In a country that prides itself on democracy, a group of peaceful activists, known for chalking messages and holding signs, faces a terrifying escalation: repression so severe that their right to speak freely becomes their last, desperate stand.
Review by Julie C. Sheppard:
Altruism is the name of the game of this feature documentary, The Lives Of Others. A small group of activists (primarily fighting for animal rights) are captured conversing together about their reasons for protesting and their plans for future protests. Highly informed individuals, they are fully aware of their rights, and the philosophy behind the freedom to protest, and they clearly elucidate how they feel they are being disrespected by law enforcement.
The fact that their demonstrations are being recorded on video helps to blatantly empathize the violations against these non-violent people. The handheld nature of this footage makes things even more immediate, as if we are literally on the streets alongside the protesters. It is an inspiring moment to read the onscreen text that Max Mara now has a fur-free policy due to the grassroots activism around the world, such as this determined group.
The stunning footage of the lovely city of Copenhagen in the otherwise highly democratic country of Denmark, is at odds with what the film addresses – – it is not a particularly flattering portrayal and underscores the fact that the freedom to protest cannot be taken for granted. These selfless individuals should be commended for their bravery, and this outstanding feature does a remarkable job chronicling their passionate lives.
In this advanced technological age we live in, A.I. is fast becoming a part of our daily lives. Whatever your opinion of artificial intelligence is, it doesn’t change the fact it exists and it’s available for our use.
In this short film by Blinx Digital Media Hub, an informative host warns viewers of the way A.I. can be misused and the dangers it represents. Urging world leaders to put safeguards and restrictions on the use of A.I. All valid points.
What I found to be intriguing was this film was created using cutting edge tech to create a background and various rooms through computer generated motion and artificial intelligence. I feel the validity of their message would stand out more if the filmmakers hadn’t used A.I. to make the film.
Threshold centers on an unnamed woman confined to a castle rooftop in southern Portugal. Filmed in black and white with a texture that feels unearthed, the work moves fluidly between temporal registers—past bleeding into present, the real colliding with the imagined, danger shading into performance. The protagonist becomes a modern Scheherazade, wielding seduction and cunning as survival tools. The viewer inhabits the position of both witness and accomplice, drawn into complicity by the act of watching. What unfolds is a choreography of emotional volatility and calculated gesture, each movement advancing a psychological duel that seeks catharsis through exposure and release.
Review by Julie C. Sheppard:
Threshold is a visually stimulating short that presents a female protagonist enslaved in a lonely castle. Shot in stark black and white, it has an ancient feel. The rather crumbling structure gives the central figure a constricted place to pace, as if a rat in a cage. Cinematography and, in turn, bold editing are at times truly dizzying, as things turn upside down, slow down to a snail’s pace, and images suddenly disappear.
Other captivating moments include the use of clever image duplication and seeing the massive, terrifying knife seemingly fly up in the air, with the use of camera reversal. Spine-chilling orchestral motifs, including a rumbling, sombre cello add to the sense of isolation and desperation in the piece.
The intense, disconcerting expressions on the face of the talented main character gives us reason to believe that she is indeed on the precipice of making a dire decision to dramatically relieve herself of her captivity.
With stories that span from childhood inspirations to professional triumphs, HER Frequency is an intimate documentary that follows a deep and sometimes hilarious conversation between Black women and women of color about their authentic experiences and artistry in Sound.
I don’t think I’ve ever started a review this way but I am blown away by how amazing this film is. Music is the heartbeat of the world. It heals, it teaches, it provides a friend when you need one most and it adds a dynamic to motion pictures that generate emotion. Imagine what Back to the Future would be without a score? No thanks.
Her Frequency takes a table full of industry powerhouses in sound and has inspiring conversations with them. The questions asked by Osha McCall were deep and insightful.
Listening to the advice and experience from Amanda Davis, Kimberly Wilson McCord, Teneal Boone (who also produced this film), Julie Diaz and Judi Lee Headman was very empowering. Sound design, mixing, engineering and editing is different depending on if it’s a live concert, a film score or a studio album and I loved how they spoke about all of it. One of my favorite things while listening to a song is to be able to catch something that sits far back in the mix. It’s like you just found a winning lotto ticket! I love how they touched on this and hearing how cool it is for them when someone says “Hey I heard this in the mix”.
Jae Gilyard directed this and did such a great job! Also some incredible cinematography from Nina Miller plus the camera work was beautifully done. This film is a must watch for anyone in the industry. Even if you aren’t, it will inspire you to follow your dreams.
A drama set in the heart of a Southern Baptist congregation, where personal conflicts, church politics, and family legacies intertwine as they fight for the survival of The Church.
Get to know the writer:
1. What is your screenplay about?
Trinity West is drama set in the heart of a Southern Baptist congregation, where personal conflicts, church politics, and family legacies intertwine as they fight for the survival of The Church.
2. What genres does your screenplay fall under?
Television Drama
3. Why should this screenplay be produced
These are great characters and storylines about a large part of society that has few mainstream options.
4. How would you describe this script in two words?
Compelling Shocking
5. What movie have you seen the most times in your life?
Braveheart, Gladiator, National Lampoons, Star Wars and anything Marvel related. I really love well-crafted films.
6. How long have you been working on this screenplay?
I’ve been working on Trinity West for about a year and a half.
7. How many stories have you written? I have written countless stories. However, I have only been writing screenplays for 18-months.
8. What motivated you to write this screenplay?
I feel that this large segment of the population is under-represented in the mainstream TV viewing space. The story surrounds The Church but it is very accessible to everyone.
9. What obstacles did you face to finish this screenplay?
I did a lot of research with the religious community and officials. The revelations about the church, community and society as a whole walk a fine line. There are certain angles and stories in Trinity West that haven’t been touched broached by mainstream dramas.
10. Apart from writing, what else are you passionate about?
Comedy and Basketball. People that know me would say politics, but that’s just a result of observation.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I wanted to see if my work could stand on its own. I had no idea that Trinity West would be an award winner. I was pretty shocked when I received the news. The feedback on Trinity West has been great and very positive.
Cinders, 11min., USA Directed by Renfang Ke Interior decorator Alice and college professor George have been married for fourteen years. They raise a son and a daughter together, and they are happily married in others’ eyes. One night, Alice waits at home for George to get back from work. What she gets is not only her husband, but also the news that he is going to leave them for an affair. The trivia of marriage life has used up all their passion; love burns into cinders in just a blink. And George is not sure about what is to come.
Get to know the filmmaker:
1. What motivated you to make this film?
Stemming from one of my early relationships, and from observing my parents and others, I was fascinated by how people who begin as lovers can end up “torturing” each other over the smallest matters. I wanted to explore that dynamic. Luckily, I figured it out.
2. From the idea to the finished product, how long did it take for you to make this film?
A few years. I walked away from it at one point, and felt that it was time to wrap it up.
3. How would you describe your film in two words!?
Visceral. Quiet.
4. What was the biggest obstacle you faced in completing this film?
Taking it too seriously and not allowing the story to explore its own options. I held on too tightly to my initial intention. Ironically, that was the theme of the film: nothing healthy or beautiful can grow with too much control. I learnt to let go, let alone realize that the piece would eventually have its own journey as it interacts with the audience.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was very interesting. It felt as if the film had taken on a life of its own and was no longer associated much with me.
6. When did you realize that you wanted to make films?
In college, when I realized that I had something to express that I didn’t know how to put into words.
7. What film have you seen the most in your life?
Maybe The Lion King.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Nothing Special.
9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
Very good.
10. What is your favorite meal?
I love fish and hot pot!
11. What is next for you? A new film?
I am currently working on a photography project documenting the Asian Gay Community in the city.
Don’t Trust the Dead, 19min., USA Directed by Peter VanOosting Consumed with grief over the death of his forbidden love, Frank seeks the help of a medium. As fate envelops him, he reaches deeper into the world of the dead, despite a dire warning.
Get to know the filmmaker:
1. What motivated you to make this film?
I wanted to take the elements of a noir film and add a ghost to it. It was an opportunity for me to work in my two favorite genres at once
2. From the idea to the finished product, how long did it take for you to make this film?
It took about a year and a half, from the start of the script to the final edit of the film
3. How would you describe your film in two words!?
Spooky noir
4. What was the biggest obstacle you faced in completing this film?
Scheduling with volunteer actors and collaborators
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Of course, it is always nerve-wracking hearing people discuss your film, but it was also a thrill to hear how audience members reacted to the story and what elements worked for them. Each of the commentors were generous and kind with their feedback, which is greatly appreciated!
6. When did you realize that you wanted to make films?
My brother and I have been making films together since we were kids. Ever since I can remember, I’ve been fascinated with the magic and art of movie making.
7. What film have you seen the most in your life?
Probably The Empire Strikes Back (or maybe Jaws)
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, I’ve been very impressed with this festival! Definitely one of my favorite experiences. Please continue with the feedback, because it is very welcome.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I find FilmFreeway to be easy to use and an essential service for filmmakers who are navigating the festival scene.
10. What is your favorite meal?
I should have a more creative answer, but I can’t lie – it’s pizza
The Recluse, 13min., USA Directed by Matt Webb In early 2025 a breach at the Oak Ridge National Laboratory puts residents of Oak Ridge and surrounding counties at risk. During a mandatory curfew imposed by local officials, a man reluctantly allows strangers who show up at his doorstep to spend the night waiting inside, and it quickly becomes evident that things are not as they seem.
I wanted to create a film that drew on some of my favorite just creepy or unsettling films and television: Signs, The Twilight Zone, The X-Files, Stranger Things, and others, while exploring the dynamics of an eclectic group of personalities forced to interact during a mandatory lock-down. No surprise that part of the genesis of this film was the feelings of isolation and uncertainty that most of us felt during the first year of the COVID lockdowns.
2. From the idea to the finished product, how long did it take for you to make this film?
The idea happened a few years ago – post COVID lockdowns, but the script sat for a few years while I finished some other projects and established a great relationship with my Director of Photography – Thomson Nguyen. After we began pre-production in earnest, the film took about 6 or 7 months to fully come together and finally premiere at Film Fest Knox in my hometown of Knoxville, Tennessee.
4. What was the biggest obstacle you faced in completing this film?
Being mindful of cast and crew time. We wanted to keep the shoot to 3 10-hour days, and the script was just at 15 pages. Time management was challenging.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was really rewarding to hear that some of the intentional moments in the film resonated and that there was audience payback.
6. When did you realize that you wanted to make films?
It’s been since about 2022. I am 50 years old and films are not my career, just something I love and want to excel at.
7. What film have you seen the most in your life?
Probably National Treasure, Signs, Moneyball and Shawshank Redemption. Definitely an eclectic mix.
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 networking is really key, especially meeting mentor and colleagues at different stages of their film journey. Giving us the opportunity to connect is huge.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
MELODIES OF THE ABYSS 2026, 29min., Australia Directed by Sam Iwata aka Liu Logline: A rock star bound by a devil’s pact drifts toward oblivion, haunted by forever regrets. Across the veil, a fallen angel mourns lost grace. Each seeks redemption—and in that search, confronts what they truly are, and what they might yet become.
1. What motivated you to make this film? Melodies of the Abyss was born from a need to explore the fragile boundary between identity and oblivion. I was inspired by Kurt Cobain’s final days — not to retell them literally, but to reimagine them as a psychological and metaphysical descent. I wanted to confront regret, fractured love, and the haunting presence of inner demons. My motivation was to create a film that doesn’t dictate answers, but invites the audience into a symbolic labyrinth where silence speaks louder than words.
2. From the idea to the finished product, how long did it take for you to make this film? It took me more than two years of writing, refining, shooting, and post-production — but more than that, it was two years of living with the film’s ghosts. Every stage demanded patience and persistence, and the time allowed the performances and symbolism to mature into something layered and true.
3. How would you describe your film in two words!? Hauntingly intimate
4. What was the biggest obstacle you faced in completing this film? Budget. Independent filmmaking is always a negotiation between vision and resources. Yet in a way, the limitation became part of the film’s DNA — forcing us to strip away excess and focus on precise decision-making.
5. What were your initial reactions when watching the audience talking about your film in the feedback video? I was deeply moved. Hearing strangers articulate the emotions and symbols I had planted felt like a mirror — proof that the film had reached beyond me. I was impressed by how closely they paid attention to details, even the ones quietly hidden. It reminded me why cinema matters: it’s not about control, but about resonance.
6. When did you realize that you wanted to make films? I realized I wanted to make films instead of TV commercials when my father passed away a decade ago. All the memories we shared in cinema came rushing back like thunder. From that moment, I slowly shifted my focus away from the highly profitable but ultimately hollow pursuit of advertising toward something I believe can change the world — films that carry emotional truth and leave behind echoes.
7. What film have you seen the most in your life? Character-driven films with unexpected twists upon twists always stay with me because they reveal the complexity of human nature while constantly surprising the audience. But if I have to name one, it would be Memento.
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 are already a sanctuary for independent voices. What would elevate the experience further is deeper dialogue — curated panels where filmmakers and audiences dissect the craft, the symbolism, and the risks behind each film. Opportunities for mentorship and collaboration across borders would also help us grow beyond the screen.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? FilmFreeway has been a reliable bridge between filmmakers and festivals. Its simplicity makes the submission process less intimidating, and its reach allows independent films like mine to find audiences across the world.
10. What is your favorite meal? A simple bowl of ramen. It’s humble, layered, and comforting — much like cinema itself. Every ingredient matters, and together they create something greater than the sum of its parts.
11. What is next for you? A new film? I have three feature-length scripts waiting for me to revisit — two thrillers and one sports drama. Each explores identity, tension, and transformation in different ways. My next step is to bring one of these stories to life with the same emotional truth and symbolic depth that shaped Melodies of the Abyss.
Emily suffers from extreme anxiety. Her younger sister, Meredith, is the only one who can calm her but when Meredith dies unexpectedly, Emily’s anxiety takes a dark turn exposing terrifying secrets from her family’s past and creating a sinister way of dealing with her fears.
Get to know the writer:
1. What is your screenplay about?
After witnessing a gruesome family death, a single mother and her twin daughters are haunted by terrifying events—where past trauma, buried family secrets, and a thirst for vengeance begin to blur the line between mental illness and a supernatural nightmare.
2. What genres does your screenplay fall under?
Horror
3. Why should this screenplay be produced?
My film, Anxiety, is a tightly written, low-budget project that delivers high emotional impact with an unexpectedly terrifying edge. It’s a story that resonates on multiple levels, can be produced efficiently, and leaves audiences with a powerful, lingering experience.
4. How would you describe this script in two words?
Beautifully Distrubing
5. What movie have you seen the most times in your life?
Parenthood or The Princess Bride
6. How long have you been working on this screenplay?
2 Years
7. How many stories have you written?
10
8. What motivated you to write this screenplay?
A film producer asked me to write it for him.
9. What obstacles did you face to finish this screenplay?
After finishing the script, the producer who asked me to write it got hired to produce a children’s show so he was unable to produce a horror film. It then sat for a year before I picked it up again and began reworking it.
10. Apart from writing, what else are you passionate about?
Personal growth. I’ve worked in personal growth for over 10 years and am now co-teaching a course at UVA’s business school on making intentional life decisons that create joy and purpose while minimizing regret.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
It looked like a great festival that helps writers get their work seen.
Festival Reviews 