Voice Over by Val Cole

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1) What is the theme of your poem?

The theme of Where Dreams Sit and They Soak is about pausing long enough to appreciate the moment with someone you love and not wanting that moment to end. Not many things in life are promised, and nothing lasts forever. Even if the moment ends and you are no longer with that person, after the hurt and pain subside, you’ll be glad you shared that moment together. The universe works in mysterious ways sometimes.

2) What motivated you to write this poem?

Ironically, I was thinking about my last relationship. Not everything has to be loud or dramatic and that relationship itself wasn’t bad. This poem came from a moment of slowing down and allowing myself to breathe. Around that time, she was going through a lot, and what followed was one of those comforting moments when the world gets heavy. Instead of venting, you just listen, really listen until things calm down. As far as motivation, I wouldn’t call it distraction, but if we’re not careful. We forget how beautiful we are and how often trivial things pull us away from what we really want and need.

3) How long have you been writing poetry?

I’ve been writing and scribbling since I was a preteen. My first published piece was in 2006, a poem called Equilibrium in an anthology titled Collected Whispers. Around my teenage years, I started taking it more seriously, writing that is. Trying to write about emotions, things I went through, and thoughts that stayed with me.

4) If you could have dinner with one person (dead or alive), who would that be?

I’d love to have dinner with my parents, Wayne and Keneethia Wadley. Uninterrupted, the way it was when I was a kid. They’re both still here, which is a blessing, but with work and everything going on in the world, it’s very often just a quick hi and bye or we’re too tired to truly hang out. Still, we make time for each other and talk every day, and I’d really treasure having that slow and uninterrupted time again.

Actually with all my family honestly.

5) What influenced you to submit to have your poetry performed by a professional actor?

Honestly, I wanted to hear my words interpreted through another voice. What WILDsound does is amazing the few pieces I’ve had accepted take on a new life and meaning when performed. My favorite so far was A Match That Forgot How to Breathe. I love hearing other writers’ work transformed by professional actors, and when it’s my own. I sit back in awe, it’s hard believing those words came from me.

Thank you for doing that for me.

6) Do you write other works? Scripts? Short stories? Etc.?

Yes, I write short stories and sometimes borderline essays. I also collaborate and co-create with other artists in different mediums. Poetry may be the core, but it branches out in many ways.

7) What is your passion in life?

Connection is my passion. Whether through a conversation, a poem, a book, or supporting someone else’s work, I believe connection is what reminds us we’re not alone. Whether good times and/or in bad, there’s always something be it a word, a gesture, there’s always something that triggers a memory that ties us back to each other.

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POEM:

There is no particular sound
that rustles through the trees,
different from the music
we listen to.
different than the sounds
our hearts are used to.
Your hands grab and hold me
like I have somewhere
better to be,
fingers interwoven
against the middle
of my back,
like tiny branches,
like this is where you
planned to be,
settling deeper
into my chest.

I press my lips to your forehead,
a place filled with dark honey
surrounded by mahogany oak,
where dreams sit and they soak
until they are sticky and ripe.

I kiss you like
the night has no end,
like your bones have endless marrow,
like there isn’t another you.
Your arms are still.
Your lips say nothing.
There is no particular sound
that rustles through the trees,
no different than how
my heartbeat
thumps against yours.

1) What is the theme of your poem?

The poem “Safety” explores the deteriorating mental state of a man struggling with isolation, delusion, and suicidal ideation. Throughout the piece, the speaker experiences persistent discomfort in his surroundings and an increasing sense of disconnection from others. The recurring “ticking” sounds symbolize his intrusive thoughts and the looming presence of hallucination. In his search for comfort and validation, the man fixates on a figure named Pearl, who represents affection, importance, and emotional relief. However, Pearl is later revealed not to be a person, but a gun—a manifestation of his delusion and desperation. The motif of “kisses” serves as a metaphor for the gun’s mechanical clicks, gradually transforming from gestures of comfort into ominous signals of his impending self-destruction. As the poem progresses, the ticking intensifies, paralleling his psychological breakdown. The final “kiss” marks both the climax of his delusion and the moment of his death. The title “Safety” functions as a powerful double entendre, referring simultaneously to the gun’s safety mechanism (safety on/off) and the protagonist’s futile desire for emotional and psychological safety. Ultimately, the poem reflects the fragile boundary between comfort and danger, love and destruction, and reality and delusion.

2) What motivated you to write this poem?

I was depressed at the time and feeling hopeless as I approached my final year at California State University, Long Beach, graduating in Spring 2026. I was trying to prove to myself—and to others—that I had talent. I wanted people to see the real me. That was when a light bulb went off. I realized that we often speak too quietly about mental illness. As I am a big supports for the disability community and mental health, writing “Safety” had clicked me. Whether or not we have a mental disorder, we all face struggles within ourselves, and none of us are truly alone. This was the first poem I ever wrote.

3) How long have you been writing poetry?

I’ve been writing since 2011. Over the years, I threw away journals and deleted stories that I didn’t think were good enough. It took more than a decade before I found the genre that truly spoke to me—psychological thrillers.

4) If you could have dinner with one person (dead or alive), who would that be?

Wow… I would say the late Michael K. Williams. He was an actor best known for The Wire on HBO and his work with VICE News. He changed people’s lives by shedding light on poverty and the power of second chances. He was a kind, soulful man—imperfect, but deeply human—and his legacy continues to inspire me.

5) What influenced you to submit to have your poetry performed by a professional actor?

I am high functional autistic, and people sometimes see me… as simple. But I understand what it means to navigate the world while also trying to understand myself. I wanted people to see me as equal, not defined by disability. We may not all have the same experiences or knowledge, but I believe everyone carries kindness and respect within them. Sharing that understanding—and helping others feel seen and human—is what motivated me to submit my work.

6) Do you write other works? scripts? Short Stories? Etc..?

Yes. I have three unpublished short stories and one unpublished novella that I’m currently revising. My goal is to collect all four pieces into a single volume

7) What is your passion in life?

My major is in computer science, and I want to create video games that tell powerful stories. My dream is to become a narrative designer for games—writing scripts that connect players to meaningful emotions—and eventually to own a game studio focused on authentic storytelling and creativity. Writing allows me to express how I see the world and my place in it. I’m truly grateful for this opportunity and for the actor who brought my poem to life. To anyone who feels alone, please know: you are not alone.

LISTEN TO THE UNIVERSE, 27min., USA
Directed by Elizabeth Rosa Landau, Kimberly Arcand
NASA is famous for beautiful space images, but did you know you can listen to them? Go behind the scenes with the team that creates “sonifications,” translations of data into sound, and learn how meaningful they are to people who are blind or low-vision.

https://instagram.com/nasa

Get to know the filmmakers:

1. What motivated you to make this film?

Elizabeth Rosa Landau: We wanted to share a different way of experiencing NASA data of our universe. For many years, our work for the Chandra X-ray Observatory has been about making high-energy astrophysics data accessible through images, sound, and interactive media. Sonification—turning data into sound—offers a powerful, emotional entry point. The documentary was a chance to invite people to listen to data of black holes, supernovae, and galaxies in ways they’ve possibly never imagined.

Kimberly Arcand: We wanted to share a different way of experiencing NASA data of our universe. For many years, our work for the Chandra X-ray Observatory has been about making high-energy astrophysics data accessible through images, sound, and interactive media. Sonification—turning data into sound—offers a powerful, emotional entry point. The documentary was a chance to invite people to listen to data of black holes, supernovae, and galaxies in ways they’ve possibly never imagined.

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

ERL: The idea had been percolating for several months. Once Liz and I partnered with NASA+ on the documentary, it took about 12 months from concept through filming, editing, and release.

KA: The idea had been percolating for several months. Once Liz and I partnered with NASA+ on the documentary, it took about 12 months from concept through filming, editing, and release.

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

ERL: Cosmic Soundscape.

KA: Cosmic Soundscape.

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

ERL: Balancing the goal with a limited budget. We wanted the film to stay true to the astrophysics, and tell a unique story from a specific viewpoint, all while also being compelling and accessible for a wide audience. Striking that balance—making it rigorous and yet resonant—on a budget was challenging and rewarding.

KA: Balancing the goal with a limited budget. We wanted the film to stay true to the astrophysics, and tell a unique story from a specific viewpoint, all while also being compelling and accessible for a wide audience. Striking that balance—making it rigorous and yet resonant—on a budget was challenging and rewarding.

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

ERL: It was moving. To hear people connect emotionally, not just intellectually, with the film (and the universe!) confirmed why we made the film. It showed us that the work goes beyond science—it touches on empathy, imagination, and access.

KA: It was moving. To hear people connect emotionally, not just intellectually, with the film (and the universe!) confirmed why we made the film. It showed us that the work goes beyond science—it touches on empathy, imagination, and access.

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

ERL: I didn’t start out thinking of myself as a filmmaker and still don’t! I started as a scientist and science communicator. Liz is comfortable and incredibly talented in the video space, however. And so are other members of the team. I have certainly seen over time how film can capture imagination, convey complexity, and reach audiences in ways that traditional formats can’t. Collaborating with visualizers, musicians, and storytellers to share science like this is such a gift.

KA: I didn’t start out thinking of myself as a filmmaker and still don’t! I started as a scientist and science communicator. Liz is comfortable and incredibly talented in the video space, however. And so are other members of the team. I have certainly seen over time how film can capture imagination, convey complexity, and reach audiences in ways that traditional formats can’t. Collaborating with visualizers, musicians, and storytellers to share science like this is such a gift.

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

ERL: To stick to the space theme, perhaps Contact. It’s such a lovely example of being a science story and a human story It asks great questions about our place in the universe, just the kind of themes that inspire our work.

KA: To stick to the space theme, perhaps Contact. It’s such a lovely example of being a science story and a human story It asks great questions about our place in the universe, just the kind of themes that inspire our work.

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

ERL: I’d love more opportunities for cross-disciplinary conversations—bringing together scientists, artists, and technologists with filmmakers. Those connections spark new ideas and collaborations that can carry beyond a single screening.

KA: I’d love more opportunities for cross-disciplinary conversations—bringing together scientists, artists, and technologists with filmmakers. Those connections spark new ideas and collaborations that can carry beyond a single screening.

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

ERL: FilmFreeway made the process smooth and efficient. It’s intuitive, and it made it easy to connect with festivals we would not have otherwise known about.

KA: FilmFreeway made the process smooth and efficient. It’s intuitive, and it made it easy to connect with festivals we would not have otherwise known about.

10. What is your favorite meal?

ERL: Hummus and pita!

KA: Hummus and pita!

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

ERL: I’m continuing to expand the sonification work with my incredibly talented team. I’d love to explore another film that delves into other topics of high energy astrophysics. I’m also working with collaborators on some new projects that combine sound, touch, and immersive technology to help make the universe even more accessible.

KA: I’m continuing to expand the sonification work with my incredibly talented team. I’d love to explore another film that delves into other topics of high energy astrophysics. I’m also working with collaborators on some new projects that combine sound, touch, and immersive technology to help make the universe even more accessible.

Conscious Co-Working, 22min., Mexico
Directed by Matt Crowe
Conscious Co-Working is an award winning heart-led documentary exploring the rise of spiritually conscious entrepreneurship and community in the digital age. Set in Playa del Carmen, Mexico, the film follows a global tribe of creatives, healers, spiritual digital nomads, and conscious entrepreneurs who are redefining work as a sacred act of self-expression, collaboration, and inner growth. Through intimate interviews, rituals, and raw moments of transformation, the film captures how a coworking space became a sanctuary for purpose-driven humans building businesses that align with soul and service. This is not just about work – it’s about healing, connection, and the future of how we live and create together.

https://instagram.com/conscious_coworking

Get to know the filmmaker:

1. What motivated you to make this film?

I always wanted to make a film since i was 20 years old, and happened organically about a topic I care about and documenting a really interesting story about Conscious Co-Working and how it all unfolded.

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

March 2024 – April 2025

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

serving others

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

it being a new process for me

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

was nice to see someone who knows nothing about it give candid feedback

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

20 years old, 42 now – took me 22 years to come around to it finally

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

have watched so many and def a cinefile

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

connect with producers/distributors networks etc to turn something like i created into a TV Show/Docu-Series etc

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

ok

10. What is your favorite meal?

Chicago Style Italian Beef

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

Writing a Book

Black People Don’t Tango, 13min., USA
Directed by Robert Xavier Clark
A African American man learns to tango after a trip to Argentina.
Based on a true story.

1. What motivated you to make this film?
This short film Black People Don’t Tango is adapted from a feature-length film script that I developed in 2019. That feature script is further adapted from a short story that I wrote in college.

The primary motivation for the short film is to function as a proof of concept for the larger Black People Don’t Tango idea.

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

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

4. What was the biggest obstacle you faced in completing this film?
Scheduling and securing locations. The short film was put together and shot in a very tight timeframe. Also most of the people in the film are not professional actors, so getting everyone on the call sheet to show up on specific days was challenging. We also had some late talent and location changes happen, so we had to stay flexible and adapt.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I enjoy hearing feedback about the film and seeing people’s reactions. I am proud of what we created and it’s always surreal to encounter people who love Black People Don’t Tango in all of its forms (both the original short story and short film). This makes me excited to see how audiences would react to a feature film.

6. When did you realize that you wanted to make films?
As a kid. For a long time I recorded everything on a camcorder and I have been writing short stories for as long as I can remember.

7. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Very positive. A special shout out to Lucinda Clark, my co-producer and mother, who made our submission happen!

8. What is next for you? A new film?
I have two film projects that I am developing. I hope to bring them to the world soon!