the community around us.

In 2018, The Hollywood Reporter listed the 100 Most Powerful People in Entertainment: which includes executives, agents, producers, and creators. On that list, there were 93 white men, 26 women (most of which were featured with a man) and overall only 22 people were diverse. These are the most powerful people in the entertainment industry. This select group makes the decisions of what stories get told, how they're told and with whom. That's a lot of power and responsibility for one group.

This is not about singling out anyone. Rather addressing an issue and the deep responsibility the entertainment industry holds in creating the world we live in.

While it seems the last few years things inch towards getting better, we cannot continue to pump in such change into an old system that was designed to thwart those efforts.

Which is why FRESH KILLS wants to pave the way to change the landscape, with your help.

Where Women Stand in the Film Industry

  • The unions implemented a diversity clause, a financial incentive for filmmakers to put diversity in their films. The first item listed under diversity is “women,” which speaks volumes.
  • Women remain largely underrepresented, both on screen and behind the camera. 
  • In 2019-2020, women accounted for 31% of individuals working in key behind-the-scenes positions. This represents no change from 2018-2019.1
  • Barriers at each stage of hiring and production processes cause “drop-out” patterns that hinder women filmmakers’ traction and success in Hollywood—a pattern that has not changed in the last 15 years.2
  • Women comprised 16% of directors working on the top 100 grossing films in 2020.3
1. Women In TV Film  2. ReFrame 2019 Handbook  3. Women in TV Film 

Change the Landscape with Us

To a world that represents us all

By mobilizing people to pick what they want to see and choose strong character driven stories we aim to contend with the bigger budget studio films at a fraction of the budget while driving value and built-in awareness for FRESH KILLS and our mission.

Aside from being financially invested, supporters are more likely to become emotionally invested in a movie they see themselves in. That’s why we believe all stories matter.

Trade FRESH KILLS Shares Globally

Typically, film investors can’t get their money out until a film sells. With our plans to list on Upstream, the global exchange and trading app, at the time our offering closes, we aim to give our supporters the unique opportunity to trade FRESH KILLS shares with others.

FRESH NFTs

We will be offering FRESH KILLS NFTs (non-fungible tokens), referred to as FRESH NFTs and FRESH-PERK NFTs designed by AWARD-WINNING FEMALE ARTIST GALA MIRISSA.

FRESH NFTs and FRESH-PERK NFTs will be available on the Upstream NFT Marketplace via the Upstream App, a digital trading platform that will enable holders of NFTs to hold or trade NFTs.

For investors, NFTs, and associated perks, are in addition to the ownership of the security purchased in any of the Offerings.  FRESH NFTs and FRESH-PERK NFTs are also available to all fans who want to support FRESH KILLS and will be auctioned via the Upstream App. Global fans who make a winning bid will have specific benefits such as joining the movement of film, walking the red carpet, meeting the cast or even being in the film. FRESH NFTs and FRESH-PERK NFTs may only be resold after the Offering closes. Click here for more info on what NFTs are.

Why haven't we Seen the Female’s Perspective in This Mafia Genre?

  • The time has never been more ripe for female and diverse content.
  • According to the MPAA, over the last six years, women have outnumbered male audience members. 
    • $116 million gross on average for female-led movies, $97 million gross on average for male-led one.
  • According to a report by the Annenberg School at USC’s Media, Diversity & Social Change Initiative, only 28% of characters out of 100 films are female, with only 21 female leads. 
  • Female directors are few and far between making up only 33% of the work force. Female writers are even lower at 32%. Below the line, meaning your crew- grips, production assistants, lighting etc. are 95% male dominated positions. 

A Fresh Perspective in FRESH KILLS

FRESH KILLS shows the audience a unique spin on organized crime, the mob world from the women’s perspective. Like every mob movie you’ve never seen. The women behind the men, the stories never told, violence, fear and unspoken rules dictate who they are and who they become.

Comparable Independent Films:

Almost 60% of the most profitable films budgeted between $3 million and $10 million are dramas that give an insight into the minds of interesting characters. Source  Additionally, films with an R rating comprised nine of the top 25 films in release during 2020, more than any other rating, and up from 2019. Source

Research also shows that female-led films outperform their male pers at all budget levels. Here again Fresh Kills fall into that category.

A study from CAA and Shift7 researched global box office revenue for the 350 top grossing films between 2014 and 2017. After breaking them into groups based on production budgets ranging from 10,000 to over 100 million, they found that no matter how much was spent to make the film, movies with female leads always outperformed those without.

Many successful independent films in this genre are dark in tone, complex in their plotting and eschew the traditional happy ending. However, this category is not completely devoid of sunshine – some films are uplifting despite their dark settings and a handful are genuinely cheerful. Many of them feature well established actors or actresses who were drawn to the opportunity to stretch their skills on camera or potentially snag an Oscar nomination.

  • Whiplash (2014) - grossed $13.1 million in the U.S. and Canada and $35.9 million in other territories, for a worldwide total of $49 million against a budget of $3.3 million. Source
  • The Florida Project (2016) - grossed $5.9 million in the United States and Canada, and $5.3 million in other for a worldwide total of $11.2 million against a production budget of $2 million. Source
  • Moonlight (2016) - grossed $27.9 million in the United States and Canada and $37.5 million in other territories for a worldwide gross of $65.3 million, against a production budget of $4 million. Source
  • Call Me by Your Name (2017) - grossed $18.1 million in the United States and Canada, and $23.8 million in other territories, for a worldwide total of $41.9 million against a production budget of $3.4 million. Source
  • Ladybird (2017) - grossed $48.9 million in the United States and Canada and $30 million in other territories, for a worldwide total of $78.9 million against a production budget of $10 million. Source

Distribution

Film distribution is the process of making a movie available for viewing by an audience. This is normally the task of a professional film distributor, who would determine the marketing strategy for the film, the media by which a film is to be exhibited or made available for viewing, and who may set the release date and other matters.

The film may be exhibited directly to the public either through a movie theater or television, or personal home viewing (including digital, DVD, video-on-demand, download, television programs through broadcast syndication). For commercial projects, film distribution is usually accompanied by film promotion.

Our goal is to show the film to potential distributors and buyers at the major film festivals like Cannes, Toronto, Venice, Sundance, Telluride etc., as well as film markets such as the American Film Market (AFM).

If successful, we expect to receive multiple offers from amongst others, the mini-major studios like A24, Neon, Searchlight Pictures, and Focus Features along with the major streamers like Netflix, Hulu and Amazon.

Once we have offers for either theatrical or digital distribution or a combination of both, we will consider the best course to take based on the offers that we will get.

  • Theatrical Distribution
  • DVD sales and rental 
  • Digital distribution
  • Television broadcasts (cable, free tv)
  • NFTs
  • Other ancillary markets (including licensing and merchandising, etc.) 

Production Financing

  • Production financing refers to the money required to make a movie. The terms of these deals vary widely and are typically subject to a number of different contracts with the various parties associated with the film.
  • The risk and potential return associated with these investments depends heavily upon the terms of the specific deal and where investors fall in the “waterfall” -- the model that determines how (and in what order) revenue earned by the film is distributed amongst all of the stakeholders.
  • In some cases we may be able to cross-collateralize across other revenue streams and/or secure other terms (e.g. guaranteed minimums) that can help diversify our investment and improve our odds of achieving a positive return.

Business Plan

FRESH KILLS plans to create a financially successful film without the burden of significant overhead charges, which in the case of major studios, have little to do with the production of the film. We will keep overhead to an absolute minimum and will devote our resources to delivering a quality film to the screen. 

In order to deliver the film on budget, our management team plans to adhere to the highest standards of cost control and financing reporting. Key reasons for budget overruns on films are the lack of financial controls and the lack of overall project management. We will implement and maintain an accurate budget and related financial reports, a pre-production schedule, a shooting schedule and a post-production schedule. Tight internal procedures, the implementation of accounting policies in accordance with US GAAP, and outside review of financial statements by a CPA-certified auditor will ensure that the Company’s management and investors have an accurate fiscal assessment. 

Exit | Payback Strategy

We are an entertainment company that is being built from the ground up to have our film be owned by fans rather than traditional Hollywood financing.

We intend to pay a dividend of 10% of the funds invested upon the sale or profits from the film. Once the investors receive 110% of funds invested returned of USD$1.10 per share in aggregate, we may make dividend distributions of any profits earned on a quarterly basis.  

Market Background

The film business has an impressive history of stability. Even at the height of the last financial crisis, as stocks whipsawed, banks imploded, and real estate holdings cratered, demand for film remained stable. On its own, film appears to be an asset class unto itself—uncorrelated to the other types of investments.

Movies are somewhat recession-resistant because even in hard times, people still go need entertainment. So they will not stop going to the movies or streaming them online. The pandemic is an example; there is a need for content. People are watching more television and streaming more content, now more than ever.

...

Home/Mobile Viewing Market

The global home/mobile entertainment market (content released digitally and on disc) reached $68.8 billion in 2020, a 23 percent increase compared to 2019, driven by digital.

The digital market increased 33 percent in the U.S. and 30 percent outside the U.S., compared to 2019.

All home/mobile viewing methods experienced reported increases in viewing during the COVID-19 pandemic period in 2020. The largest number, more than half of adults (55%), reported that their viewing of movies or shows/series via online subscription services increased over the period of the COVID-19 pandemic in 2020, with a net increase of 46 percent when accounting for those who reported a decrease in viewing.  

...

Online Subscriptions

The global total of online video subscriptions (1.1 billion), such as Netflix and Disney+, increased by 26 percent, or 232.1 million, when comparing 2020 to 2019.

The global video on demand market size was $53.96 billion in 2019 and is projected to reach $159.62 billion by 2027. Movie Theaters have had limited operations since the lockdown that has been imposed by governments across the globe to mitigate the spread of the Coronavirus. As a result, online content viewing has seen an unprecedented growth post-COVID-19 outbreak. As people are staying at home, the uptake of subscription on-demand has shown significant growth. 

...

Independent Film Market

While exact figures for most of the world’s markets are extremely vague on the market share won by independent films, various publications in the US estimate that in the country’s domestic market, independents make up 10-13% of box office revenues (Source). In this case, it could be estimated that in 2019 the box office intake of independent films was around $4.8 billion. 

The market for independently produced films in the U.S. has increased significantly over the last several years. The outstanding box office success of films like My Big Fat Greek Wedding ($368,744,044 Worldwide box office), Little Miss Sunshine ($99,121,298 Worldwide box office), and Napoleon Dynamite ($46,118,097 Worldwide box office) is well known. However, there is a well-established trend of independent films being embraced by ever-broader audience segments. 

Above and beyond such record-setting results, there is a larger trend emerging at the box office. Independent films are no longer limited to niche or art house releases. Broad audiences across the country are now embracing independently produced films. 

Management Experience & Films

The FRESH KILLS Inc. team is comprised of people with a long track record of filmmaking. Given our knowledge of the film industry and the track record of our team, we are aware of the challenges and risks involved in moviemaking. We also know how to apply our professional experience in business affairs, creative affairs, development, production, and marketing to manage the inherent risks. We have a talented management team with business ownership backgrounds, film industry backgrounds, negotiating acumen, and storytelling abilities. 

Jennifer Esposito
CEO, Writer, Director, Producer

Jennifer Esposito’s breakout role came in 1990 in Spike Lee’s SUMMER OF SAM. Esposito’s career has spanned over 25 years. She has appeared in over 70 films and television productions, most notably the Academy Award-WInning film CRASH. Where she received a SCREEN ACTORS GUILD AWARD, CRITICS CHOICE AWARD, AND A HOLLYWOOD FOREIGN PRESS AWARD for Best Ensemble. Other notable films include, DON’T SAY A WORD and WELCOME TO COLLINWOOD by the RUSSO BROTHERS.

Some of her TV work includes, SPIN CITY, SAMANTHA WHO, BLUE BLOODS, THE AFFAIR and THE BOYS. Most recently she can be seen on NORA FROM QUEENS WITH AWKWAFINA and just completed working on Ray Romano’s directorial debut, currently untitled. Early education was at The Lee Strasberg Theatre Institute, where she retuned to teach acting years later. She also taught workshops at LaGuardia High School and Bilingual Acting Studio in Paris. Esposito is also a New York Times best-selling author on a book she wrote about celiac disease in 2010. Jennifer has also been a passionate activist in supporting female stories, equal opportunity, equal pay and creating safe spaces for women on and off the screen.

Christine Crokos
Producer

Born and raised in Brooklyn, Christine moved to Los Angeles and attended USC Film School. After graduating she immediately began working for some of Hollywood's major Studios such as Warner Brothers and Universal Pictures.

In 2018, Christine's female driven feature, "PIMP", produced by Lee Daniels, starring Keke Palmer premiered at the Tribeca Film Festival and now playing on Showtime and BET. Her next feature film is a biopic on World Cup goalkeeper champion Hope Solo.

Alexis Varouxakis
Producer

Alexis Varouxakis is a film producer and film executive with over 20 years of experience in the motion picture industry and is the founder of Adrenaline Entertainment, which produces independent feature films. Prior to Adrenaline Entertainment, Alexis produced and served in a producing role on a diverse array of award-winning feature films including: GOOD TIME, directed by the Safdie brothers and starring Robert Pattison, which was nominated for the prestigious Palm d’Or award from the Cannes International Film Festival; ARKANSAS, starring Liam Hemsworth, Vince Vaughn and John Malkovich; BLOOD, directed by Brad Anderson, starring Michelle Monaghan; RUN THE TIDE starring Taylor Lautner; and PIMP, written and directed by Christine Crokos, executive produced by Lee Daniels, starring Keke Palmer and rapper DMX. Prior to Adrenaline Entertainment, Alexis served as the Head of Production of Rhea Films, the production and advisory entity of The Hercules Film Fund. The Hercules Film Fund has financed or co-financed multiple high-profile films including: AMERICAN MADE, directed by Doug Liman, starring Tom Cruise, and released worldwide by Universal; the upcoming film, BRUISED, an official selection of the 2020 Toronto International Film Festival, directed by and starring Halle Berry in her directorial debut, to be released by Netflix in 2021; A SIMPLE FAVOR, directed by Paul Feig, starring Anna Kendrick and Blake Lively, and released worldwide by Lionsgate; and UNICORN STORE, directed by Academy Award-winner Brie Larson and starring Larson and Samuel L. Jackson.

Alexis also served as the Chief Operating Officer and a producer at the film financing/production company 1821 Pictures. 1821 Pictures has produced or financed/co-financed numerous films including Paul Weitzes’ Golden Globe-nominated comedy, GRANDMA, which was an official Sundance Film Festival selection, and SWING VOTE starring Kevin Costner. Alexis is fluent in four languages and holds a Master’s Degree (MA) in Arts Management and a Bachelor (BSc) in Economics from London’s City University Business School.


We are offering FRESH KILLS NFTs (non-fungible tokens), referred to as FRESH NFTs and FRESH-PERK NFTs designed by AWARD-WINNING FEMALE ARTIST GALA MIRISSA. The following FRESH NFTs are available for everyone to bid on from the NFT market in the Upstream app.

Purchase Fresh Kills NFTs

ABOUT GALA MIRISSA

  • Finalist in the Visual Artist Award Miami 2018 for Best Technical Innovation
  • Work selected for inclusion in the International Filmmaker Biennale Women in Cinema (Berlin)
  • Named by BeInCrypto on International Women’s Day 2021 as one of the three most influential hispanic women in the cryptocurrency industry who are using NFT (non-fungible token) technology
  • Ranks amongst the top sales in the rank list of NFT by CryptoArt.io.

FRESH NFTs

Designed by AWARD-WINNING FEMALE ARTIST GALA MIRISSA, and only available during this Offering. The following NFTs are available for everyone to purchase or bid on from the Upstream app.

NFT

Preview


THE BRIDGE (F1-BRIDGE) - $1,000 - Auction Price (5,000 available)

1 of 5,000 Exclusive COMMON NFTs!

Each NFT auction closes once the reserve bid is met, i.e., a Dutch auction


BETRAYAL (F2-BETRAYAL) - $10,000 - Auction Price (only 50 available!)

1 of 50 Exclusive UNCOMMON NFTs!

Each NFT auction closes once the reserve bid is met, i.e., a Dutch auction


FAMILY (F3-FAM-01) - $50,000 - Auction Reserve Price (only 20 available!)

1 of 20 Exclusive UNCOMMON NFTs!

Auction closes when this Offering closes.


TRANSFORMATION (F4-TRN-01) - $150,000 - Auction Reserve Price (only 10 available!)

1 of 10 Exclusive RARE NFTs!

Auction closes when this Offering closes.


FREEDOM (F5-FREE-1) - $300,000 - Auction Reserve Price (only 3 available!)

1 of 3 Exclusive ULTRA-RARE NFTs!

Auction closes when this Offering closes.


FRESH-PERK NFTs

For investors, FRESH-PERK NFTs, and associated perks, are in addition to the ownership of the security purchased in any of the Offerings. FRESH-PERK NFTs are also available to all fans as standalone NFTs who want to support FRESH KILLS and will be auctioned via the Upstream App.

Global fans who make a winning bid will have specific benefits such as joining the movement of film, walking the red carpet, meeting the cast or even being in the film. FRESH NFTs and FRESH-PERK NFTs may only be resold after the Offering closes.

The following FRESH-PERK NFTs are available for everyone to bid on from the NFT market in the Upstream app.



NFT

Preview


The INCLUSION ELEVATORS NFT (FP1-INELE) - $25 Auction Price

Thank you for supporting our belief that INCLUSION ELEVATES ALL.

Each NFT auction closes once the reserve bid is met, i.e., a Dutch auction


The MOVEMENT MAKERS NFT (FP2-MOMK) - $150 Auction Price

You will receive a DIGITAL COPY of the SCRIPT signed by the writer and director Jennifer Esposito and the cast of the film. You will receive a DIGITAL POSTER of the film when the film is ready for distribution.

Each NFT auction closes once the reserve bid is met, i.e., a Dutch auction


The RULE BREAKERS NFT (FP3-RUBR) - $1,500 Auction Price

You will receive ALL OF THE ABOVE plus an invite to a VIRTUAL SCREENING with the Director, Producers and any available CAST members to view the film together and take part in a Q&A afterwards.

Each NFT auction closes once the reserve bid is met, i.e., a Dutch auction


The DISRUPTORS NFT (FP4-DISR) - $10,000 Auction Price (only 45 available!)

You will receive ALL OF THE ABOVE plus your name will be in the end CREDITS under THE DISRUPTORS section.

Each NFT auction closes once the reserve bid is met, i.e., a Dutch auction


The DIVERSITY ADVOCATE NFT (FP5-DAV-01) - $100,000 Auction Reserve Price (only 25 available!)

You will receive ALL OF THE ABOVE plus an invitation for you and a guest to walk the RED CARPET and join us at the PREMIERE and the AFTER PARTY!!
(Travel not included).

Auction closes when this Offering closes.


The GAME CHANGERS NFT (FP6-GCH-01) - $250,000 Auction Reserve Price (only 10 available!)

You will receive ALL OF THE ABOVE, plus an "CO-EXECUTIVE PRODUCER" CREDIT on the film, which includes your name in the film credits and on IMDB. The GAME CHANGERS also includes a SET VISIT in person or virtually.
(Travel not included).

Auction closes when this Offering closes.


The VISIONARY NFT (FP7-VIS-1) - $500,000 Auction Reserve Price (only 3 available!)

You will receive ALL OF THE ABOVE plus an "EXECUTIVE PRODUCER" CREDIT on the film, which includes your name in the film credits and on IMDB. As a VISIONARY you also get a virtual or in-person DINNER with the filmmaker, the producers and the team behind this incredible platform.
(Travel not included).

Auction closes when this Offering closes.


FRESH KILLS, INC. INTENDS TO ALLOCATE AT LEAST FIVE PERCENT (5%) OF ITS FILMS’ PROFITS INVESTING IN FILMS MADE BY WOMEN

FAN FORUM

More than a movie, it’s a movement.

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THE OFFER SHARES ARE ONLY SUITABLE FOR INVESTORS: (I) WHO UNDERSTAND THE POTENTIAL RISK OF CAPITAL LOSS AND THAT THERE MAY BE LIMITED LIQUIDITY IN THE UNDERLYING INVESTMENTS OF THE COMPANY; (II) FOR WHOM AN INVESTMENT IN THE OFFER SHARES IS PART OF A DIVERSIFIED INVESTMENT PROGRAM; AND (III) WHO FULLY UNDERSTAND AND ARE WILLING TO ASSUME THE RISKS INVOLVED IN SUCH AN INVESTMENT PROGRAM. IT SHOULD BE REMEMBERED THAT THE PRICE OF THE SHARES AND THE INCOME FROM THEM CAN GO DOWN AS WELL AS UP. THIS DOCUMENT IS IMPORTANT AND REQUIRES YOUR IMMEDIATE ATTENTION A CROWD FINANCED INITIAL PUBLIC OFFERING INVESTMENT INVOLVES RISK. YOU SHOULD NOT INVEST ANY FUNDS IN THIS OFFERING UNLESS YOU CAN AFFORD TO LOSE YOUR ENTIRE INVESTMENT. IN MAKING AN INVESTMENT DECISION, INVESTORS MUST RELY ON THEIR OWN EXAMINATION OF THE ISSUER AND THE TERMS OF THE OFFERING, INCLUDING THE MERITS AND RISKS INVOLVED. THESE SECURITIES HAVE NOT BEEN RECOMMENDED OR APPROVED BY UPSTREAM, MERJ, HORIZON FINTEX ADVISORS, THE REPUBLIC OF SEYCHELLES OR ANY FEDERAL SECURITIES COMMISSION OR REGULATORY AUTHORITY OF ANY OTHER JURISDICTION. THE COMPANY URGES YOU TO CAREFULLY REVIEW THE PROSPECTUS, PARTICULARLY THE SECTION TITLED "RISK FACTORS" IN THE PROSPECTUS FOR A MORE COMPLETE DISCUSSION OF THE RISK OF AN INVESTMENT IN THE COMPANY. FURTHERMORE, THESE AUTHORITIES HAVE NOT PASSED UPON THE ACCURACY OR ADEQUACY OF THE PROSPECTUS OR COMPLETENESS OF ANY OFFERING DOCUMENT OR LITERATURE. THE PROSPECTUS CONTAINS FORWARD LOOKING STATEMENTS BASED ON ASSUMPTIONS AND REFLECTS THE DIRECTORS EXPECTATIONS, ESTIMATES AND PROJECTIONS OF FUTURE EVENTS. FORWARD LOOKING STATEMENTS INCLUDE WITHOUT LIMITATION, STATEMENTS REGARDING THE PERFORMANCE, PROSPECTS, OPPORTUNITIES, PRIORITIES, TARGETS, GOALS, OBJECTIVES, STRATEGIES, GROWTH AND OUTLOOK OF THE COMPANY. OFTEN, BUT NOT ALWAYS, FORWARD LOOKING STATEMENTS CAN BE IDENTIFIED BY THE USE OF WORDS SUCH AS "EXPECTS", "ANTICIPATES", "PLANS", "BELIEVES", "ESTIMATES", "SEEKS", "INTENDS", "TARGETS", "PROJECTS", "FORECASTS", OR VARIATIONS (INCLUDING NEGATIVE VARIATIONS) OF SUCH WORDS AND PHRASES, OR STATE THAT CERTAIN ACTIONS, EVENTS OR RESULTS "MAY", "COULD", "WOULD", "MIGHT" OR "WILL" BE TAKEN, OCCUR OR BE ACHIEVED. FORWARD LOOKING STATEMENTS ARE BASED UPON CERTAIN MATERIAL FACTORS AND ASSUMPTIONS THAT WERE APPLIED IN DRAWING A CONCLUSION OR MAKING A FORECAST OR PROJECTION, INCLUDING ASSUMPTIONS AND ANALYSES MADE BY THE DIRECTORS IN THE LIGHT OF THEIR EXPERIENCE AND PERCEPTION OF HISTORICAL TRENDS, CURRENT CONDITIONS AND EXPECTED FUTURE DEVELOPMENTS, AS WELL AS OTHER FACTORS THAT ARE BELIEVED TO BE APPROPRIATE IN THE CIRCUMSTANCES. ALSO, FORWARD LOOKING STATEMENTS INVOLVE KNOWN AND UNKNOWN RISKS, UNCERTAINTIES AND OTHER FACTORS THAT ARE BEYOND THE DIRECTORS CONTROL AND WHICH MAY CAUSE THE ACTUAL RESULTS, PERFORMANCE OR ACHIEVEMENT TO BE MATERIALLY DIFFERENT FROM ANY FUTURE RESULTS, PERFORMANCE OR ACHIEVEMENTS EXPRESSED OR IMPLIED BY SUCH FORWARD LOOKING STATEMENTS. SUCH MATERIAL FACTORS AND ASSUMPTIONS AND RISKS AND UNCERTAINTIES INCLUDE, AMONG OTHERS, THOSE WHICH ARE INCORPORATED INTO THE PROSPECTUS AND QUALIFY ANY AND ALL FORWARD-LOOKING STATEMENTS MADE IN THE PROSPECTUS.