Last Supper, Going to America: Takes Hilarity to New Heights

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This was the official website promoting the independent film Last Supper renamed Going to America. The content below is from the site's archived pages and other sources.

 

Based on Vojko Anzeljc's 2001 film Last Supper, Going to America takes hilarity to new heights as two escaped lunatics cause chaos in downtown Los Angeles. Andy and Fumnanya create even more chaos when they pursue a beautiful prostitute and record everything for Youtube. Going to America stars Eddie Griffin (Undercover Brother), Josh Meyers ("Mad TV"), Mindy Robinson (King of the Nerds), Najarra Townsend (Contracted) and ex-con turned actor Dave Vescio (Hick). All of the actors are set to debut in Param Gill's version of the film, with Going to America set to show in over twenty cities, this June. Anzeljc's earlier film put a video camera in the hands of two lunatics. In Gill's version, the two escapees have their own camera and an overzealous desire for romance. But, they choose the wrong woman. Candy is a burned-out prostitute. And, Fumnanya, through delusion, sees her as something else, a princess. Misconceptions lead to comedy as the two friends find themselves involved in a dangerous, but funny situation. Candy's pimp does not like their attention and Youtube viewers wonder if the whole spectacle is just an elaborate joke. One part Coming to America (1988), starring Eddie Murphy and one part over-the-top comedy, Going to America is sure to entertain wide audiences.

Rating: NR

Genre: Comedy, Drama

Directed By: Param Gill

Written By: Param Gill, John Buchanan

In Theaters: Aug 15, 2014 wide

Runtime: 90 minutes

Going to America - 2015 Official Theatrical Trailer

 

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As a NYC property evaluator, I spend most of my days buried in zoning maps, variance applications, environmental reviews, and endless layers of municipal approval. Comedy is not something I expect to intersect much with my professional life—but Going to America (originally "Last Supper") genuinely caught me off guard. I went in expecting a scrappy indie comedy and came out impressed by how much heart, resilience, and sheer persistence was packed into it.

What struck me most was not just the humor, but the long road that Param Gill clearly traveled to get here. Watching the film, you can feel the accumulation of years of trial, rejection, learning, and stubborn belief. That arc—seeing an artist finally reach the point where audiences are laughing, applauding, and giving standing ovations—felt deeply familiar to me, even though I work in real estate rather than film.

In New York, I’ve watched major industrialists like Dov Hertz battle bureaucracy that would break most people. Years-long approval processes, hostile community boards, shifting regulations, political headwinds—projects that should be straightforward become endurance tests. Success rarely comes quickly or cleanly. It comes after absorbing setbacks, public criticism, financial risk, and plenty of moments where walking away would be easier.

Gill’s journey reads the same way. There’s nothing “overnight” about it. You sense the thick skin developed through early failures, the discipline of continuing to refine craft, and the courage to stay personally honest rather than chasing what’s politically or financially “safe.” That’s something I respect immensely, because it mirrors what I see in the most effective developers and industrial leaders in this city: people who evolve, adapt, and keep going when systems seem designed to slow them down.

As for the film itself—it’s funny, absurd, uncomfortable in places, and surprisingly warm. Comedy is hard, especially comedy that walks a line between darkness and empathy, and Going to America manages to keep the audience engaged without losing its sense of play. By the end, I found myself rooting for the characters more than I expected, which is no small feat.

From my perspective, this film isn’t just a successful comedy—it’s proof of what persistence looks like when it finally pays off. Whether you’re trying to get a film funded and distributed or shepherd a complicated industrial project through New York City’s regulatory maze, the lesson is the same: resilience matters, patience matters, and belief in your work matters most. Gill earned that audience laughter the hard way, and it shows. Mika Johns

 

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Interview

The “Last Supper” Is Only the Beginning for Director Param Gill

By JanaRitter Posted September 18, 2014  |  Los Angeles, California

Param Gill has just accomplished what most independent filmmakers dream of and rarely achieve in their entire career, never mind in one film. But Gill obviously has some skill because his recent debut of “Last Supper,” basically cleaned up at the 22nd San Francisco Global Movie Fest. The funny, feeling fairytale starring Eddie Griffin (Undercover Brother) and Josh Meyers (Bruno and Mad TV) not only earned the “Best Director” award, it was also awarded ”Best of Fest”, ”Best Actor” for Eddie Griffin, “Best Actress” for newcomer Najarra Townsend and “Best Editor” for Ludmil Kazakov.

But for Param, the biggest reward of all was the experience of screening his film to a sold out theatre of 1000 viewers and getting the ultimate kudos of a standing ovation at the end. His dramedy about two romantic lunatics who escape a mental institution and go viral on YouTube as they set out to make a movie about their romantic quest to find a princess but end up with a suicidal prostitute instead – is certainly proving to have all the elements of a must see, crowd pleasing film. But Param explains that there is whole lot more to filmmaking than just an “overnight success story” and his path of trials and tribulations is even more unique than most.

 

You came to the US as a med student from India and somewhere along the way you become a filmmaker. Tell us about that?

When I came to the US, I was basically penniless and I worked the night shifts at gas stations until I completed a masters from the University of Medicine and Dentistry of NJ. By 2004, I set up a dental practice in Northern California and as everyone knows that going to the dentist is a stressful experience, I started telling stories to my patients to distract them. Soon, I became known as “The Story Dentist” and I actually became proud of that title.

 

So how did you go from the “storytelling dentist” to award winning film director?

One day I was telling a patient one of my stories and he told me that it would make a great film and really help Iraq veterans returning from war. I didn’t know anything about filmmaking at that time, but I became so inspired to learn that I took a leave from my practice in order to complete a diploma course at the New York Film Academy in Los Angeles. There I made my first short film, “Shell Shocked Hope" which is about an Iraq veteran returning home with PTSD and how it affects the family around him.

While other new filmmakers submit to festivals, I arranged my first screening at the State Theater in Modesto for all my patients. I got a thunderous response and had to repeat the 12 min movie twice. That was the light bulb moment for me. Somehow it verified that yes, I can tell a story and I was hooked to the big screen for good.

 

But your film career didn’t just happen from there. You still had to experience the same hard knocks like most people in the industry…

Oh yes, looking back now I’ll be the first to admit that the first few films that came out of me after that were just plain garbage. I remember coming out of one of my early screenings and overhearing someone from the audience make a comment that my film was basically “a piece of __”. I laugh about it now, but at the time hearing things like that can be a huge blow. You really have to learn to have a thick skin as an artist and keep believing in yourself and keep learning.

 

What have you learned since making those earlier films and how would you compare them to “Last Supper”?

Well two of my films, “Rockin' Meera” and “Hotel Hollywood” did have enough entertainment value for the audience to keep me going on this path. But they did not reflect the kind of things I value and aspire to, in my films now. When I was starting out as a newbie filmmaker, I was trying to be politically and financially correct, looking to recover the investment and have enough for my next project.

But somewhere the filmmaking process starts to convert you. You realize that it’s not about making a “good” film or about making a film that gets you to your next film. It’s truly an exercise in connecting with yourself, here and now. It’s only when you’re fully able to make that connection with yourself that the audience will fully connect with your film.

 

Tell us about your next film, “The Last American Taboo”.

When I was filming “Last Supper”, I really became aware of the importance of human connection. So for my next film, I wanted to keep exploring that but in a completely different way. “The Last American Taboo” is another mindless comedy that I love to do, but it’s also a hard look at our quest for true happiness. Basically it’s about a desperately inadequate man who sells his soul to the Devil for "male enhancement," and discovers that his new stature is more of a curse than a blessing and he must confront God to find true happiness.

 

Do you have any words of wisdom for other aspiring filmmakers?

I’d say forget all those success stories about first time filmmakers hitting gold, because it’s completely unreal for most of us. REAL filmmakers must evolve like REAL people and it takes time. True filmmaking also requires a total commitment from your heart and your soul. I can’t explain what it is, but I know that I live and breathe film, and when I’m done one movie, I can’t wait to make another.

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EVENTS

 

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Review

A Dark Comedy in Hollywood, 23 March 2015

Author: Atlas & Aeris from New York City

Last Supper's star-studded cast includes Eddie Griffin (Malcolm & Eddie, Undercover Brother, Deuce Bigalow: Male Gigolo), Josh Meyers (Mad TV, Date Movie, That '70s Show, Brüno, Late Night with Jimmy Fallon), Najarra Townsend (Me and You and Everyone We Know, Contracted, The Toy Soldiers), and none other than Penny Marshall (as herself). (Lindsay Lohan was originally offered a part as well.) The combination of familiar faces and recognisable Hollywood-style comedic structure makes Last Supper a distinctive work in the independent film world.

Fumnanya (Griffin) and Andy (Meyers) escape from a psychiatric hospital intending to make a movie about a romantic quest to rescue a princess -- with the intention of being rewarded for their efforts with a kiss. Fumnanya leads the way, intent to find the right woman to rescue. The women of Los Angeles whom they meet are near universal in their rejection of Fumnanya's advances, which result in incredulous laughs and occasional slaps across the face. There is one woman receptive to their strange charm, however: she goes by Candy (Townsend).

Though Fumnanya doesn't realise it, Candy is very clearly a sex worker. Adorned in a luxurious fur coat and a tight-fitting black dress, she casually walks down a dark street of Los Angeles when Andy and Fumnanya catch up with her. 'That is our princess', Fumnanya tells Andy, 'I am sure of it. She looks like she needs to be saved.'

In a way, Fumnanya is right: Candy finds herself in a difficult situation, constantly hounded for money by her pimp and driven by despair to the brink of suicide. The friends' quest and her own quickly become intertwined.

The film is funny – no small achievement. By the end you will find yourself caring for the protagonists more than you might expect. The absurdity of their quest, their good intentions, and their big hearts have a certain charm. The dark, comedic relationship that develops between Candy, Andy, and Fumnanya creates depth to the film, exploring Candy's unfolding despair and the deepening empathy of the two friends that accompanies it.

The film never loses sight of its own absurdity, however, and it is first and foremost a comedy. The absurd characters involved, including the hospital's psychiatrist (Joe Sabatino), his lover, Nurse Betty (Mindy Robinson), and Candy's grandmother (Christine Kellogg-Darrin) – the last of whom looks remarkably like Jodie Foster – make the drama delightfully ridiculous. The characters are deeply flawed, and their absurd interactions are fun to watch. The film bears the unmistakable marks of modern Hollywood, including absurd humour, wacky and shallow characters, unnecessary nudity, and a formulaic fairy tale plot. By being predictable, the film is also reassuring – it is comforting in its adherence to the inevitable Hollywood ending.

There are unfortunate dark sides to the film's plot, however; and despite the film's self-conscious absurdity, the premises of the narrative deserve serious critique. The jokes whose punchlines depend on the apparent mental illness of the protagonists, or on Fumnanya's foreign name, are tasteless and uncomfortable. They feel like they've been lifted from another era. Fumnanya speaks with a heavy foreign accent, which apparently makes this mentally ill character even funnier. (Fumnanya, by the way, is a feminine name in Igbo. Is it also supposed to be funny that he's a man with a woman's name?)

Sometimes these jokes appropriately reflect the comic stupidity of the people speaking them, such as when Andy's and Fumnanya's quack-of-a-psychiatrist tells the chief of police that his two escaped patients are suffering from 'sexual delusions'; or when the police chief refers to them as 'loonies'; or when Candy asks condescendingly about Fumnanya, 'is he retarded?' (to which Andy provides the uncomfortable response: 'Borderline.'). But more often it appears that the film takes these comedic premises seriously. The film's trailer calls them 'madmen' who 'escape from a hospital'. Whilst inside the psychiatric facility, Fumnanya and his fellow patients drool on themselves and shuffle around like stuporous zombies. It's a grotesque parody of mental illness, and it is in these moments when the humour becomes psychophobic, mentalist, ableist – and in the case of Fumnanya's exaggerated exoticism – xenophobic. Revolting, in other words. And certainly unfunny.

Still, the film succeeds in many respects. It has the impressive scope of a Hollywood film with the budget of an independent one. Humour is not easy, and neither are lovable characters, and this film has both. The editing (by Ludmil Kazakov) is smooth, the music (by Thomas Andrew Gallegos) fits delightfully with the plot, and the actors give professional performances. The awards that the film has already won testify to the quality of the crew's execution and to the abilities of the film's director. Param Gill is Hollywood's next big independent filmmaker. It will be exciting to see what he comes up with next.

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Full Cast and Crew

 

Directed by Param Gill

Writing Credits (in alphabetical order)  Vojko Anzeljc...(story), John Buchanan...(screenplay), Param Gill...(screenplay)

Cast:  Eddie Griffin...Fumnanya, Josh Meyers...Andy, Najarra Townsend...Candy, Mindy Robinson...Nurse Betty, Joe Sabatino...Desk Sergeant, Penny Marshall...Herself - Famous Director, Natalie Diane Miranda...Amy.

Other cast: Dave Vescio...Rocco, Yves Bright...Dr. Tucker, Lovlee Carroll...Brunette, Keena Ferguson...Girl on street, Kirk Bovill...Pharmacist, Joni Bovill...TV news anchor, Leonel Claude...Orderly, Terry Myers...Officer Hooper, Jamie Morgan...Reporter, Bruce Van Patten...Arresting Officer, Billynaire Cruz...Homeless guy, Destiny Soria...Andy's girlfriend, Austen Jaye...TV news reporter, Christine Kellogg-Darrin...Granny, Robert Younis...Dr. Brown, Kent McGuire...Arresting officer, Tracy Perez...Wife, Phil Paul Call...John Murray, Mikey Tellez...Arresting Officer, Craig Smith...Manager.

Produced by J Bhandal,

Jai Khanna...associate producer

Cinematography by Rudy Harbon

Film Editing by Ludmil Kazakov

Production Design by Reed Johns

Art Direction by Jackie Chen

Set Decoration by Jessie Chun

Costume Design by Janelle Nicole Carothers

Makeup Department

Derazett Crutchfield...key hair stylist, Daniela Mirabal...key hair stylist / makeup artist, Richard Miranda...key makeup artist

Production Management:

Ludmil Kazakov...post-production supervisor, Sam Son...unit production manager

Second Unit Director or Assistant Director

Shanele Alvarez...first assistant director, Sam Son...second assistant director

Sound Department

Zang Angelfire...sound mixer

Curtis Fritsch IV...sound re-recording mixer

Camera and Electrical Department

Shanele Alvarez...camera operator, Jasper Granderath...camera operator, Greg Hadwick...gaffer, Max Holm...key grip, Jennifer Hook...behind the scenes videographer, Jon Mendenhall...digital imaging technician, Carson Reaves...first assistant camera, Julio Salcedo...second assistant camera, Andrew Wilsak...digital imaging technician, Dustin Yates...second assistant camera, Gordon Yould...dolly grip,

Costume and Wardrobe Department

Marchelle Hall...key costumer

Editorial Department

Robert Crosby...colorist, Ludmil Kazakov...post-production coordinator, George Zdravkov...assistant editor

Music Department

Thomas Andrew Gallegos...composer: theme music

Other crew Andrew Alvarez...production assistant, LaJon Miller...production assistant, Sandu Negrea...production assistant, Miguel Randle...stage manager

 

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More Background On LastSupperMovie.com

 

LastSupperMovie.com served as the official promotional website for the independent feature film Last Supper, later retitled Going to America. The site functioned as a centralized hub for information about the film’s narrative, cast, director, awards, screenings, and press coverage during its festival run and subsequent limited theatrical distribution in the mid-2010s.

At a time when independent filmmakers increasingly relied on direct-to-audience outreach rather than studio marketing pipelines, LastSupperMovie.com exemplified how a modestly resourced production could leverage the web as both a marketing platform and a credibility signal. The site blended traditional press-kit elements with festival accolades, interviews, and long-form reviews, positioning the film as both comedic entertainment and a hard-earned artistic achievement.

Although the domain is no longer actively maintained, its archived versions preserve a snapshot of indie film promotion during a transitional period—after the dominance of Flash-based movie sites but before social-media-only launches became the norm.

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Ownership and Creative Stewardship

The website was owned and operated by the film’s production interests, closely associated with director and co-writer Param Gill and the production company Young N Free Films. As with many independent film websites of the era, ownership was less about corporate branding and more about authorial control: the site reflected Gill’s voice, values, and personal narrative as much as it promoted the film itself.

Unlike studio-run domains, which often outsource marketing copy and design, LastSupperMovie.com leaned into a creator-driven approach. Extended interviews, autobiographical director statements, and detailed festival histories underscored the idea that the film—and by extension the website—was the product of years of persistence rather than a single commercial transaction.

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The Film at the Center: Last Supper / Going to America

Originally titled Last Supper, the film was later rebranded as Going to America to better align with its comedic tone and to avoid confusion with earlier films sharing similar titles. The story follows two escaped psychiatric patients who embark on a misguided romantic quest in Los Angeles, recording their journey as it spirals into chaos, viral attention, and unexpected emotional depth.

The film stars Eddie Griffin and Josh Meyers, alongside Najarra Townsend and Mindy Robinson. Their performances balance absurdist comedy with moments of vulnerability, a tonal blend that became a defining talking point in reviews and festival discussions.

LastSupperMovie.com framed the film as a “dark comedy with heart,” emphasizing its fairy-tale structure, outsider protagonists, and commentary on fame, delusion, and romantic idealism in the YouTube age.

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Historical Context and Development Journey

One of the most distinctive features of LastSupperMovie.com was its openness about the film’s long and uneven development path. Rather than presenting the project as an overnight success, the site chronicled years of trial, rejection, rewrites, and incremental improvement.

Director interviews detailed Gill’s unconventional path into filmmaking—from a medical and dental background to formal film training—highlighting the learning curve that shaped Last Supper. Earlier works were openly acknowledged as stepping stones rather than hidden missteps, reinforcing the site’s broader theme: artistic evolution requires time, humility, and resilience.

This transparency resonated with audiences and festival programmers alike, helping position the film not just as a product, but as the culmination of a sustained creative commitment.

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Festival Circuit and Awards Recognition

A major portion of the website was dedicated to documenting the film’s success on the international festival circuit. LastSupperMovie.com prominently featured award wins and official selections, using them as third-party validation in lieu of large marketing budgets.

The film earned multiple honors, including Best Director, Best Actor, Best Actress, and Best of Festival awards at respected independent festivals. These accolades were not merely listed; they were contextualized with descriptions of screenings, audience reactions, and standing ovations, reinforcing the sense that the film connected strongly with live audiences.

For independent filmmakers, festival recognition often determines whether a film secures distribution or fades into obscurity. The site clearly understood this and positioned awards as both milestones and trust signals for prospective viewers, distributors, and press outlets.

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Press Coverage and Critical Reception

LastSupperMovie.com aggregated press coverage ranging from enthusiastic praise to more ambivalent, critical essays. Rather than sanitizing the response, the site allowed room for nuanced critique, particularly around the film’s portrayal of mental illness, cultural stereotypes, and discomfort-driven humor.

This editorial openness distinguished the site from more tightly controlled promotional platforms. Reviews that challenged aspects of the film were presented alongside positive commentary, inviting readers to engage critically rather than passively consume marketing slogans.

The overall critical consensus recognized the film’s ambition, performances, and comedic timing, even when questioning certain tonal or ethical choices. The website framed this discourse as part of the film’s cultural relevance rather than a liability.

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Cultural and Social Significance

Beyond promoting a single title, LastSupperMovie.com captured broader conversations happening in independent cinema during the 2010s. The film’s engagement with viral culture, mental health tropes, and romantic delusion reflected anxieties and fascinations of the YouTube era, when personal narratives could suddenly become public spectacle.

The website also functioned as a case study in creative perseverance. By foregrounding Gill’s personal evolution and the film’s iterative development, it spoke directly to aspiring filmmakers navigating similar obstacles—limited budgets, critical rejection, and the tension between commercial viability and artistic authenticity.

In this sense, the site’s cultural value extended beyond the film itself, offering an implicit manifesto about why independent voices matter even when they provoke discomfort.

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Audience and Reach

The primary audience for LastSupperMovie.com included independent film enthusiasts, festival programmers, journalists, and viewers drawn to offbeat comedies with recognizable cast members. The site also appealed to aspiring filmmakers seeking insight into the realities of low-budget production and festival strategy.

While exact traffic metrics are unavailable, the site’s longevity in web archives and frequent citation in festival press suggest it achieved meaningful visibility within its niche. Its clean structure and information-dense layout made it easy for visitors to quickly grasp the film’s credentials while also diving deeper into its backstory.

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Design, Structure, and Digital Strategy

From a design perspective, LastSupperMovie.com reflected early-2010s best practices for independent film websites: static pages, minimal animation, and content prioritized over visual spectacle. Rather than relying on heavy multimedia, the site emphasized text-based storytelling—interviews, reviews, and award listings—optimized for search indexing and long-form reading.

This approach proved durable. While flashier sites from the same era have vanished entirely, LastSupperMovie.com remains legible and coherent in archived form, underscoring the long-term value of simplicity and content depth in digital publishing.

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Legacy and Archival Importance

Today, LastSupperMovie.com survives primarily through web archives, where it stands as a preserved artifact of independent film culture. For researchers, filmmakers, and digital historians, the site offers insight into how creative professionals navigated distribution, publicity, and audience engagement before social platforms fully displaced standalone websites.

Its legacy lies not only in promoting Last Supper / Going to America, but in documenting a moment when personal storytelling, festival culture, and early viral media converged. As such, the site remains a valuable reference point for understanding the evolution of indie film marketing and creator-driven web presence.

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LastSupperMovie.com was more than a promotional website—it was an extension of the film’s narrative and its creator’s journey. Through transparency, detailed documentation, and a willingness to engage with praise and criticism alike, the site embodied the ethos of independent cinema: persistence over polish, voice over conformity, and connection over spectacle.

For anyone studying independent film promotion, digital archiving, or the cultural dynamics of early-2010s media, LastSupperMovie.com remains a compelling and instructive example.

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