The Unarmed: Firelock Silhouettes, 2min., China Directed by Suyu SUN In a land embraced by mountains, rituals repeat across generations: young men have their heads shaved, receive gunpowder and firearms, and become inheritors of the village’s cultural memory. Beyond the ritual, a pair of eyes has always been watching. She stands silent, slightly bowed, in the shadows beneath the drum tower.
Get to know the filmmaker:
Q1. What motivated you to make this film?
It started with a chance discovery — I came across a place known in China as ‘the last gunmantribe.’ But what struck me wasn’t the guns themselves. When these men raise their flintlocksaspart of a tourist spectacle, I kept wondering: what stories lie behind them? And more importantly— when men first picked up these guns, where were the women? How did they see all of this?
Those questions wouldn’t leave me, and that’s how this film was born.
Q2. From the idea to the finished product, how long did it take for you to make this film?
A little over two months. I don’t like dragging things out — once the idea clicked, everythingflowed naturally. I rode the momentum and just went for it.
Q3. How would you describe your film in two words?
The Gaze. The Unseen.
Q4. What was the biggest obstacle you faced in completing this film?
Runtime. I always wanted to go deeper, say more — but sometimes the hardest thing is knowingwhen to stop.
Q5. What is your favorite stage of the filmmaking process?
Pre-production, without a doubt. It’s the purest creative stage — anything is possible andtheideas are still alive with potential.
Q6. When did you realize that you wanted to make films?
At 15, when I got into the highschool affiliated with the Central Academy of Fine Arts —oneof
China’s most prestigious art institutions. Everyone around me was painting. I looked aroundandthought: that’s not my path. I need to find my own. Film was the answer.
Q7. What film have you seen the most times in your life?
I’m not really someone whorewatches films — I always want to see something new. But afewhave pulled me back: Taxi Driver, and Rohmer’s Four Seasons series (mostly becauseI keepforgetting the details, honestly). Some classics you revisit for work, and they always reveal something new.
Q8. In a perfect world: Who would you like to work with/collaborate with on a film?
Woody Allen. I don’t even know if I’d want to make a film with him —I just want to sit downandtalk with him for hours.
Q9. You submitted to the festival via FilmFreeway. How has your experience been working on thefestival platform?
Really smooth and intuitive. It makes the whole submission process much less intimidating.
Q10. What is your favorite meal?
Toasted bread. I’m too lazy to cook a proper meal — I could eat the same simple thingeverydayfor a month and be completely fine with it.
Q11. What is next for you? A new film?
First, moving to France to continue my studies. After that — I imagine new stories will findme.
Embrace the hustle., 4min., India Directed by Aditya Janak Joshi
Get to know the filmmaker:
1. What motivated you to make this film?
The motivation for making this film stems from the world that I grew up observing. I saw two fresh and original worlds both at different times. When I was a kid, there was “Saturday Night Racing” an illegal night bike racing circuit organising racing events every Saturday Night on Mumbai streets. Co-existing at the same time was (still is) Linking Road in Bandra, Mumbai…a prime hub for street shopping in the city and country. I decided to club these two worlds and create a fictional third world and that is how it all began.
2. From the idea to the finished product, how long did it take for you to make this film?
The entire process of idea to film took four months in total. The idea for the short film originated in September ’25 and by the back end of December ’25, the project was ready. We could’ve ended it much quicker but the crew and myself were all working individuals, thus being able to cultivate this project only on weekends.
3. How would you describe your film in two words!?
Unapologetically intense.
4. What was the biggest obstacle you faced in completing this film?
The biggest obstacle was to execute the project in the constrained budget of 6000 INR / 65.95 USD while also not compromising on the quality efficiency and delivering the core message plausibly.
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?
Development. This stage has that magic moment when I watch my film or a particular scene of it in my head for the first time and that seals the deal for me. The feeling is elevating, surreal and incomparable.
6. When did you realize that you wanted to make films?
In 9th grade, which is when I was 14 years old. I had freshly broken up with my childhood dream of becoming a cricketer which is a very relevant dream in the Indian subcontinent. I participated in an intra-school science short film competition with no real motivation but still somehow bagged the award, that moment, is when I decided to make films.
7. What film have you seen the most times in your life?
Its a three-way tie between “Interstellar” “Seven” and “La La Land”. Watched them all thrice.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
It is really tough to pick one but I’d love to collaborate with Daniel Day Lewis.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The experience has been nothing short of delightful. Effective communication, easy-to-follow guidelines, a user-friendly interface and other attributes like so have really uplifted my experience.
10. What is your favorite meal?
My favorite meal is “Chole Bhature” which is an Indian cuisine where huge disc-shaped bhatura breads are scooped into a tad bit sour and fairly spicy chickpea gravy, sided with onion rings and mint chutney.
11. What is next for you? A new film?
Next for me is what I always wanted to do with this idea. So the original nature of this idea was as a feature film. I wrote the entire 144 page script and screenplay and then to make it reach mammoth production houses in the Indian film industry, I compressed it into a short-film which I planned to use as a pitch deck for producers to get a better grip of the world. My plan is to tell them “If I can execute these kinds of visuals and create an immersive world like so in a constrained budget of 6000 INR / 65 USD, imagine the kind of quality I can bring on-board with a decent budget.”
EDGE, 14min., Spain Directed by Abel Moreno Pradas Locked in, separated by a huge glass and deprived of speech, two people meet without knowing how they got there. Where are the limits that prevent us from acting in unjust situations? Are they physical or are they within us?
The initial motivation came from certain personal experiences where a pane of glass separated me from another person. In all of them, there were strong emotional implications, and the glass took on a certain symbolic meaning. In one of those experiences, I had the idea to express it through dance because I couldn’t find the words to express something so abstract. And I thought that idea would only exist in my mind, but one day it began to take shape, and along the way, many other situations have been added to the short film’s message.
2. From the idea to the finished product, how long did it take for you to make this film?
Well, the initial idea came about 10 years ago, but the project didn’t really get off the ground until much later. The project began to take shape when I met Gelya, the lead female dancer, and in total it took about two years from when we started looking for funding until post-production was finished.
3. How would you describe your film in two words!?
Social screendance
4. What was the biggest obstacle you faced in completing this film?
The biggest obstacle was securing the necessary funding to complete the production. In fact, I ended up having to finance part of the short film myself and give up my salary.
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 find it hard to choose between production and post-production. Because filming is the most active part, there’s a lot of teamwork, and that’s wonderful. But I love editing, putting the pieces of the puzzle together and seeing the film take shape and come to life. So it’s a tough decision!
6. When did you realize that you wanted to make films?
That much I know for sure! It was a Saturday, when I was 6 or 7 years old. I woke up very early and my parents were still asleep, so I did what I did every Saturday: turn on the Beta video player and put in the first tape I found. It was “Singin’ in the Rain,” and there I saw, for the first time, how a movie was made. I was fascinated and knew for sure that I wanted to do that.
7. What film have you seen the most times in your life?
Probably, “Lost highway” by David Lynch.
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 work with some of the great directors I’ve always admired for their films. But we live in a very imperfect world, and these same directors, whom I don’t even want to mention, have highly questionable political and ideological positions.
So, in this imperfect world, I prefer to work with filmmakers, actors, and actresses who are socially engaged. As a director, I would choose Ken Loach. And as actresses and actors, I would love to work with Susan Sarandon, Javier Bardem, Mark Ruffalo, Tilda Swinton, Joaquin Phoenix, Cate Blanchett, and Viggo Mortensen because, beyond being incredible actors and actresses, they are people committed to social causes and have a clear stance against the genocide suffered by the Palestinian people.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
So far my experience has been very good. There are other similar platforms, but the one I use most is FilmFreeway.
10. What is your favorite meal?
The spanish omelet cooked by my father.
11. What is next for you? A new film?
I hope so! Right now I have several ideas in mind, some in documentary format, and a feature film I wrote a while ago. Whatever it is, it will definitely be a socially conscious project, because it’s more necessary now than ever.
CLOSURE, 9min., USA Directed by Dainique Jones In this dance film, we watch a couple unravel into a cycle of control, distance, and longing. Through movement rather than words, the film explores the weight of regret—the ache of what cannot be undone, and the haunting persistence of love that has turned toxic. A visceral portrait of connection and loss.
Get to know writer/performer/producer Kat Bark:
1. What motivated you to make this film?
The need to finally share a part of me that I was nervous to present. There was a lot of emotion connected to this film for me, and when I heard Justin Vernon’s song it all clicked for me. All my past experiences and thoughts felt supported by his music.
2. From the idea to the finished product, how long did it take for you to make this film?
From the first rehearsal to finishing up edit, it took roughly 10-11 months. I had an amazing team to support me the whole way.
3. How would you describe your film in two words!?
Connection and Exposed
4. What was the biggest obstacle you faced in completing this film?
Scheduling! My team is made of very busy freelancers, so finding a weekend to shoot the film was a large challenge. Then I sprained my ankle, which pushed us back about 2 months. We had to find another weekend that would work for everyone, so it was a lot of puzzling to make sure we could all be there.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I always worry that the lack of dialogue will make an audience feel withdrawn, but I am glad to hear that the audience felt like they could go on the journey with these two characters. It made me feel like I did my job as a choreographer.
6. When did you realize that you wanted to make films?
The first short film I made was the summer of 2024. It was my way to test if this was an avenue I would be interested in. While working on Closure, is when I realized that this was something I wanted to continue to do.
7. What film have you seen the most in your life?
Requiem for a Dream by Darren Aronofsky
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 enjoyed the audience feedback, I thought it was a great way to feel a part of the festival even though I was not able to attend.
The only thing that would have made me feel even more involved would be being able to watch the other films in my category.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I like FilmFreeway and I find it to be a user friendly platform.
10. What is your favorite meal?
Any version of steak and potatoes
11. What is next for you? A new film?
I was inspired after working on this film and decided to move to London. I am studying at London Contemporary Dance School for my Masters in Screendance. I wanted to build my foundation, and learn more about the film industry.
I have two short films in the making to be released in 2026. One film is choreographed and directed by me. The second film will be choreographed by Becky Izad, and I will be co-directing. Very excited for this year!
Deaf to Happiness, 70min., India Directed by Dhruv Vyas A writer is trapped in a world where time is broken, memories do not exist, and nothing feels real. His hand moves against his will, endlessly writing something unseen while his mind fights for meaning. Desperate, he begins writing a story, one that must not end in tragedy.
Loneliness and a hunger to stretch the boundaries I was confined in. I have always been a timid and anxious person. I struggled to even voice what I wished, let alone do the things that would make me happy. In 2020, I decided that it’s enough I made a promise to myself that I would explore what I am capable of and reject whatever the inner critic inside of me shouted. I started teaching myself all things creativity while fighting my thoughts and slowly realised that maybe I can do something big, and that was making an entire movie alone. And I did it.
From the idea to the finished product, how long did it take for you to make this film?
Over the course of 11 months. I began writing in February 2024 and finished the film on January 23, 2025
How would you describe your film in two words!?
Dreadful Self-Discovery
What was the biggest obstacle you faced in completing this film?
Myself. I thought making a movie alone would be the easiest thing for me since I had intense anxiety, and working with people, especially creatively, frightened me, but it turned out to be much scarier to do it alone. I had no one I could share my ideas with or brainstorm with, I had no way to know what I was doing and every single day of the shoot, I had to fight myself and my thoughts to shoot that scene because I had to develop self-belief; if I didn’t, then the film wouldn’t have been completed.
What were your initial reactions when watching the audience talking about your film in the feedback video?
It brought immense joy to my surreal heart! I loved how the audience caught on to a lot of things about the film and also acknowledged the film’s very un-mainstream approach to storytelling. I legit shouted with joy when the last person in the feedback video said that ‘deaf to happiness’ also sounds like ‘death to happiness’ and I LOVED THAT sooo much. It was a small detail that I thought wouldn’t be noticed.
When did you realize that you wanted to make films?
I think when I first saw David Lynch’s work a few years back but I was not confident. But around 2021, I saw Bo Burnham’s ‘Inside’ a musical film he made entirely alone during the pandemic. After watching that I knew I could do something like that too.
What film have you seen the most in your life?
I’d say ‘Amélie’, that movie made the introvert in me feel seen back in my teenage years. That is probably the only film that I have watched countless times.
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 fairly new to this entire thing to be honest. I don’t believe I have the expertise or the knowledge to help with this but I do appreciate what you guys are doing, helping filmmakers like me showcase our work. I appreciate this a lot!
You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Filmfreeway has been amazing!! I can monitor everything from here and I feel secure that my film is safely uploaded here.
What is your favorite meal? I love experimental food hehe or any kind of food that is spicy and have strong flavours. One of the famous stre
What is next for you? A new film?
YES, a couple of features, shorts and one television series, if possible. I have soooo many ideas to the point that I feel like my entire lifetime won’t be enough to execute and bring them all to fruition.
1. What motivated you to make this film? Honestly? Boredom. I’m firmly convinced that boredom is humanity’s greatest mother of invention. History makes it abundantly clear just how much civilization has been advanced by people with too much time on their hands.
2. From the idea to the finished product, how long did it take? I don’t particularly believe in the concept of “completion.” Every work is only truly finished the moment its creator dies. Which means this one remains, technically, unfinished.
3. How would you describe your film in two words? “Misdelivered. Welcome.” I believe a film functions at its most beautiful when it arrives in the hands of someone it was never intended to reach.
4. What was the biggest obstacle you faced in completing this film? Myself. Nothing more, nothing less. External obstacles can be overcome or circumvented. But the obstacle called “oneself” is always there, without exception.
5. What is your favorite stage of the filmmaking process? Pre-production. That blissful window before anything has gone wrong yet. When I say a film is most interesting before it’s shot — I’m half joking. But only half.
6. When did you realize you wanted to make films? When I first saw Tarkovsky’s The Mirror, I thought: “This isn’t a film. It’s something merely pretending to be one.” And I wanted to make that something for myself. The exact age escapes me now.
7. What film have you seen the most times in your life? I’m almost embarrassed to admit it — Billy Wilder’s The Apartment. A perfect comedy is harder to pull off than a perfect tragedy. This film keeps proving that, every single time.
8. Who would you like to collaborate with? Federico Fellini. The fact that he’s dead presents a certain logistical problem, but given that the question specifies “a perfect world,” I’ll allow it. Collaboration with the living, after all, is an unending series of compromises.
9. How has your experience been with FilmFreeway? It’s convenient. And complaining about something convenient is, itself, a kind of luxury. That said, when things become too seamless, I can’t help feeling that something of the tension — the ritual gravity of submitting a film — quietly slips away. That is, I admit, entirely my own sentimentality.
10. What is your favorite meal? Eel. Expensive, endangered, and guilt-inducing with every bite. And yet I keep eating it. I can think of no food that more eloquently represents the fundamental folly of being human.
11. What is next for you? A new film? I’m not particularly fond of the concept of “next.” Whatever I’m making now is always the next thing — and simultaneously, the present one. I have no intention of setting down the camera anytime soon. That much, at least, is certain.
What Kind of World is this?, 50min., USA Directed by Jacob Rudin
Get to know the filmmaker:
1. What motivated you to make this film?
I was working on the album which would become the movie/album and I realized the material needed a direction which would lend it some relevance in the current cultural climate. I am deeply interested in religion and mythologies and I felt a great way to engage with contemporary malaise/disillusionment would be to pit it against a fantastical mythico-spiritual backdrop.
2. From the idea to the finished product, how long did it take for you to make this film?
The music for the album began about 4 years before the it came into being in various seeds and ideas. I began formally working on the album about a year before it came out and I started the film portion about 10 months before its completion.
3. How would you describe your film in two words!?
Disaster Art.
4. What was the biggest obstacle you faced in completing this film?
There were 5 different artists each completing their own chapters which each had to flow into each other and make sense stylistically. The biggest obstacle was getting everyone to submit their work on time and to edit in a way that made sense. We went through many iterations of the subtitles and the storytelling through text proved to be very challenging to achieve.
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?
Hmm. I love writing. I don’t love editing. Distribution remains to be seen. I’m not really sure this film followed.
6. When did you realize that you wanted to make films?
When I realized making an album would be insufficient and that I could infuse more meaning and convey a deeper experience through expanding into the world of film.
7. What film have you seen the most times in your life?
The God of Cookery – Stephen Chow
8. In a perfect world: Who would you like to work with/collaborate with on a film?
If I could combine Jared Hess and Steven Chow into one person, that would be awesome.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I’m not sure, this is my first acceptance. We’ll see, hopefully I’ll have a great experience but who knows.
10. What is your favorite meal?
Anything lentil based and full of lots of hearty and nutritious ingredients all mushed together. Blueberries for dessert.
11. What is next for you? A new film?
I hope so. I’m definitely working hard on new music, so if I can find a way to incorporate a new film into it I would absolutely love that.
Mer – Of Oceans and Bodies, 2min., Canada Directed by Katrina Piacek Mer – Of Oceans and Bodies is a hydrofeminist experimental dance film that explores the interwoven experiences of femme bodies and oceans under extractivism. This work takes on an hydrofeminist perspective, exploring the interwoven experiences of femme bodies and oceans. It investigates the patriarchal logic of exploitation and its effects on the fertility of oceans and bodies, blurring the binary between them as symbols of fertility. Investigating the correlation between the moon’s effect on ocean tides and femme reproductive cycles, this piece explores how patriarchal development and exploitation confuse and corrupt the cycles between nature and bodies and how we can explore reimagine our relationships with bodies of water through movement.
Get to know producer/dancer Sarah Rose Mercer & director Katrina Piacek
1. What motivated you to make this film?
S: This work began as an extension of the collaborative relationship between Katrina and me. The concept and aesthetic feel like a natural continuation of the world we built as a creative duo. However, in many ways, this piece diverged from our previous collaborative practice. Katrina explored video and underwater film, while I worked with dance underwater — both new elements for us. The motivation behind this work is deeply connected to our energy as emerging artists who want to challenge and expand both our individual and collective practices.
K: Adding to Sarah’s point, a big motivation for this project was just simple exploration. The idea of “let’s just see where we can go!” Lots of play!
2. From the idea to the finished product, how long did it take to make this film?
K: Just close to a year! It took longer than we both expected but we had factors like distance and other full time commitments that made the process a bit longer than anticipated. So we weren’t working on it full time for a year, just part time.
3. How would you describe your film in two words?
S: Immersive. Experimental.
K: Experimental. Uncanny
4. What was the biggest obstacle you faced in completing this film?
S: The biggest challenge we faced as a duo was the scale of the work and finding creative balance while incorporating new artistic elements. As a small three-person team with an ambitious vision, we had to navigate the realities of daily life, other jobs, and geographic separation — with me based in Vancouver and Katrina in Victoria.
K: I agree the distance was the hardest part. When we previously worked together we lived in the same city. This project was the first time we were a whole ferry ride away from each other making scheduling and distance our biggest feat.
5. What is your favorite stage of the filmmaking process?
S: I feel most excited about the production stage. It feels like true alchemy — enacting an imagined idea and watching it come to life. I’m also drawn to the unknown of this phase. Even as we capture content, we don’t yet know exactly how post-production will shape the final piece, which leaves room for discovery.
K: I love the development phase! Having the smallest little idea and seeing how it grows. Especially in collaboration, getting to build an idea together. Brainstorming all the elements that will bring it to life. It’s a really fun process and it helps get me excited for my next favourite part of the film making process..the production stage.
6. When did you realize you wanted to make films?
K: I can’t really remember exactly when. I’ve always loved film, especially films that were odd and obscure. I guess I’ve always wanted to make films without ever realizing it until I found myself on sets. Making films became an organic progression from my photography and art practice. It is so collaborative and that’s the part I love the most! Photography can get a little lonely, whereas filmmaking is never solo. Making films with my friends is the best feeling in the world so when I started to work on their projects with them, that’s really when I 100% knew I wanted to make films.
S: We conceptualized this film in response to our previous work as a duo for the Ocean Wise Ocean Action Grant. Receiving funding for materials was incredibly affirming and motivated us to volunteer our time toward fully realizing the project.
7. What film have you seen the most times in your life?
K: I don’t know about seen the most times but a film that I definitely go back to over and over again is “The Worst Person in The World” by Joachim Trier. It’s a film that feels like so many different things. A photograph, a book, a poem. It’s entertaining and engaging and it’s art!
8. In a perfect world, who would you like to collaborate with on a film?
S: I’m very inspired by the work of Josephine Meng. And dancer/choreographer Emma Portner, particularly her video-based work. Both artists create powerful intersections between movement and film that deeply resonate with me.
K: I feel like I won the lottery with my group of friends and housemates. We are all creatives and filmmakers, so just having funds to employ us all to make the films we want together would be the ultimate dream! There’s so many incredible artists that come to mind but where my heart really lies is with them.
9. You submitted to the festival via FilmFreeway. How has your experience been working with the platform?
K: So simple and easy to submit! It’s amazing that this platform exists. Without it I wouldn’t know where to start the process of getting our film out there.
S: It has been a wonderful experience working with FilmFreeway. The platform has provided incredible support in distributing our work and has made the submission process feel accessible and encouraging.
10. What is your favorite meal?
S: Tacos!
K: haha not a meal but I love sautéed tuscan kale with garlic, salt and olive oil. I will often eat a whole head as a meal.
11. What is next for you?
S: Continuing to create and explore movement and interdisciplinary practice!
K: Same! Continuing to create and explore within my photography and filmmaking. To continue working on the balance between the two. Bring more of my creative ideas to life!
Directed by Eliza Goodwin The Pomegranate Theory is a 10-minute short film in the genre of fantasy realism. The film takes place in a society where people wear animal masks to represent their inner selves. Muyal, a young woman who bears the mask of a rabbit, is beginning to lose herself by allowing her love for Holter, a young man with the mask of a fox, to engulf her.
The Pomegranate Theory originated from conversations I had with other young adults surrounding relationships. This endeavour aimed to address challenging human experiences, specifically intimacy and societal roles. By omitting dialogue, the intention was to emphasize the impact of unspoken sentiments and the long-term consequences of individuals’ actions within relationships. Furthermore, I wanted to explore the concept of how many women are conditioned to prioritize others’ needs over their own and how these patterns often carry over into our romantic relations.
From the idea to the finished product, how long did it take for you to make this film?
The film began development in January of 2024, and it screened for the first time in April of 2025.
How would you describe your film in two words!?
Human Experience.
What was the biggest obstacle you faced in completing this film?
For me, the biggest obstacle I faced while making this film was shooting the outdoor scenes. It was my first time filming outdoor scenes to this degree; it was difficult due to the unpredictability of the weather and making sure we had enough daylight.
There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution. What is your favourite stage of the filmmaking process?
Out of the 5 stages of the filmmaking process, production is my favourite stage. I love being on set and seeing the world come to life before my eyes.
When did you realise that you wanted to make films?
In my final year of high school, I took a course where we were given the opportunity to create a short film, and I fell in love with the craft.
What film have you seen the most times in your life?
The Twilight series
8. In a perfect world, who would you like to work with/collaborate with on a film?
One person in a perfect world I would love to work for in any capacity would be Shannon Murphy, as she is the director of one of my favourite films, Babyteeth. This film is one of the reasons I fell in love with movies.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The experience with FilmFreeway has been great. We have had so many amazing opportunities, including being a part of this festival.
10. What is your favourite meal?
All you can eat sushi.
11. What is next for you? A new film?
I am currently working on a new short film, and I hope to keep making art with other passionate creators within the industry.
MRI, 4min., UK Directed by Dougal Vecqueray A patient named Tom goes for an MRI scan only to be transported into a galactic void. After the contrast dye he was injected with begins to spread across his body, Tom is turned blue. Things become even more trippy as Tom’s journey through the void takes a sinister turn.
I actually came up with MRI whilst, believe it or not, in an MRI scan. From growing up with a heart condition and having to go for various scans and tests all my life, I was always intrigued by the feeling of exposure and vulnerability these procedures would give me. With this personal, darker perspective to flesh out the narrative as well as a love for sci-fi and stop-motion animation, I was eager to create this film.
2. From the idea to the finished product, how long did it take for you to make this film?
At the Aardman Academy, we were given 9 months in total to create our films. If you know how long stop-motion takes, it seemed like a dauntingly short amount of time to make a 4min long short. But with the Academy’s amazing help and assistance, I completed the film just in time without sacrificing my vision for the film.
3. How would you describe your film in two words!?
ACID. TRIP.
or
EGO. DEATH.
4. What was the biggest obstacle you faced in completing this film?
Stop-motion animation was an almost brand new form of animation to me, having only done small amounts of test animations before the course. With a story I was determined to tell and the incredible amount of help from my course-mates and the professionals at Aardman, I learnt so much and developed my animation skills during MRI’s production.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was so heartwarming to hear positive feedback about such a personal project of mine. I’m glad to see them understand and enjoy the parts of the film I was worried might be lost on the audience. It gives me so much more confidence in my storytelling abilities and inspires me to create more stories to be enjoyed by the public.
6. When did you realize that you wanted to make films?
Ever since watching films growing up, especially animated films, I’ve wanted to tell funny, visually exciting stories. It was incredible to have made my first film at Aardman, a studio that had produced some of the very films that inspired me growing up.
7. What film have you seen the most in your life?
It sounds silly but ‘Rango’ (2011) is my favourite ever. From the absurd character designs, beautiful animation and surprisingly deep and profound story.
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 it’s great that your festival provides recorded audience feedback , something I haven’t experienced as directly at other festivals. I unfortunately couldn’t attend the festival in person but I’m sure it was a smashing success! I’m really honoured to have my film be a part of it!
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It’s been a great way to submit MRI to a variety of easy to find, genre specific festivals such as this one. The platform is clear and accessible.
10. What is your favorite meal?
I’m a sucker for a sausage sarnie, doused in tomato sauce!
11. What is next for you? A new film?
I currently have a lot of projects ready to go, I’m just looking for funding and scouting for a studio location, all the tricky bits! But I’m motivated and want to make something as good, if not better, as MRI!
Festival Reviews 