inner necessity, 10min., USA, Experimental Directed by Ethan Wagner “The artist is not only justified in using any form necessary for their purposes, but it is [their] very duty to do so.”
Get to know the filmmaker:
1. What motivated you to make this film?
“inner necessity” is the first in a four-part film series I created, inspired by some of the great abstract painters. This piece draws from the work of Wassily Kandinsky, often regarded as the inventor of abstract art. In his book Concerning the Spiritual in Art, he argued that art should not only depict what we can see, but it should also express what he called our inner necessity. He envisioned a future where audio and visual art would eventually merge into a single art form.
Given the current discourse around AI-generated art, I saw this as the perfect opportunity to explore how new technology can shift our understanding of and relationship to art. Much like the invention of the camera during Kandinsky’s era, AI now offers new possibilities for creative expression, both in collaboration with it and in response to it.
Inspired by action painters like Jackson Pollock, I recorded the audio in a single, improvised take. I then generated visuals influenced by Kandinsky’s paintings and his philosophy, combining the two guided by my own inner necessity to create.
2. From the idea to the finished product, how long did it take for you to make this film?
The audio recording for the film took exactly as long as its length, so 9 minutes and 57 seconds. It took me about a month and a half to generate and compile all the animations.
3. How would you describe your film in two words!?
neo-abstract expressionism
4. What was the biggest obstacle you faced in completing this film?
The time it took to generate the animations was the longest part of the process, but that was limited by how much I was willing to pay to speed up the process. I could have gone faster.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
One of Kandinsky’s hopes was that the form and color of a picture would allow the observer’s mind to wander and find their own meaning. People seemed to have this experience with the film, so that makes me happy!
6. When did you realize that you wanted to make films?
I grew up making music, so that has always been a part of my life. Once AI video generation became available, it gave me a way to bring the images in my mind’s eye to life. My ability to express myself visually has continued to grow ever since.
7. What film have you seen the most in your life?
I love physics so it would probably be Oppenheimer.
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 the first time I have submitted to a festival so I have no complaints.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It was my first time and it was pretty easy.
10. What is your favorite meal?
Sushi!
11. What is next for you? A new film?
I am working on the rest of the abstract film series, as well as making a multi-sensory immersive experience using all five senses with my wife.
The Once Upon a Time that Never Was, 3min., Canada Directed by Deb Ethier Animated experimental music video for the original song “The Once Upon a Time that Never Was”. With words and music by Deb Ethier and sung by Belén Mariscotti, the song evokes those compelling (and often disquieting) moments from childhood fairy tales, challenging our memories of them.
Get to know the filmmaker:
What motivated you to make this film?
I was an avid reader as a child and devoured volumes of folk and fairy tales, most of them in their original (as in “non-Disney”) forms which tended to be dark-ish and sometimes didn’t have happy endings. I was fascinated with the idea that the world holds so much more than we see. The song emerged from this, but also the fact that memories (like my memories of that time) are often at odds with the reality.
My interest in traditional Celtic music is, I think, also reflected in the song.
From the idea to the finished product, how long did it take for you to make this film?
Interesting question, the answer to which could be three years or could be one month! I wrote the song in 2022 and recorded it, but it sat around in a basic form until I fleshed it out and had it mastered this year. In the meantime I was developing the layered technique that I ended up using in the finished film.
How would you describe your film in two words!?
Evocative. Wistful.
What was the biggest obstacle you faced in completing this film?
At first, finding the right vocalist (but Belen Mariscotti knocked it out of the park!).
What were your initial reactions when watching the audience talking about your film in the feedback video?
It’s amazing to know that my vision translates well to others!
What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
You folks do it right! The reaction videos and interview/podcast opportunities are really helpful with marketing.
You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I’ve used FF since 2016 and it’s always worked well for me, but that’s because I do the crucial step of researching a festival before entering it.
What is next for you? A new film?
My standard answer – there’s always a new film (or two!).
KHENTOPIA, 72min., USA Directed by Job Michiel van Zuijlen Khentopia is a peaceful society on the planet Zeeray, where ethereal energy generated through chanting at Harmony Center is used to feed a protective shield that envelops the planet. All is well, until one June morning in 2502, the crew of raider ship Space Wolf is intent on breaking through the shield to carry out a pillage mission. They succeed in obliterating the ethereal power generation and so the protective shield. On top of that, a parallel universe emerges with an alternate Khentopia that is harsh and hostile.
The idea for Khentopia already existed for another story, but the inauguration of Trump 1 in 2017 made me think that we had entered a parallel world. I developed a new story with that in mind.
2. From the idea to the finished product, how long did it take for you to make this film?
It took about seven years. To get the story itself right was a challenge. I knew the beginning and the end, but I struggled with the middle.
3. How would you describe your film in two words!?
Khentopia regained.
4. What was the biggest obstacle you faced in completing this film?
Because it took such a long time, the biggest challenge was to stay interested. It is also a lot of work, and some scenes are necessary but kind of tedious to do.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was pleasantly surprised by the insightful comments, especially from the second woman. She was able to distill various elements that I had put into the story and expressed them clearly.
6. When did you realize that you wanted to make films?
Making films has never been my profession, but I have composed music for a few animated films in the past. That got me interested in making animated films myself and I started about 15 years ago.
7. What film have you seen the most in your life?
Generally, I’m not someone who will see a film more than once. I have seen “Strangers in a Train” a few times. Hitchcock films are worth seeing at least a second time. At the moment, I like discovering movies I have never seen before, especially old black-and-white ones, which can now be viewed on streaming platforms.
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 the biggest challenge for any independent filmmaker is to get some kind of distribution, so if festivals could add assistance for that to their offering that would be a great help.
9. You submitted to the festival via FilmFreeway. How have your experiences been working on the festival platform site?
FilmFreeway has worked out very well and they come through when something goes wrong with a festival. I had that a few years ago when a festival was suddenly cancelled. FilmFreeway reimbursed the entry fee. I appreciate that.
10. What is your favorite meal?
This may change in the future but currently it is Massaman Curry with Duck.
11. What is next for you? A new film?
I have a few film ideas. One is another Sci-Fi feature film, but it will be a challenge to make because of the work involved. I’m polishing the script of that one. I also have a few short films that I’m developing.
HAPPY PLACES, 20min., USA Directed by Nich Frost A mysterious stranger interrupts the evening of a seemingly normal family to visit his childhood home. But his presence progresses towards a possibly ominous outcome.
A CRYING DOLL, 10min., USA Directed by Karan Lines Marvilyn Eugene has been a captive along with her 9 year old son most of her life by her sexually abusive husband. On a cold mysterious dawn, she decides to break the sacred vow by brutally murdering her husband and runs away along with her son and escape such nightmares.
Xerocoles, 4min., USA Directed by Karan Lines A USBP car is driven down the Texas desert road on a hot steamy august day with country music being played on a backdrop. Across the horizon, a bandit sits on the mountain aiming his sniper at the car. A shot is fired and hits the BP officer. The car wiggles down the ditch. The sniper Bandit comes down the terrain and steals all the money from the USBP. He approaches the USBP car to steal when suddenly a surprising element appears from the trunk of the car. Xerocoles shares the story of the three deserter characters with the taste of an indie crime cinema in a pseudo-western world.
Into Zephyr, 30min., Iran Directed by Seyed Morteza Sabzeghaba, Amin Nazari The teacher of “Tengeh Dez” village spends a sweet but difficult experience every week on a walk and a trip in nature, and by being with the people of this deprived village. In order to cross the raging river in order to educate the children of this village, he has no other tools at his disposal except his feet, body and life.
The main character Shiori, who struggles with her own identity, one day visits a women’s sex club. She has a secret that she cannot tell anyone and is afraid of being rejected, so she has a hard time exposing herself. With the help of her therapist, Takeru, she peels away her insecurities and fears.
Review by Julie C. Sheppard:
The title Peeling is well selected for this stirring short. The film progressively peels back layers of revelation and the “ripping away” sound effect is fittingly in line with a theme of what lies beneath, and helps drive this narrative.
Through much of the film, it makes use of near silence to mirror the quiet inner thoughts of the lead character Shiori who, in actuality, is going through a tumultuous journey towards truthfulness and release.
A pristine hotel room setting, with closed curtains and adorned with soft candle light, provides a warm, safe cocoon for Shiori. In this setting, the performance of the gentle, sensual therapist is an apt foil to the physically tense and emotionally nervous client. The safety of this hotel setting is in strong contrast to family scenes which show the painful gender stereotyping that Shiori has been forced to endure from relatives.
The achingly beautiful soundtrack, notably of tender piano, enhances the sexually charged environment that the professional, yet sensitive therapist is able to invoke.
As the film finds resolution, relief is palpable, when truth is fully peeled back and, even better, accepted and welcomed.
Into Zephyr, 30min., Iran Directed by Seyed Morteza Sabzeghaba, Amin Nazari The teacher of “Tengeh Dez” village spends a sweet but difficult experience every week on a walk and a trip in nature, and by being with the people of this deprived village. In order to cross the raging river in order to educate the children of this village, he has no other tools at his disposal except his feet, body and life.
Deadline Today to Submit to the Festival via FilmFreeway:
Thrilled to have won Best Sound & Music for my film Med Selkies – thank you so much ED&MFF team! I’ve found this festival to be wonderful, excellent and personal communication and the team really seem passionate about supporting filmmakers. So wonderful to have a festival like this which champions left field art films.
The Backpack Chapstick, 3min., USA Directed by Aki Aitos
Tarot Pranks – The Granny Diaries Directed by Deanna Rashell Granny discovers a new device and pulls one over on the devious Tarot Card reader. All in a days work for Granny
Sonia, Speak!, 12min., Russia Directed by Ilia Shudegov Sonia is a humble library employee. One day she falls in love with a handsome visitor, but can’t say a word in front of him.
I really enjoyed chatting with Stunt Performer/Actor Hannah D. Scott about her profession. She was very open about everything and you can feel her passion for the industry and what she does in her answers. Enjoy!
Matthew Toffolo: What job has been your most valuable experience?
Hannah D. Scott: I think that part of the answer lies in not actually working, but watching people work. The set is such a massive machine and being able to take a step back to listen and learn is priceless. I was once asked, a long time ago, to step in as kind of intern of sorts. Understanding the camera, understanding how the director communicates with actors in order to get the right result, what cues to give to help them understand and so on was incredibly valuable. I could see how different lenses worked, how framing could make or break a shot, how timing is essential as are reactions. I watched how gags were set up and every detail that goes in to even the simplest of stunts. Even for a small trip to the ground, the area has to be checked for hazards like glass for example, but someone outside of stunts might not think of those things because they never have to be the ones hitting ground.
Perhaps the most valuable experience was making a mistake on a job an realizing that that sort of stunt is not something I want to do, and being honest with myself about it. Why try and do something and risk not only yourself but others. We all have things we thrive at and fail at.
MT: Have you suffered a lot of injuries doing stunts? If so, what has been your worst injury?
HDS: Funnily enough everything has been outside of work. My Mirror fell off of my windowsill and went through my foot when I was at home…doing nothing. I always expect to get a little bruised even though I have pads for safety, but it comes with the territory. There have been some terrible accidents, perhaps some were avoidable and some were just simply tragic accidents, but we are all aware in going to work that we stand the chance of being hurt and maybe seriously. Everything in our power and the power of those working with us is done to keep things safe. I don’t think the general public realize how much danger there is involved and how much of the physical stuff we actually do without it being CGI or some such thing.
MT: Has there been a stunt that you love to perform that you haven’t performed yet?
HDS: I haven’t done burns yet, being set on fire. There are full and partial burns, each with their own skill set and risks. For some reason that’s high on my list of things I’d like to learn and have the opportunity to do.
MT: How did you get into the stunt performer game? Was there extensive training involved?
HDS: This is always a hard one to answer as there in no one ‘way’ in. Personally I was picked to work on a film as I had a background in martial arts, gymnastics and fighting. I very much had to learn as I went that day because the most I had was stage combat for a base in understanding reactions and so on, but it’s a whole different world with a camera, pretty much polar opposite. I was lucky enough to be hired, do a good job and keep connections in order to find out how to progress once I’d made a choice to commit to stunts.
There is no ‘training’ for stunts in a way, you can’t go to a school and then come out with a range of skills and find recruiters. There are workshops available and they’re certainly more frequent in NY now. It has been very hard in the past to attend workshops without already being ‘in’ the working community and without a resume. Most were private invites and with good reason. Things are becoming more open to those starting out now and giving people a chance to learn. It’s a catch 22. How do you get into stunts without training but how do you get training and invited without already being in stunts? Who should even be teaching it is another story and sometimes cause for friction, but at the end of the day it’s about keeping each other safe and using the best skills we have individually, working together to make the best picture possible.
We all train regularly at various sports complexes and in teams. You have to keep the muscles moving, work reactions and timing and watch yourself back all the time on video to make sure you’re not catching yourself for example, putting a hand down being shot in the head where in life you’d just collapse…if that makes sense. Conditioning is always important so you’re fit enough to do multiple takes and have the ability to take the impact, are prepared for it.
MT: Where do you see the future of green-screen stunt performing in the motion pictures?
HDS: I’m not sure I”m experienced enough to answer that, but I think that technology will obviously continue to grow in ways we can’t even imagine yet. Look at animation, it’s mind-blowing. But, I do think there will always be a need for physical bodies and work, so hopefully non of the advances will take jobs away.
MT: What’s the biggest high risk stunt you’ve performed to date?
HDS: I’ve done a dog stunt, which could easily go wrong should the animal decide he wants to do what he wants, but I’d say high-fall holds some of the highest risk. Falling off buildings, cliffs, over balconies and so on into boxes, airbags or porta-pits. There are so many factors that could go wrong either from the miscalculation of the person jumping or the people on the ground spotting or prepping the air-bag, it’s a very risky stunt and a speciality. It’s certainly not for everyone.
MT: Do you have a stunt performer mentor?
HDS: Yes, I am very lucky and honored by the people I’ve been surrounded and guided by. I think it’s somewhat essential in this part of the entertainment industry as it can be so hard to navigate. I was incredibly lucky on the first major job I did having the chance to work with some of the longest working members of stunt community, their generosity astounds me.
Whenever I’m confused about anything from a contract to what I might need to work on or where I can find who and what I need, they are all there. It’s never too much to check in and there’s never a question that’s too silly to ask. I feel like they all remember what it’s like to have had that first day and remember where they started. I would love to name them, should I name them? Manny Ayala, Elliot Santiago, Chazz Menendez and Joanne Lamstein are all those I consider it an absolute honor that I have them in my life.
MT: What movie, besides the ones you worked on, have you seen the most times in your life?
HDS: Oh boy…honestly? Probably ‘Pete’s Dragon’, no kidding. I know every part of that script and gutted they have made a new one. I’ve never wanted dragons to be so real in my life!
Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online, and in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
She Loves Her John, 7min., USA Directed by Ivan Alejandro Rivero “She Loves Her John” is a story about redemption, the feelings that arise after betrayal, and the thoughts of moving forward.
Festival Reviews 