On September 22, 2025, Chef Matthew Biancaniello embarked on one of the greatest challenges of his life: a 21 mile swim from Catalina Island to Palos Verdes, CA. While his journey is inspiring on its own, he didn’t do it just for himself. The swim was a vehicle to raise money and awareness for Indivisible Arts, a nonprofit dedicated to teaching consciousness and creativity to kids.

Project Links

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What motivated you to make this film? This is the 2nd film in a documentary series I’m directing called Rhythms, which is all about the unseen rituals of inspiring people. I learned about Matthew Biancaniello’s marathon swim to raise money for Indivisible Arts through Robert Wemischner, who’s both a friend and was the subject for the first Rhythms film.  I was immediately intrigued, but then I spoke to Matthew as well as Rafael McMaster, the founder of Indivisible Arts, and I was so inspired. I knew I had to tell this story in some way, and thankfully everyone was excited to have me involved in this capacity. Indivisible Arts is a remarkable organization, teaching creativity and consciousness to kids. The first time I went to their space in Hermosa Beach I was taken aback. These kids are able to explore their own sense of self in a way that’s rare, as well as build vital mindfulness and emotional intelligence skills. Coupling that story with Matthew’s intense swim, 2 years after major back surgery, was something I felt deeply moved by. 2. From the idea to the finished product, how long did it take for you to make this film? I learned about the September 2025 swim in July. By early September we were confirmed to shoot, with production beginning on September 22. We completed the film and released it online on November 2, so it was about 4 months in total. 3. How would you describe your film in two words!? Inspiring. Grounding. 4. What was the biggest obstacle you faced in completing this film? The logistics for the swim itself, as well as the end of the swim, were the biggest practical concerns. Most of the swim took place in the dead of night, and the swim concluded at an alcove that was not accessible to the public, meaning it wasn’t a place I could drive to with a camera and meet him. We were very fortunate that one of Matthew’s kayak support team, Angela Lee, is a documentary filmmaker herself. Angela shot the swim sequence as well as the emotional arrival onshore. Much of the film was shot at 50mm on a Super 35 sensor to feel the intimacy of Matthew’s journey, while the sequence at Indivisible Arts of the kids creating in the moment was shot with a 75. For the swim itself, we switched to a super wide perspective to feel the epic scale of what Matthew was actually accomplishing. It started as a huge obstacle but became an opportunity that deepened the experience of the film. 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? It depends on the piece to a large degree. I find shooting to be meditative in a way, so if I had to choose today I’d say Production, but I could easily make an argument for Post. Seeing something take shape is special, and being a musician too the rhythm of editing a piece is its own delight. 6. When did you realize that you wanted to make films? 14. I learned quickly that I love cinema as a form. I took a wonderful cinema class while in high school but also shot all the time on my own, dabbled in photography, and then started taking on freelance gigs while still in high school. It was an amazing way to spend those years. 7. What film have you seen the most times in your life? It’s a toss up between an unlikely pair, Annie Hall or Star Wars. When I was a freshman in high school I came down with pneumonia and was out of school for a long stretch, which is when I first watched Annie Hall. It became both comfort and inspiration. For the month I had pneumonia I watched it once a day. That led me down paths that led to Fellini, Godard, Bergman, and more. Star Wars, on the other hand, was something I loved as a kid, owning the original trilogy on VHS. Fast forward to a few years ago. I have an African Grey parrot named Prudence, and one day I watched The Empire Strikes Back with her, and she flipped out hearing R2-D2, Yoda, and Chewbacca, all of which she can emulate to an uncanny degree now. She asks to watch Star Wars every day, so it’s on constant rotation in the house! 8. In a perfect world: Who would you like to work with/collaborate with on a film? I wish I could have met or done anything work-wise with David Lynch. He operated on his own plane of existence in both work and life that will always inspire me. I would have been happy just to make coffee for him on-set! 9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? FilmFreeway makes everything really simple and easy. Being able to upload all the information of your film, track submissions, find festivals that fit your film specifically – all of these are huge. 10. What is your favorite meal? I love a really early dinner, between 3 and 4. I don’t like to eat much in the mornings, apart from some years when I was baking for work in which I consumed more than my fair share of day-old chocolate chip cookies and olive oil cake. 11. What is next for you? A new film? Yes! I’m just about to start production on a feature documentary called The Frequency of Jazz, a project I’ve been developing for the last year. At its core, the concept will explore jazz improvisation through the lenses of physics and neuroscience. While being a documentary, the intent is to craft something that visually is an experience unto itself. I’ve been talking to some amazing people in the worlds of music and science, I can’t wait to start shooting! In addition, Rhythms: An Indivisible Marathon Swim will be screened at Indivisible Arts in the new year and I’m developing more filmed entries in that series, which I’ll be shooting in the new year.

Lana Tong, a tour guide who migrated to Hong Kong less than a decade ago, guides audiences through a post-pandemic Hong Kong undergoing rapid shifts in its political and socio-cultural landscape. Her journey is disrupted by two disembodied voices—native narrators steeped in Hong Kong’s 80s to 00s ethos. Offering corrections rooted in a native perspective and drawing from their upbringing in Hong Kong’s 80s to 00s milieu, they recount the city’s geography and the values of freedom championed by earlier generations, paradoxically steering Lana to rediscover the city through their lens. Amid the tides of time, questions arise: Can a city’s soul survive relentless tides of change? Will its people cling to inherited ideals, flee, or forge new meaning from the fragments?

1. What motivated you to make this film? 

This film was born out of a need to hold onto fleeting moments in Hong Kong, moments that felt especially fragile during the severe pandemic and political upheaval of 2021. Homebound with my partner, we found ourselves reminiscing about childhood and quietly mourning how the stories that shaped us seemed to be dissolving, not only through the passage of time, but also because of the shifting political landscape in Hong Kong. In response, I began filming the city’s landscape and eventually created this short film. 

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

The script and dialogue were written at the very beginning, but the images were filmed gradually over four years—from the lockdown to the reopening of the city. I wandered with a handheld camera and sound recorder, capturing fragments of memory from crowded streets to the city’s border, trying to sketch a map of change through rapidly shifting visuals and evolving soundscapes. 

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

Questioning identity. 

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

 The biggest difficulty lies in the relevance of the content over time. Since the text was written four years ago, some of the topics became outdated during production. I even considered amending or removing those parts. Interestingly, some of these outdated issues have now become cross-generational matters, so I decided to keep the original script. 

 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? 

 The most exciting part of the process, I would say, was the ongoing filming during post-production. It felt like sculpting, painting, or even documenting, and the process stretched over several years. I came up with fresh ideas, revisited some places years later, and filmed again to make comparisons. I even incorporated footage that had been shot long before this project began. 

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

 I worked as a sound artist for years, and I am more familiar with experimental forms and installation building—working with concepts that have a loose structure but rely heavily on intuition. Yet this time, I found myself trying to tell a complete story in sequence, which led me to unfold my exploration through film. 

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

 “Made in Hong Kong” (1997) by Fruit chan. 

 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 would suggest an online platform that brings together creators, potential investors, and film lovers for themed discussions, with the aim of developing cross-regional projects. 

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

 There are dozens of festivals I can see on the site, ranging from small independent ones to well-known major events. I have applied to different types of festivals, and this was truly my first attempt. The more I engaged with the platform, the more I realized there would be a dedicated festival that suited my work. 

 10. What is your favorite meal? 

 Yangzhou fried rice, which is quite a cheap and quick local dish in Hong Kong. 

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

I am working on an experimental video that explores the idea of an endless journey. The video is based on poetry written by my wife and is accompanied by sounds and music that I created with a friend.

In a country that prides itself on democracy, a group of peaceful activists, known for chalking messages and holding signs, faces a terrifying escalation: repression so severe that their right to speak freely becomes their last, desperate stand.

Review by Julie C. Sheppard:

Altruism is the name of the game of this feature documentary, The Lives Of Others. A small group of activists (primarily fighting for animal rights) are captured conversing together about their reasons for protesting and their plans for future protests. Highly informed individuals, they are fully aware of their rights, and the philosophy behind the freedom to protest, and they clearly elucidate how they feel they are being disrespected by law enforcement. 

The fact that their demonstrations are being recorded on video helps to blatantly empathize the violations against these non-violent people. The handheld nature of this footage makes things even more immediate, as if we are literally on the streets alongside the protesters. It is an inspiring moment to read the onscreen text that Max Mara now has a fur-free policy due to the grassroots activism around the world, such as this determined group. 

The stunning footage of the lovely city of Copenhagen in the otherwise highly democratic country of Denmark, is at odds with what the film addresses – – it is not a particularly flattering portrayal and underscores the fact that the freedom to protest cannot be taken for granted. These selfless individuals should be commended for their bravery, and this outstanding feature does a remarkable job chronicling their passionate lives. 

Experts warn that AI is growing so fast it could become as dangerous to humanity as nuclear war.

https://www.imdb.com/title/tt33344786/?ref_=nm_ov_bio_lk

Review by Andie Kay:

In this advanced technological age we live in, A.I. is fast becoming a part of our daily lives. Whatever your opinion of artificial intelligence is, it doesn’t change the fact it exists and it’s available for our use.

In this short film by Blinx Digital Media Hub, an informative host warns viewers of the way A.I. can be misused and the dangers it represents. Urging world leaders to put safeguards and restrictions on the use of A.I. All valid points.

What I found to be intriguing was this film was created using cutting edge tech to create a background and various rooms through computer generated motion and artificial intelligence. I feel the validity of their message would stand out more if the filmmakers hadn’t used A.I. to make the film.

Threshold centers on an unnamed woman confined to a castle rooftop in southern Portugal. Filmed in black and white with a texture that feels unearthed, the work moves fluidly between temporal registers—past bleeding into present, the real colliding with the imagined, danger shading into performance. The protagonist becomes a modern Scheherazade, wielding seduction and cunning as survival tools. The viewer inhabits the position of both witness and accomplice, drawn into complicity by the act of watching. What unfolds is a choreography of emotional volatility and calculated gesture, each movement advancing a psychological duel that seeks catharsis through exposure and release.

Review by Julie C. Sheppard:

Threshold is a visually stimulating short that presents a female protagonist enslaved in a lonely castle. Shot in stark black and white, it has an ancient feel. The rather crumbling structure gives the central figure a constricted place to pace, as if a rat in a cage. Cinematography and, in turn, bold editing are at times truly dizzying, as things turn upside down, slow down to a snail’s pace, and images suddenly disappear.  

Other captivating moments include the use of clever image duplication and seeing the massive, terrifying knife seemingly fly up in the air, with the use of camera reversal. Spine-chilling orchestral motifs, including a rumbling, sombre cello add to the sense of isolation and desperation in the piece. 

The intense, disconcerting expressions on the face of the talented main character gives us reason to believe that she is indeed on the precipice of making a dire decision to dramatically relieve herself of her captivity.

With stories that span from childhood inspirations to professional triumphs, HER Frequency is an intimate documentary that follows a deep and sometimes hilarious conversation between Black women and women of color about their authentic experiences and artistry in Sound.

http://freethebold.com/

Review by Andie Kay:

I don’t think I’ve ever started a review this way but I am blown away by how amazing this film is. Music is the heartbeat of the world. It heals, it teaches, it provides a friend when you need one most and it adds a dynamic to motion pictures that generate emotion. Imagine what Back to the Future would be without a score? No thanks.

Her Frequency takes a table full of industry powerhouses in sound and has inspiring conversations with them. The questions asked by Osha McCall were deep and insightful.

Listening to the advice and experience from Amanda Davis, Kimberly Wilson McCord, Teneal Boone (who also produced this film), Julie Diaz and Judi Lee Headman was very empowering. Sound design, mixing, engineering and editing is different depending on if it’s a live concert, a film score or a studio album and I loved how they spoke about all of it. One of my favorite things while listening to a song is to be able to catch something that sits far back in the mix. It’s like you just found a winning lotto ticket! I love how they touched on this and hearing how cool it is for them when someone says “Hey I heard this in the mix”.

Jae Gilyard directed this and did such a great job! Also some incredible cinematography from Nina Miller plus the camera work was beautifully done. This film is a must watch for anyone in the industry. Even if you aren’t, it will inspire you to follow your dreams.

A drama set in the heart of a Southern Baptist congregation, where personal conflicts, church politics, and family legacies intertwine as they fight for the survival of The Church.

Get to know the writer:

1. What is your screenplay about?

Trinity West is drama set in the heart of a Southern Baptist congregation, where personal conflicts, church politics, and family legacies intertwine as they fight for the survival of The Church.

2. What genres does your screenplay fall under?

Television Drama

3. Why should this screenplay be produced

These are great characters and storylines about a large part of society that has few mainstream options.

4. How would you describe this script in two words?

Compelling
Shocking

5. What movie have you seen the most times in your life?

Braveheart, Gladiator, National Lampoons, Star Wars and anything Marvel related. I really love well-crafted films.

6. How long have you been working on this screenplay?

I’ve been working on Trinity West for about a year and a half.

7. How many stories have you written?
I have written countless stories. However, I have only been writing screenplays for 18-months.

8. What motivated you to write this screenplay?

I feel that this large segment of the population is under-represented in the mainstream TV viewing space. The story surrounds The Church but it is very accessible to everyone.

9. What obstacles did you face to finish this screenplay?

I did a lot of research with the religious community and officials. The revelations about the church, community and society as a whole walk a fine line. There are certain angles and stories in Trinity West that haven’t been touched broached by mainstream dramas.

10. Apart from writing, what else are you passionate about?

Comedy and Basketball. People that know me would say politics, but that’s just a result of observation.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I wanted to see if my work could stand on its own. I had no idea that Trinity West would be an award winner. I was pretty shocked when I received the news. The feedback on Trinity West has been great and very positive.

Cinders, 11min., USA
Directed by Renfang Ke
Interior decorator Alice and college professor George have been married for fourteen years. They raise a son and a daughter together, and they are happily married in others’ eyes. One night, Alice waits at home for George to get back from work. What she gets is not only her husband, but also the news that he is going to leave them for an affair. The trivia of marriage life has used up all their passion; love burns into cinders in just a blink. And George is not sure about what is to come.

Get to know the filmmaker:

1. What motivated you to make this film?

Stemming from one of my early relationships, and from observing my parents and others, I was fascinated by how people who begin as lovers can end up “torturing” each other over the smallest matters. I wanted to explore that dynamic. Luckily, I figured it out.

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

A few years. I walked away from it at one point, and felt that it was time to wrap it up.

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

Visceral. Quiet.

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

Taking it too seriously and not allowing the story to explore its own options. I held on too tightly to my initial intention. Ironically, that was the theme of the film: nothing healthy or beautiful can grow with too much control. I learnt to let go, let alone realize that the piece would eventually have its own journey as it interacts with the audience.

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

It was very interesting. It felt as if the film had taken on a life of its own and was no longer associated much with me.

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

In college, when I realized that I had something to express that I didn’t know how to put into words.

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

Maybe The Lion King.

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 Special.

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

Very good.

10. What is your favorite meal?

I love fish and hot pot!

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

I am currently working on a photography project documenting the Asian Gay Community in the city.

Don’t Trust the Dead, 19min., USA
Directed by Peter VanOosting
Consumed with grief over the death of his forbidden love, Frank seeks the help of a medium. As fate envelops him, he reaches deeper into the world of the dead, despite a dire warning.

Get to know the filmmaker:

1. What motivated you to make this film?

I wanted to take the elements of a noir film and add a ghost to it. It was an opportunity for me to work in my two favorite genres at once

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

It took about a year and a half, from the start of the script to the final edit of the film

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

Spooky noir

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

Scheduling with volunteer actors and collaborators

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

Of course, it is always nerve-wracking hearing people discuss your film, but it was also a thrill to hear how audience members reacted to the story and what elements worked for them. Each of the commentors were generous and kind with their feedback, which is greatly appreciated!

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

My brother and I have been making films together since we were kids. Ever since I can remember, I’ve been fascinated with the magic and art of movie making.

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

Probably The Empire Strikes Back (or maybe Jaws)

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, I’ve been very impressed with this festival! Definitely one of my favorite experiences. Please continue with the feedback, because it is very welcome.

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

I find FilmFreeway to be easy to use and an essential service for filmmakers who are navigating the festival scene.

10. What is your favorite meal?

I should have a more creative answer, but I can’t lie – it’s pizza

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

I’m working on a new script now.

The Recluse, 13min., USA
Directed by Matt Webb
In early 2025 a breach at the Oak Ridge National Laboratory puts residents of Oak Ridge and surrounding counties at risk. During a mandatory curfew imposed by local officials, a man reluctantly allows strangers who show up at his doorstep to spend the night waiting inside, and it quickly becomes evident that things are not as they seem.

https://youtu.be/mQJDF9iEB3s

https://instagram.com/themattwebb21

Get to know the filmmaker:

1. What motivated you to make this film?

I wanted to create a film that drew on some of my favorite just creepy or unsettling films and television: Signs, The Twilight Zone, The X-Files, Stranger Things, and others, while exploring the dynamics of an eclectic group of personalities forced to interact during a mandatory lock-down. No surprise that part of the genesis of this film was the feelings of isolation and uncertainty that most of us felt during the first year of the COVID lockdowns.

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

The idea happened a few years ago – post COVID lockdowns, but the script sat for a few years while I finished some other projects and established a great relationship with my Director of Photography – Thomson Nguyen. After we began pre-production in earnest, the film took about 6 or 7 months to fully come together and finally premiere at Film Fest Knox in my hometown of Knoxville, Tennessee.

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

Being mindful of cast and crew time. We wanted to keep the shoot to 3 10-hour days, and the script was just at 15 pages. Time management was challenging.

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

It was really rewarding to hear that some of the intentional moments in the film resonated and that there was audience payback.

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

It’s been since about 2022. I am 50 years old and films are not my career, just something I love and want to excel at.

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

Probably National
Treasure, Signs, Moneyball and Shawshank Redemption. Definitely an eclectic mix.

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 networking is really key, especially meeting mentor and colleagues at different stages of their film journey. Giving us the opportunity to connect is huge.

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

It has always been a positive experience.