Tens of thousands of people fall victim yearly to human trafficking in the EU, most of them being women from Eastern Europe. The most common form of human trafficking is sexual exploitation. These women are lied to, manipulated, held captive, beaten and raped multiple times a day until their bodies give up and they become useless to their captors. Most of them never get out. For the few who do, there are shelters where they get professional help and where they can feel safe from their slaveholders. Our two protagonists, ANNA and JÁZMIN, flee one of these shelters to hunt down the traffickers and to free Jázmin’s sister, BELLA. But behind all the intriguing action, this story is: The tale of a friendship - where two radically different personalities, forged together by their traumas, always catch each other when falling. A revenge story - an agoraphobic PTSD patient and a dangerously naive girl, thus two completely unfit action heroes embark on a gripping, never-ending, persecutional revenge mission towards freedom. A folktale - the youngest prince, the poor tailor, or in our case, two underdogs march on a dangerous road filled with hurdles towards the dragon’s lair to free the kidnapped princess, and to live a life true to themselves instead of a fate set upon them by their environment. A ballad - a story burdened with dark and cumbersome affairs, where pain, guilt and vengeance make bigger and bigger waves. The two protagonists choose different paths, but the ending of their story - just like the theme of freedom and revenge - is not black and white. While ANGEL’S TRUMPETS aims to reinterpret the rape-and-revenge sub-genre, in an unorthodox way, the series’ narrative style is mainly inspired by traditional Hungarian folk ballads and the great poet, János Arany’s balladry. Adapting the literary genre’s characteristics (which differ from Anglo-Saxon ballads a lot) to film language, this series is meant to be poetic and song-like, while still being an action-packed epic piece. It follows the consequences of a great tragedy; it deals with morality and dark affairs like vengeance and guilt. Balladistic ambiguity (which is a very important characteristic of Hungarian ballads) is shown through the mosaic recounting of the main characters’ pasts in flashbacks. These flashbacks are placed in every episode’s teaser, and are triggered by the real time events, suggesting the forces that formed the characters and brought them to their current situation. This world’s surface is harsh, rough, fallible, and emotional. We perceive the world and its changes as our main characters do. While this world is somewhat abstract and we work with harsh colors, lights and shadows, it is not an artificial world - we would like to preserve the reality of it, without going into the poverty porn genre. Our main characters went through things unimaginable for the average viewer. It is one of our main objectives to humanize them for the audiences, instead of creating cliché action heroes or stereotypical victims - we have to feel close to these women on a personal level. One of our tools to achieve this is the use of light on human skin: a breathing, living, feeling canvas. Another tool is the series’ sound design: using snippets of female vocalizing from our composer’s, Дeva’s (Takács Dorina) electronic music heavily influenced by Hungarian folk songs, we would like to create a feeling of uneasiness, of danger and of female solidarity. The first season’s main setting is the Great Plain: its vastness and openness full of mirages create an abstract image and elevate the danger the girls are in, and at the same time, it represents the possible freedom they are fighting for. In contrast, the Italian settings, which represent the lair of the dragon, are loud and buzzing with people coming in-and-out. Here the danger is immediate and even though the apartments and the strip club are heavily guarded, the real barriers are in the girls’ minds due to heavy manipulation and blackmail. The pilot episode was of great critical success), demanding further episodes, which I think cements our hypothesis that this narratively out-of-the-box and thematically underrepresented story could and would move audiences well beyond our country’s borders.