Stationed at Home and the quiet poetry of Christmas Eve

On a freezing winter night in upstate New York, a moment of stillness sparked a film that would eventually travel far beyond a bus stop in Binghamton. Written and directed by Daniel V. Masciari, Stationed at Home is a black-and-white indie drama set on Christmas Eve 1998, following a solitary taxi driver counting down the hours until the International Space Station passes overhead.

“That combination—the music, the desolate city, the quiet of that moment—sparked the film’s initial feeling.”

Masciari traces the origin of the film to a bus ride from New York City to Ithaca, where a stop in Binghamton revealed an abandoned building by the train tracks, “beautiful in a lonely sort of way.” Listening to Duke Ellington’s Dusk, he imagined Erik Bjarnar’s Ralph driving through that landscape, anchored by a modest but cosmic goal.

Holiday secrets unlocked

Christmas Eve became the natural setting.

“It’s a day that’s meant to be joyous and communal, and I thought how beautiful it would be to go along with this melancholy and longing.”

1998, before the noise

The film’s late-’90s backdrop is not nostalgia for nostalgia’s sake. Masciari chose 1998 for its texture, its innocence, and its alignment with the story’s quiet stakes.

“Binghamton has this timeless quality… but 1998 felt right, especially for Ralph’s goal of seeing the newly launched ISS pass overhead.”

The absence of smartphones was intentional.

Uncover what lies ahead

“Something about the city’s atmosphere and his modest mission felt almost magical… and I despise smartphones so I doubt I’ll ever do a film set in 2009 or later!”

Isolation, shared

Ralph is a night-shift taxi driver who wants solitude, yet keeps encountering people who gently derail his plans. That tension—between isolation and connection—sits at the heart of the film.

“I’ve always been inspired by quiet, unassuming people… there’s so much happening beneath the surface.”

What begins as a solitary night becomes something shared.

Shared moments unfold quietly

“His desire for this small, beautiful moment ends up becoming something he unexpectedly shares with perfect strangers.”

Comedy wrapped in melancholy

Stationed at Home moves easily between absurdity, comedy, and quiet poignance. Masciari credits consistency of tone—and collaborators who understood it—for making that balance work.

“I wanted the film’s quiet, melancholic world to act like a blanket, letting the characters shine through.”

He singles out cinematographer Jackson Jarvis for grounding even the most playful moments.

Emotions linger beyond

“Even in moments of comedy or absurdity, everyone stayed rooted in that emotional tone.”

A producer-driven collaboration

The film was produced by Bethany Hedges, Eliza VanCort, and Matt Fleck, collaborators whose relationships with Masciari run deep.

“Eliza was actually the acting teacher of most of those actors—and I met her as her student. Now we’re collaborators for life.”

Jarvis connected Masciari with Hedges early on, who then brought in Fleck.

Create magic unseen

“Together, we made the film happen with grit, passion, and without ever compromising the artistic vision.”

Absolute creative freedom

Working independently meant long nights, tight schedules, and no interference.

“There was no creative interference at all… we turned a tight schedule into a creative opportunity by being prepared to the T.”

Masciari frames the experience as part of a broader movement.

Beyond the surface

“It felt—and still feels—like being part of a new wave of cinema.”

One family, many misfits

Authentic chemistry came from years of conversations before cameras rolled.

“I spent years discussing the characters with the actors before we even started shooting.”

Many performers inspired the script itself.

Imagine the unseen connection

“They were actually muses for me while I was writing the film.”

On set, that trust paid off.

“The cast and crew felt like one unit, one artistic family.”

Nights, coffee, and commitment

Shooting almost entirely at night was physically demanding.

“My collaborators have joked that my next film better be during the day in the summer.”

Masciari fully committed to the nocturnal rhythm.

Dare to redefine time

“I trained myself ahead of time, going to bed around 7 a.m. and starting my day around 3 p.m.”

The ISS as quiet miracle

The International Space Station functions as the film’s symbolic anchor.

“The story is about finding magic in the everyday… the ISS is the perfect embodiment of that.”

A small dot in the sky becomes a shared human achievement.

Discover silent meaning

“It’s a quietly beautiful symbol of humanity, there for anyone willing to notice it.”

Influences without imitation

Though critics have drawn connections to filmmakers like Kiarostami, Jarmusch, Lynch, the Coen Brothers, and It’s a Wonderful Life, Masciari insists the process was instinctive.

“What mattered most was making a film without compromise written straight from the soul.”

Performances built on nuance

Because the story unfolds over a single night, Bjarnar’s performance as Ralph is deliberately subtle.

“It was all about nuance—how he moves, reacts, and shifts with each new passenger.”

Masciari highlights the diner scene with Darryle Johnson as a standout.

Feel the subtle glow

“Their chemistry is beautiful… they really know how to live in these subtleties.”

Jamie Donnelly enters the world

Casting Jamie Donnelly (Grease, Zoot Suit) came from a festival encounter.

“She walked right up to me and said, ‘I want to be in your world.’”

A year later, the role was hers.

Uncover hidden brilliance

“She’s an absolute legend and lights up every frame she’s in.”

Timeless in black and white

The film’s stark, nostalgic look was deliberate from the start.

“We were both in full agreement that the film should be black and white.”

Production designer Molly Longwell added depth and texture to every frame.

Unleash pure potential

“She brought immense passion and precision.”

Unity among strangers

At its core, Stationed at Home argues for empathy.

“No matter who someone is, there’s an innocent part of them that wants to be seen.”

The film ends where it begins: with connection.

Find your true link

“At the end of the day, we’re all searching for connection.”

A distribution milestone

The film’s acquisition by Freestyle Digital Media marks a significant moment.

“We made a film on a very modest budget, in black and white and without big names… getting North American distribution is unbelievably rewarding.”

Stationed at Home will debut on North American VOD platforms and DVD on November 11, 2025, following Freestyle Digital Media’s acquisition.

Word of mouth—and the cat

Audience response has been unexpectedly strong.

“The word of mouth is so strong—people have been seeing it and sharing it with their friends.”

One reaction surprised him.

Mystery drifts nearby

“So many people worried about Ralph’s cat at the end of the film.”

Digital distribution and the future

Masciari sees digital platforms as essential for independent filmmakers.

“If you create something with care, quality, soul and a ton of hard work, your film will keep finding viewers.”

One line, one night

Masciari’s favorite summary comes from Anton Bitel:

“A Christmas Eve trip into cosmic melancholy.”

With the release approaching, he’s already writing again.

“It’s early stages, but things are brewing nicely.”

Stationed at Home trailer: https://youtu.be/EV8JNDsfjHA Official website: https://www.stationedathome.com