Evergreen Misery, 4min., USA Directed by Ryan Joseph Music video about artist MOTHICA arriving at “Mothicorp” and discovering hidden truths within herself.
Get to know the filmmaker:
1. What motivated you to make this film?
Mothica had a compelling concept — her subconscious mind visualized as a corporate prison versus a lush, true inner world. That tension was too cinematic to pass up.
2. From idea to finished product, how long did it take?
About a month of planning, two days to build the set and shoot.
3. How would you describe your film in two words?
Subconscious liberation.
4. What was the biggest obstacle?
The set build. Figuring out how to physically construct two completely different worlds on a tight timeline took the most problem-solving.
5. What were your initial reactions to the audience feedback video?
It was fun. It’s genuinely nice to watch people react to something you made.
6. When did you realize you wanted to make films?
It started early. Growing up, Star Wars and Indiana Jones hit me in a way I couldn’t quite explain at the time. My dad gave me a Canon camcorder around age 10 and something just clicked — the idea that you could capture life and play it back in front of your eyes was fascinating to me. From that point on, my brother and I were in the backyard basically every day filming whatever we could think of. By high school I was taking every film class available, making shorts, recreations, experimental stuff — anything to understand how it all worked. It never really felt like a decision. It was just what I kept doing.
7. What film have you seen the most?
Hard to pick one — Interstellar, Dune, Mad Max, and Neon Demon have all gotten a lot of rewatches.
8. What elements could festivals implement to better support filmmakers?
Honest feedback from programmers goes a long way. The conversation around the work matters as much as the screening itself.
9. How has your experience been with FilmFreeway?
Straightforward and easy to navigate. Gets the job done.
10. What is your favorite meal?
On a serious sushi kick lately.
11. What’s next?
Always working. Just wrapped a Samsonite campaign, heading into a new round of music videos, and finishing up a TV pilot.
The Encarne Trilogy, 16min., USA Directed by SI Reasoning The Encarne Trilogy is a series of no-budget shorts regarding the creation of my son and his entrance into the physical plane. It won Honorable Mention for Best Experimental Film at the 2025 Paris Around Films International Film Festival (ARFF), Best Arthouse in the Absurd Film Festival Monthly (Milan) July 2025, and Bangkok Society of Film Critics Award for Experimental Film at the Bangkok Movie Awards for July 2025.
Get to know the filmmaker:
1. What motivated you to make this film?
This film originally were three separate shorts telling one story that was created as part of the International
“Echoes of Contemporary Surrealism” Festival in 2024 that was held in Birmingham, Alabama, US – Cairo, Egypt – Saint Cirq LaPopie, France – Budapest, Hungary. In 2023, LaDonna Smith, an incredible surrealist and improvisational musician, told me that I needed to create five-minute shorts for the festival. I had been sitting on this incredible performance by CillaVee and my son from the prior international surrealist festival that I shot back in 2018.
I felt there was a story in the performance but I could not find it. When CillaVee visited in late 2023, we did a few improvised skits in several places including a book store and LaDonna’s farm and I was able to find the story with the additional footage and other historical footage I shot in my archives. In 2024, in Saint Cirq Lapopie, the shorts were shown at the summer home of Andre Breton on the 100th Anniversary of his Manifesto of Surrealism.
2. From the idea to the finished product, how long did it take for you to make this film?
The film itself encompasses footage from 2007-2023. I flirted and played with the footage from the 2018 international Surrealist festival for years trying to find the story and getting very frustrated with it. Once I found the story I was able to complete post-production within a few months.
3. How would you describe your film in two words!?
Existential Transitions
4. What was the biggest obstacle you faced in completing this film?
There were multiple obstacles, but finding the story was probably the greatest.
Although a strong case can be made that a great problem I had in finding the story was that the state of creating effects was way too complicated for many years. However, Resolve had some recent updates that came out that simplified some of the effects I needed to create these films and that allowed me to complete the films in time for the festival.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I had some wonderful feedback from the international surrealist festivals and some personal showing to small audiences where they had time to think about each of the three sections independently. That helped give me the courage to put the current film out on the cinema circuit. During this time I had a tremendous amount of success in Europe and Asia but I got nothing from the Americas, which is why I applied to this festival, to see if I can find out why. I was very pleased with the results because it showed the various reactions that I had found with my own prior screenings had shown.
The first person was fully enmeshed with the short and the internal process of discovery through the imagery presented. The second person enjoyed viewing it but had no idea what was going on both visually and auditorially, and the third person was still in the initial process of discovery and trying to put the pieces together while reviewing it.
6. When did you realize that you wanted to make films?
I was always interested in experimenting with video which began with the first video cameras that were sold in the late 70’s. You could see a lot of my playing with the camera when shooting family footage and footage of my first girlfriend, such as finding a color adjustment knob and pushing it to hot pink, as well as very close crops when people were speaking. I then started playing with video feedback and finding way to interact with it such as making the image spin or trail, or making the image dance to music.
7. What film have you seen the most in your life?
probably Eraserhead by David Lynch. I met my first girlfriend at Eraserhead during the midnight movie scene. I loved how the story was told with few words and with your own mind interpreting the atmosphere and character quirks and personally creating the backstory for what I was experiencing. I also loved the discussions amongst friends as we explored our versions of what we saw.
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 am hoping that I can be part of the public screening in Toronto. In particular, speaking directly with the audience as they process what they have been watching. Possibly, we could show the short as it was originally shown during the Echoes of Contemporary Surrealism festival, as 3 separate shorts, with a pause to discuss each segment before playing the next one.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I like having one place to put up all of my material for the film and find festivals that I think would appreciate it or provide a service such as the FEEDBACK festival.
10. What is your favorite meal?
I am spoiled as my wife is an excellent vegan chef, so I have lots of favorites. My favorite meal to make is Lebanese Tabouli and vegan Grape Leaves.
11. What is next for you? A new film?
My next project is even more complex than this one. A friend of mine created a filmmaking card game. As I travel the world when showing The Encarne Trilogy, I have been meeting other filmmakers, artists and others (such as people staying in the hostels with me) and play the game with them, where we create a potential film based on the card prompts. I am recording this process and discussions on the potential film and then we decide on a scene from that potential film and have that scene completed in post and sent to me. I will then attempt to create a feature or several shorts utilizing either the completed scene or elements from the scenes. Each segment; playing the game and discussing the potential movie, the scene created by the potential movie, and in some cases the actual movie can create links back to the other segments and potentially open up opportunities to showcase different filmmakers where the success of one segment can ripple into an introduction into other segments….
The windmill and the sea, 12min., South Korea Directed by Lysia Valentina Gani In a coastal fishing village, fishermen often find plastic fragments inside their catch. A local child turns these into windmills, treating them as precious toys. One day, a visiting child disdainfully throws a windmill into the sea, shattering the local child’s effort. The child tries to rebuild it but fails, Later, an outsider photographer urges the villagers to change, but survival keeps them reliant on plastic. In the end, the plastic drifts back to the sea, and the child watches silently, trapped in an unending cycle.
Get to know the filmmaker:
1. What motivated you to make this film?
→ A bit of background on this film, it was actually our graduation project, and why we decided to bring up these issue is that it started off with a documentary that one of the writers watched before that became the source inspiration to talk about this topic. And we’ve noticed that the number of plastic that has been washed up or just lying around at the beach has significantly increased, which brings to our attention to make this film.
2. From the idea to the finished product, how long did it take for you to make this film?
→ We started developing the story from May 2025, and it kept going until September 2025, where we finally have the finished script. Then we started preproduction from September until October. Then we did the production for a week, which was during the 2nd week of October. The post production was around 2-3 months. The finished work was finalized on December. So it took us around 8 months to finally finish making the film.
3. How would you describe your film in two words!?
→ Two words to describe the film would be melancholic and eye-opening. Since the film is very subtle and implicit in expressing the message, it has a quiet sadness in it that you can’t really describe it why, you have to feel the film to actually know why, because visually, it’s talking about an everyday routine of a family who lives at a coastal village. And it brings up new perspective on the matters of plastic in pollution, such as the perspective of the tourist, the city boy, and the photograph who all have different takes on this matter.
4. What was the biggest obstacle you faced in completing this film?
→ I think the biggest obstacle would be in terms of language. So an interesting fact about this production is that, I come from Indonesia, and my teammates are from China and Malaysia. During internal team discussions, we would use three languages, and we would like help translate to one another, switching the languages. For example, I understand Chinese, English, and Bahasa, so I would translate the Chinese to English, or even Bahasa, to one of the Malaysians who doesn’t really understand Chinese. But the challenge comes where we were working with Korean actors who doesn’t really speak any of the languages, except for Korean, while my Korean is not that fluent either. Luckily, the other Malaysian speaks fluent Korean, and our camera operator is also Korean who speaks English, and they would help translate how I wanted them to act the scenes out.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
→ I was genuinely happy and relived that the audience get what I was aiming for, which was to deliver this story in a way where it’s not right on your face, and makes you think whether recycling plastic in how the mom and the little boy do it is the right thing to tackle the problem. And it was very unexpected to be able to get as the winner of best direction because I didn’t really expect or hope much when applying it to the festival.
6. When did you realize that you wanted to make films?
→ It was around 9th grade. I actually did performing arts more as a kid, and at that time I didn’t know that learning to become the one who does behind the scenes in performing arts, not just the one who performs, was actually such a thing, and filmmaking was very famous back then in Indonesia. At least, it was like the new “trend”. So then I started joining workshops and took classes on film-making. And it just sticks on with me until now.
7. What film have you seen the most in your life?
→ I used to watch Western movies, then I shifted to South East Asian ones, like Korean movies, Taiwanese movies, and Chinese movies. But recently, as the film industry in Indonesia is also growing rapidly, I start to enjoy watching Indonesian films. One of the Indonesian film-makers that I love watching is Yandy Laurens, who also becomes the source inspiration on how I approach my own film.
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 am satisfied with the overall experience as it is very easy and accessible, and very helpful too with the feedback from the audiences, but maybe getting like a soft file of the certificate to make it feel more real would be nice.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
→ It’s been quiet nice actually, it’s very easy to submit out films to festivals, and the information were all laid out and easy to find, so it’s very helpful.
10. What is your favorite meal?
→ I am not really a picker eater, but there was one dish that I was craving for when I was in Korea for my studies. It is an Indonesian dish called pecel. It’s like a salad, there’s bean sprouts, long beans, cucumbers, spinach, tofu and tempe, and you eat it with peanut sauce and rice. I would say that is my favourite meal.
11. What is next for you? A new film?
➔ I am currently working on a play that will be produced on June. It is about the May 1998 riot that was happening in Indonesia. In this production, I am the playwright, and I will perform as well as an appearance. As for the film-making projects, I am planning to make a short MV but in the style of short film for my graduation later, just like a short fun project to do.
The Redemption of Faust, 18min., USA Directed by Genel Mejia After making a pact with Mephistopheles, Goethe’s Faust finds . . . redemption and transcendence in the ideal of the Eternal-Feminine.
What it really motivated to make this film was one of my current projects call “MUSE” a feature film. I was all warm up after I finished that project and I was going to make some behind the scene video just for fun! but it turned out into “The redemption of Faust” all it happened after telling my my friend Justin Suran on a phone conversation about my plan and he suggested the I should make that short film and he give me some lines from the Book “Faust” which is one of my favorite books. and that’s how this project was born. So I was very motivated! And here we are.
2. From the idea to the finished product, how long did it take for you to make this film?
It took me 7 months total to make this film.
3. How would you describe your film in two words!?
I describe “The redemption of Faust” poetic and wild!
4. What was the biggest obstacle you faced in completing this film?
The biggest obstacle was make it work in the present modern world, it was very intimidating using some sentences from Goethe and I felt a lot of pressure and responsibility at the same time to make this film. Like I mentioned this film is not an adaptation only an inspiration which still was one of my biggest challenges in cinema to accomplish.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was very surreal and also felt very honored to see how people were reacting and responding to it. Love it !
6. When did you realize that you wanted to make films?
Since I had memory when I was a kid. I remember watching the Movie E.T by Steven Spielberg on 5 inches black and white TV in that very moment I wanted to make movies. That movie was the first introduction to cinema when I was a kid.
7. What film have you seen the most in your life?
2001: A Space Odyssey
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Nothing they I can think about it, I think you guys are doing a fantastic job supporting all indie filmmakers. Thank you from the bottom of
My heart.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Yes! Filmfreeway. I really had a great experience! Thank you guys.
10. What is your favorite meal?
My favorite meal is breakfast. Love my eggs and bacon and coffee in the morning.
11. What is next for you? A new film?
Working on a documentary about “?
On a postproduction for a documentary call “Ironworkers”.
Roxy & The Man, 17min., USA Directed by Joey Medina A terminally ill Vietnam veteran finds solace and purpose in rescuing an abused dog no one else wanted, rediscovering the meaning of life and the profound power of companionship.
Get to know the filmmaker:
1. What motivated you to make this film?
I wanted to make a film about two broken souls that together become whole.
2. From the idea to the finished product, how long did it take for you to make this film?
From thinking about the project, to the fdinished product probaly took two years.
3. How would you describe your film in two words!?
Beautifully sad.
4. What was the biggest obstacle you faced in completing this film?
Finding the right dog to play the lead. I never intended to use my own.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I know they got it. They understood the message.
6. When did you realize that you wanted to make films?
In fifth grade after watching a super 8 film my teacher made with his class the period year.
7. What film have you seen the most in your life?
Rocky. Best film ever made.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Exposure and feedback are key.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The platform is the easiest way to submit and keep track of submissions.
10. What is your favorite meal?
Seafood of any kind
11. What is next for you? A new film?
Yes , working on my first dramatic animation called, #SAY-HER-NAME.
Avatars of Destiny: The Saga Begins, 20min., South Africa Directed by Ess-Jee Rautenbach Step into a universe where ancient prophecy meets futuristic innovation, and destiny is not inherited it’s unlocked. Conceived by visionary author Ess‑Jee Rautenbach, Avatars of Destiny begins as a concept short film, a proof‑of‑vision that blends epic fantasy, spiritual sci‑fi, and techno‑mythic storytelling into a cinematic journey of transformation.
Get to know the filmmaker:
1. What motivated you to make this film?
I was driven by a desire to merge storytelling with cutting-edge AI filmmaking. I wanted to explore how technology can amplify human imagination and create something that feels both prophetic and deeply personal. At the same time, I wanted to bring my books to screen like Geppetto breathing life into Pinocchio or Frankenstein animating his creation bringing my written works alive. The film became a way to give audiences a cinematic taste of my books and to show agents and producers the possibilities for a book-to-screen adaptation.
2. From the idea to the finished product, how long did it take for you to make this film?
The journey took several months moving from concept development, through experimentation with AI tools, into production, and finally fine-tuning in post. Each stage was a discovery in itself, and the whole process felt like stepping into the unknown, almost like Neil Armstrong taking that first leap onto new terrain.
3. How would you describe your film in two words!?
Visionary Journey.
4. What was the biggest obstacle you faced in completing this film?
Balancing technical challenges with creative flow. AI filmmaking is still evolving, so shaping raw outputs into a cohesive narrative required persistence and innovation.
5. Favorite stage of the filmmaking process?
Post-Production. That’s where the story truly comes alive editing, refining, and weaving together visuals and sound into something transformative.
6. When did you realize that you wanted to make films?
When I saw how stories could move people beyond words. Early on, I realized film was the most powerful medium to blend emotion, symbolism, and vision. The whole idea really crystallized during my last book launch, when I wanted to create a visual representation of my writing—giving the crowd a cinematic taste of my book and showing movie agents and producers the possibilities for a book-to-screen adaptation.
7. What film have you seen the most times in your life?
Without a doubt, The Lord of the Rings trilogy. I’ve watched the entire series countless times, not only because of its breathtaking visuals and groundbreaking cinematic achievement, but also because of the way it fuses philosophy, mythology, and timeless storytelling. There’s something deeply inspiring about how J.R.R. Tolkien built a world so rich in symbolism and meaning, and how Peter Jackson, as a visionary director, brought that world alive on screen with such authenticity and grandeur.
In many ways, I feel a personal connection to both Tolkien and Jackson—the writer who imagined entire universes and the filmmaker who translated that vision into a living, breathing reality. Their collaboration across time reminds me of my own journey: taking words from the page and transforming them into cinematic experiences that audiences can feel, see, and live through. Watching The Lord of the Rings is never just entertainment for me—it’s a reminder of the power of imagination, persistence, and the courage to bring stories to life.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
In a perfect world, I would love to collaborate with true visionaries filmmakers who have redefined what cinema can be. Peter Jackson, for example, took Tolkien’s words and gave them life on screen with The Lord of the Rings, creating a world that feels both mythical and deeply human. Steven Spielberg has an unmatched gift for blending wonder with emotional depth, whether it’s in E.T., Jurassic Park, or Ready Player One. Working alongside creators like them would be a dream, because they don’t just make films they build universes that audiences can step into and live within.
I’m inspired by their ability to take literature, imagination, and technology, and fuse them into cinematic experiences that resonate across generations. To collaborate with such minds would mean not only learning from their mastery, but also contributing my own vision bringing stories from the page to the screen in ways that feel alive, immersive, and transformative. It would be the ultimate creative partnership: merging my passion for storytelling and AI-driven filmmaking with their legacy of world-building and innovation.
9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
My experience with FilmFreeway has been smooth, intuitive, and inspiring. It’s more than just a submission platform—it’s a global hub that connects filmmakers with opportunities they might never have had access to otherwise. For me, living in South Africa, FilmFreeway has truly been a doorway to Hollywood. It bridges the gap between local creators and international festivals, giving independent filmmakers like myself the chance to showcase our work on a world stage.
The platform makes the process accessible and efficient, but beyond that, it gives hope and possibility. It allows storytellers from every corner of the world to dream bigger, to reach audiences far beyond their borders, and to feel part of a larger creative community. For me, it has been a vital tool in turning vision into opportunity.
10. What is your favorite meal?
Food, for me, is as much about memory and culture as it is about taste. A hearty lamb curry with basmati rice will always be my ultimate comfort food—it’s warm, aromatic, and feels like home on a plate. It’s the kind of meal that brings family together around the table, with spices that tell stories of tradition and heritage.
At the same time, I have a deep love for traditional Afrikaner meals, especially a classic boerewors roll topped with rich smoor sauce. It’s simple, yet full of character—something you’d enjoy at a braai with friends, surrounded by laughter and community. Together, these meals represent both sides of my identity: the soulful comfort of curry and the proudly South African spirit of boerewors. They remind me that food, like film, is about connection, culture, and the joy of sharing experiences.
11. What is next for you? A new film?
Yes, absolutely. I’m already developing ideas for my next project, and I want to push even further into the frontier of AI-driven storytelling—blending cinematic craft with spiritual and human themes. My first concept film, Avatars of Destiny: Saga Begins, was received so well that it inspired me to challenge myself creatively and technically.
I’ve now completed a fully AI-generated 35-minute pilot episode, Avatars of Destiny: Awakening, based on my books. This project was a massive undertaking—it involved generating actors, environments, and performances entirely through AI, and shaping them into a cohesive cinematic experience. It was tough, it took time, but the result is something I’m truly proud of. The pilot has already been submitted to festivals, and I see it as a stepping stone toward even greater possibilities.
My vision is to keep pushing the boundaries of what AI filmmaking can achieve. Who knows—maybe one day this journey could even lead to the Oscars. For me, it’s not just about making films; it’s about proving that imagination, technology, and storytelling can come together to create something groundbreaking and transformative.
Pick It Up America: Life is a Beach, 10min., USA Directed by Kimber Leigh Filmed at Hawai‘i’s Hapuna Beach, one of the most beautiful and dangerous shorelines in the islands, Pick It Up, America: Life Is a Beach is a heartfelt call for stewardship, ocean safety, and respect. Through interviews with lifeguards, keiki, locals, and dive experts, this short documentary reminds us that caring for our oceans means more than picking up your trash it means picking up awareness, responsibility, and love for the ʻāina. A vital message for families, tourists, and communities everywhere.
Get to know the filmmaker:
1. What motivated you to make this film?
As an avid daily beach walker, I witnessed countless dangerous situations involving unprepared visitors, from first-time beachgoers to confident swimmers who underestimated the power of nature. I would come home and share these alarming experiences with my husband, and one day he said, “Kimber, you’re a filmmaker — do something about it.” That was the turning point. I created Pick It Up America! to educate, raise awareness, promote beach stewardship, and showcase the beauty of this incredible island while offering forward-thinking guidance for beaches around the world.
2. From the idea to the finished project, how long did it take you to make this film?
Approximately a year to a year and a half. Once filming was complete, the editing process required additional time to ensure the film was crafted thoughtfully and responsibly. I also intentionally waited for the right moment to release it.
3. How would you describe your film in two words?
Aesthetically educational.
4. What was the biggest obstacle you faced in completing this film?
Encouraging people to feel comfortable being interviewed was a significant challenge. Many were unsure of their expertise or nervous about being on camera. I reassured them that we were simply having a heartfelt conversation. Filming underwater also presented unique challenges. Maintaining safety while capturing marine life in motion required patience, skill, and deep respect for the environment.
5. What is your favorite stage of the filmmaking process?
Pre-production is my favorite because it’s where creativity is born and the idea takes its first breath. I also love post-production, where the project is prepared to meet the world and the marketing journey begins. Distribution is the one stage I have yet to fully experience, and I look forward to embracing it in the future.
6. When did you realize you wanted to make films?
Around 2009–2010. I initially enjoyed acting, but I realized how fleeting teams and opportunities could be. That was the moment I decided to become self-reliant — to write, direct, and produce my own work. Once you find the right editor, the entire creative process becomes even more powerful.
7. What film have you seen the most times in your life?
Goodfellas. Everything about it remains timeless — the performances, music, storytelling, and characters. It’s endlessly compelling.
8. In a perfect world, who would you like to collaborate with?
I already feel grateful for the collaborators in my world. I believe great work comes from passion and alignment rather than name recognition alone. Everyone begins somewhere, and meaningful collaboration can happen at any stage.
9. How was your experience using FilmFreeway?
FilmFreeway has been an extraordinary platform for me. It has helped build credibility, connect my work with festivals worldwide, and serve as a central home for my films. I’ve proudly been a member since 2015 and hope it continues to support filmmakers for years to come.
10. What is your favorite meal?
I tend to eat lightly throughout the day — fresh fruits, vegetables, and protein drinks. Living on an island encourages a fresh, natural way of eating, often sourced from local farms and trees rather than formal meals.
11. What is next for you?
I have two upcoming documentary projects I hope to complete by 2026–2027. One will focus on the Maui fires through the lens of a family’s experience, a story I deeply hope to tell. The second, The Sound of the Soul, explores healing through crystal singing bowls and sound therapy, a practice I’ve personally experienced and believe in, supported by growing scientific interest.
VALÈNCIA’S THE CITY THAT FUELS SUSTAINABLE CHANGE, 11min., Spain Directed by PASCUAL IBÁÑEZ, CRISTIAN FONT València is promoting a project to reduce food surplus in the meetings tourism sector, transforming events into more sustainable spaces.
What motivated us to make this documentary was, first and foremost, to highlight Valencia’s role as a benchmark in sustainable food and gastronomy. We wanted to showcase the work carried out by the city of Valencia in recent years to move towards a more sustainable food model. This is the context for the MagNuS (Magnitude, Nutrition and Sustainability) project, whose experience we wanted to explain in depth. Promoted by CeMAS together with the Lluís Alcanyís Foundation of the University of València, the València Conference Centre and its catering company, Gourmet Catering & Eventos, with the support of NARIA, MagNuS was created with the aim of preventing and reducing food waste in the meetings tourism sector.
The documentary, therefore, not only explains a specific project, but also shows how Valencia is consolidating its position as a benchmark where collaboration between institutions, universities and the private sector translates into real and measurable actions towards food sustainability.
From the idea to the finished product, how long did it take for you to make this film?
The idea for this documentary began to take shape at the end of 2024, driven by the desire of all those involved in the MagNuS project to showcase more of the work we had done, as well as to highlight Valencia’s role as a leader in sustainable food and gastronomy.
Work on the idea began in early 2025, but it was not until June 2025 that the project really took off. The final version of the documentary was finally presented in October.
It was a long process, but a very rewarding one
How would you describe your film in two words!?
Power of collaboration
What was the biggest obstacle you faced in completing this film?
As this was a collaborative project, perhaps the most difficult part was coordinating our efforts quickly and efficiently. However, we believe that this is also the key to our project: collaboration.
There are 5 stages of the filmmaking process: Development. PreProduction. Production. Post-Production. Distribution. What is your favorite stage of the filmmaking process?
For us, the best part of the process was distribution, as this is when you can finally see the result of the documentary and share it with the public, which is the ultimate goal.
When did you realize that you wanted to make films?
The idea for this documentary began to take shape at the end of 2024, driven by the desire of all those involved in the MagNuS project to showcase more of the work they had done, as well as to highlight Valencia’s role as a benchmark for sustainable food and gastronomy.
You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The process through the FilmFreeway platform has been straightforward, and it is also easy to track the status of applications through the platform. It is a platform that we would recommend.
What is next for you? A new film?
Our intention is to continue promoting the documentary to share the work we have done and our experience, as this is a project that can be replicated in other cities. Thus, the various actors who have collaborated remain in constant contact, eager to continue advancing and promoting projects that enable progress towards a more sustainable food model.
THE FLESH PEOPLE, 105min., USA Directed by Keshav Srinivasan Two roommates, desperate to feel successful in the milieu of New York City, turn to macabre money-making schemes by performing underground surgeries and serving human meat to unsuspecting customers.
1. What motivated you to make this film? Honestly, a lot of it was be channelling post-grad anxiety, especially in the midst of 2020. I graduated in 2019 for reference, and so that feeling of uncertainty was even further compounded by being stuck inside all day. I started writing the first draft of the film back in 2022 and was trying to think back to how I felt during that time. I thought to myself: “what could be the worst possible outcome of living with this mindset?”. I’m a big lover of horror films, especially the stuff in the 70s and 80s like Evil Dead and The Texas Chainsaw Massacre, so I was really interested in exploring that anxiety and insecurity through that genre lens.
2. From the idea to the finished product, how long did it take for you to make this film? About 3.5 years! Funnily enough, the production itself was only about 3 weeks. It was the pre-production and post-production that took up most of the time. But that’s the case for any independent film, I think. It’s all dependent on the budget you get.
3. How would you describe your film in two words!? Deranged insecurity
4. What was the biggest obstacle you faced in completing this film? I think with any independent film, there’s gonna be a whole cornucopia of obstacles, from budgeting to scheduling to permitting to time management. But ultimately, the most difficult aspect of it had to be spending so much time in one location. The majority of the film was shot in this one house in Queens that we intentionally dressed to feel as claustrophobic as possible. So, if it felt claustrophobic for the audience, it felt 10x more claustrophobic for the cast and crew during production. Spending very long days stuck in that space definitely gave us a lot of cabin fever.
5. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution.
What is your favorite stage of the filmmaking process? I love writing, even more so than directing, so it’d have to be the development stage. The great thing about writing is that you can do it anywhere at anytime, so being able to carve out that time to let my imagination wander is always really fun. It’s the part of the process that’s least constrained by practical realities so I find that freedom really invigorating.
6. When did you realize that you wanted to make films? Honestly, I think the earliest moment I found myself fascinated by cinema was when my grandpa took me to see Hugo in theaters. There’s that particular sequence where they show a montage of moments from silent films that made me feel like I was transported to this completely different reality. I especially remember seeing that moment from The Cabinet of Doctor Caligari where the somnambulist is staring at the camera. It creeped me out so much, but in a way where I couldn’t get that one image out of my head.
7. What film have you seen the most times in your life? It’s hard to pick one, so I might have to throw out a couple! Martin Scorsese’s Bringing Out the Dead really seared itself into my brain when I first watched it in high school-that’s been a favorite of mine for years. Spike Lee’s Do the Right Thing is a movie I constantly find myself coming back to time and time again. And Terry Gilliam’s Brazil was also incredibly formative when I first saw it as a teenager-I’d really never seen anything quite like it at the time (and honestly, I still haven’t)!
8. In a perfect world: Who would you like to work with/collaborate with on a film? There’s so many incredible actors I can only dream of having the privilege of working with, but if I were to create a shortlist: Willem Dafoe, Dev Patel, Cate Blanchett, Robert Pattinson, Song Kang-ho, Christopher Walken, Nicolas Cage, Tom Waits, and Lakeith Stanfield.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? It’s incredibly convenient for me to have so many festivals organized under the same umbrella. I think that, after finishing a film, the festival application process can be really overwhelming, so it’s nice to have it streamlined.
10. What is your favorite meal? Poke!
11. What is next for you? A new film? I’ve just been writing a bunch as of late. Hopefully, a new feature will be in the works!
The Duet, 5min., USA Directed by Gica Pucca A dancer and a violinist, isolated yet connected by sound, break and rise through the silence between them.
Director Gica Pucca Writer Kristina Perez Producer Karyante Franklin
1. What motivated you to make this film?
GICA: I met Kristina at school and since the day she invited me to direct “The Duet”, I’ve discovered a passion for silent movies. This story is a delicate piece about artists and their power of picking themselves back up again, and again.
KARY: Kristina’s desire to tell a mental health story. She came to me with an idea that, initially, wasn’t this, but I was very interested in writing the script for her based on what she had in mind.
And the more we developed the story, the more the vision changed from the initial idea to something more artistic and beautiful.
KRISTINA: As an actress in LA there were many auditions, call backs and rejections that definitely made me question if I was good enough or if I was on the right track. As a young adult, I was learning how to balance surviving in LA, my personal life and my goals. I wanted to create a film that welcomed the audience into the mind of an artist. The mental battle one deals with while they’re at constant war between themselves and who they want to be.
2. From the idea to the finished product, how long did it take for you to make this film?
From the first pages of the script, until the last cut; it took around one year to produce “The Duet”.
3. How would you describe your film in two words!?
Symphony within.
4. What was the biggest obstacle you faced in completing this film?
KARY: Scheduling conflicts.
GICA: We had to postpone the shooting for later that year, giving more space for pre-production.
KRISTINA: Because it was my first personal short film it would have to be the process of learning how to be a producer effectively and while also working with Kary on the script it would have to be learning how to take the actor hat off and learn how to think as a writer for a film project.
5. There are 5 stages of the filmmaking process: Development: Pre-Production. Production. Post-Production. Distribution. What is your favorite stage of the filmmaking process?
KRISTINA: My favorite stage would have to be Production. There’s something magical about seeing your story come to life and witnessing the amazing hard work and creativity happening from the cast and crew.
KARY: Development. I love writing and creating, the story is everything to me.
GICA: Post-production, specialty because I love working with our editor Marco Labate; I feel like a happy kid seeing the shots coming together in the editing room.
6. When did you realize that you wanted to make films?
KARY: After I took an acting class. I really liked it and that made me want to learn more about screenwriting, and I’ve been in love with the craft ever since.
GICA: I’ve always dreamt of being some sort of a painter. And movie making feels like painting, but with image and sound.
KRISTINA: While I was studying at a two year acting program. I knew I wanted to create something of my own one day.
7. What film have you seen the most times in your life?
KRISTINA: “The Wizard of Oz”
GICA: probably “The Witch” or the “Pirates of the Caribbean” franchise.
KARY: Either Dreamworks “The Prince of Egypt” or “Walt Disney’s Alice in Wonderland”
8. In a perfect world: Who would you like to work with/collaborate with on a film?
KRISTINA: I would love to collaborate with Guillermo del Toro. I really enjoyed his take on Frankenstein and Pinocchio. I think his way of painting the human experience in his films is beautifully and creatively done. I would also like to work with Jenny Han. I think she does a really good job in writing stories about young women who are just trying to find their way in the world and I admire how she always tries to make sure she represents Asian cultures in her films.
KARY: Viola Davis, Regina Hall, and Taraji P. Henson all together in a comedy/drama movie
GICA: I would love to be directing something with A24.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The WILDsound Film Festival has a well organized collection of films on the platform and with the support of the organizers, submitting your movie turns out to be a unique experience, while inviting growth into our artistic career.
10. What is your favorite meal?
KRISTINA: It’s definitely hard to choose just one but my top two would have to be red enchiladas or a Filipino dish called “Sinigang” . I grew up with these dishes and they’re definitely my top two favorites from both of my cultures.
KARY: I love pasta dishes! Especially Lo Mein!
GICA: Ramen it’s my favorite!
11. What is next for you? A new film?
We’re looking forward to collaborating once more on a new title! “Invisible Strings” is in pre-production at the moment, and we are hoping to begin shooting end of June 2026.
Festival Reviews 