LIVE FROM THE GENEVA!, 13min,. USA
Directed by Nick Leahy
Amidst the hysteria of the Red Scare in 1953 Chicago, a nightclub staff becomes entangled in a political scandal when their star performer’s iconic red-and-gold pocket square becomes the focal point of media chaos.

https://www.themoviedb.org/movie/1295719-live-from-the-geneva
https://www.instagram.com/livefromthegeneva/

Get to know the filmmaker:

1. What motivated you to make this film?

I wanted to write a story that tackled themes of misinformation on the Internet, and especially how they influence our beliefs socially, politically, and economically. And I wanted to sort of find a good way to wake people up to sort of what’s been going on around them by comparing that period in which we live in today to that of the Red Scare, and sort of show a compare and contrast between what we know as a terrible period of American history and the Red Scare, and sort of seeing if there is anything we can really learn from it and apply to towards misinformation online today in order to not repeat the same mistakes that we may have already learned in the past.

2. From the idea to the finished product, how long did it take for you to make this film?

I wrote the very first draft in I think February of 2023 and then I tried applying for different types of funding which I didn’t get and so I kept rewriting it for the next six or so months before I finally got the idea to self-finance it with my own money and start to put together a crew and start to make the short film enter pre-production and so I spent I guess the next two months getting cast, crew, finding rehearsal space, finding locations, you know all the fun stuff you do in pre-production and then we shot for one weekend right before Thanksgiving from the 17th to the 19th of November and then editing took all of the winter and then sound design, coloring, VFX took all the spring and I premiered it to my university in late May.

3. How would you describe your film in two words!?

Pocket square.

4. What was the biggest obstacle you faced in completing this film?

The biggest obstacle was definitely financing. I didn’t get any really support from my university other than equipment. So I had to do a lot of the funding myself. I spent my own money. I had help from my parents and other family members that I pitched the project to. And then I also applied for external funding through different public grants, which weren’t that much money, but they were still helpful. I would say that’s probably the biggest. And the other part was trying to get the pocket square in red with a black-and-white aesthetic in the film. It took a lot of hours for VFX work to do that.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

It was kind of crazy, because I hadn’t heard direct feedback before from people outside my friends and family, so I was a little nervous to see what people would say. But generally, the comments were very nice, and people said that they liked a lot of the stylistic choices and themes. They liked the creativity behind the project, which I am really grateful for. I think I got my message across in a good way. So that’s always good news. And yeah, I just appreciated all the kind words.

6. When did you realize that you wanted to make films?

It came to me in an unexpected way. I wasn’t one of those kids who knew from age five that they wanted to be a filmmaker. It wasn’t until late middle school or high school that I started to realize it. I’d always been involved in theater—starting at six years old in local school productions—and continued it through high school. I also played hockey, but I knew by age 14 that I wasn’t going to be a professional hockey player. Instead, I found a sense of purpose in the arts and appreciated the way it gave people a voice.

I gravitated toward film because, growing up, my mom was a SAG member. She would receive DVD screeners whenever it was time to vote for the awards, so I was exposed to great films early on, like The King’s Speech, the Les Misérables remake, and Argo. There were plenty of others too, but those are the ones I remember. And I guess it stuck.

7. What film have you seen the most in your life?

I would have to say Raiders of the Lost Ark. I loved Indiana Jones as a kid. I probably watched that movie close to 50 times during my youth. And yeah, it’s still one of my favorite movies of all time.

8. What is your favorite meal?

Cheeseburgers.

9. What is next for you? A new film?

I’m currently writing either a longer, short script for a short film, or maybe, potentially, a first feature screenplay. Who knows? That may change. I may not come to a decision on whether I want to make that short film or try to finance that feature just yet. It may take a while. I still need to write the thing.

RECOVERED, 50min., Canada
Directed by Tyler Anderson
RecoverED is a compelling documentary that explores the journey of recovery from disordered eating through powerful personal stories of resilience. The film highlights the vital role of community support and the transformative power of hope in healing. It delves into the physical, emotional, and psychological challenges faced by individuals battling eating disorders, shedding light on the multifaceted nature of recovery. RecoverED aims to inspire those struggling and to raise awareness about the recovery process, underscoring that with the right support, perseverance, and resources, recovery is possible.

http://www.bridgepointcenter.ca/recovered
https://www.facebook.com/profile.php?id=61566675153019
https://x.com/RecoverEDfilm
https://www.instagram.com/recoveredfilm

Get to know the filmmaker:

1. What motivated you to make this film?

In the beginning, we were primarily motivated by the need. People, especially those living with an eating disorder or caring for someone with eating disorders, need to hear these stories.

Then I met the participants and they were all the motivation anyone could ever ask for. Their trust was a gift and at times it was a bit overwhelming. Overall, they made this doc happen more than anyone.

2. From the idea to the finished product, how long did it take for you to make this film?

Just over 1 year (roughly 14 months)

3. How would you describe your film in two words!?

Their Words

4. What was the biggest obstacle you faced in completing this film?

Two of us basically made every part of this documentary together with almost no additional help except for one of the participants, Simeon, who regularly worked a second camera. Carla, director of BridgePoint Center for Eating Disorder Recovery, basically did everything that a producer would do, found the money, organized the participants and planned out all of the shoot. I (Tyler) worked as the director, DP, camera operator and editor. It was the definition of scrappy filmmaking, we just weren’t going to let anything stop us from making it and we needed to do it quickly. Carla constantly reminded me that she thought it could save lives, so we had no time to waste.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was so happy to hear that it is universally relatable. We were always making this for a singular primary audience, people affected by ED, however we were also hopeful that it would appeal more broadly as well.

6. When did you realize that you wanted to make films?

I visited BridgePoint for a corporate client and while interviewing Carla for that video, we quickly realized that just maybe we could make this work. It was clear how needed it was but she had never been able to find the right person to help her make it, until now.

7. What film have you seen the most in your life?

Honestly, an old 80’s BMX movie called ‘Rad’. It’s my favorite movie because it reminds me of being a kid. And while I don’t necessarily aspire to make fictional films, if you happen to know someone who would fund a remake, I’d definitely be in;)

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

This is my first time entering a festival. Frankly, I never saw myself as wanting to participate in the ‘festival circuit’. I find the social aspect of the film world intimidating and off putting. However, I would like this film to reach as many people as possible. So for me, that is the most important thing a festival can help us do. Whether it is finding a broadcast partner or just getting it out there to people, that is what I/we are hoping to achieve with this process.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

It seems to work really well. Everything is easy. However, the overall process is a bit expensive for a modestly funded project like this.

10. What is your favorite meal?

Sushi. Wish I could be more interesting but it’s pretty definitive.

11. What is next for you? A new film?

This was the first ‘full’ documentary I have ever made. I learned so much from carrying this through all the phases. Now I hope to put it to good use on another full length feature doc. Possibly something with more time and scope. Something that will allow for a slightly larger team, more story planning and visual development but definitely not too big either.

THE IMAGINATION OF A CHILD, 14min., Italy
Directed by Cesare Catania
The movie, mainly in black and white, completely without dialogue and interspersed with moments of reflection for the viewer in front of the written thoughts of the “narrator”, analyzes the psychological evolution of an artist who develops ideas and beliefs linked to the world of art.

https://www.facebook.com/cesarecataniaarte
https://x.com/cesare_catania
https://www.instagram.com/art_cesarecatania/

Get to know the filmmaker:

1. What motivated you to make this film?

What motivated me to create “The Imagination of a Child” was a deep belief in art’s power to unite diverse experiences and emotions. To me, art represents a non-verbal language that transcends cultural, generational, and personal barriers. This film allowed me to explore this belief through visual storytelling, where I could represent two distinct identities: an experienced Italian artist and a young girl originally from Sri Lanka. These characters symbolize two parts of a single human experience, blending the wisdom of age with the boundless creativity of childhood. I believe an artist should maintain both perspectives: the analytical insight of adulthood and the pure imagination of childhood. My motivation was to show how art can bridge such dualities, creating a shared and inclusive space where age, culture, and personal history harmonize to reveal our common humanity.

2. From the initial concept to the finished product, how long did it take to make this film?

The actual making of the film was quite fast. In fact, everything seemed very clear in my mind at the time of creation. However, the journey that led me to develop the artistic convictions expressed in the film was long. It all began in 2015 with a drawing (The Embrace), which then became a painting and inspired an entire collection. From this collection of artworks, I developed a broader socio-cultural artistic project, The Embrace Project. Likewise, NFTs and the Metaverse opened my eyes to the possibility of bringing my artwork to life through dynamism and kinetic energy. I also created the Manifesto of Democratic Art around the same time as the Democratic and Phygital Art Project, presented at the Venice Biennale in 2024, and eventually decided to venture into filmmaking. So, while the creative process was rapid and focused, the emotional and inspirational journey behind this film was long and complex.

3. How would you describe your film in two words?

“Visual poetry.” Each shot and sequence was meticulously crafted, like a painting or sculpture, to evoke emotions beyond words and engage the viewer in a reflective experience.

4. What was the biggest obstacle you faced in completing this film?

The biggest obstacle was translating my visual language into a dynamic cinematic format. My background is in static visual art (paintings and sculptures that evoke stillness and reflection), though I have experimented with movement and dynamism in my artworks through NFTs. Translating this into a medium that inherently relies on movement, sound, and time required me to rethink my approach. I had to learn to balance the pace, allowing the audience to fully absorb each moment without lingering too long or losing momentum. Another challenge was working with multiple cultural perspectives, which required a respectful and careful approach to accurately represent elements from both Sri Lanka and Italy.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

Hearing the audience’s reflections was deeply moving. Viewers identified with the duality and universal connection within the story, precisely what I had intended. Many commented on the film’s focus on unity and creativity, showing that these values resonate deeply with people from diverse backgrounds. Seeing the audience interact with the film’s subtleties—its minimalism, black-and-white palette, and emotional layers—confirmed that art indeed has the power to communicate beyond cultural and linguistic barriers. This response validated my chosen approach, encouraging me to continue this artistic journey into film.

6. When did you realize that you wanted to make films?

The transition from visual art to film was natural as I continued exploring themes of unity and imagination. Over the years, I used sculpture, painting, and even digital art to explore these ideas, but cinema offers a unique capacity to convey movement and a broader narrative. I realized I wanted to make films when I saw that my artistic vision could come to life through stories, creating immersive experiences for audiences. The process of transforming static images into motion was challenging but fulfilling, proving to me that cinema could become another profound outlet for my art.

7. What film have you seen the most in your life?

There are several films I often revisit for their narrative and compositional mastery. I am drawn to classics by directors like Federico Fellini or Stanley Kubrick, especially for how they balance storytelling with visual impact. I appreciate how these directors use minimalism and symbolism to evoke deeper meanings, something I also strive for in my work.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

Festivals offer essential opportunities for emerging filmmakers, so more interactive sessions—like in-depth Q&As and discussions with directors—would be extremely helpful for artists like me who are new to cinema. A space for collaborative workshops where filmmakers can exchange insights with experienced directors and experts would also be invaluable. Lastly, creating initiatives that connect filmmakers from diverse cultural backgrounds aligns with my commitment to inclusive art, adding layers to the global storytelling network.

9. You submitted the film to the festival via FilmFreeway. How has your experience been working on the festival platform site?

FilmFreeway has been an excellent tool, especially for someone like me, new to cinema. The ease of navigation and intuitive interface simplify the complex process of submitting to festivals. It also provides a broad overview of various festivals worldwide, offering an inclusive access point to a global network for filmmakers. Overall, it has streamlined the logistical aspects of festival submissions, allowing me to focus more on the creative aspects of my work.

10. What is next for you? A new film?

The success of “The Imagination of a Child” has certainly inspired me to explore cinema further. I plan to develop another film that continues to delve into themes of unity, diversity, and creativity, perhaps incorporating new perspectives. Alongside cinema, I will continue with my artistic projects, such as The Embrace Project, which promotes global understanding through sculpture. Art, for me, will always be a way to explore new forms of expression, and I’m excited to see where this path in cinema will lead me.

KITE, 6min,. Canada
Directed by Jerry Trieus
A short film about a dancer on a mission to experience flight. The journey is disappointing and filled with challenges. The result is a transformation as the dance artist finds strength through perseverance and ultimately freedom.

Get to know writer/producer Virginia Duivenvoorden:

1. What motivated you to make this film?

Kite began as a stage piece where I incorporated film on stage in the form of projections. I knew that I eventually would like to also see it as a film on its own. It all began as a photograph by Brooke McAllister. in one of the photos, I was wearing a black skirt and dancing with a 7 yard piece of tulle fabric. I loved the photos. In 2021 I decided to choreograph a dance to match them. That’s when Kite was born. When I started the choreography, I was in too much physical pain to think about performing. That’s when Brynne Harper started working on KITE. We spent two years developing the stage piece and we shared it in three different performances two were outdoor performances and one on stage for a work in progress showing. I approached Kites in all aspects from building and flying them to studying the history. All of the processes became part of the kite story from the failed kites that never flew and then to the handmade windsocks , which were actually amazing. It became a story about transforming from looking outside oneself to looking inside and finding that sense of flight and freedom from within the body. That was a journey that I really needed to make in order to process what was happening in my body with the pain and other medical conditions that I was coping with during the creation process.

2. From the idea to the finished product, how long did it take for you to make this film?

3- 4 years

3. How would you describe your film in two words!?

Wind watching

4. What was the biggest obstacle you faced in completing this film?

For me it was being new to many aspects of film making and having to continuously learn along the way.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I felt emotional seeing that the piece was clear in its message and was being received very much in the way that I had hoped for. It was rewarding to see that the message of resiliency and strength had shone through.

6. When did you realize that you wanted to make films?

The first time that I tried editing my own camera work. It was a film with my students and we had a film permit for a public plaza in North Vancouver. Editing felt like choreography in so many ways and I could become completely immersed in the process.

7. What film have you seen the most in your life?

In all honesty I believe it’s Elf 😆

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I am always on the look out for interesting professional development opportunities to help round out my skills and knowledge of the film industry.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

So far so good. I think the big challenge is choosing which festivals to apply to.

10. What is your favorite meal?

Turkey Dinner

11. What is next for you? A new film?

Completing a second film and collaboration with Jerry called Seams and incorporating imagery from it into a new stage piece with a solo dance project called Echo Chamber.

I am also dreaming about a new concept for a dance that could potentially become a film. I would love to take that journey again towards developing another dance film.

STRING HEAD, 7min., USA
Directed by Matthew Vargas
A man in bed, after failing to fall asleep, is forcefully kept awake by String Head – an entity made of string that psychologically tortures him by wrapping him in a cocoon made from the deepest, darkest thoughts of his mind.

Get to know the filmmaker:

1. What motivated you to make this film?
One night at 3:00 AM I had a vision of String Head walking into my room. A thread of red string was on top of me. Thinking of String Head at the end of my bed was a creepy fascinating image – I had to make it and explore it. I also wanted to push the boundaries with Production Design as I never have before and use it to really convey symbolism and tell a story.

2. From the idea to the finished product, how long did it take for you to make this film?
I wrote the script entirely in December of 2023. I started pre-production and crewing up & casting the film between January and February of 2024. We shot for 3 days in February of 2024. It was a very accelerated process – from script to shooting in a month and a half basically. Post-Production took the longest, lasting from February to August of 2024. Sound Design alone took 4 months after picture lock because we wanted to get the tone just right.

3. How would you describe your film in two words!?
Beautifully Dreadful

4. What was the biggest obstacle you faced in completing this film?
The costume was the biggest hurdle. I purchased 4000 yards of red yarn for this film and the costume used more than half of it – both String Head and the cocoon. My friend Eunbi and I had never set out on something this difficult to create but we loved the challenge. In the end we found a solution to create a sectional costume that was easy to remove but still made the wearer look like they were wrapped in thousands of yards of yarn. The trial was worth it in the end.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I love the reactions and I feel so giddy about the different analyses. The positive reaction to the final song made my sound designer, Rochelle, very happy as they wrote + sang the song themselves under their artist name La Roche. The comparison of the film to night terrors that occur in real life was so on point that I felt a great sigh of relief. Many ideas had to be conveyed in this film and I feel as though they all landed. I was worried because there is no dialogue, but that is intentionally so in the film because these terribly anxious moments usually occur wordless and in the brain.

6. When did you realize that you wanted to make films?
In High School. I made gaming videos for myself and other video content for my school. I really enjoyed the creative expression it gave me and I decided to pursue filmmaking as a career option. I now work professionally as a 1st AC in the Washington DC area and create/write/direct films when I am able to for self expression!

7. What film have you seen the most in your life?
Bit of a boring answer but unfortunately I don’t watch many films twice. Some films are fun to revisit like Fight Club but otherwise there aren’t many.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
I like the options you’ve provided in your last email! Honestly I just like meeting other filmmakers in person. I’m looking forward to an in-person festival if you all are hosting one. If you’re looking for a real suggestion though, there is one festival I’ve been to where award winning films got a chance to meet with established industry professionals (tv show writers, directors, etc.) to give advice on their career.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It works well.

10. What is your favorite meal?
Spaghetti

11. What is next for you? A new film?
I’m focused on writing now – want to figure out my vision as a director and filmmaker.

TAINTED, 11min,. Singapore
Directed by Ian Wee
In a world driven by corporate greed and unethical genetic experimentation, Darien, the pioneering human clone, finds himself obsolete against a superior 2nd Generation Clone, leading to his and his mentor’s targeting. Following his mentor’s death, Darien’s hidden hybrid nature—combining human and vampire DNA—surfaces during a critical confrontation, granting him unexpected survival. Marked as a “Tainted” failure yet possessing newfound powers, Darien faces an ambiguous future, embodying the narrative’s critique of ambition’s perils and the poignant fallout of manipulative sciences.

http://www.brightvoxelstudios.com/
https://www.facebook.com/profile.php?id=61551387412655
https://www.instagram.com/film_tainted/

Get to know writer/producer Graham John Lamb:

1. What motivated you to make this film?

I was Virtual Production Supervisor on a film in Singapore, when the IMDA (InfoComm Media Development Authority Singapore) announced that they were funding projects in this particular area. My producer, director and director of photography were at the time over in the UK at the National Film and Television School also attending a Virtual Production immersion program aimed at industry professionals to learn about this new way of film making. So excited with this new surge of enthusiasm I asked Jeffrey about joining this content creation initiative and we all got together and created Tainted.

2. From the idea to the finished product, how long did it take for you to make this film?

Well actually I wrote the story of ‘Tainted’ about 20 years ago, thinking it would be a 3D animation, , my background is in 3D/VFX – I do have a VERY mediocre animated trailer that I made back in 2004 – I’ve refined the story over the years but it never saw the light of day and put it on the back burner. So when we decided to take part in this Virtual Production Short Form – I pulled out the script and said “Let’s make this happen” so it was then about figuring out how to create something that is about feature length and then compiling it into a narrative that’s 10 minutes without losing the essence of the story. Ian Wee who directed the film took the story and many, many rewrites later we found that we captured the overall sense of the MUCH larger world of the “Tainted” universe. From start to finish we started planning everything in June 2023, shot the film in 5 days in September and final cut in early December. With Producer Jeffery’s daughter composing and singing our opening them song.

3. How would you describe your film in two words!?

I hope that the film resonates with “Exciting” & “Intriguing” – action packed and also the twist in the story.

4. What was the biggest obstacle you faced in completing this film?

The biggest obstacle completing this film was approaching this film with Virtual Production – BUT the team assembled was absolutely marvelous!! We shot the film in 5 days, 1 day for technical setup with the Virtual Production studio and then 4 days of shoot – The vibe on set was fantastic, everyone had a blast and really came together. Aside from the team who had done some Virtual Production before there the bulk of the crew had never done it before and everyone was very interested to experience it for the first time. I think shooting this method gives the actors a better performance being able to react to the LED wall instead of a greenscreen, the explosion scene for instance – we can keep replaying the explosion over and over again and we just had some crew opening ‘party poppers’ just slightly off camera to give that extra on set practical effect.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

Honestly I got a little teary, when I was looking at the reviews, I am greatly appreciative that the reviewers talk about the whole film in general from stunts, makeup, sound & music to performance and that really shows that the team was really the best – such a dynamic group all around and I have nothing but high praise for everyone involved.

6. When did you realize that you wanted to make films?

I played around with the really old, large, clunky VHS film cameras in my late teens and then in my mid-late 20’s I wanted to tell stories, when I studied my degree, I was watching alot of South Park and I liked the story of how Matt Stone and Trey Parker came to make South Park. I left my magazine publishing job to study Multimedia, falling in love with 3D as a medium, ending my degree with an animated trailer for ‘Tainted’ then moving to Singapore just working in the education industry while freelancing. I don’t think myself as a filmmaker or even a writer for that matter, I think of myself as a storyteller and I’m aiming to tell more on what’s next for Tainted.

7. What film have you seen the most in your life?

Oh this is tricky… I come from a rural town and at the time the best industry was video rentals, this is blockbuster era time line. I would say that I do love a western, despite this genre being sci-fi, action and supernatural. I’m going to go with “Unforgiven” or even “Silverado” as probably the most often films I’ve watched over and over. More recently I’ve watch Infinity War and Endgame back to back many times, you have to watch these together, more likely because of the amount of sheer world building and the culmination of each movie that came to that point, I appreciate the Russo brothers very much right there, especially the scene in Endgame when Antman (Paul Rudd) makes it home and finds his daughter at the door and that moment for some reason really resonates with me.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

I think I would like to meet other film makers / producers online perhaps in a social zoom call – I’m over in Singapore so I’m displaced from the event otherwise I would love to be there. Perhaps also a pitching event for producers/investors to help realise some of the potential of the IP and where they could go to if taken further.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

Oh this site is the best – as a first time film maker / creator, this site has been the go to site for me – it saves alot of time to try search around for various other sites and having everything standardized is something that makes everything ALOT easier to manage.

10. What is your favorite meal?

Ok in Singapore there is a dish called “Curry Chicken” by far this is my favorite meal – it’s basically chick and potato in a curry sauce, you can eat it with rice or bread.

11. What is next for you? A new film?

Well for me I want to produce the “Tainted” universe, I’ve expanded the story into an 8-episode television series arc, I can only aspire for it to be on a streaming platform, I introduce a plethora of characters not even seen in the short film and you won’t believe the many twists in the story and easter egg rewatch potential that I have planned. I want to be smart with using Virtual Production, although it is expensive to implement, if done right you can bring down your costs by using digital environments but on the investor and producer side, given your story you can pivot to other platforms of media for more ROI and also narrative expansions. For example, I have my short film completed I already have the large training facility environment seen in the film but also using that scene I can create a fighting mobile game, shooting game, animation, comic/graphic novel – so I have 4 more avenues to expand the storytelling, collect the funds to make it, reinvest into a second season and spinoffs. This approach then leads to using it for marketing with AR/VR immersive experiences and Web3/Metaverse social events then to PS5 and Xbox and PC. So I’m looking more towards making content for multi-platform media, so I encourage anyone to just write stories that everyone globally can enjoy.

11 BLOCKS TO GO: THE BET, 10min., USA
Directed by Nathaniel P. Claridad
Samantha, a free-spirited hapless romantic, discovers her 30-something-year-old BFF Drew, a gay high-functioning drug-addled sex addict, hosting an orgy in lieu of honoring his personal commitments.

http://www.11blockstogo.com/

https://www.instagram.com/11blockstogo/

Get to know Actor/Writers Jack Utrata & Ashley Alexander (11 Blocks To Go: The Bet):

1. What motivated you to make this film?

Ashley: Honestly, it started out as a fun excuse to hang out and laugh and create something, but it quickly turned into a passion project. Neither of us expected it to turn into what it is. It went from sketch comedy to feature to TV series because we wanted more of our characters.

Jack: Our friendship happened quickly, and it was quality. You won’t find many lifelong friends in your 30s. That’s just by design. Usually, that happens in your 20s, when you have social opportunities from school, work, and your social life. But we connected on a soul level and connected creatively through improv and then a shared desire to create a love letter to friendship. A story that showcases the highs and lows of best friends in their 30s when they are making those long-term commitments to work, to their love life, and to family. We wanted to explore the boundaries of friendship, where is starts and where it stops. It’s not always a clear-cut answer. 11 Blocks To Go has always been a TV Series in our minds. And making this short was a jumping-off point for us to showcase our chemistry together and also see if the world we created on paper would be meaningful and interesting to others on film. This award clearly shows that this is the case, and we couldn’t be more honored to accept it.

2. From the idea to the finished product, how long did it take for you to make this film?

Four Years from concept to final product. We started writing our pilot in February of 2020. Once the pandemic hit, we took the entire operation online. By 2021, we were touring the country with our pilot script and even picked up a few awards. It wasn’t until October 2023 that we decided we needed to show the world a little slice of what had been making waves in script form at festivals. We filmed over two days in late October 2023. Jack’s husband, Nathaniel P. Claridad, directed, and we got an amazing team together. Over the months that followed, Jack edited the film himself and then sent it off for color correction and sound design. In March of 2024, we had a locked picture and began the submission process.

3. How would you describe your film in two words!?

Wild, heartfelt.

4. What was the biggest obstacle you faced in completing this film?

Jack: Time was our biggest challenge. As writers, producers, and actors, we often felt like we could do more, but that’s the nature of the creative process—always striving for perfection. Despite those internal doubts, the incredible response from our audiences proves that our instincts and hard work paid off.

Ashley: Time was definitely our biggest challenge. I felt like once we wrapped I was ready to start filming. We were so focused on producing up til the shoot that I didn’t prep enough from my character’s standpoint that I really didn’t feel grounded in my character or in my body. I thought, we wrote these characters, we’ll be fine, and we were, but I didn’t feel like I was in actor mode or ready until the director yelled cut for the last time.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

Jack: Pure joy, with a few happy tears. Hearing the audience connect with the characters we created and relate to their struggles was incredibly validating. It reminded us exactly why we tell these stories—to create something that resonates deeply and sparks meaningful conversation.

Ashley: I was actually truly surprised that character dynamics and themes were picked up and commented on. I was also thrilled that someone said it’s “BroadCity – esque” because that is very much how I see the tones and dynamic of our show.

6. When did you realize that you wanted to make films?

Jack – For me, I always knew I wanted to be an entertainer. It was always my “what do you want to be when you grow up” answer. But the first time I saw my Dad’s old VHS camcorder was a pivotal moment. Then, in 5th Grade, I got my own, and it was game over! I was hooked!

Ashley – 8 years old. 2nd grade I told everyone in class I’d be in movies but I made sure to let all adults know I’d be a triple threat and to remember my name. ha!

7. What film have you seen the most in your life?

Jack – Honestly, this answer is pretty fabulous. I’d say it’s an even split between Frank Capra’s “It’s A Wonderful Life” and the 1st Sex and The City film.

Ashley – If I see something over and over, it’s because of comfort. I would say Burlesque, Ratatouille, and Cinderella w. Lilly James and Kate Blanchett are what I’ve seen over and over and will continue to.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

Honestly, we love an in-person opportunity. We both live on opposite sides of the country, so it allows us not only to see one another but get to make meaningful and hopefully lasting relationships with other filmmakers. We learn so much from connecting with other artists and creators, and we’re learning the more established an event is, the more turnout, and therefore the more connections.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

No complaints.

10. What is your favorite meal?

Jack loves beer-battered french fries dipped in Clam Chowder.

Ashley’s changes constantly but can always go for tacos or sushi.

11. What is next for you? A new film?

Jack is currently writing a two-act play about a queer, formerly unhoused Only Fans performer whose estranged Grandmother shows up at his door after nearly 30 years of no contact to reconcile and throw him a coming-out party!

Ashley is in the middle of writing an adventure novel about soul searching in the midst of grief as well as a podcast series concept about three best friends, each leaving their partner in a Thelma and Louise style… but no one kills themselves.