The Rules of Life., 13min., United Arab Emirates Directed by Larry Neale Max still lives under his parents’ roof, drifting through life with no direction. He spends his days immersed in the digital world, avoiding the real one entirely. The dreams he once chased have faded, and now he’s stuck; unmotivated, uninspired, and unsure how he got here.
I had been working on a film idea in 2025 and was trying to bring a new crew together. And then I saw Comic-Con Middle East was coming up in April 2026 and then I thought it would force me to get going. I work best when there are deadlines. So, my motivation was to make a fun film that would have a wide appeal and at the same time see how my new crew would perform. And they were amazing. We are already working on the next project.
2. From the idea to the finished product, how long did it take for you to make this film?
I wrote a story in 1 night, created a script in a week, and then assembled the crew. From idea to final edit – we did it in 4 months – including Xmas.
3. How would you describe your film in two words!?
FUN and UNPREDICTABLE
4. What was the greatest obstacle you faced in completing this film?
Time. We used an Airbnb to shot and we only have so much time to get what we need. And with an AirBNB you dont get early access to block and plan, it all has to be done from photos and when you turn up.
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?
If I was forced to choose I would say development. I enjoy the creative journey of having an idea and then bringing it to life. I wrote and directed this, so it makes me really dig into my film head to come up with ideas.
6. When did you realize that you wanted to make films?
When i was a small kid, probably like many people. But it wasn’t until much later that I found a way to do it.
7. What film have you seen the most times in your life?
Rocky 3
8. In a perfect world: Who would you like to work with/collaborate with on a film?
Christopher Nolan – his films are on another level.
9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
As a platform its excellent – its the film festivals behind it that are often very different. Some are professional and some I wonder if they actually exist. I have been very happy with your festival and really like the way you approach the film maker, creating opportunities to be seen and heard. Bravo.
10. What is your favorite meal?
I’d have to say Spaghetti Bolognese
11. What is next for you? A new film?
I am working on a new script which will be shot towards the end of 2026. With my new crew and with more time in pre-production, I think we can make something great.
The UAE indie film world is alive, its young, but there is a lot of great talent, and I am sure we will see more coming from this part of the world in the future.
ANOTHER STAR, 24min.,USA Directed by Antonia Stevenson Another Star is set in 1970s Washington, D.C., where young Black girls begin vanishing from neighborhood streets, their disappearances met with silence, suspicion, and systemic neglect. When one girl fails to return home from a simple trip to the corner store, her family’s growing panic exposes a community long accustomed to being unheard.
1. What motivated you to make this film? The idea actually started with my uncle. He began telling a story the way elders often do, just casually saying, “Back in my day.” He grew up in the 1970s and talked about how they would rush home before dark because of the Freeway Phantom. My mother, aunt, and uncle all grew up in Southeast Washington, D.C., and it was almost spoken about like an urban legend, someone kidnapping and murdering young Black girls, yet it never received the media coverage it deserved. Many people outside of that area of D.C. knew very little about it, and some had never heard of it at all. That lack of awareness motivated me to tell this story, increase its visibility, and help preserve it in the archives through film.
2. From the idea to the finished product, how long did it take for you to make this film? From idea to completion, it took about five years.
3. How would you describe your film in two words? Haunting Truth
4. What was the biggest obstacle you faced in completing this film? We were working with a very small team but had very big dreams. We had the vision, but pulling it off required a lot of faith, patience, and problem-solving. Time was a major factor, and when locations or plans fell through, we had to pivot quickly. It was definitely a “just keep swimming” kind of process.
5. What were your initial reactions when watching the audience talk about your film in the feedback video? It was really special. We were very intentional about preserving the integrity of the 1970s era, so hearing the audience recognize that meant a lot. We also wanted viewers to feel that these were real families, real lives, and real loss. Knowing they connected with that was meaningful.
6. When did you realize that you wanted to make films? It happened gradually. It started with a desire to work on film sets because I loved movies. Then I realized I could create my own stories. My sister and I would write ideas, gather friends, and make YouTube videos. Over time, the dream became tangible.
7. What film have you seen the most in your life? The Five Heartbeats
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career? Honestly, this festival has done an excellent job. Everything has felt intentional, professional, and filmmaker-friendly. Continuing to create networking opportunities, industry panels, and spaces for filmmakers to connect would be amazing.
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 and easy to navigate. It makes the submission process simple without too much extra lift.
10. What is your favorite meal? A girl’s dinner.
11. What is next for you? A new film? My sister and I are currently working with a client to bring her episodic series to life. It centers around a young girl who is a basketball player, and we’re excited about what’s next.
3:33, 7min., USA Directed by Michael Munz, Michael Ferrari In the middle of night, a man’s quiet routine is disrupted by small, unsettling signs that something is sharing his space. As fear pushes him into hiding, the boundaries between safety and threat collapse. When help finally arrives, the house becomes a trap, revealing that whatever lurks within doesn’t leave witnesses.
I wanted to explore the unsettling feeling of being watched or experiencing something you can’t fully explain, especially in those quiet late-night moments.
2. From the idea to the finished product, how long did it take?
From the initial idea to final cut, it took about 2-3 months. Most of that time was spent refining the concept and editing, making sure the pacing and atmosphere felt right. We shot the film over 2 separate days, each 2 weeks apart. So it certainly was a little bit of a struggle to keep continuity throughout, especially because we only had the creature on certain days.
3. How would you describe your film in two words?
Unsettling. Minimalist.
4. What was the biggest obstacle you faced in completing this film?
The biggest challenge was creating strong tension with limited resources. I had to rely heavily on lighting, sound, and pacing rather than big visual effects, which pushed me to be more creative with how I built suspense.
5. What is your favorite stage of the filmmaking process?
100% Production. To be honest, this is the first short film I’ve ever made, so to get on set with the 10-15 members of crew that we had, and to see everyone working together was just a great feeling.
6. When did you realize that you wanted to make films?
Around 6 years ago, my grandmother bought me a GoPro as a Christmas gift. Truly I thought I was a professional director the second I laid hands on it. I would go around and make videos about everything and anything. And I think that’s sort of what really jumpstarted this whole journey as a filmmaker to where I am today. (I don’t shoot on a GoPro anymore. I recently purchased a cinema camera.)
7. What film have you seen the most times in your life?
I’m not really sure about my whole life, but in recent years I have watched the conjuring so many times I could practically recite lines from it. I really love the filmmaking style, and I really think that I have developed a lot of my identity as a filmmaker growing up watching films from the conjuring series.
8. In a perfect world: Who would you like to work with?
I’d love to collaborate with filmmakers who are known for building tension and atmosphere in unique ways, like David Fincher.
9. How has your experience been with FilmFreeway?
It’s been a really useful platform for discovering festivals and getting my work out there. It makes the submission process straightforward and accessible for independent filmmakers.
10. What is your favorite meal?
A Homemade Fried Chicken Cutlet
11. What is next for you? A new film?
I’m currently developing my next project and focusing on improving in areas like cinematography and sound design. I want to build on what I learned from 3:33 and create something even more refined and impactful.
When the victim of a killer in the woods explains her final day, it turns out it was a different day to that experienced by her killer.
Review by Julie C. Sheppard:
Revenge is the central theme in the chilling short, No More A Victim. An innocent boy is murdered, and his grieving parents take things into their own hands, seeking justice and revenge against an unrepentant killer. The film cleverly plays with structure by making scenes non-linear.
The final result, with the use of an effective introductory voiceover, is carried out off the top and then the screenplay goes back in time for further plot explanation. Vigilante justice is achieved convincingly by the performances of the actors playing the parents. You can truly sense their desperate anger towards the murderer, who is also well-performed by the actor playing the remorseless character, her smug attitude igniting the anger of the parents even further.
The filmic convention of revealing true identities in a grocery after an initial anonymous meeting is simply brilliant. The score of the famous piano piece Moonlight Sonata as the film comes to a close, is an apt choice as the day ends along with the life of the initial murderer, her body left forever in the darkening forest setting. And, while a violent manner to seek justice, the parents do indeed achieve their ultimate revenge.
VANISHING: A LOVE STORY, 107min., USA Directed by Sandra Luckow Vanishing: A Love Story is a documentary about award-winning novelist Cai Emmons and her loving, open-hearted journey towards death. In 2021, at the age of 70, Cai was diagnosed with ALS. Taking place in 2022, during the last six-months Cai’s life, the film is, first and foremost, a story about the agency of expression —having a voice to create a legacy in the world.
Vanishing: A Love Story is a continuation of my documentary film practice. I like to think of myself as an artisanal portraitist. Cai and I met when I was teaching at Yale University and she returned as part of the First Women at Yale 50th reunion. What began as long, rambling Zoom conversations over “quarantinis” during Covid lockdown became something far deeper when Cai was diagnosed with Bulbar onset ALS in early 2022. When I offered to visit her in Eugene, Oregon and perhaps capture some footage for her family on my iPhone, Cai — with the imagination of a novelist and the instincts of a filmmaker — responded with a full shot list. That moment transformed a personal gesture into a documentary feature. Her insistence that I film her death with dignity, and include it in the film, became a non-negotiable condition of her participation. That kind of trust and creative courage is what truly motivated me to see this film through.
2. From the idea to the finished product, how long did it take for you to make this film?
I began raising money in April of 2022 through a GoFundMe that would allow me to drive across the country to Eugene, Oregon. I started shooting in June of 2022, and my last shoot was Cai’s Death with Dignity on January 2, 2023. The film premiered in June of 2025 — so from first funding to world premiere, almost exactly three years.
3. How would you describe your film in two words!?
Life/Death.
4. What was the greatest obstacle you faced in completing this film?
There were many, but perhaps the most profound was the moment I learned Cai had moved her Death with Dignity date to January 2nd after a traumatic New Year’s Eve emergency with her feeding tube. I had a ticket to be in Eugene on January 5th, planning to be in the room on her birthday, January 15th. There was no physical way to get there in time from New York City. The Zoom recording, set up by a close friend of hers, became the only option. Beyond the logistics, I also faced considerable pushback from trusted colleagues who felt the film should not open with her death. Their resistance only made me more determined to begin the film exactly that way.
5. What is your favorite stage of the filmmaking process?
Without question, Production and Post-Production. I love the beautiful chaos of production — the problem solving, the spontaneity, the energy of capturing something real in the moment. And then in post-production, I especially love the mix. That’s the moment it truly feels like a movie. Everything comes together — the sound, the music, the picture — and suddenly what lived in your imagination is right there in front of you.
6. When did you realize that you wanted to make films?
As a little kid, when people asked me what I wanted to be when I grew up, I would say “a memory-maker.” I wasn’t entirely sure what I meant by that at the time, but looking back, what I do now fulfills that job description perfectly. The realization crystallized in college when I was finally able to take a filmmaking class and ultimately made a film for my senior thesis called Sharp Edges. I was hooked. I never looked back.
7. What film have you seen the most times in your life?
Probably All About Eve — but there are many films from the Classic Hollywood period, roughly 1930 to 1960, that are right behind it in the count. Sunset Boulevard is right up there, and in fact became the structural model for Vanishing: A Love Story. The connection felt natural — after all, Sunset Boulevard opens with a dead person narrating their own story, which gave Cai and me a creative blueprint for how to approach death in our film. I have seen virtually everything Bette Davis, Katharine Hepburn, Barbara Stanwyck, and Audrey Hepburn ever made — many times over. Those women were forces of nature on screen and I never tire of watching them.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
In a perfect world, I want to work with strong, creative women. Full stop. Every collaboration I seek out is also an opportunity to make a meaningful contribution toward equalizing the power disparity that still exists in this industry. That is not just a creative preference — it is a commitment.
9. How has your experience been working on FilmFreeway?
Why do we have to talk about FilmFreeway?! It’s a blessing and a curse. As a platform it does what it needs to do, but I wish they would police it more rigorously. There are far too many scam festivals taking advantage of young filmmakers who are desperate for laurels. That is something the industry really needs to address — protecting emerging voices who are putting their hearts and resources into their work.
10. What is your favorite meal?
My favorite meals are the ones I create myself — where the cooking is as much a part of the experience as the eating. I love taking lesser cuts of meat and transforming them through braising and slow cooking into something deeply flavorful and unexpected. Everything made from scratch. There is something deeply satisfying about the patience those techniques require — and the result is always worth it. I suppose it’s not so different from filmmaking.
11. What is next for you? A new film?
I am currently making a documentary short called Tree & Me — about a giant Eastern cottonwood in Inwood Hill Park that was the only living thing I touched during six months of Covid lockdown. On the surface it is about that profound and unexpected connection, but at its heart it is really about discovering over 160 years of history of my greater New York neighborhood. I am also working on a one woman theater show about ventriloquism called Let Me Explain You.So yes — there is plenty keeping me busy!
On the ten-year anniversary of her dad’s death, Frankie reflects on the absurdity of content creation. She would rather end her life than make a short film about death. But is she serious? A twisted look at why we make art through the lens of grief.
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STASIS SOCIETY, 21min., UK Directed by Holly Hallsworth, Erin Daisy ‘Stasis Society’ is an interpretive drama, following the experience of both troubled, and quaint individuals of Today’s human collective.
ANJA’S LONGING, 33min., Taiwan Directed by Elen Ji “If I could live my whole life on my own will, what would it be like?” Anja, a 22-year-old biracial film school undergraduate, imagines her ideal life from birth to death. The perfection of her fantasy starkly contrasts with the incompleteness of her reality, highlighting Anja’s deep longing and the story of her life.
Life is (a) Short, 14min., USA Directed by Brooke Dooley On the ten-year anniversary of her dad’s death, Frankie reflects on the absurdity of content creation. She would rather end her life than make a short film about death. But is she serious? A twisted look at why we make art through the lens of grief.
Festival played at the end of May/June 2026. Showcasing the best of NEW movie trailers from around the world. Over 150 submissions!
AUDIENCE AWARDS: Movie Trailer: HYBRID Action Trailer: ON THE SAME EARTH Adventure Trailer: AVATARS OF DESTINY: THE RECKONING BEGINS AI Trailre: DOG OR DIE Comedy Trailer: HELL GIG Dance Trailer: JINSHAN: Seams of Gold Direction Trailer: CRIMEANTASY@ SERIES Documentary Trailer: KIM WESTON: MOTOWN TO BLACK BOTTOM Editing Trailer: THE MAN WITH NO FACE Experimental Trailer: STILL HERE EP Fantasy Trailer: HIGH MOON Horror Trailer: HOLLER LGBTQ+ Trailer: THE DON OF WEST HOLLYWOOD Mystery Trailer: THE FINAL MISSION Parody Trailer: HOT TUB ETIQUETTE Performances Trailer: EDGE Sci-Fi Trailer: ON THE SAME EARTH Story Trailer: THE SPIRIT HILDA TWist Trailer: THE OLD BENCH IN NEW YORK
HYBRID, 1min., USA Directed by Francisco de la Calle Angelo, a Brazilian graduate student in San Jose, California, is weeks away from returning for good to his beloved Rio de Janeiro. Determined to leave a meaningful mark, he submits a proposal to the city with ideas to support the homeless community.
HIGH MOON, 1min., USA Directed by Sean Bridges A group of good, bad and ugly bounty-hunters find themselves up against a clan of shapeshifters in the desert of West Texas in 1959.
ON THE SAME EARTH Directed by Sam Cox In the 7th century, Eadlin, a Saxon settler, discovers a mysterious dragon egg and when unable to break it she panics, racing home but trips and struggles to move. When faced by Leir, a displaced Celt wanting to protect the egg, they apprehensively try to communicate through their native languages Cornish and Old English slowly beginning to understand and accept each other. After helping her back, Leir is amazed to discover Eadlin living in an abandoned roundhouse and begins to settle in his cultural heritage, but as they start to relax the creature that brought them together starts to hatch.
THE MAN WITH NO FACE, 1min. Directed by Geo Thelen “In a world before blockchain, one ghost in the machine rewrote the future. In pursuit of answers from the atomic depths of cyberspace… comes only a name -and a following mining for meaning.”
MONSTER ISLAND, 2min. Directed by Orlando Mendes When teenage racing prodigy Nick discovers that his sister’s mysterious coma is connected to a dark force feeding on children’s dreams, his search for answers leads him to a place no one has ever escaped — Monster Island.
THE SPIRIT OF HILDA, 1min., Directed by Jasmine Banks, Justus Hightower, Griffin Bermea A late/teen early young adult, dies in a freak accident. Her adoptive mother, Mrs. Lake who practices voodoo, attempts a spell to bring her back. But the Hilda that returns is not the one she knew.
HELL GIG, 3min., USA Directed by Luke Soin Two stand-up comedians are offered a career changing opportunity where they must face the worst type of heckler… a literal man-eating succubus, from HELL.
KIM WESTON: MOTOWN TO BLACK BOTTOM, 2min., USA Directed by Valerie Denise Jones A haunting, narration-driven trailer that traces the journey of Motown artist Kim Weston through the cultural shift from Motown to Black Bottom, where music, memory, and identity collide.
DOG OR DIE, 1min., USA Directed by Eric Hamilton An AI-enhanced dramatic feature, Dog or Die follows Ethan, a young man forced to confront his past after surviving a near-fatal shooting outside a fraternity party. From navigating racial isolation in suburban America to pledging an elite Black fraternity, his pursuit of identity and belonging spirals into a world of power, humiliation, loyalty, and violence. As friendships fracture and consequences mount, Ethan must redefine what manhood truly means—and decide whether crossing the burning sands forged his strength… or cost him his innocence.
Hot Tub Etiquette: The Movie Trailer, 1min., USA Directed by Aidan Jack O’Connell The Official trailer for hot tub etiquette the movie
HOLLER, 2min., USA Directed by Devin Michael Smock, Samuel David After the world ends quietly, a hardened loner and a pregnant young woman form an uneasy alliance across the ruins of rural America. Part western, part road movie, part slow-burn apocalypse — it’s a story about survival, guilt, and finding scraps of hope in a world that’s lost its soul.
The Don Of West Hollywood, 3min., USA Directed by Dominic Paolo Testa A mafia don accused of being gay must prove that he is straight or die.
ON THE SAME EARTH, 1min., UK Directed by Sam Cox In the 7th century, Eadlin, a Saxon settler, discovers a mysterious dragon egg and when unable to break it she panics, racing home but trips and struggles to move. When faced by Leir, a displaced Celt wanting to protect the egg, they apprehensively try to communicate through their native languages Cornish and Old English slowly beginning to understand and accept each other. After helping her back, Leir is amazed to discover Eadlin living in an abandoned roundhouse and begins to settle in his cultural heritage, but as they start to relax the creature that brought them together starts to hatch.
STILL HERE EP, 2min., UK Directed by Tehillah Hinds Turning grief into hope, this visual album brings to life the lyrics of 5-track Disco-Dance EP ‘Still Here’.
THE FINAL MISSION, 1min., USA Directed by Winston James Three unruly friends on the run from the law try to find out who among them may have provided secret information to law enforcement.
Avatars of Destiny: The Reckoning Begins, 3min. Directed by Ess-Jee Rautenbach In a realm where prophecy collides with technology, four heroes stand at the edge of reality itself. Scarred by battle but bound by purpose, Kael and his allies must confront the collapse of an ancient prison—and the resurgence of a cosmic evil that threatens all worlds.
The Old Bench in New York, 1min., USA Directed by Alexandra Tomilina Two people, one of whom is a hologram, try to start a better life together after their everyday lives fall apart.
EDGE, 1min., 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?
JINSHAN: Seams of Gold, 1min., USA Directed by Megan Lowe Set against a majestic outdoor rock wall, “JINSHAN: Seams of Gold” is a site-specific vertical dance film that reimagines gravity as a partner in storytelling. Harnessing the power of rock climbing technology, dancers are lifted into the air—not just to defy gravity, but to awaken a sense of flight, freedom, and deep connection. Suspended in space, they soar, tumble, and reach across stone surfaces, turning sheer rock into a canvas for memory, imagination, and transformation.
A woman in recovery finds a new community and maybe something more in a surprising place: Line Dancing at a community dance hall.
Review by Julie C. Sheppard:
The short Line Dance takes the viewer down a linear path. The suffering central figure is introduced bit by bit, with reference to her divorce, missing her beloved son and her alcoholism. Fortunately, she finds joy and relief from the enjoyable and social hobby of line dancing. The scenes of her having fun participating in this delightful activity are so satisfying. She herself is a quick study in the choreography and it is quite entertaining to witness the huge dance hall full of active participants, all in step to the lively music.
The scenes of passion and enjoyment with her new man are also lovely and intimate. Other well-directed scenes are far more subdued revealing sadness at her place of work, her humbleness at the AA meeting and her feelings of anger and rejection when she is ghosted by her new lover for several weeks.
It is the film’s resolution that completes the journey of the narrative. While still fond of the new boyfriend that she has forgiven, her most beloved passion is for the dance.
Step right up! The Showmen begins with a richly textured journey into the origins of travelling carnivals, using animated archival imagery to show a history that featured oddities and other curiosities. As the documentary moves to present day, it follows World’s Finest Shows, a midway operated by generations of the Jamieson family. This film reveals how iconic games and rides have evolved to modern day versions. From the origins of phrases like “close but no cigar” to the enduring appeal of indulgent carnival food, this film balances nostalgia with realism, exposing the long hours, physical strain, and financial pressure endured by the showmen. Beneath the lights and laughter, there’s a hardworking crew who sacrifice comfort to building dazzling, temporary worlds that foster lasting memories of spectacle and joy in our communities.
Memories of visiting a travelling carnival in my small Ontario town were reignited after viewing this charming feature documentary, The Showmen. It gives a full-fledged look at every element required to run a modern-day fair. It also provides detailed investigations around the origins of midways with fascinating archival footage beginning in the late 1800s onwards, with notable information about the invention of the Ferris Wheel to recounting shameful and horrifying midway acts of the past revolving around racism and disrespect for humans and animals, to revealing better developments over time with regards to human rights and technological advancements.
The film gives a cinematic exploration of entertaining sites and sounds, with dynamic footage of carnival lights and music, and the tangible excitement of the public enjoying themselves on rides, playing games and snacking on famous yummy treats of a fair, such as cotton candy, corndogs, candy apples, and popcorn. The camera work is so intimate that you can almost smell the delicious treats and feel the excitement on the various rides. Helpful graphics reveal the astronomical fees and supplies needed to run fairs.
The narration of the documentarian is so authentic and genuine, showing such enthusiasm and respect for those responsible for these travelling midways. Another heartwarming touch is how sweet vocals proudly and sentimentally describe the life of showmen and the transient, yet magical carnival — a recurring event that is still fresh in my memory from when I was a child in small-town Ontario.
Festival Reviews 