SILENT TOKEN, 14min., USA
Directed by Camilla Della Vecchia
When Sonia, a descendant of a secretive law enforcement group becomes the target of a ruthless enemy from the past, she must uncover the truth about her family’s legacy. Guarded by the fiercely loyal protector Michael Stone and the powerful coin that she inherited. As danger closes in she must decide whether to stay hidden or embrace her destiny in the fight against corruption.
In terms of career growth—I also think designers can make that mental shift of thinking on a smaller scale early in their careers on smaller films, to thinking on a larger scale as projects grow in size. But I think it’s much more difficult for designers to start with thinking on a larger scale, then downsizing their approach and expectations on a smaller project. And as we’ve seen so much lately—some of the highest quality films being made right now are the smaller, independent projects (“Ex Machina”, “12 Years a Slave” to name a few), and if a designer catapults you to doing an $80 million film as his or her first film, downshifting to this smaller budget range can prove to be a difficult maneuver.
Each Director I work for has their own different idea as to what they want from their Designer. The Director and Designer are the first ones of the Creative Staff working on the job. Those early moments together are used to dissect the story and begin to give it a visual tone and map the moments. It is during these first weeks the Designer morphs to suit the Director’s vision and enhance that vision and help tell the story. The Director must be followed and a Designer must take their lead from the Director and faithfully back that vision.
I’m very proud of the Saw franchise and feel grateful to have had the opportunity to work on it. It a piece of cinema history now. I also have a real fondness for Outlander as it was one of the most epic projects that I’ve done. I had to research it like crazy and learn everything about viking architecture, culture, weaponry etc. We had to build everything, weaponry and huge sets that included a viking village with 22 buildings and an 80 foot Viking ship that was fully practical. The craftsmanship from the whole crew was outstanding in every department. I’ve always loved viking stories and would love to direct a viking feature now.
Woody gives me a total freedom and is even open to ideas of locations how we can make the script better. Like in “Magic in the Moonlight”. We found this amazing Observatory in Nice and he liked it a lot. Then we used it for the scene when they run to protect themselve from the rain in the night. It is magical moment in the film and inspired the tittle.
Initially, a director is seeking a Partner who shares his passion for the project, and regards it from a perspective that adds visual continuities that help tell the story as a whole. Good Directors are always seeking the better answer, and asking the better questions, and it’s during this interaction that the film begins to take shape. Later on, a Director is looking for supportive team play from the Art Department, and good communication with the Costume Designer, Cinematographer,and their teams, ensuring that the shooting days are about performances rather than these Crafts.
Six people play a dark and ruthless gambling game in which every card can either grant significant rewards or decree a death sentence. With each turn, a mysterious red light selects the player, inexorably determining the fate of every participant.
I was driven by passion and stubbornness. I almost had no money to make this project, but I had amazing and talented people around me who made it happen. I was allowed to use our town’s beautiful theater for filming, found the actors, arranged a crew, and then I said to myself, “You know what? We can do this.” Red Wins was in my mind, and I needed to bring it to life as soon as possible.
From the idea to the finished product, how long did it take for you to make this film?
It took around 3 years. I started writing Red Wins in early 2021 and finished post-production at the end of 2024. By January 2025, I finished the last small corrections, and then Red Wins was ready for the festivals. I’m not gonna lie, it was so hard to let it go. I kept making little corrections for a while!
How would you describe your film in two words?
Irregular and oppressive.
What was the biggest obstacle you faced in completing this film?
Let’s be real, shooting Red Wins was no piece of cake! It was my first movie, the budget was low, and even if everyone who joined me in this adventure strongly believed in the project, I couldn’t hold them up for too long. We had breaks, some even lasting months, between different phases of filming. The post-production part wasn’t any easier. I had to focus on other work as well and find time for Red Wins. I had to keep going through the night sometimes, and it was exhausting. Covering different roles was hard, but no doubt, I put every piece of my soul into Red Wins.
The FEEDBACK Female Film Festival (FFFF) was created for women filmmakers and screenwriters. The goal is to showcase the best of female talent in film & TV from around the world.
Deadline Today to submit via FilmFreeway:
The FEEDBACK Female Film Festival is a great platform that really supports female filmmakers. They offer amazing opportunities to get your work seen and promoted. One of the best parts for me was getting the audience feedback video to my short film ‘Sequoia’—seeing real reactions to ‘Sequoia’ felt truly special and rewarding. Huge thanks as well to the festival for awarding us Best Visual Design. It was an honor to be part of it! If there’s one thing that could make the experience even better, it would be the addition of an in-person screening. Other than that, it was a fantastic festival all around.
Submit your FEMALE short story to the festival here, and we will automatically have it performed by a professional actor and turned into a promotional video.
Get FULL FEEDBACK on either the 1st chapter or entire novel book from our committee of Professional Writers, and Writing Consultants. Get your novel performed by a professional actor at the festival.
NEW OPTION: Or, just submit for an actor performance reading transcript of your novel (any 5 pages of your book). Great way to promote the sales of your book if you’re already published. (see examples on the video playlist below)
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.
NO END LANE, 11miin., UK Directed by Mikkie-dené Le Roux In the aftermath of losing her closest friends in an accident in which she was the only one to survive, Michaela falls victim to prescribed antipsychotics to help her deal with the trauma. As she loses herself in the fog of her distorted reality, she can no longer identify the real from the unreal. Her subconscious haunts her as her memories become nightmares that she desperately tries to escape. Michaela finds herself at the scene of the accident, not knowing how she got there.
Devil Makes Three, 9min,. Canada Directed by Loken Charon When two punk bands are double booked to headline Halloween night, they must decide who will play before something else does.
Bay for Blood, 18min., USA Directed by Harry Waldman James and Rob are hiding out in isolation to fix their mutual issues. As time progresses, the two reveal facts regarding their disturbing past relationship. An acquaintance of James’, Jessica, finds herself in an uncomfortable position as she contemplates the best way to handle the situation.
Bay for Blood, 18min., USA Directed by Harry Waldman James and Rob are hiding out in isolation to fix their mutual issues. As time progresses, the two reveal facts regarding their disturbing past relationship. An acquaintance of James’, Jessica, finds herself in an uncomfortable position as she contemplates the best way to handle the situation.
I had a fantastic experience at the Chicago FEEDBACK Film Festival. The feedback video from the audience was insightful and encouraging, and I truly appreciated the opportunity to hear real reactions to my film. The team is very supportive and communication was excellent throughout the process. I highly recommend this festival to any filmmaker looking for genuine audience engagement and professional recognition.
A travel story is a piece of writing that describes a location, its people, culture, and customs. It can also be a narrative of a journey that provides information about the physical, biogeographic, and ethnographic characteristics of an area.
Submit your TRAVEL short story to the festival here, and we will automatically have it performed by a professional actor and turned into a promotional video.
Get FULL FEEDBACK on either the 1st chapter or entire novel book from our committee of Professional Writers, and Writing Consultants. Get your novel performed by a professional actor at the festival.
NEW OPTION: Or, just submit for an actor performance reading transcript of your novel (any 5 pages of your book). Great way to promote the sales of your book if you’re already published. (see examples on the video playlist below)
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.
Hover City is a prequel to the 2017 novella, Lucky Duck Cola. Everyone in Hover City is getting high-fived by their favourite celebrity, Blaine The Block Bronson–that is everyone except for his most devoted and loyal fan. This man will stop at nothing to experience, the hero, Block Bronson’s patented high five. Hover City addresses the corrosive nature of narcissism within the individual and throughout society. It is a one man show, starring the producer Stephen Puiia, and is a comedic-horror.
Three band members in the desert searching for inspiration discover a tape machine and curiously press play. This tape machine catapults them into a demonic dimension that mirrors the birth of their own demon.
The Newlyweds: Blood At the Altar, 15min., USA Directed by Lucien Christian Adderley, Richard “Byrd” Wilson Tia and Akil are good people loved by their friends and family. However, no one believes they should wed because they love hard. They’ve had a dysfunctional, up-and-down relationship since college. They’re crazy about each other, and their friends have seen the chaos that can bring when things aren’t going well. Their love is either SPARKS flying or things BURNING, no in-between. On their big day, we quickly learn that their wedding guests have doubts about their marital future. Despite the looming uncertainty among family and friends, the couple proudly pledges their LIVES to each other. As the devoted couple exchanges vows, things get wild when a catering staff member barges into the kitchen with sick but strange symptoms. After the ceremony, the NEWLYWEDS prepare to make their grand entrance in the ballroom as husband and wife, but instead of applauding guests, they are faced with grueling ZOMBIES.
