Omar Parker is making a significant move in his filmmaking career. Known for his extensive contributions to independent cinema and digital content, Parker is now directing his first feature film. The project, The Prince, the Sister, and the Serpent, draws from Roman poet Ovid’s version of the Cadmus myth in Metamorphoses. With over 50 producer credits, including films selected by international festivals and distributed on major streaming platforms, Parker brings substantial industry experience to this directorial debut.
The Prince, the Sister, and the Serpent adapts the myth of Cadmus, the Phoenician prince credited with founding Thebes and introducing the alphabet to Greece. Modern cinema rarely explores this narrative, and Parker sees an opportunity to transform an underused classical story into a commercially viable and culturally resonant property.
“There is something incredibly liberating about working with a myth that remains untouched by five directors and three major studios,” Parker notes. “It gives us freedom to build something original from ancient material.”
The film follows Cadmus through Zeus’s abduction of his sister Europa, a royal command to recover her, and a journey that includes monster-slaying and civilizational founding.
Reframing a Regional Legacy
Abraham Mejorado stars in the lead role, with Charles Burt producing and a screenplay co-written by Amy Hull Burt and Omar Parker. Prose & Page Turners, led by Desiree and Mariah Turner, co-produces the project. The team is developing a cinematic experience incorporating fantasy, horror, romance, comedy, and buddy dynamic elements. Parker emphasizes narrative range over genre boundaries.
“This story has so much emotional texture,” Parker says. “There is tragedy, humor, tension, and intimacy. Let it be all of those things.”
Parker, who is of Lebanese descent, discovered the Cadmus myth while researching Phoenician history. That regional connection adds both personal and cultural depth to the film. “So many people still have not heard of Cadmus,” Parker explains. “I wanted to highlight that legacy in a way that is accessible but still rich with historical and mythological depth.”
Parker sees the film as an opportunity to reclaim a largely forgotten Phoenician narrative and reintroduce it to global audiences. The project reflects his interest in elevating Middle Eastern historical touchpoints within a global storytelling framework.
Bridging Traditional and Digital Platforms
Though rooted in classical antiquity, The Prince, the Sister, and the Serpent speak directly to contemporary global audiences. Parker emphasizes his goal to balance artistic integrity with broad market appeal. “We are creating something that welcomes big screens and streaming audiences,” Parker states. “This should be a big, exciting, emotional movie that people want to watch.”
Drawing from his formal training and digital content background, Parker combines long-form storytelling with audience awareness honed through online platforms.
Parker’s IMDb profile lists over 50 production credits. His past projects have screened at top international festivals, including El Edén at the Berlin International Film Festival, Damiana at Cannes, Ultraviolet and Mud at Sundance, and Salta at Tribeca.
He collaborated with Michael Mahal, referred to by Indiegogo as the “King of Indie Film Funding,” producing titles like Camp Pleasant Lake, which reached number one on Starz. His work has featured notable talent, including Michael Madsen, Eric Roberts, Fred Melamed, Barry Bostwick, Jane Kaczmarek, George Lazenby, Michael Paré, Forrest Goodluck, Daniel Baldwin, Kevin Sorbo, Tom Sizemore, Danielle Harris, and Brinke Stevens.
Parker launched the brand Tumbleweed in the digital space, which now has over a million followers on Instagram. He has worked behind the scenes with some of the world’s top 100 YouTubers. Tumbleweed’s travel series Side Quest has brought audiences to destinations including Japan, Greece, Switzerland, France, Egypt, and the UAE. The channel continues to expand on YouTube, blending entertainment and cultural commentary in a format tailored to mobile-first audiences.
Positioning for International Impact
The Prince, the Sister, and the Serpent allows Parker to integrate his traditional film experience with the responsiveness and scalability of digital storytelling. “The way people consume media is changing, but storytelling remains constant. The goal is to create something that feels both current and enduring,” Parker concludes.
The film’s scope extends beyond its mythological subject. Parker draws on their Middle Eastern heritage to reinterpret classical narratives through a regional lens. He aims to present the Phoenician origin of Cadmus in a way that resonates globally, combining visual scale and emotional depth with historical perspective.
With an experienced team, an underused mythological property, and a cross-platform creator at the helm, The Prince, the Sister, and the Serpent positions itself as a distinctive independent production with international potential.
For Parker, the film represents more than a directorial debut. It is a project shaped by years of experience, exploration, and cultural inquiry. If successful, it could serve as a turning point for a filmmaker on the rise and help bring ancient stories into the spotlight where they belong.
