A gay ghost haunting a West Hollywood house, along with his dysfunctional Grim Reaper friend, help a straight cop solve crimes.
Get to know the writer:
1. What is your screenplay about?
It’s about a gay ghost haunting a West Hollywood home, inhabited by a psychic cop, in which the gay ghost and his dysfunctional grim reaper friend, helps solve crimes.
2. What genres does your screenplay fall under?
Comedy
3. Why should this screenplay be made into a movie?
It’s different. It’s out of the box.
4. How would you describe this script in two words? Fricking hilarious.
5. How long have you been working on this screenplay? About 8 years
6. How many stories have you written? Probably about 15
7. What motivated you to write this screenplay? I had this burning idea that was totally different than anything that’s out there.
8. What obstacles did you face to finish this screenplay? Coming up with an ending. That was my biggest obstacle. Probably did 10 rewrites.
9. Apart from writing, what else are you passionate about? I’m passionate about fitness. I workout 6 x a week.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received? I wanted to enter the Toronto film festival because it’s one of the best out there. I was really surprised at my feedback. It was good. Even though I knew the script was good, you don’t expect it.
11. What movie have you seen the most times in your life? Grease
A queer Iranian woman in Toronto becomes haunted by a malevolent jinn, unleashed through her devout mother’s supernatural attempts to ‘heal’ her, forcing her to confront deep-seated familial trauma and an ancient force threatening to consume her identity and life.
Iranian folklore with urgent contemporary issues—queer trauma, religious extremism, PTSD, and the immigrant fight for survival. It’s more than a horror story; it’s a deeply personal yet universal reflection of what it means to be hunted for who you are. Today, it feels like a red alarm— because leaders like Trump and Iran’s Supreme Leader Khamenei are pushing fascistic, theocratic ideologies that aim to erase queer lives. This story exposes how those in power weaponize religion and culture to control bodies and silence voices. The Healing gives voice to the silenced —and through fear, rage, and resilience—it demands to be seen.
How would you describe this script in two words?
Unholy Inheritance.
What movie have you seen the most times in your life?
I was born after the Islamic Revolution and grew up in a country where, for a long time, watching American or European films was forbidden, and owning a video player was considered a serious crime. When I was eight years old, a few Betamax tapes were secretly brought into our home. If the authorities had discovered them, it could have led to prison. One of those tapes was E.T., and the first time I watched it, I completely fell in love with cinema. That was the moment I realized I wanted to become a filmmaker. E.T. changed my life.
Later, I understood that I saw myself in E.T.—someone who had ended up in the wrong place, always longing to return home. After that, when I watched The Omen, The Exorcist, and Rosemary’s Baby, I discovered that horror was my favorite genre. I’ve always been drawn to the battle between good and evil—and to the kind of heroes who step into that battle fearlessly.
How long have you been working on this screenplay?
I developed The Healing over several months, drawing from years of lived experience and emotional healing. After submitting the screenplay to a festival, I received some insightful feedback, and I’m currently in the process of rewriting The Healing. My biggest dream is to see this film come to life
How many stories have you written?
Over two dozen, including feature screenplays, TV pilots, plays, and short stories—many of which center around women’s rights. Before I fled Iran, I mainly focused on women’s issues because I had to hide my true identity for years. Being queer in Iran is punishable by death, so I couldn’t write openly about my own life. But escaping that reality has changed my perspective. These days, my focus is more personal—I write about my chosen family, my LGBTQ+ community, and the complex dynamics within it.
What motivated you to write this screenplay?
This story is deeply personal. I wanted to confront the invisible scars that many queer immigrants carry—especially those who escape religious persecution. I wrote it to honor survival, truth, and the terrifying legacy of abuse masked as “love” or “healing.” This screenplay is a battle for me— a way to fight back. And now, more than ever, I want to challenge oppressive religious ideologies with my words
What obstacles did you face to finish this screenplay?
As a screenwriter, I believe a script doesn’t truly come alive until it’s made into a film. One of the biggest challenges I faced while writing The Healing was staying motivated and not losing hope—especially knowing that I had no financial support, no producer, and no director waiting for this script. Emotionally, it was incredibly painful to revisit themes like conversion therapy, exile, and inherited trauma. Practically, being a newcomer in Canada with no resources or industry connections made the journey even harder. But I kept writing because I believed in the story— and because I had to.
Apart from writing, what else are you passionate about? Honestly, writing is my only true passion in life—whether it’s screenwriting, playwriting, or discovering historical stories and bringing them to life through words. I’m deeply devoted to telling the stories of people whose voices have been silenced and whose identities have been erased. As someone who belongs to a marginalized community myself, my greatest purpose is to write about us—with love, rage, truth, and care. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I entered the festival because I was searching for a community that values bold, personal, and boundary-pushing storytelling—stories that are often too raw or too uncomfortable for mainstream platforms. As someone who comes from a silenced background, it meant everything to be seen and heard.
When I received the initial feedback, I was incredibly moved. The fact that readers connected with the emotional intensity and originality of The Healing reminded me why I write. It was validating, but even more than that, it was empowering. It showed me that even the most painful, personal stories can carry universal weight—and that there are people out there who are ready to listen.
When a precocious mixed-race five-year-old wanders into a fire station with only a backpack and a cryptic note about her missing mother, she has no idea it will set off a chain of events that will reshape her life. The little girl, who refuses to give her name, is sent into foster care and given the name Mariah Foster. Despite her resilience, she often runs away, gravitating toward the fire station where Fire Chief Teresa Cortez becomes a steadfast mentor.
Get to know the writer:
1. What is your screenplay about?
Pearl Fisher” follows two parallel journeys of loss and ends in the same room.
A precocious 5-year-old girl, abandoned at a fire station by her pregnant mother fleeing abuse, enters foster care and is renamed Mariah Foster, though she continues awaiting her mother’s return.
In a parallel story, Kenny MacCayne, a newly-hired investigator, searches for a wealthy woman’s missing daughter who ran away years ago with Kenny’s previously unknown twin brother.
After Mariah survives an attack involving a cherished pendant, clues from a library volunteer and her distinctive swimming style reveal she might be the missing granddaughter. Skeptical at first, Mariah finally believes the truth when Kenny’s twin brother calls her by her birth name, “Pearl Fisher,” a secret known only to her mother.
2. What genres does your screenplay fall under?
Drama, Mystery
3. Why should this screenplay be made into a movie?
“Pearl Fisher” is a story of hope and miracles, heartbreak and devastation, and ultimately the reunion of family and new beginnings.
People need stories with happy endings today more than ever.
4. How would you describe this script in two words?
Resilient Faith
5. How long have you been working on this screenplay?
Since May of 2020
6. How many stories have you written?
10 features
6 shorts ( Two made into short films)
3 pilots
1 Feature animation
1 short animation
7. What motivated you to write this screenplay?
Some of the events in this story are true to my life and I wanted to write about it with a happy ending
8. What obstacles did you face to finish this screenplay?
Keeping the two time lines progressing in a coherent fashion
Keeping it under 120 pages.
9. Apart from writing, what else are you passionate about?
I love music. I am a pro-bass player, both electric and upright.
I love directing— mostly have directed stage and mostly original scripts by other people.
I also really love editing film. When I edit, I edit with a musical sense of time and dynamics.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I was motivated to enter it because it was specifically for “mysteries.”
I thought the feed back was specific and to the pointing much appreciated. Writing a mystery requires dropping hints without giving away too much too fast and without hitting anything on the nose. I agreed with most of the comments regarding clarity of plot.
A couple of comments I thought would become clear when cast since Mariah is mixed race (white mother white- black father) and Esther’s parents were both black, I thought that id would be apparent that the two girls would not necessarily look a lot alike. I did go back into the script and specifically state that the fathers were not identical twins.
11. What movie have you seen the most times in your life?
In war-torn Syria, a troubled woman, her idealistic son, and her mentally challenged cousin take in a wounded Western aid worker, unknowingly igniting a chain of deadly consequences that forces them to confront their pasts, their beliefs, and the brutal realities of survival.
Get to know the writer:
1. What is your screenplay about?
The need to face one´s worst fears if any redemption or peace are to be found.
2. What genres does your screenplay fall under?
Drama.
3. Why should this screenplay be made into a movie?
It deals with the many traumas and desecrations of war, it delves into the divisions and differences from which conflicts spring and it evokes the love and common humanity that is our only hope.
4. How would you describe this script in two words?
Poignant. Inspiring.
5. How long have you been working on this screenplay?
Researching and imagining, for over 1 year. Planning for 2 months. From first words to completed draft, 4 months.
6. How many stories have you written?
Three.
7. What motivated you to write this screenplay?
The ravaging of the lives of civilian populations in Syria, Lebanon, Gaza, to name a few. A film from Syria (The Day I lost my Shadow). A film from Syria, Iraq, Kurdistan and Lebanon (Notturno). And a film from Afghanistan (Three Songs for Benazir). The similarity of the landscape (mountains and olive groves) of the place I live to the landscape of Northern Syria, where my story is set.
8. What obstacles did you face to finish this screenplay?
Just the usual leaping with faith, being prepared to face my own mediocre work and to find a path to better, but that’s the process in any script that’s finished in draft and worthy of continued development.
9. Apart from writing, what else are you passionate about?
Photography – large format film photography particularly and portraits specifically. The landscape of the human face and all of the complex character that lay behind it.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
A longstanding, highly-rated festival in Canada, outside of the LA epicenter – more receptive to indie film and not adverse to the drawing of main characters of Muslim faith.
11. What movie have you seen the most times in your life? Fargo.
Shesafella, a modern twist on Cinderella, is about a kind-hearted teen forced into servitude by a ruthless stepmother and closeted stepbrothers, who defies the odds with help from her butch fairy godmother. At a Ball, she wins Princess’s heart but vanishes, leaving behind a single Doc Martens shoe. Princess’s Instagram posts spark a citywide search, and Shesafella must outsmart her family, reclaim her true self, and fight for her happily ever after.
2. What genres does your screenplay fall under? Fantasy, romance, fairy tale, LGBTQ
3. Why should this screenplay be made into a movie? Cinderella movies (Ever After, Ella Enchanted, A Cinderella Story) are beloved for their timeless themes: rags to riches, kindness over cruelty, and finding one’s voice. But they’ve all followed the same blueprint—a girl meeting a boy. Shesafella flips the script. It’s a girl meeting a girl, in a joyful, queer reimagining that feels both long overdue and perfectly timed. This is the inclusive fairy tale audiences have been waiting for.
4. How would you describe this script in two words? Queer fairytale.
5. What movie have you seen the most times in your life? Working Girl.
6. How long have you been working on this screenplay?
Six months. Before that it was a short story that I edited (off and on) over a few years.
7. How many stories have you written? I’ve written three books—What Papa Told Me, 90 Lessons for Living Large in 90 Square Feet (…or More), and Half In. Shesafella is the first story in my Fancy Tales series, a collection of reimagined fairy tales with an LGBTQ twist. Other titles include Peter Pan Zee, Jack and the Bad Stock, Sleeping Booty, Beauty and the Butch, Little Red Rider in the Hoodie, and more.
8. What motivated you to write this screenplay? I’ve always loved theater and originally imagined Shesafella as a play—maybe even a musical. Then a friend mentioned that a streaming service was looking for fairy tales with a twist and encouraged me to write it as a TV script. So I did!
9. What obstacles did you face to finish this screenplay? It wasn’t so much obstacles as it was self-doubt—wondering if I was “doing it right,” especially since this is my first screenplay. But I trusted the story and kept going. Plus, it was fun and challenging.
10. Apart from writing, what else are you passionate about? Family, cycling, reading, stand up paddle boarding, theater.
11. What influenced you to enter the festival? What were your feelings on the initial feedback you received? I entered the festival because it welcomed the genre I’m working in and felt like a great fit for Shesafella. I was genuinely thrilled with the feedback—it was thoughtful, spot-on, and insightful. That fresh, professional perspective highlighted what was missing, sparked new ideas, and ultimately helped me make the script stronger.
When the paths of the 11th Pennsylvania Civil War regiment and an American Staffordshire Terrier pup intertwine, the men of the 11th’s lives are changed in ways they never could’ve predicted.
Get to know the writer:
1. What is your screenplay about?
It is about a dog named Sallie who is the mascot of the 11th Pennsylvania Infantry Regiment of the Civil War. We follow her throughout the entire war and see the war through her eyes as she forms bonds and relationships with the men of the 11th. It is also based on a true story.
2. What genres does your screenplay fall under?
Drama, family and history.
3. Why should this screenplay be made into a movie?
This screenplay should be made into a film because it shows war from a unique perspective that not many others see very often, the point of view from a dog. It also demonstrates why dogs are man’s best friend, how they are willing to be there for us during our darkest moments.
4. How would you describe this script in two words?
Emotional, heartwarming.
5. How long have you been working on this screenplay?
I first found out about the story of Sallie in January of 2023 when I visited the Gettysburg battlefield myself. And from that moment on I had been in my head kind of envisioning it in the form of a screenplay, and really thinking it out. I then began putting my idea down onto paper in November. I did not finish it for approximately 5 month. So I began thinking of the story in January of 2023 and finished writing it in April of 2024, so in other words, about a year and 4 months.
6. How many stories have you written?
This is my first screenplay.
7. What motivated you to write this screenplay?
My motivations for writing the screenplay are many. My love for history, particularly Civil War history, my love for dogs, and my love for storytelling. I loved the raw emotion I felt when I first learned of Sallie’s story and wanted to pass that on to other people, and show just how remarkable dogs truly are.
8. What obstacles did you face to finish this screenplay?
Without a doubt the number one struggle I had in writing this screenplay was remembering the formatting for screenplays. Remembering to remain in the present tense, no “ing” words, and also remembering not to write in the characters emotions. I’ve been taught that when you write in the characters emotions, you limit the freedom of the actors/actresses, which therefore leads to stale or even forced acting performances. I guess what I’m trying to say is learning to trust the actors was very difficult.
9. Apart from writing, what else are you passionate about?
I have been told I have a number of passions. I obviously love the art of filmmaking and screenwriting. In addition to loving film I would also say I am fairly into theater, including plays and musicals. However I would also say I am quite into travel (have been to 25 states as well as 10 countries). I am also a massive history nerd, with the American Civil War being one of my favorite events to study (though I do also love learning about the American Revolution, the Napoleonic Wars WWI, WWII, and the Cold War). I am also a massive basketball fan, and Michael Jordan is by far my favorite athlete of all time.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I think one of the factors that influenced me to enter the Feedback festival is the feedback aspect of it. In this line of work, critical and constructive feedback is crucial, especially if you have goals like me, of making it to Hollywood and making films professionally. Also Chicago is one of my favorite cities I have ever been to.
11. What movie have you watched the most times in your life?
The film I have seen the most times in my life is Christopher Nolan’s “Interstellar,” the film which taught me that films are more than just entertainment, they are an art form!
Summary: On the run from a job, Steph finds herself in danger and a target. She falls and lands under a Boulder which traps her for 2 days. While trying to survive as long as she can for help to arrive, she reaches an unpleasant realization.
Get to know the writer:
1. What is your screenplay about?
This single location thriller is about a woman named Steph who is forced to confront the choices she’s made in life – lying to her biological son about who his mother is, leading a life of crime because it was the easier path to follow – all while trapped under a rock as hired thugs try and find her.
2. What genres does your screenplay fall under?
Action. Thriller. Single location.
3. Why should this screenplay be made into a movie?
Not only is it a thriller, but I’m trying to say something as well about the decisions that we make as we move along in our life.
4. How would you describe this script in two words?
Claustrophobic. Emotional.
5. How long have you been working on this screenplay?
I got the idea over 15 years ago, set it in an office building, and struggled to make it work. Then in the summer of 2021, I threw everything I had written out the window. Decided to start from scratch which included changing the location to the deep woods. Wrote the first draft in 2 weeks. Since then, I’ve done a couple of polishes and here we are.
6. How many stories have you written?
Again, no idea. I wrote my first screenplay in 1988, my first stage play in 1989, went through a poetry phase in the 90s (are those stories?), have written a fair amount of screenplays, a couple of stage plays, shorts, and so on. In the last few years, I’ve been writing more short stories. Just a few weeks ago, I wrote my first microfiction piece – 98 words. That was an interesting challenge.
7. What motivated you to write this screenplay?
It started as a writing challenge. Could I make a single location script work? There’s a Canadian film called “Cube” which I love that really got me thinking about writing something like this. All I needed was a strong character to anchor the story, which led me to Steph.
8. What obstacles did you face to finish this screenplay?
When I first had the idea, I set it in an office building. Nothing worked, nothing felt right. It was a disaster. So the story sat and percolated in my head for many years. Then in 2021, I quit working for a year and I revisited this idea, starting from scratch.
9. Apart from writing, what else are you passionate about?
Dogs, cycling, books, movies, new adventures, stories in general. People. I also like helping people – I’ve taught and mentored throughout my life. I also like challenges – whether it’s a 24 hour bicycle race or writing a short story in under 100 words.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I’ve gotten emails about your festival for years, but since it’s a female festival, I thought it wasn’t for me. Then last fall, I emailed you all and asked if I could enter since my lead character is a woman.
11. What movie have you seen the most times in your life?
No idea. In the last few years, “Apples” which is a Greek film that I love; “Interstellar” or “Everything Everywhere All at Once.” Just a few weeks ago, I went to the laundromat where “Everything Everywhere All At Once” was filmed. That and Nakotami Plaza are the only two film locations that I have actively sought out.
A highly sensitive, two-spirit person living above their adopted parent’s appliance store has their life turned upside down when they learn their two “stillborn” babies may still be alive (now teens) and that their recurring childhood nightmare of the alien abduction of their birth parents may have truth to it.
Get to know the writer:
1. What is your screenplay about?
After learning there may be something behind the recurring childhood nightmare of her parents’ alien abduction, and that two (supposedly) stillborn IVF babies born to them may be alive (and now teens!); a two-spirit person sets out on a quest for the truth and to reunite.
It’s about the importance of truth-telling and creating a family of choice. It’s about the folly of “Otherism” and that “difference” is not bad; but represents strength.
2. What genres does your screenplay fall under?
Its four quadrant appeal is based in genre-bending and that it defies the gravity of heavy-handed tropes. It’s SciFi, but also Family and Road picture combined. It contains conspiratorial elements, so Intrigue and Action-Adventure are apropos genre, as well.
3. Why should this screenplay be made into a movie?
It introduces contemporary elements that have not been seen in this way. It employs cinematically commonplace genre, character, and story elements while introducing contemporary themes in a way that make them more palatable for general audiences, wider audiences.
More than ever before, Otherism has become the weapon of the wealthy; tearing families, communities and cultures apart. The story emphasizes the importance of embracing those who are labeled, “Alien” as our neighbors, not enemies; Potential allies, not monsters.
4. What movies have you seen the most times in your life?
a. “Wizard of Oz”, naturally, would be #1. (It was broadcast annually from 1959-1991, pre-VCR days)
b. Hitchcock’s “Psycho” from 1960 (I watched it about 16 times in 1972, in high school)
c. Hammer Films’ 1958 “Horror of Dracula” w/Christopher Lee and Peter Cushing (same as above)
d. Franco Zeffirelli’s 1972 “Brother Sun, Sister Moon” (about 12 times in theater during a period of religious zeal)
e. “Sorority Girls from Hell”(3:00) segment from 1985 “Television Parts” NBC summer replacement/pilot. 100s of times. It’s an homage to 1950’s horror and college-life. Hysterical.
5. How long have you been working on this screenplay?
The initial concept was developed in 2006 with my late writing partner. When he succumbed to a lifelong battle with depression in 2021, I chose to pull it out and rework it in a way I felt would honor both our journeys.
6. How many stories have you written?
I’ve been writing stories since I was ten. In March I turned 70. That’s high math. Beyond me. My left-brain is atrophied from years of neglect. Let it suffice to say, “A LOT”
7. What motivated you to write this screenplay?
A lot of personal experience. Creative expression is very much a part of my wellness and healing regimen. I did want to honor my late writing partner. His on-going battle with mental illness was exacerbated by a need to meet socio-cultural expectations. However, he was a very sensitive, loving, and creative person who deserved to be remembered for his progressive passion, not simply the way he left this world.
8. What obstacles did you face to finish this screenplay?
I felt an organic synergy in working this; the experiences of the past dancing a tarantella of urgency with present day issues. I really don’t believe in magic. I believe in work. But I do know there is something mystical about the creative process. My only obstacle was getting my butt in the chair. Once I sit with it, it’s like a flood of energy exudes from all synapses.
9. Apart from writing, what else are you passionate about?
Digital Photography. Mixed media (mostly found objects, because I’m a firm believer in second chances), Music, Indigenous art, public service, community building… but more than anything, like this story’s protagonist, I’m passionate about truth-telling, my mindfulness practice, gun-control, and celebrating my “Family of Choice.”
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
Last year I accepted a commission from my state’s governor to serve on an advisory board on issues that impact the LGBTQ2S+ senior community. The protagonist in my script is two-spirit (as am I). I felt that, not only could I speak with authority, but presenting such a character in a normal cinematic environ would humanize them and wake viewers up to the folly and danger of “Othering”. This festival, I felt, could provide readers who understood that message in a profound way. Feedback received served to validate those feelings, as it was supportive, thoughtful and well-considered.
11.How would you describe this script in two words?
In order to extort the property, Aron arranges a sexual relationship with John, and after achieving the goal, he gets rid of her. Aron escapes legal punishment, but he is tormented by visions. The crucified Aron, left outside the cemetery, searches for a way out in vain.
Review by Andie Kay:
Betrayal and toxic relationships. We’ve all experienced one in our lifetime. When a shady caregiver sees an opportunity to take advantage of his change and seduce him, he is haunted by the result of his own actions.
Directed by George Tkemaladze and written by Luka Mchedlishvili. This short film is intriguing and suspenseful. The beginning leads you to believe this is a happy, healthy relationship but then you see the ulterior motives of the caregiver/boyfriend and that’s when things really start getting sinister. I genuinely liked the premise of the story and felt it was a great plot to have this self-serving antagonist presenting this facade so he could take advantage of the protagonist and his wealth. There were areas where I feel things could have been conveyed more clearly, it was unclear why our protagonist needed a caregiver. It might have been more straightforward to just call him a boyfriend.
Working with a limited film budget is always challenging and I feel the filmmakers did a good job here. Luka Mchedlishvili assisted Joseph De Cross with the cinematography aspect and there were several creative camera angles used. The score for the film by Eddie Torres was absolutely perfect. He did such a wonderful job in finding the emotion through the music to help sell each of the scenes.
One thing that did surprise me was the end credits. Yes, I am that geeky that I watch the end credits. There were no cast credits and the two leading actors were never mentioned. The only actor mentioned was the lawyer at the very beginning. It remains a mystery as to who our leads were.
As a result of resource depletion, a virus outbreak stripping the afflicted of what makes them human and finally, war, humanity’s sovereignty has fallen. In dwindling numbers, the survivors have been driven out of their homes in the search for safety, while a former soldier travels through the toxic environment in search of a cure.
The short film CRISIS POINT is a sizzle reel that promises an exciting dystopian future that will leave audiences on their edge of their seats. The content has everything a futuristic film needs, great special effects and high technology, along with some stunt fighting thrown in to guarantee a breathtaking adventure through this world.
The world is set up from the first few seconds of a fallen civilization. People can no longer tolerate the sun, having to wear masks or travel by nightfall. It’s made clear that a virus caused this nightmarish universe and something unspoken caused people to no longer trust each other. The characters travel alone or in small groups, most appear untrustworthy except for the female protagonist that is speaking words of hope. She wants their old world back and believes it can be accomplished, but it won’t be without a fight.
The filmmaker thought of everything for this film. The difference between day and night has great color correction. The day isn’t bright, which works for the dystopian future and the night barely has any color. The military factions breaking into a high technology government facility leaves more questions than answers, while the protagonist fights with a lone man that is clearly not on the side of the good guys.
The trailer is put together in a very cinematic format. It feels like something that would come on before a film as a coming soon attraction. It leaves many questions unanswered, something that the feature film for CRISIS POINT would answer. This film does everything a trailer is supposed to do, it leaves the audience wanting more so that they will purchase a ticket to watch it on the big screen.
Festival Reviews 