Short film, Uplifting Drama
Loglin:
When the spirit of a sensitive boy inhabits the body of his childhood bully, the two must learn to share a body—and a life—discovering friendship, empathy, and the true meaning of courage along the way.
Synopsis:
The Champions is a spirited, funny, and deeply moving tale about childhood battles, unlikely friendships, and finding courage in the unlikeliest places.
Blake, the neighborhood menace, lives for chaos and stunts big enough to make him a motocross legend. But his world flips upside down when a burst of supernatural energy fuses him with Justin—the ghost of a boy his own age, who once suffered from Blake’s bullying. Sensitive, thoughtful, and with a flair for the more feminine, Justin couldn’t be more different from Blake’s rough-and-tumble ways.
Now trapped in the same body, the two are forced into an awkward partnership. Blake wants to throw punches; Justin wants to wave. Blake wants to race; Justin wants to leap. Their tug-of-war sends them stumbling through scraped knees, botched stunts, and plenty of embarrassing moments.
Slowly, though, something shifts. Justin helps Blake see the world through different eyes, and Blake—without even realizing it—offers Justin one last chance to be part of the game.
Their biggest test comes when Blake sets his sights on a dangerous four-bicycle jump—a stunt meant to prove he’s the toughest kid around. On the day of the big show, nothing goes as planned. But in the chaos, Blake realizes that true courage isn’t about impressing others or showing off—it’s about trust, empathy, and the bond he now shares with Justin. In that moment, he discovers that friendship and understanding are far more powerful than fear or bravado.
Director: Henrik A. Meyer
Screenwriter: Henrik A. Meyer
Production Company: Henrik A. Meyer Productions
Running Time: 20 minutes Budget $45K
Year: 2021
Language: English Format: 2:34, 4K
NOMINATIONS
CREATOR HENRIK A. MEYER'S STATEMENT
The inspiration for The Champions comes directly from my own childhood. When I was ten years old, there was a boy in my class who was “different.” Because of that, he became the target of relentless bullying. I remember feeling I couldn’t just stand by and watch, but I also knew I wasn’t strong enough to fight the bullies myself. Instead, I reached out to him in the best way I could—I asked him to play a game with me.
That simple invitation changed everything. In the world of the game, he wasn’t a victim—he was a hero. I made sure he had moments to shine, and soon his confidence began to grow. What happened next was remarkable: the other kids, even the bullies, noticed the fun we were having and wanted to join. Once they entered that shared world, the teasing stopped. The boy they once mocked was now a teammate, and from that day forward, he was never bullied again.
This memory is the seed from which The Champions grew. At its heart, the film is not about adults stepping in to solve problems—it’s about children finding the courage to stand up for themselves and for one another. I believe that words, imagination, and kindness are far stronger than force. When children help each other, they don’t just end bullying—they transform it into belonging.
With The Champions, I want to remind audiences that sometimes the most powerful heroes are the children who choose compassion.
CINEMATIC LOOK - LOCATIONS
STYLE
This film is in an expression of magical realist style in which the very real problem of childhood bullying is portrayed alongside novel visual cues (such as the pink wheel on Blake’s golden bicycle) and elements of fantasy (Justin invading the right side of Blake’s body).
Magical realism also helps evoke feelings of ‘contrast’ and ‘tension’. First, the central narrative of the neighborhood bully is contrasted with his idyllic, all-American community. This wholesomeness is reflected in the choice to film in summer, which allows for warm light and bright colors. It is also evident in set props like vintage bicycles, that evoke a feeling of warm nostalgia in contrast to a painful reality.
A more overt contrast will be achieved through character-related special effects and camera work. A green screen will be used to create the otherworldly scene when Justin enters Blake’s body. Once Justin and Blake are joined, camera focusing techniques alert the audiences to each boy’s perspective. For example, when we hear the voice of Justin, who has settled into the right side of Blake’s body, we will focus on the right side of the actor’s profile. When we hear from Blake himself, who maintains the left side of his body, we will focus on the left side of the actor’s profile.
The camera movement will also evoke contrast and contribute to the narrative arc. When the characters fight or when the action is fast, shooting will be in a handheld style. When scenes are relaxed, the camera will be more static and any movements steady. Also, in the beginning, the camera perspective is third-person, but as we learn about and feel more with Blake and Justin, shots get tighter and closer. This framing choice represents progression from distance to intimacy with the main characters. In a similar way, the adults are always portrayed as ‘distanced’ from the kids, an exaggerated device that shows how child bullying often goes unnoticed by adults.
CHARACTER BREAKDOWN
BLAKE — 12, male. Grungy and rambunctious, a boy who loves to ride bikes and dreams of becoming a stuntman. This actor should be comfortable on a bike.
JUSTIN — 12, male. LGBTQ, soft, frail, feminine. Sensitive and gets bullied. This actor also needs to be able to play Justin-as-possessed-by-Blake, and switch back between the two as they fight over the two sides of his body.
ASHLEY — 11, female, tomboy, has the same dream as Blake, to become a Champion.
SHIRLEY — Late 40s, female, warm-hearted woman who takes pride in her job as a social worker.
HARRY — 40s, male. Lean, worn-out, a mean alcoholic whose life seems to pass by.
DIRECTOR - SCREENWRITER - STORY
Henrik A. Meyer found himself drawn to the camera at the age of 10 when he first started taking pictures, which turned into a lifelong passion for photography. Mr. Meyer took his first cinematography course at age 21, and he loved it so much that he moved to the USA in 1996, where he worked at Panavision LA and completed further cinematography courses. In 2010, he graduated from film school in New York City and received a diploma in Cinematography.
Mr. Meyer has collaborated closely with some of the most talented, award-winning cinematographers and directors in Denmark. In over 15 years as a 1st AC, he has worked on three International Emmy® Award-winning series, including UNIT 1 and FORSVAR with acclaimed director Niels Arden Oplev (director of THE GIRL WITH THE DRAGON TATTOO, Swedish version). His extensive experience as a 1st AC allowed him to learn many skills that he holds today as a director of photography.
At present, Mr. Meyer has been steadily adding to his body of work as a director. He directed his short film THE BLUE CAR (see link below), which was shown in the D.C. Shorts Festival, as well as the Oxford Film Festival. With three more films currently underway, he hopes to continue his storytelling journey in this new role in addition to his lifelong passion as a cinematographer.
Henrik A. Meyer's showreel: www.henrikameyer.com
PRODUCER
Gema is an independent film, TV, video producer and editor splitting her time between Los Angeles, California and New York City. She has produced award winning films and has worked with the production teams of shows distributed by studios and platforms like Netflix, NBC, FOX and ABC. As an editor, she has cut music documentaries, specials and other content that has aired on networks such as CBS, PBS, DisneyXD and TCM UK.
Gema is originally from Guatemala City, Guatemala; a nature rich country with social inequalities that has influenced her to work on projects following environmental, cultural and social issues.
EDITOR
Lars Wissing is a Copenhagen based editor with more than 15 years of experience.
Lars has edited several feature films, as well as award winning short films - including the Academy Award winner Helium.
His work includes award winning television series The Killing and The Protectors.
He is currently editing the feature film I Kill Giants starring Madison Wolfe and Zoe Saldana.
THE BLUE CAR
A film by Henrik A. Meyer
Send me an email for password.
Directed, Produced, Cinematography and Set builder by Henrik A. Meyer.