In a desert war land, the elite tactical team, only know as BRAVO, must be the eyes and ears for their comrades, ALPHA Team. With time on the essence, both teams need to be on alert for the capturing of the 6 mass villains of the land. A war of stealth, values, and friendship lay on the line as BRAVO Team must overcome their own internal struggles if they wish to accomplish the mission. The question is, will they?
Sitka’s Hidden Wonders, 43min., USA Directed by Ben Hamilton Sitka’s Hidden Wonders is a 40-minute theatrical nature film that blends sweeping cinematography with a deeply personal story of return. Told by award–winning wildlife filmmaker Ben Hamilton, the film explores what it means to truly see a place—through the hidden layers of one of Alaska’s wildest coastal ecosystems.
Every summer, over 600,000 people visit Sitka, but most just walk around town and never see the incredible natural wonders all around us. I wanted to create a film that connects them to this place—beyond the shops and the docks—into the wild heart of Sitka. After years of filming here for networks like BBC and National Geographic, this was my chance to make something for Sitka itself.
From the idea to the finished product, how long did it take for you to make this film?
The film took two years of full-time work, plus a year of planning and permits before that. And some shots were collected over the last decade—moments I’d been saving for the right project.
How would you describe your film in two words!?
Local. Connected.
What was the biggest obstacle you faced in completing this film?
The biggest obstacle was really time. The focus and intensity it took to deliver a film like this while still being there for my small kids and wife. It meant weeks away in the field, long nights editing, and constantly trying to balance the work with family life.
THE SPECTER OF CHRISTMAS, 11min., USA Directed by Joel Harlow Official selection of Fantasia 2025 and voted Best Short FIlm at IFS/LA FilmFest 2025 The Specter of Christmas marks the fourth film in the “Old Time Radio” short film series. This time, a holiday adventure loosely based on “T’was the Night Before Christmas” narrated by Paul Giamatti.
SUBMERGED, 14min., Brazil Directed by Heloísa Cardoso A young woman waits for her lover for a secret trip. However, he does not show up and does not respond to her messages. That’s when strange and inexplicable events begin to happen in her house. She asks for help from her lover, who ignores her. Realizing that she is hopelessly alone, she gives up waiting for salvation and surrenders to her own shadow.
SHADOW OF THE IMPOSTER, 5min., UK Directed by Ortino Yang Shadow of the Impostor is a surreal psychological short film that follows Aiden, a struggling actor on the verge of a breakdown as he prepares for a major audition. Battling self-doubt, rejection, and the dehumanizing nature of the industry, Aiden begins to experience a mental split—his shadow detaches from him, reflecting his inner turmoil and fractured identity. As reality blurs with hallucination, Aiden’s confrontation with this shadow self culminates in a defiant act of rebellion during the audition, symbolizing his reclaiming of agency in a world that tries to erase him.
REPETITION, 5min., Italy Directed by Michele Lazzaro In the middle of the night, over a desolate bridge, a woman is chased by a man. Everything suggests that she is the prey, but in reality she is the hunter: a beautiful vampire who endlessly repeats her trap with the help of her accomplices.
Folie Glacée, 11min., Canada Directed by Louis Rémillard Eli et Vincent se commandent une collation à la crèmerie locale sans s’attendre aux horreurs qui ruineront leurs rendez-vous en amoureux.
FLESH WISH, 4min., UK Directed by Timothy Benjamin Slessor An experimental horror inspired by H.P. Lovecraft, David Cronenberg and Clive Barker, this music video / short details in an abstract way the summoning of demons through a ritual performed behind the locked doors of a 1970s terraced house. Images are a combination of 8mm cinefilm, analog stills and materal initially generated with the use of a variety of AI platforms before they were brought into After Effects were they were everything was heavily manipulated, with many layers of texture, noise and grain added, lighting added or altered, images distorted and blended together and so on. The actual editing was arduous, often frame-by-frame (everything was done by hand) with images further distorted and manipulated with a variety of blending modes. It was a one-man job and that one man was very, very tired by the end of it! (please note that the encode on the FilmFreeway screener is not very good, a sharper version can be seen on the Vimeo link used as the project website below)
Sumarsólstöður, 30min., France Directed by Amélie Ravalec In a world where art and reality collide, Miho’s vivid dreams reveal the cosmic force of the Architecture, uniting her with artists across the globe in a desperate battle to heal the universe.
The Krystal Gene, 13min., USA Directed by Stuart Michael Daly, Jobe Wolf In 2024, A troubled young mother (Sophia) and her psychic son (Jacob) are desperately on the run from a super soldier unit, known as ‘Black Sun’. Such an elite and ancient order will stop at nothing in abducting her son for weaponizing his DNA to gene splice slave humans for a WW3 draft.
Can’t Stop, A Star Trek Fan Production, 24min., Czech Republic Directed by Radek Belina The starship USS Greenwich Village, commanded by Captain Glenn Dirk, is sent to the Deneb system, historically known as the site of Captain Picard’s first contact with the mysterious and powerful being Q. The crew expects a peaceful scientific mission, full of exploration, discovery, and data collection. Newly appointed First Officer Felipe Scott, descendant of the famous Montgomery Scott, brings a fresh approach to planning and enthusiasm for space exploration.
Deadline Today to submit via FilmFreeway. 86 FIVE Star Reviews!
The feedback provided by the Female Film Festival is so critical to the advancement and possible sale of a film product. Feedback becomes an added asset to the package. I thank you for this.
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.
In true-life dramas, you have to do so much research. It’s a big responsibility to make sure things are as correct as possible. In ‘Robin Hood’, you have more artistic license – it’s all action, adventure and reaction. This gives everyone a chance to make their characters their own and to make them believable.
I really enjoy dressing up. I’m pretty much a girlie girl.
I grew up on a farm – it was a lovely life; we’d make tree houses all day – and my parents worked from home.
Basically, I’m throwing out the question ‘When is such violence justified?’ To get that question to touch the audience physically and directly – that’s what my goal is. In the experience of watching my film, I don’t want the viewer to stop at the mental or the intellectual. I want them to feel my work physically. And because that is one of my goals, the title ‘exploitative’ will probably follow me around for a while.
In our lives, we have good things and bad things, happiness and pain. Life is full of pain and happiness and that’s what I wanted to show.
Living without hate for people is almost impossible. There is nothing wrong with fantasizing about revenge. You can have that feeling. You just shouldn’t act on it.
I have principles and rules. I deal very carefully with acts of violence and make sure that audiences understand how much suffering these acts cause.
“I feel that there are great minds up there who would like to see what I can do with an Oscar nomination. I guess many people would change after a nomination in the way they see things. In my case it’s really irrelevant in terms of what I do. Still, it was an incredible experience which I will put in my memories, like everything else.” (On his Oscar nomination for Best Supporting Actor for Running on Empty (1988) in 1989.)
If I have some celebrity, I hope I can use it to make a difference. The true social reward is that I can speak my mind and share my thoughts about the enviroment and civilisation itself. There’s so much shit happening with people who are exploiting their positions and creating a lot of negativity.
Every day of my life since I finished My Own Private Idaho (1991), at some point in the day, I find the conversation somehow goes back to that film, because it was just such a great experience. I just start getting all joyous and start babbling about it. [on his feelings about My Own Private Idaho (1991) just after the film’s release in 1991]
I would just look at Harrison [Harrison Ford]; he would do stuff and I would not mimic it, but interpret it younger. Mimicking is a terrible mistake that many people make when they play someone younger, or with an age difference. Mimicking doesn’t interpret true because you can’t just edit it around. [on his interpretation of a young Indiana Jones in Indiana Jones and the Last Crusade (1989)]
The contract system at Hollywood studios like MGM was a very efficient system in that because we were at the studio all the time we could rehearse a lot. But it also really repressed people. There were no union regulations yet, and we were all indentured servants–you can call us slaves if you want–like ballplayers before free agency. We had seven-year contracts, but every six months the studio could decide to fire you if your picture wasn’t a hit. And if you turned down a role, they cut off your salary and simply added the time to your contract.
Kids talk to me and say they want to do musicals again because they’ve studied the tapes of the old films. We didn’t have that. We thought once we had made it, even on film, it was gone except for the archives.
I arrived in Hollywood 20 pounds overweight and as strong as an ox. But if I put on a white tails and tux like [Fred Astaire], I still looked like a truck driver.
There was no model for what I tried to do with dance . . . and the thing Fred Astaire and I used to bitch about was that critics didn’t know how to categorize us. They called us tap dancers because that was considered the American style. But neither of us were basically tap dancers.
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