We have created a hybrid festival with 4 tiers to enhance your film and your festival experience. All accepted films receive all four tier options:
Tier #1 – Your film plays at a public film festival event where the audience will record their comments/reactions to your film on their camera or phone, then we edit them and send you a promotional video. No matter what you will receive a promotional video of your film of people commenting on your film.
Tier #2 (optional) – Your film plays on the Film Festival streaming service for 30 hours and invite a select industry audience to watch it. With this system, some films have already received a distribution deal as many platforms are looking for solid feature and short documentaries. We can not guarantee anything of course but this has been very helpful to many in the past. (see testimonials below)
Then (Tier #3) we will send you a list of questions to answer for our blog interview that will promote you and your film. Then after that (Tier #4) we will set up a podcast interview on our popular ITunes show where will we chat with you about the process of how the film was made.
A festival designed to showcase the best of new environmentally themed films (shorts, features) and screenplays (shorts, features, TV pilots) from around the world. We accept any genre (animation, comedy, experimental, horror etc.) as long as it has an underlying environmental thematic. We seek to advance public understanding of the environment through the power of film and storytelling; which is why this festival has been created.
Tammi Judge, the founder of a transformative dance program, leads young dancers on a journey of self-discovery and personal growth, using the power of movement to heal, inspire, and change their lives forever.
Accept only stories that fit into the experimental genre. An experimental story is a narrative that challenges traditional storytelling conventions and explores new concepts and representations of the world. Experimental stories often use innovative language, non-traditional narrative structures, and metafiction to create unconventional and complex stories.
Submit your short story to the festival, and we will automatically have it performed by a professional actor and turned into a promotional video for yourself.
This festival has a guaranteed 4-tier set up for each accepted script. (No matter what, all screenplays submitted receive FULL FEEDBACK on their work.) 1) Full Feedback on your script 2) Actors performance video reading of your script 3) Blog interview promotion. 4) Podcast interview on the Film Festival ITunes show.
Lakme, 1min., Mexico Directed by Paulina Daemmrich, Piotr Redlinski Gorgeousness, poetry and miracle of human body in motion. Evolving in spirals, dancing through spaces.
WHERE DEATH DWELLS, 14min., Canada Directed by Lee Levi Cochran A chance encounter with the daughter of one of her victims forces Undead Skye Wallace to confront the dark reality of her existence.
Yep, 6min., China In the fluidity of identity, we are always at risk of becoming outsiders—watching the world unfold from the margins, caught between belonging and detachment.
I love ABC, 4min., USA Directed by JIA WU Two girls, good friends. Side by side, room to room, they explore, invent, compete, confide. They remember being little and imagine being grown. They dream of horses. Their journey has begun.
Thank you for awarding “Best Direction” to our film SWEET DREAMS! So humbled by the recognition. This festival is by far one of the best we’ve screened in. The feedback from audience members was inspirational; the podcast interview is one-of-a kind; the additional screening online brought us into homes across the world and communication from staff was timely and professional. WILDsound makes filmmakers feel welcomed, seen and supported–highly recommended!
I am so impressed. I didn’t get my review and wrote inquiring about it. They resent it within the hour and actually called to make sure I received it. The feedback was perfect for my mystery story, where you want to tell enough but not tell too much to keep the story going. I will be sending more mystery screenplays their way. Meanwhile, I can hardly wait to see their reading of 2-4 pages in March or April.
We’re thrilled to had received the audience feedback video and award-winning laurel. It’s been an amazing experience participating in the festival, and we truly appreciate all the opportunities you’re offering to further highlight Bad Blood.
The Action/Crime/Mystery Film & Screenplay Festival is definitely worth your time! They provide invaluable resources for filmmakers, and they also are very helpful while recognizing your work. I recommend.
I can’t express how glad I am that I submitted to The Action/ Crime/ Mystery Film & Screenplay Festival! It’s been a fantastic experience all around! The format and organization make it streamlined and simple to participate in, they offer benefits that I’ve never seen at other festivals, and their process and assessment are well-rounded and fair. This will be my go-to festival from here on out!
Great festival! Very quick to respond and give feedback. It was a pleasure to be a part of and be selected. Thank you!
“A Silent Cry” is a two-and-a-half-minute microfilm set in the Himalayan Mountains—one of the world’s most vital and fragile ecosystems. The film uses evocative visuals and music to highlight the urgent need to sustain and protect this unique environment, which is essential for countless species and provides life-sustaining resources for millions of people.
Donna Weng Friedman created, directed, produced and even played piano in this short film which she has lovingly dubbed “a microfilm” because it’s under three minutes long. In an age where so many films are unnecessarily lengthy I found myself really wishing this film was longer. Donna focuses on these beautiful snow leopards that reside high in the Himalayan mountains.
Their very fragile ecosystem is in desperate need of being sustained and protected. She was able to create this A.I. imagery of a sphere encapsulating a little world, which was a perfect visual to represent the film’s message. While I loved how she did the snow leopard overlay onto the A.I. sphere, I longed for that transition to where you could see the snow leopard fully.
The music for this film was equally as stunning. The song Clouds by Stefania de Kenessey was so perfect for the film and Donna was the pianist. The addition of Curtis Stewart playing violin really added such a great depth to the music so it flowed with the emotion of the film.
I loved the addition of the text at the end of the film giving you more information about these incredible animals. I almost wished that was at the beginning of the film but regardless I thought it was a smart idea to include it. This whole film just captures your heart and your senses, definitely worth seeing.
Virginia is a 43-year-old transgender woman who works as a community health agent in Guarulhos, Brazil. The film follows a day in her life, marked by the exhaustion of work, but also by meaningful encounters, dreams, and, above all, the need to live – and resist.
Revenge is a poetic, necessary meditation on resistance, care, and the radical act of continuing. In Revenge, directors Mari Penteado and Eduardo Campos deliver a film reclaiming survival not as passivity, but as a radical resistance. This Brazilian short walks alongside Virginia within the intimate, sun-soaked, and deeply grounded in the quiet rituals of a life tenderly lived.
The story centers on Virginia, a trans woman and community health agent in her final week on the job. Renata Carvalho gives a performance that is arresting in its gentleness and care. From the opening scenes such as watering a plant with whispered kisses to tending her space with care and rhythm we’re ushered into a world where softness is not weakness, but armor.
The cinematography is gorgeously observational, allowing long takes to breathe and scenes to unfold with a lived-in cadence. You can practically feel the steam rise from her morning coffee, or the sweat bead as she walks the streets, offering compassion like communion. Water, throughout, is used not just as metaphor, but as active resistance: we are told, “If you throw me into a river, I’ll neither sink nor float. I’ll drink all the water and walk away super hydrated.” It’s a line landing between poetry and politics all at once.
Split into two parts: Thou Shalt Kill Sisyphus and For Whom Every Return Is an Odyssey, the film skillfully layers the mundane with the mythic. Virginia’s days are full of small acts of care: de-escalating a patient in crisis, reminding friends to book their PrEP appointments, offering water to a sister in need. But the weight of her labor (emotional, medical, and political) begins to crack through. Her exhaustion is palpable, and in one devastating scene, she finally admits: “I’m tired. I can’t take it anymore.” It’s a grief that’s collective and individual, political and personal. The title Revenge could be misleading. This is not a tale of vengeance in the traditional sense. There’s no violent retribution, no bloodshed. Instead, the film reclaims revenge as life, as legacy, as refusal to disappear. Virginia’s revenge is her laughter. Her community. Her home. Her survival.
One of the film’s most affecting moments comes in a conversation about trans health access: Even if we’re the perfect version of what trans society wants, it’s never good enough. The dialogue, penned with rare authenticity, threads righteous rage with love and heartbreak. These women aren’t symbols or martyrs: they’re fully rendered humans, aching and radiant.
The supporting cast is wholesome and filled with care. Ayô Tupinnambá as Vicky and Andrea Rosa Sá as Belle bring humor, fire, and ferocity. Their bond with Virginia pulses with truth, especially in a conversation that lays bare the fractures of the systemic failures that shape them.
By the time the film closes, with Virginia sitting on her porch growing older, glowing, and sipping a glass of water it feels like a quiet revolution. A woman who has walked through fire, and flood, and fear, and come out soft. Whole. Still here.
Revenge doesn’t scream. It sings. It mourns. It nourishes. And above all, it dares to imagine a future where trans women not only survive, but grow old.
For Aysia, 7min., Canada Directed by Dani Alexandria Aysia-May has a grandmother she will never meet and a family that won’t talk about her. When the family finally opens up, years of trauma begins to unravel.
Only Human – Fairness and Justice, 2min., UK Directed Yasmin Godo Many communities are alienated by and distrustful of advances in genetics. It’s only human to fear, distrust and hesitate when scientists say they are working for your benefit – how do you know? The Only Human film tells Brenda’s experience of having sickle cell disease and uses this to ask scientists working on inherited disease to question whether they are really serving the patients they claim to support. The film pushes for a closer connection between science and society.
A Letter to Mom, 12min., Maynmar Directed by Hung Ra Hting, a Burmese immigrant, full-time sushi chef, and film student, shares a letter to his mom in which he describes the challenges, sacrifices, and experiences that shaped his education — including moving away from home and adapting to new environments — as he navigated the journey from a small village in Burma to becoming a film student in Philadelphia.
Ask an Iranian, 15min., USA Directed by Elliot Feld, Jonny Pottins In this fast-paced piece, Iranian-Americans will speak to camera and reveal what life is truly like under the Iranian regime.
Tony Dawe has definitely witnessed a lot of things on set working sound, working on over 120 productions in the last 40 years. It was an honor to interview him after the craft of sound mixing on set and preparing the post-production sound department.
Matthew Toffolo: How would you describe what a sound mixer does in one sentence?
Tony Dawe: I don’t think you can describe it in one sentence, as the job encompasses so many different variables. To get the best sound really starts with reading the script, and then going on the recces to look at all potential problems on set, background noises, can we do anything about it, where the sparks want to put their generators, are we under a flight path etc. Talk to the director to see if they have any special things they want done with the sound. Go and see the costume department and find out if there are any potential problems with the artists costumes, as every artist now has to wear a radio mic on films and TV. Inspect the sets when they are built, and with all the props in, to look for squeaky floors and other minefields. Liase with the DOP, to see what he is trying to achieve, and how we can work with him on set without interfering with his lighting. There are many other things I could mention!
OK, in one sentence: Get the best possible sound under any circumstances that will enable the audience to follow the plot without saying “What did he say?”
MT: Is there a difference in your job description when you work on a drama like “The Hours (2002)” in comparison to working on a genre action like “Indiana Jones” or “Alice in wonderland”?
TD: If you mean, do I work in exactly the same way on both types of production, the answer is yes. Weirdly though in TV, my job credit is Sound Recordist, and in Feature films it is Production Sound Mixer; however its still the same job. Do I feel there is more kudos working on a large film rather than a TV film just because of the job description, no I don’t.
MT: You’ve worked on many Tim Burton productions. How is your working experience with him. How is he different than other directors?
TD: I have worked with Tim since “Batman” in 1987. I love working with him as there is always a great creative atmosphere on set, and I have learned more about film making from him than any other director just by watching my monitor. For instance, watching how a shot develops through several takes until the timing and the acting and everything else comes together in that magic moment, and then the reaction from Tim when he knows that is the best take. Incidentally, with all the directors I have worked with, Tim is the one I talk to the least. I just don’t like to interrupt his creative processes by talking about trivial sound matters. We both trust each other completely job wise.
MT: You’ve been nominated for an Oscar in the “Best Sound” category 4 times. How has the Oscar experience been like? Were you surprised that you didn’t win?
TD: I was delighted to be nominated each time and someone has to win, but that doesn’t make the others into losers. Every year there a lot of amazing sound tracks that never even get mentioned in dispatches. Validation comes from within, and having honesty about your own work. You have to ask yourself if you did do a good job; the best you could in fact, if so, there is the validation.
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MT: You were nominated for “Return of the Jedi”. What was that working experience like? How involved was George Lucas?
TD: George Lucas was very involved in the making of “Revenge of the Jedi”, and spent a lot of time on the sets. I got on very well with George, and we had many discussions about the use of computers in film making and where that was going to go. Looking back, of course he was absolutely right. He is a most incredible person and visionary and I really loved working with him.
However, working on “Revenge of the Jedi” (which was its original title), was very intense and not one of my favourite experiences.
MT: You’ve been working in the industry for 50 years on over 100+ productions. Is there a film or two that you’re most proud of?
TD: I’ve been a sound engineer for 58 years, starting at Abbey Road (before the Beatles!), and ABC television (405 line B&W!) before I even got to work in film in 1967 at Shepperton Studios sound department, so there are a lot of projects to think about.
There are two productions that I’m most proud about, the first is “The Sweeney” TV series in the seventies, where all of us on the crew were pioneers in using small lightweight 16mm cameras and the Nagra tape recorders for the first time in drama’s and making it work. The rule was, there would be no ADR, so the sound had to be usable all the time. I did not use any radio mics on that show, but I always had the final word on what we could do or not do as the sound department. That concentrated a few people’s minds on the set! I learned so much from that experience over the 53 episodes.
The second project was very similar, and was series 4-7 of “Inspector Morse” in the 1980’s. Again, although the company would budget for small amounts of ADR, it was expected that all sound would be usable, so I was very proud when they did use it all, and the sound received an award from Bafta.
I’m not overly proud of any of my feature film work, as all of the budgets included a large amount for ADR, (the money for which always has to be used), and most of the time they would prefer to ADR something instead of spending time doing another take. This does not apply to the wonderful Directors who fully understand the role of sound in film, and will always go again when asked by the sound department. As the blending of my recordings and other peoples is usually very good, who knows then what has been recorded by whom?
By the way, one of my most favourite films to work on was “Dean Spanley” (As a movie it is an underrated masterpiece, well worth finding the DVD and watching it).
MT: Is there a type of film you haven’t worked on yet that you would love to work on?
TD: Yes, I’ve never worked on a cowboy film (and never likely to in the UK!). Also I’ve only worked on one film that had war scenes in it, and I would like to do another one sometime.
MT: How has sound mixing changed from a technology and creative point of view from the year you started to today?
TD: It has changed absolutely, but mostly in the last 20 years. When I started in 1967, we were still using 35mm full coat magnetic film to record on at Shepperton studios. They did not even have a Nagra recorder to do sound effects on, only very large Leevers-Rich reel to reel recorders which were not portable. When I recorded my first film in 1969 as a sound mixer I used a Nagra 4 with a small Nagra mixer, and that worked well. Microphones were all Sennheiser 805’s, with no radio mics. This type of equipment continued well into the 1990’s, except I had added radio mics (to be used mostly for wide shots!) Then came DAT, and the early machines which were not reliable, and ran very hot (and I didn’t adopt until later). Eventually the DAT machines became as portable as the Nagra’s, and they worked very well, except on cold mornings when the rotating heads stuck to the tape and had to be warmed up with a hair dryer.
In the last 12 years or so, we have had hard drive recorders, which again improved immensely very quickly. I started with an 8 track recorder which proved to be rather quirky and difficult to use, and for 7 years I had a Deva 16 as my main recorder, which was very good, but I now have a Fusion10, and Fusion 12 which have no moving parts, except the mixing knobs on the front and work wonderfully well. I hope to acquire a Deva 24 in the future. Just think of that, 24 tracks in a machine not much bigger than a Nagra!
I adore digital recording immensely as it is so flexible and totally transparent. On my sound trolley I still have a wonderful Coopersound analog mixer at the front end which makes it sound a bit like a Nagra.
Editing sound with Pro Tools is a dream, and I wish it been around when I was editing sound at ABC TV in the sixties.
Some of the magic from the early days has gone however, such as being able to do impossible mixes with only one or two channels. Today we just record everything in the hope that there is enough there to satisfy the sound editor. I still use open boom mics for most things, with the radio mics there as a backup. Basically what I am saying is that there is now very little creativity left in my job. What I used to produce as a finished track that would find its way into a film or TV drama rarely happens any more, as the tracks are dismembered and remade in post production. I have been asked quite a few times how I mixed a particular editors track on a feature film, so that post could undo it and re-assemble the track. What is the point in that? Because what I do is so instinctive, that I can’t usually tell them.
As for the profusion of radio mics on set, don’t even get me started on that one. Most other people on the set think that it solves all the problems with sound that can arise, but in practice it gives many more problems than it solves, and sometimes it involves fiddling about with the actors and costumes, which they hate, and so do I. Unfortunately we are not in control any more as we are beholden to other departments.
MT: What makes a great sound mixer? What skills does he/she need?
TD: Firstly I think that you need a great deal of patience, no arrogance, or the “look at me” concept that some mixers have. Know your place in the hierarchy, be very confident with your own ability, and sometimes exceed the boundaries to see if you can do it, and own up if you can’t!
Never argue with a Director, but reasonably discuss possible ways of getting round a sound problem with them. Always be as pleasant as possible, as it gets you much further than aggression.
Oh… and it helps if you know what you are listening for!
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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 http://www.wildsound.ca for more information and to submit your work to the festival.
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