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
An art and photography novel is a nonfiction book that showcases or discusses art, including photography. Art books can include: The technical aspects of an art form, The life and work of a specific artist, The history of an art form or style, Personal expositions, and Craft and coloring books.
Submit your ACTION/ADVENTURE Short Story to the Festival here and we will automatically have it performed by a professional actor and turned into a promotional video for yourself.
Accept only stories that fit into the ACTION or ADVENTURE genres.
Immersed – A Cinematic Immersive Album by Justin Gray, 60min,. Canada
Directed by Justin Gray, Michael Fisher
Justin Gray’s Immersed is a groundbreaking cinematic album that transforms how audiences experience music. Composed, recorded, and produced as an immersive audio experience, the album features 38 artists from Toronto and around the globe, placing listeners at the center of a three-dimensional global orchestra.
A bright, articulate opening monologue by Justin Gray, the mastermind behind this film Immersed, reveals how satisfying it can be to be completely engulfed in and surrounded by the arts. Given this heartfelt preamble, viewers are tipped off that they are in for a real treat.
The film’s structure is well framed with a series of section titles that help shed light about the tone of each of the upcoming musical interludes. The title Flow, for example, is apt in that we are presented a smooth, well-edited section — we are gracefully introduced to the work of several talented musicians who will be guiding us through the piece, such as the guitar of Justin to others on percussion, brass, vocals, keyboard and strings. Repose is a gorgeous meditative section with singing bowls, and the motif of Indian classical music and movement. The use of household items for foley sound effects in the section Tapestry is highly entertaining, as is the fine dance choreography enhanced with various fabrics and lighting, and upbeat, jazzy phrasing. The section called The River’s Edge utilizes striking indigenous movement with gorgeous winter vistas. Joyful, lively refrains come from the section called Orion’s Belt. Pendulum is a section full of rhythm and sensuality and, finally, the section entitled Illuminate blends images of waterfalls and butterflies with soaring violin and other orchestral groups.
The camera comes in close throughout and shows the skill of these artists and captures their heightened emotions when performing this dynamic piece. It is truly inspiring to hear from many of these people who have shared their talents. The extensive credit list alone displays the fierce commitment to this massive undertaking – artists, technicians and producers, all seeking to connect with a cinematic audience, while allowing viewers to immerse themselves in a feast of sight and sound.
Feature Film Winner from the BLACK Feedback Film Festival.
Afeni shakur and the trial of the Panther 21, 70min., USA Directed by Ray Barron- Woolford FRSA The Untold inspired story of Afeni Shakur one black woman pregnant with the rap star Tupac, charged with 156 acts of terrorism with no lawyer or legal training fought her corner to be found NOT GUILTY on every charge
A dark comedy feature inspired by a true story and based on the book of the same name.
After a man moves to a small town to care for his dying father, he embraces the community and his new life as a stepfather and husband, until he finds himself in the crosshairs of an unhinged townswoman who challenges him in a school board election and makes him look like the crazy one.
What genres does your screenplay fall under?
Thriller/Dark Comedy
Why should this screenplay be made into a movie?
The story is inspired by real life and will be relatable to the viewer. Everyone has a crazy aunt like the antagonist!
ReUniverse, 99min,. Greece Directed by Thodoris Vournas “The film ‘Re-Universe’ by Theodoros Vournas is a psychedelic science fiction journey with impressive visual effects, that intertwines personal exploration with cosmic concepts. A group of young people, faced with existential questions, find themselves entangled in a process of rebirth and reconnection with the universe. The film explores themes such as human relationships, identity, and humanity’s place in the infinite.”
FEEDBACK Toronto Comedy Film and Screenplay Festival is a must for filmmakers because you get direct feedback that allows you to know if your film works. Do people get it? Does it engage conversation? All of these questions were answered and more. Thank you. And Thank you for recognizing the actors that put in a great performance. There is a lot of talent out there and to tip your hat to two of ours, makes us giddy.
If you’re interested in storytelling, this is the interview for you. Editor Valerio Bonelli has edited over 30 films in the last 20 years, working with some of the top directors, including many collaborations with Ridley Scott (The Martian, Black Hawk Down, Hannibal, and the Oscar winner Gladiator), and Stephen Frears (Philomena, The Program). In this interview, he gives a lot of amazing insight on the art of editing a feature film and what it takes to succeed in Hollywood.
Matthew Toffolo: You’ve worked as an Assistant Editor on many big Hollywood productions. What is the role of Assistant/Associate Editor? What is the biggest thing you’ve learned doing this task to help you grow as an editor?
Valerio Bonelli: It’s now quite a while ago but what I remember of my experience working on those big movies is that I felt that I was like a kid in a candy store. I was working and learning from people I respected a lot in the industry like Ridley Scott and Pietro Scalia and at the same time I was given challenging tasks mostly to do with the organization of the cutting room. That sometimes can be seen as boring and not so creative but I believe that learning to run those big cutting rooms gave me the confidence to become a film editor and to handle very stressful situations.
MT: What film that you’ve worked on has been your most valuable experience?
VB: It’s difficult to say because every film I worked on somehow added something to my knowledge as an editor and as a person. Each film is different even if you work with the same director, but I can say that there are few films that have stayed with me for one reason or another. Recently I’ve cut a documentary feature called “Palio”, this film was particularly challenging for me because unlike most conventional documentaries the story is narrated in the present time and not retrospectively with a narration voice but with the voices of all the characters of the film. The film is about the famous ancient horse race in Siena, Italy, it did not have a script, and was ‘written’ during the editing process by me and Cosima Spender.
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PHOTO: Still Shot from the documentary “Palio”:
The Palio is possibly the only race in the world where in order to win you have to spend a lot of money in bribes. The story is about a young jockey that challenges his old master, who has monopolized the game for the last 16 years and won it 13 times. In terms of feature film one of my favourite experience was cutting Philomela by Stephen Frears. For me this was a unique experience for several reasons because not only I was given a chance to work with such a great master of cinema like Frears (who by the way was one of my Teachers at the Nation Film and Television School) but I was cutting a story that was very important for me because of my upbringing in a Catholic country. Also I was cutting Judi Dench’s masterful performance. I learned a lot from looking at her performances in the rushes.
MT: What is the art to being a great DOCUMENTARY editor? How is working on this type of film different than a conventional live-action film?
VB: The most important thing you have to remember when you cut a documentary is that almost everything is possible in terms of narrative. There is no script and the way the material is cut decides the narrative of the film. As an editor I feel you have even more responsibilities.
I try to bring narrative documentary techniques of editing in the feature genre and vice versa.
One example is when I cut “The Program” for Stephen Frears. The film is about Lance Armstrong and I was given a lot of documentary footage and news reports as well as all the live coverage from all the Tour de France Lance won by Lance between 1999 and 2005. I was able to use this footage cut together with our footage of Ben Foster playing Lance mostly because the impressive physical change that Ben did in the months before shooting in order to look like Lance. Also the news footage helped us to build narrative threads of stories particularly around the media buzz that Lance’s victories generated, most of this sequences were not scripted in the original script.
PHOTO: Judi Dench in the feature film “Philomena”:
MT: Generally, when does the editor join the production on a feature film? Do you begin editor when the film is still in production?
VB: I always start at the start of the shooting but often I get to talk to the directors I work with in the weeks and months before the film is shot and I give my feedback and opinion on the script.
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MT: What is an editor looking for in their director? What is a director looking for in their editor?
VB: In a director I look for a relationship where I feel that I learn something new, at the same time I like to be challenge by a director, it is also important for me to know that I can contribute to his vision of the film. Probably a director feels that the editor is a collaborator but also the first audience that sees the film and so he looks for his objectivity as well as his understanding of what he’s trying to achieve.
MT: Is there a type of film that you would love to edit that you haven’t edited yet?
VB: I’m very eclectic in my taste and so I’ve switched already quite a lot of genres so far but I must say that I sometimes would like to cut a Western movie, maybe because as a kid I’ve seen so many.
But mostly I react to stories, so for me when I worked on The Martian as a co-editor with Pietro Scalia it was a dream come true to do a Sci-Fi; but for me that was not the main exiting thing, the story was what exited me, the humanity that came out of the film was relevant for me.
MT: What film, besides the ones you’ve worked on, have you seen the most times in your life?
VB: The Good, The Bad, and The Ugly by Sergio Leone.
MT: What suggestions would you have for people in high school and university who would like to get into the industry as an editor?
VB: Try to cut as much as you can (Short films, Docuentaries, music videos…anything) and if you can go to a good film school like the NFTS in the UK because is a good place where you can meet talented and motivated people.
MT: Where did you grow up? Was working in the Film Industry something you always wanted to do?
VB: I never imagined that I was going to end up in the film industry when I was a kid, I actually dreamed of becoming an orchestra conductor!
I was born in Naples but my parents moved to Florence very early on in my life. I feel I grew up in a beauty box, surrounded by stunning hills and monuments and this beauty is for sure an element that has influenced me a lot in my choices in life and still is part of me. Sadly I had to leave my county in order to flourish but I can’t explain why otherwise I would turn this blog into a political and sociological critique of Italian life!
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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 Fesival held online and in downtown Toronto every single Thursday . Go to www.wildsound.ca for more information and to submit your work to the festival.
Deadline Today to Submit to the Festival via FilmFreeway:
Great festival. Thanks for what you’re doing.
A genuinely supportive and thoughtfully curated festival. The team behind the Experimental, Dance & Music Film Festival goes above and beyond to champion bold, emotional, and unconventional work. The audience feedback video was especially moving — such a rare gift to receive as a filmmaker. Honored to have been part of it!
We had a wonderful experience with this festival. Communication was clear, timely, and personal. What stood out was the effort they make to build community. We’re grateful that our short film ‘Home’ was awarded Best Art Film. Thank you for creating a space where experimental (dance) films can be seen, heard, and felt.
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.
Thank you so much for awarding our music video »FRAGILE« with Best Experimental. We are thrilled!
Submit your Romance & Relationships Short Story to the Festival here and we will automatically have it performed by a professional actor and turned into a promotional video for yourself.
ReUniverse, 99min,. Greece Directed by Thodoris Vournas “The film ‘Re-Universe’ by Theodoros Vournas is a psychedelic science fiction journey with impressive visual effects, that intertwines personal exploration with cosmic concepts. A group of young people, faced with existential questions, find themselves entangled in a process of rebirth and reconnection with the universe. The film explores themes such as human relationships, identity, and humanity’s place in the infinite.”
