Interview with Filmmaker Heloisa Cardosa (SUBMERGED)

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.

Get to know the filmmaker:

1. What motivated you to make this film?

The relationship depicted in the film mirrors one I personally experienced, involving ghosting and psychological abuse. This type of relationship is also portrayed in my novel Glass Casket (Caixão de Vidro).

2. From the idea to the finished product, how long did it take for you to make this film?

I came up with the idea for this film in 2021, began shooting in 2024, and completed the editing in 2025 — a process that took four years from start to finish.

3. How would you describe your film in two words!?

Creepy / Unsettling

4. What was the biggest obstacle you faced in completing this film?

The biggest challenge was definitely the low budget. Some ideas had to be discarded, and many others were modified.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was really moved by the feedback overall, but especially when viewers picked up on my references — like David Lynch and The Ring.

6. When did you realize that you wanted to make films?

I’ve been a theater artist since childhood and have dedicated my entire life to the stage. It was only during the pandemic, with theaters closed, that I realized my writing and directing skills could also be applied to film — and when I started studying it, I fell in love with the audiovisual language.

7. What film have you seen the most in your life?

I’ve watched many horror films over and over throughout my life, but the last one I rewatched five times was Pearl.

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 overall festival experience was very satisfying — with the film screening, awards, interviews, and feedback. If I could add one thing, it might be a free review.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

The experience on the platform was great — very practical and intuitive.

10. What is your favorite meal?

I’m a vegetarian, so any meal without meat makes me very happy. But I have a special liking for pizza.

11. What is next for you? A new film?

I am adapting my novel Glass Casket into a feature film — it also explores a psychologically abusive relationship. I’m also writing a new novel about psychiatric hospitalization.

Interview with Filmmaker Harry Roseman (HOLIDAY SPECIAL)

HOLIDAY SPECIAL, 91min., USA
Directed by Harry Roseman
Community, Celebration, Conversation, Chores; these are the key themes of this experimental documentary. Four days of shopping for Thanksgiving dinner as well as the meal itself are
the ostensible subject of this film. Community is reflected in the interaction with people while shopping as well as the camaraderie of the dinner quests. The quotidian nature of these tasks is subverted by the abstract camerawork and narrative structure, offering the viewer a new perspective on both. The vertical orientation of the film reaffirms looking ahead as we follow the trajectory and shape of the shopping cart moving down the narrow aisles, as well as following the gaze of the filmmaker as he walks forward.

Get to know the filmmaker:

1. What motivated you to make this film?

I had reviously done a series of films that have to do with errands and buying food. Some of these are Buying Cat Food, Buying Cat Food 11, Checking out 1,2 and 3, and Grocery Shopping (which also won an award and was screened on Wildsound). These were all films that I thought asked a lot of the audience, so I was very pleased with the responses from your audience. All that is to say that this was a natural next step in this series of films.

This is the first one where you actually saw the people I interacted with, while doing these errands. This film is the longest and is closest to what one might think of as a narrative. These films are a way to make everyday chores into, I hope, an experience that beings introspection to others about the everyday, the people we interact with and the idea that the mundane, while being mundane is also not mundane and can be a rich context for community and personal interactions. That it is also a place of great visual interest. So this film reflects all of that. It is also a way for me to make some of the smaller aspects of my life into my work, into art. And whatever it does to affect the audience, making this and these films enriches my life.

2. From the idea to the finished product, how long did it take for you to make this film?

As inferred from the last answer the idea for this film has been germinating in a number of the last films I have made, so I would say from idea to making this film was about 20 years. This particular iteration of these films about three months from start to finish. The film took about four days and the editing took about a week. But like (sorry for the grandiose comparison) a Chinese Calligrapher decades and a moment.

3. How would you describe your film in two words!?

Patience required.

4. What was the biggest obstacle you faced in completing this film?

Staying alive.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was quite pleased with the thoughtfulness of the replies. I even appreciated the woman who seemed taken by it while admitting this wasn’t her cup of tea.

6. When did you realize that you wanted to make films?

Over the decades I produced and exhibited sculptures, drawings, collages, and photographs.

A few years ago, I “unearthed’ the first film I had made in 1967. Even though I had a keen interest in animation and team taught a computer animation course for about12 years. Intermittently from about 2013 I made some films, in about 2016 I started to make films on an ongoing basis.

Some of these were animations based on my photographs, others were live action. The films I make often utilize ideas I worked with in my sculptures and collages.

7. What film have you seen the most in your life?

The Umbrellas of Cherbourg.

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. love this festival. Not just because I have been in it twice, but because of the various stages it produces, The audience feedback, the podcast interview and the availability of the films online.

I wish there were more festivals with Live Screenings. I am not sure that the idea of what most people think of as, career, pertains to my films. But having the films seen is certainly important to me.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

Excellent in general. Some of the festivals, like Wildsound, are substantial. Others just feel like a way for the organizers to gather cash.

10. What is your favorite meal?

I take it you mean food. Custard and Pasta.

11. What is next for you? A new film?

I am getting close to finishing a 1/2 hour animated film called, Behind the Picture. I have been working (with help) On this film for over a year. It is the 14th film in a series based on a trip I took to China in 1987.

Filmmaker Hannes Rall (DOBRINA)

DOBRINA, 5min., Germany
Directed by Hannes Rall
Lotte Reiniger meets Sergio Leone in this animated short, where desire burns as bright as the desert sun.

Get to know the filmmaker:

1. What motivated you to make this film?

I always wanted to make a film that combines my love of the films of Sergio Leone, Lotte Reiniger (famous German silhouette animation pioneer) and the artworks of Pablo Picasso particular his bullfight drawings and prints. The film obviously also pays homage to the opera Carmen, so I hope it all comes together in a rather unique mix.

But of course there was also the fabulous song by Michael Roedinger and his band that inspired the story and the visuals in the first place.

2. From the idea to the finished product, how long did it take for you to make this film?

Round about two years because I always had to find time to animate on the film, together with my German colleague Ralf Bohde.

3. How would you describe your film in two words!?

Flaming shadows.

4. What was the biggest obstacle you faced in completing this film?

Clearly finding the time to do it.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

I was so happy to find that the comments exactly mirrored what I had intended to communicate with the film.

6. When did you realize that you wanted to make films?

Actually a very long time ago, now it’s coming to 40 years when my initial love for comics turned into an infatuation with a fascinating medium of animation.

7. What film have you seen the most in your life?

Probably a lot of animation films among them all the Disney classics, but naturally also a lot of avantgarde and independent animation. As you can tell from my film very easily also do love westerns be it the very classic ones like “The Searchers” or Sergio Leone’s fabulous “Spaghwtti”-Westerns like “Once upon a Time in the West.”

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 audience feedback you’re doing and sharing with the film makers is a wonderful idea and should be more common with festivals – as it will allow the many of us who cannot personally attend all the festivals to still get an idea of the impression the film left with the spectators.

9. You submitted to the festival via FilmFreeway. How has you experiences been working on the festival platform site?

Film freeway is great because it is really easy to handle and very intuitive and user friendly.

10. What is your favorite meal?

Oh no there are so many to choose from – but possibly the Italian dish Osso Bucco.

11. What is next for you? A new film?

Yes indeed there are actually several in the works. Ironically a very long “short film” (29 minutes) that “mashes up” free famous Shakespeare please in slightly humorous fashion and a very short one that will be a kind of sequel to my very successful short

“Shakespeare for all Ages.”

Interview with Filmmaker Frankie Lasley (GRAVITY BOUND)

Gravity Bound, 3min., USA
Directed by Frankie Lasley
The Man on the Moon is bound to the moon by his job; controlling the tides on Earth with a magical box of gravity. His quiet days are spent longing after a Shooting Star, who is bound to forever orbit him from a distance.

https://www.instagram.com/gravityboundfilm

Get to know the filmmaker:

1. What motivated you to make this film?

– I wanted to make a love story because I think love is kinda at the root of every story, and going for something surreal and otherworldly let me and the other artists express our ideas and our feelings in ways we could only achieve with animation.

2. From the idea to the finished product, how long did it take for you to make this film?

– It took about a year to make Gravity Bound, we spent a long time just on pitching the idea to people and refinding it, and then in pre-production we practically started over entirely. But even with all the work and ideas that never get seen, it was still all important to creating the best possible film we could make.

3. How would you describe your film in two words!?

– Otherworldly Love

4. What was the biggest obstacle you faced in completing this film?

– Our time frame! We wanted to keep to a 3 minute run time to avoid overextending ourselves, but we had so many ideas!

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

– I was tearing up, one of the scariest parts about making a film is that you look at it for so long you don’t know if your ideas are actually coming across, or make any sense. Watching people understand it and interpret it, and then even better, say they liked it? It was so rewarding and it felt like being understood.

6. When did you realize that you wanted to make films?

– I realized a long long time ago that I wanted to make art, but I didn’t know if I could direct a whole film. Even when I started this film I wasn’t sure. But very quickly, at the start of this project, was when I realized I would go the distance to make sure my ideas and my team’s ideas would get seen so their dedication would be worth it, and with that came making and finishing a film.

7. What film have you seen the most in your life?

– I’ve seen Ernest and Celestine maybe 8 or so times. I used to watch it when I was sick or had a cold because their friendship and their love was so calming and cute.

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 what you’re doing is great! I think we need more festivals with this kind of two way involvement

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

-good! very easy and smooth.

10. What is your favorite meal?

– I love mushrooms, anything with mushrooms. Rice? Pasta? Potatoes? Saute some shiitake mushrooms and throw those guy on top and Im drooling

11. What is next for you? A new film?

– The Gravity Bound team has all just graduated with BFAs in animation! I, Frankie, relocated to LA to keep making art, the rest of the team is following similar paths and spreading their wings all over the country. If you’re looking for talented animators who like to try new and challenging things, the Gravity Bound credits is full of top tier options 🙂

Filmmakers Ísak Magnússon, Óliver Sólberg (BELONG TO YOU)

BELONG TO YOU, 6min., Iceland
Directed by Ísak Magnússon, Óliver Sólberg
Belong to you follows a swimming pool employee who thinks about his relationship with his coworker on a quiet night.

Get to know the filmmakers:

1. What motivated you to make this film?

We had just graduated from high school, where me and Ísak had worked quite closely together, and we wanted to continue our partnership and continue creating. I had this idea that was originally a poem and from that we started production. The poem was originally just meant for me to vent out my feelings.

2. From the idea to the finished product, how long did it take for you to make this film?

The idea first came about when I wrote the poem in early 2024. From that there was the early drafts of the script, but that came to a halt until me and Ísak picked it up in august 2024. We started production but that also came to a short stop, because we couldn’t find the right actors. Then, by miracle, we found the two perfect ones. We shot the film in one day at a closed swimming pool on november 23rd and finished shooting after only eight hours of filming. Then came post production which took about two months and the film was finished in late february of 2025. So in total the film took about a year to complete, from idea to the big screen.

3. How would you describe your film in two words!?

Haunting and Beautiful.

4. What was the biggest obstacle you faced in completing this film?

Definitely finding the right actors, because the script demands a lot of subtlety, but we also found it difficult to find the right swimming pool, that would be the right size for just two employees.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

We were really grateful to hear all the wonderful feedback. It also felt really surreal as we have only heard feedback in Icelandic, so hearing it in English was quite special.

6. When did you realize that you wanted to make films?

Óliver: For me, it was making Imovie shorts as a kid.

Ísak: For me, it was watching The Grand Budapest Hotel in 2021, for the first time. The film amazed me and made me realize that I wanted to make films, and be a part of the filmmaking world.

7. What film have you seen the most in your life?

Óliver: I have probably seen Stalker, by Andrei Tarkovsky 10 times. I like to watch it when I can’t sleep, because it’s so relaxing and the atmosphere in the film is so alluring.

Ísak: For me, it’s definitely The Grand Budapest Hotel, by Wes Anderson, I watch it at least once a year and it’s my comfort movie. It’s just so entertaining and beautiful, it always makes me cry. The cinematography and the score come together so beautifully and I just love it.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

We have nothing to comment on, we think your festival is excellent. We think other festivals should take wildsound as an example of a filmmaker driven festival.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?

Good and bad. There are better websites to use to submit your film, but Filmfreeway is the most popular one by a longshot so you kind of have to use it. There could be more information on the website but otherwise it’s fine.

10. What is your favorite meal?

Óliver: My dad’s risotto is my favourite meal. It makes me feel very nostalgic.

Ísak: My favourite meal is cod with curry sauce and rice. It reminds me of my youth and it used to be served sometimes in school, and it was so delicious that me and my best friend would sometimes have four servings.

11. What is next for you? A new film?

Well, right now we are developing a new short film that will most likely be shot in late september. The working title is: I Am From The Future.

Interview with Filmmaker Ben Hamilton (Sitka’s Hidden Wonders)

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.

https://instagram.com/sitkawonders

Get to know the filmmaker:

1. What motivated you to make this film?

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.

2. 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.

3. How would you describe your film in two words!?

Local. Connected.

4. 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.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

It was great to hear their reactions to the film. I’ve been showing the film in person in Sitka all summer so getting audience reaction has not been new, but always great to hear that people not in that place still really connected to the film.

6. When did you realize that you wanted to make films?

I started making films in high school—shooting weddings, promos, stop motion, documentaries, and funny shorts with friends. I always through I wanted to make fantasy and sci fi films, but eventually found my way to nature and wildlife!

7. What film have you seen the most in your life?

The Empire Strikes Back, Tropic Thunder, and The Fellowship of the Ring. I watch a lot of wildlife films and documentaries, but epic fantasy and comedy are my go-to for downtime.

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’d love more of those raw, immediate audience reactions right after a film—before the analysis that I could use for social. The multi minute format is a bit awkward and not as helpful for reaction cut ups.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?

It’s been easy to navigate and makes it simple to track submissions and discover new festivals.

10. What is your favorite meal?

Fresh-caught king salmon grilled with black cod tips—ideally eaten outdoors with friends.

11. What is next for you? A new film?

We’re building Sitka’s Hidden Wonders into a full tourism experience in Alaska. We’ve rented the main theatre downtown for two years, we’re working with cruise ships to bring the film to their guests, and we’re creating tours that take people into the places they see on screen—so they can experience them firsthand and find their own wonders. We have a new film were working on for the area that dives deeper into some of the elements we touched on in the film but its too early to talk about that!

Today’s Podcast: EP. 1572: Filmmaker Alice Ioana Nicolae (NOW IT’S BETTER)

Now it’s better, 12min., Romania

Directed by Alice Ioana Nicolae

In a world where it is easier to tear down than to build, to blame rather than to take responsibility, there are still resources for a better life. Although very painful and seemingly unique to each couple, the stories of our protagonists are almost universally valid, or perhaps very relevant in our current social and political context.Will the protagonist couples save their relationships? We will see in the short film ‘Now It’s Better.’

www.instagram.com/alicenicolaehl

Subscribe to the podcast:

https://www.instagram.com/wildsoundpod/

https://www.facebook.com/wildsoundpod

Watch Today’s FREE Festival: DOCUMENTARY Shorts Festival

Watch the festival NOW for the next 48 hours by signing up for the FREE 3-DAY trial using the link, or go to http://www.wildsound.ca

Watch today’s Festival: https://www.wildsound.ca/events/documentary-shorts-festival-august

Guided by God, 5min., Ukraine
Directed by Sophia Bihailo
A portrait of Lubomyr Martyniuk, an artist who has spent 17 years painting the flowers and nature of the Kyiv Botanical Garden, transforming a forgotten botanical laboratory into his studio and filling it with thousands of works.

War in Ukraine through the Eyes of Europeans, 18min,. Ukraine
Directed by Alexander Sparinsky
The author’s documentary art musical story, which conceptualizing the events of current Russian-Ukrainian war and its possible consequences; short meter (in prospect up to 25 minutes), which will demonstrate to the world the range of opinions of ordinary Europeans who by the will of the Russian aggressor are in a state on the eve of World War III.

https://www.instagram.com/aleksandr.sparinsky/

Gazakh District, 4min., Azerbaijan
Directed by Ruslan İbrahimli
Gazakh region is an ancient and beautiful place of Azerbaijan. This short introductory documentary is made to introduce Gazakh history, culture, cuisine and famous people. Starting from the Gazakh Museum of History and Local History, the film presents the material culture samples discovered in the territory of the Gazakh region, Damcili cave camp, brief information about Samad Vurgun, a magnificent view of the Goyazan mountain and the special food of the Gazakh people, Khangali, to the audience.

Busking Axl: my tribute to Guns & Roses, 26min., Argentina
Directed by Jimmy Alejandro Castro Zambrano
Damián Tovar Luna is a street artist who, through the interpretation of a character called Axl to the cap, pays tribute to Axl Rose and the famous rock band Guns & Roses.

https://www.instagram.com/jimmyartista/

Today’s FilmFreeway Testimonial: WILDsound FEEDBACK Film Festival

Submit to the WILDsound Festival Today:

I highly recommend that filmmakers of any skill level interact and engage with the Wildsound Film Festival.

Festival organizers Matthew and Alison Toffolo have created an awesome experience. Their passion for the medium of film and providing filmmakers with exposure, feedback, and connections is clear through the quality of their festival.

The feedback videos they offer are a perfect tool to gauge audiences’ reception of your film.

The podcast interview the festival provides is a great way to promote your film. Matthew is an awesome host who asks engaging and detailed questions.

Films submitted to this festival also have the chance to be selected for one of the biweekly, genre-based screenings at the Toronto Carlton Cinema.

These in-person events happen biweekly and are an awesome opportunity to view, support, and discuss short films with other artists. I’m so grateful to have met so many truly talented and passionate film enthusiasts and creators at this event. It was an incredible honor to have The Callback, a short film I wrote and directed, premiere at this festival. I’m deeply grateful to have been a part of it.

Short Film Review: MATTER. Dance/Experimental

Directed by Gabe Katz, Mike Murphy

A young woman enters into a journey of self-exploration, discovery, and identity. As she travels through the ephemeral, working through her understanding of self-perception, other travelers within the same universe try to join. These travelers soon realize that her story is not for them to mimic or assume, but to discover through their own experiences. They learn to accept that one can be empathetic to the experiences of others, without being central to the plot. These travelers become members of a creative community, observing and understanding a greater universal struggle: accepting oneself as a thread within the fabric of existence, and not the fabric itself. The young woman continues on her journey within the greater schema of reality. She endures everything and nothing all at once—accepting her present reality for its momentous nature, knowing it will be quickly lost to the vastness of time.

https://www.gabekatz.com/matter

Review by Parker Jesse Chase:

Matter is a meditation on identity, community, and the space between individuality and collective existence. The film follows a young woman on a journey of self-perception, where others attempt to step into her story only to realize it isn’t theirs to take. Instead, they’re reminded that empathy does not mean centering oneself in another’s path. Her movement through the ephemeral becomes a mirror for our own human tension: wanting to be both unique and connected, both the thread and the fabric.


The film opens in a stark white space, sterile and stripped down, our main figure in black, her face concealed by a helmet. The contrast is striking. A jazz-like wind instrument plays faintly, textured with background noise as if we’re overhearing it at a small cafe. Movement begins, fluid and deliberate, and the costuming folds into the choreography so naturally it feels like an extension of the body itself.


Soon another figure intrudes, removing the helmet, followed by more dancers drifting into the frame. At first, their presence is ambiguous. Are they invading her space, or offering community? That tension lingers as bodies multiply. Movements ripple, one blending into another, pairs forming and dispersing, a current of mimicry and fluidity that raises the question: how do we hold our own shape while surrounded by others?


Each dancer gets moments of individuality, flashes of expression through body and gesture. Yet as the camera widens, the ensemble surrounding them looks heavy, even sorrowful. Drooped shoulders, bleak expressions, a kind of condemnation of the one in focus. The group closes in, zombie-like, pushing forward and down to the floor. It reads as a physical metaphor for the struggle between breaking free and being pulled into the conformity of the whole.


The cycle repeats. The crowd fades, only for smaller sets of dancers to return, layered routines intersecting within the same space. Background noise swells, reminding us that life is always filled with unseen passerbyers, strangers whose presence is felt even without direct contact. Dancers clutch their hearts, shield their faces, run corner to corner grasping for any sense of individuality in a space that keeps inevitably folding back into the group itself.


The film circles back to its beginning. The helmet returns. The original figure collapses, body limp, hand dropped lifeless to the floor. The black helmet rests ahead of her, now transformed into a symbol of both burden and release, maybe even death. The film leaves us in that stillness, confronting the inevitability of returning to matter itself.


Gabe Katz’s hand is present throughout, not just as choreographer, but as a guiding force across costuming and the emotional architecture of the piece. Paired with Sam Gendel’s soundscape and the minimalist staging, Matter becomes less about watching a performance and more about feeling through one. It asks us to consider the truth that we are both small and infinite, fleeting but part of something vast.


We are matter. Sometimes we feel like the center of the room. Sometimes we dissolve into the crowd. Either way, we are here.