The theme of my poem is vulnerability and the fear that often accompanies it.
2) What motivated you to write this poem?
I’m actually emetophobic. I’m also very introverted. One day, I wondered if there might be a connection between the two aspects of my life. I realised that maybe there could be. So, I started thinking about the similarities between my fears(vomit and opening up).
3) How long have you been writing poetry?
I have been writing lyrics/poetry since I was in first grade. I started picking up on it more when I was about 13 years old.
4) If you could have dinner with one person (dead or alive), who would that be?
Good question! There’s a lot I would choose. But if it has to be just one, I’d probably have dinner with Jon Bellion. He’s a music artist. From behind the scenes of his songs, he makes it clear how much thought he puts into the formation of his artistry. I gravitated to those videos. So, it would be amazing to learn more about how these ideas formulate in his mind and how he first started bringing these ideas into fruition.
5) What influenced you to submit to have your poetry performed by a professional actor?
I have a lot of creative works stored in my files for years. In fact, this piece was originally written 2 years ago in a creative writing course. Having recently graduated from college, I decided to trust myself a bit more in my creative writing capabilities by submitting a creative work. Of course, I went back and edited it before submitting it. I figured the worst I could hear back is “no.”
6) Do you write other works? scripts? Short Stories? Etc..?
I’ve written lyrics for original songs. I’ve co-written 2 plays that were performed. I’ve written short stories, and have even started teaching myself to write a longer-term project.
7) What is your passion in life?
My passions in life are singing, acting, and creative writing. I’ve sang all my life, started creatively writing when I was about 8 years old, and although I’ve only started acting at 19 years old, I’ve grown to love it just as much.
—– POEM:
Ugh, I don’t know. Maybe the reason I’m scared of throwing up is the same reason I don’t say what’s really on my mind, you know? You have an idea of what’s coming out, but you’re still not ready for what it is. Maybe, it’s because I would be sharing an ugly part of myself, in a way at least… Better yet, maybe it’s because when I start, I won’t be able to stop, right? I won’t be able to catch my breath and even if I feel somewhat relief, I’m also left feeling empty and shaken.
Shaken by what came out or shaken by the fact that I actually let it and now I’m seen in a different light… But, yep. I’m emetophobic. That’s why I’m afraid of getting drunk, or pregnant, or both. If I’m dumb enough to, that is. But anyways, I fear for my life when I get nauseous. When I see others even gag, I move to evacuate…Speaking of which, I think I had a bit of a breakthrough, huh? I should, uh…I should probably, you know… Same time next week?
The theme of this poem is “ghosting”–how people move in and out of each other’s lives and the hurt and longing it provokes–as well as sparking memories of joyous times spent together. I pride myself in staying in touch with people, but truth be told, I haven’t always been so good or absolutely reliable. I wanted to make sure that I didn’t portray myself as a victim to other people disappearing. I am part of this “system” too.
2) What motivated you to write this poem?
Finding out about the death of a friend. We had fallen out of touch and I wondered what had happened to her. This brought me to other memories, and also instances where I made the decision to stop a friendship. The biggest loss for me, though, is losing my mother before she could see me truly happy in my life. I have gone through all the stages of mourning, but the end result is that I still miss my mommy.
3) How long have you been writing poetry?
I have been writing poetry since I was a child. I started studying poetry in high school and had an excellent teacher, and I am still in touch with her (thanks Beth Thompson of SWS/Brookline High School). I returned to poetry again when I was in my late 30s, after writing nonfiction for many years as an academic. Though I write short poems focused on an image and an observation, I also like to write more sprawling narrative poems, filled with asides and indulgences.
4) If you could have dinner with one person (dead or alive), who would that be?
Elizabeth Bishop–her poetry, especially her works written in Brazil, continue to inspire me, especially how she describes becoming oneself away from home.
I’d love to have dinner with the Brazilian inventor and aviator Alberto Santos-Dumont (sorry Wright brothers, he was the first). I visited his self-designed home in Petrópolis, which is so lovely and also very wacky, I thought I’d like to sit down with this amazing eccentric. Who else? I love witty people with sharp tongues—so folks like Truman Capote, Dorothy Parker, Oscar Wilde, James Baldwin, and Fran Lebowitz would be great to listen to at dinner.
5) What influenced you to submit to have your poetry performed by a professional actor?
I don’t like reading my work aloud. I prefer it when other people read it. I’m told I have a good speaking voice, but when it comes to my own work I am never sure if I should act it with emotion or recite the words dispassionately. When I do readings, I prefer talking about the “back story” of the poem, rather than reading the work itself. I imagine a reading where other people read my poetry. Having a professional voice actor reading this particular poem, is a gift I just couldn’t refuse.
6) Do you write other works? scripts? Short Stories? Etc..?
I write creative nonfiction as well as poetry. For many years I wrote essays, but that part of my output is dwindling as I retire from academia. I teach media and film and I love advising students who are working on scripts but I don’t write them myself.
7) What is your passion in life?
Apart from writing, I love traveling, kayaking, floating, cooking, eating, napping, drinking flavored seltzers, making pesto, dancing, envisioning and working toward a re-awakened, more democratic USA.
—– POEM:
I. She was a difficult person, too smart for academia perhaps and reluctant to self-promote and angry that she was unsung unlike her acclaimed grad school chums. As Little Edie said she was a “staunch woman” and the world—or her particular subfield of art history— just didn’t like that. She told me about the numerous friends and infrequent lovers who had wronged her, so I knew our friendship had a time stamp on it. But O how we would kiki and make fun of our straight colleagues (and how some of them deserved our bitchy ridicule after all the phobic behavior they smugly presented to us queer folk!). She was so witty and so lonely too. Her lovely apartment on East End Avenue was covered in dust. Sometimes she wanted an audience more than a friend, other times I was her trusted ally, seeking and giving out advice, providing camaraderie. And then I never saw her again. Years later I found out she died from cancer.
II. We had a stormy, silly romance. I needed something time-consuming to avoid focusing on my dissertation and he certainly gave me drama with his erratic, if ardent, behavior. He wasn’t working and I noticed letters from the management company for back rent piled on the kitchen table— He lived in a doorman building, and I lived in a tenement. But I paid my rent. And had money to take us out to dinner at the diner. He had been a model for Valentino and was trained as a classical singer. He was funny and loved to laugh. He loved to call everyone Miss Thing, including me. He planned to become a Heldentenor but he wasn’t quite ready he said to be on stage to sing heroic Wagnerian roles. So he continued his voice lessons. One day I noticed his back had mysterious spots on it. He tested positive for HIV and I tested negative. I pledged that I would stand by him no matter what. But then I never saw him again. Years later I did a search on the Internet And saw that he was married and teaching voice at a college in the state where his mother was from.
III. My mommy was a regal German-Irish feminist from the Bronx, A strong swimmer afflicted with polio when young. She was also a cry-baby like me and when we watched Old Yeller together, we sobbed, and then laughed at each other. She cried too when Bewitched was interrupted to announce that MLK was assassinated. I tried to comfort her but couldn’t. No laughter then. Later when I thought I was grown up, I started calling her by her first name. She smiled each time I did this, as if to say, call me what you want— I know you are still my baby boy and no matter what name you use inside you are calling me Mommy and you always will. Mommy was your first word and it will be your last. O Jean. O Mommy. I have so much to tell you. I have a husband and a dog and I’m happy. Well, most of the time. I am taking care of your house, and its land, which is mine now, but it is still yours too. And it turns out, I’m not crazy after all, but the world is. In her last days she was in hospice care in her rented apartment in Brookline. Though she was ready to be released from her shrinking body, she took a turn for the better and I jumped on the Amtrak train at Back Bay to resume my NYC life, if only for a few days. But before the train pulled up to the Route 128 stop, my father called sobbing. And then I never saw her again.
IV. Sorry, but I refuse to sum up. Yet I must confess I have attempted the disappearing act too
Lovebirds, 4min., USA Directed by Maria Corso Betty and Ray, a wild couple on the run, live fast and love hard while staying one step ahead of the law. With their lives on the line and a clean getaway just out of reach, they attempt one more job — one which may cost them more than they can afford.
Snapshots, 84min., Spain Directed by Miguel Ángel Mengó Snapshots reflects twelve dialogues without beginning or end, held between twenty-four characters, inhabitants of the outskirts of a city, at some point in their lives, always marked by incommunication and time lost in the era of access to information and immediacy.
FEEDBACK Toronto Comedy Film and Screenplay Festival is a must for filmmakers because you get direct feedback that allows you to know if your film works. Do people get it? Does it engage conversation? All of these questions were answered and more. Thank you. And Thank you for recognizing the actors that put in a great performance. There is a lot of talent out there and to tip your hat to two of ours, makes us giddy.
Since 2016, the FEEDBACK Film Festival has been showcasing the best of COMEDY directors, producers, writers, and actors at the festival in Toronto.
In-person and hybrid multiple screenings.
The Toronto Comedy Festival occurs every single month.
Various options to submit to the festival. A hybrid model.
– Cinema screenings for audience feedback video.
– Blog and podcast interviews. And a bonus virtual screening (optional!) geared to create community over distance, PLUS, get your film seen by the right people.
– Also option for live screening in Toronto (always sold out!) where you can attend for Q&A and audience reactions.
For FILMS:
Submit your short or feature film. – NEW OPTION for guaranteed submission.
For SCREENPLAYS:
Submit your screenplay (feature, TV, short) and get full feedback no matter what from the industry. Winners get their script performed by professional actors.
– Also option to submit a 1-page script (guaranteed winner).
Another option is to submit your screenplay for a 10 day or less turnaround for your feedback.
Get your short film showcased at the FEEDBACK Film Festival and get an audience video.
Offers filmmakers to get their works showcased at the FEEDBACK Film Festival. Then the filmmaker will receive an audience reaction video for their film.
Get your script and story performed by professional actors at the Comedy Festival. – 0ffers screenwriters, novelists, and storytellers at all levels the fantastic opportunity to hear their stories read aloud using TOP PROFESSIONAL ACTORS.
Nothing happened in 2058, 30min., France Directed by Charles Ritter 2058. France is part of the Greater Reich, winner of the Second World War. All the world’s documents have been digitized by GAMOK, which has become the sole reference in History.
A showcase of the best fantasy/sci-fi shorts from around the world today.
AUDIENCE AWARDS: Best Film: THE OUTCASTS Best Visual Design: The Adventures of Captain Atom: Chapter 7 Best Direction: 2042
THE OUTCASTS, 15min., USA Directed by Jenn Page An unlikely team of gifted misfit kids battle against a corrupt government organization to save other kids like themselves. They must harness their powers and fight for justice, pushing the limits of friendship, family, and sacrifice.
The Adventures of Captain Atom: Chapter 7, 11min,. USA Directed by Eli Hutchinson An Atomic Age superhero and a rocket scientist’s daughter attempt to stop a sinister military junta from launching a missile strike on the Earth
An ancient realm awakens. Somewhere between the living and the dead, a long forgotten forest begins to blossom. An exploration of loss, rebirth, and what awaits after death. A music driven short film that relies on imagery and sensation to convey meaning and suggest narrative. Even After (Prelude) was produced through digital paintings methodically rendered into photographic images with AI, custom small AI model creation for additional visuals, and original musical composition.
I create music-driven short films that blend sculpture, painting, and AI to explore the inner landscape of self and the nature of a greater reality.
My process begins with hand-sculpted digital characters and environments rooted in classical and Renaissance traditions. These are transformed into richly detailed, photorealistic visuals using AI tools — not to replace the artist’s process, but to enrich it. I’m committed to exploring how AI can be used ethically in artmaking: not as a shortcut that erases creative work, but as a tool that preserves and amplifies the voice of the artist within a deeply intentional process.
Original musical composition is the driving force of each piece. Rather than relying on dialogue or sound effects, I craft immersive scores that act as both the emotional anchor and the sonic identity of the world — shaping tone, pacing, and meaning. The music is not background; it is the pulse and spirit of the story.
My films explore themes of death, transformation, memory, and the otherwordly. They often unfold in liminal and mythic spaces — haunted forests, vanished towns, thresholds of the afterlife — carried entirely by music, imagery, and movement.
Blending conventional techniques with influences from silent film, experimental cinema, and works like Fantasia, my work exists between narrative and abstraction. It invites audiences to feel before they understand — to experience story as sensation — while redefining what cinematic language can be.
The Skin Game: A Pornumentary, 1min., USA Directed by Sharon King The rise of the internet resulted in the explosion of the information age, allowing us to download a wealth of data in nanoseconds. It also gave us instantaneous access to porn. Lots and lots of porn.
Dating App Chronicles, 1min., Canada Directed by Kat Reynolds Dating App Chronicles follows Lisha, a sharp, funny, and emotionally unraveling Black millennial whose life is upended when a new job relocates her from Toronto to Vancouver—just as her long-term boyfriend dumps her. Alone in a new city and grieving a future she thought was secure, Lisha finds herself holed up in her apartment, surviving on gin, fast food, and sadness.
BATTLEFIELD, 1min., Malaysia Directed by Xiang Wan
Waiting For The River, 3min., USA Directed by Kit Wilson In 1944 a young girl escapes a deadly flood, only to discover years later the myth of a Phantom Bear that saved her.
WHAT THEY SAY ABOUT CARMEN, 2min., Portugal Directed by Eve Ferretti, Pedro Mota Teixeira “What They Say About Carmen” brings to light the story of a 10-year-old girl who was born without arms, narrated by a voice that uses a “borrowed” discourse, typical of those who “say that…” This narrative, coming from someone who never knew Carmen, adopts a memorial tone that contrasts with the animated image, revealing the true essence of the protagonist. This confrontation between the visual narrative and the verbal discourse invites us to dive deeper into Carmen’s life.
Lapin Noir, 1min., France Directed by Simon J. Proctor The secret Academy of the Lapin Noir, in Paris, has sent Johnny to America on an important mission . But it is not going very well. He is in hospital actually. He has crashed (and been shot). And now the Blue Foxes are after him. And he can’t quite remember what the Mission is. . Its complicated…
SPECTRAL, 2min., Canada Directed by Lakshen Sundaram Spectral is a web series pilot. It’s a story about Maria, a young hard-working janitor who works overnight at a high school and during one of her shifts, she discovers that the school is haunted by ghosts. With the help of the lax security guard Tony and the occult-expert student Kane, they work towards uncovering the mysteries of the school and the reason behind the undead. All while the mysterious Mr. Bagwell dines with his illicit lover, Penelope.
Tornado, 1min,. Iran Directed by Majid Farzolahi A big spaceship comes to Earth and creates a massive tornado to destroy everything. (This film is a metaphor about global problems and how humanity faces them. This film shows how weak and vulnerable humanity is with all its technology)
7 Veils, 42sec., Greece Directed by Evi Tzortzi, Giorgos Alexakis The essence of life is protected by seven veils. One after the other, all veils are lifted. Past is explained, faith in life is restored, the eternal spiral is still alive.
FAMILIAR, 10min., France Directed by Julien Homère Elodie wakes up in the middle of the night, alone in the marital bed. Getting up to look for her husband, she comes face to face with his black silhouette at the end of the bedroom corridor. He has the same voice as her husband, speaks like her husband but… Is this her husband ?
Lana Tong: A tailor made tour, 2min., Hong Kong Directed by Sing Jantzen Tse 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?
Ancestral Shadows, 1min., USA Directed by Wilma Casal The reunion of three sisters leads to a journey through the shadows of their ancestors
Oh Deer, 46 sec., South Korea Directed by Jeongeun Lee “Oh Deer” is a poetic interactive animation that follows the journey of a being in search of itself.
Cosmic Dawn Episode 1 Part 1 Final Sneak Peek, 2min., USA Directed by Cosmic Dawn a fight between Vallazar and Tiatha
Johnny Be Good, 36sec., USA Directed by Chase Ramsey, Johnny Hebda Gay relationships are messy. Let’s be real—between the swipe-left culture, hookup apps on every corner, and the glorification of open relationships, monogamy gets treated like some dusty relic from the past. But why should queer couples chain themselves to “traditional” rules that weren’t even made for us? Who actually wants to settle for a relationship that feels like a straight, invented by straights, cookie-cutter cage dressed up as commitment?
MARYAM, 4min., Afghanistan Directed by Zainab Entezar a girl that her father rent him
Sensus Mori, 26sec., USA Directed by Sydney Rincón When an elusive society agrees to be interviewed, a journalist must contend with their ideologies or risk falling prey herself.
Maria Niklińska Marlen – make it, 3min., Poland Directed by Dominika Machel
The Pilot, 1min., USA Directed by Susan Lockwood A reenactment of an autobiography of a French contactee with many past lives as a commander of E.T.s who wants to, in his first Earth incarnation, rise up through the ranks of pilots and flight supervisors, then leave his wife and family in the middle of the night to be allowed to train to fly the ship, the first human on Earth to do so.
The World Needs You, 3min., Portugal Directed by 4.ºB Class Colégio do Marítimo In a world where unity makes a difference, small gestures build bridges, but a lack of cooperation builds walls. And you, will you be part of the problem or the solution?
(mis)Match, 3min., Portugal Directed by Grupo 5.º Ano ESC A self-centered man lives locked in his world until he has a moment of shock. A story of regret, empathy and cooperation.
Message of Change Directed by Grupo 3.º/4.º EBCC Two astronauts have a mission in space. Unexpectedly they issue a worldwide alert as a way to spread a message!
Rose Colored Glasses, 12min., USA Directed by Aiyanna Randolph, Frida Ajanel, Caper Ratchford A young girl meets a guy through social media and realizes that he has different expectations of her than she has of herself. This film follows the girl as she changes herself so that the guy will accept her, with interviews from young people who has experienced the male gaze a tried to change the status quo.
The Beauty in Being Different, 8min., USA Directed by Rebekah Grace de Guzman, Jairemei De Padua, Madison Mcmorrin Watson, Jennifer Tecum Three girls share their story about not fitting the mold due to their feelings of inadequacy stemming from the harmful effects of beauty standards and how they overcome it.
Work in Progress, 12min., USA Directed by Claudia Shin, Olivia Smith, Lenny Vargas Four women in positions of power discuss the hardships and triumphs of working in politics, academia, business, and entrepreneurship.
All You Need is Less, 9min., USA Directed by Adira Blades, Angelica Guillen, Erin Dela Cruz “All You Need Is Less” is a documentary film that unravels fast fashion’s hidden costs, from the factory floor to the For You page. Consumers don’t take into consideration the effects that trends have on the world, targeting mainly women who are more susceptible to fashion trends because of underlying societal issues. Everything comes at a price. The future of fashion is in our hands.
Where Home Never Was, 9min., USA Directed by Rain Herbert “Where Home Never Was” chronicles the lived experiences of Arielle Busby and her mother, whose lives are upended by homelessness. As mother and daughter confront the systemic barriers and personal challenges of homelessness, their story unfolds with raw honesty and emotional depth.
Words I Can’t Forget, 9min., USA Directed by Anabella Trujillo, Yaretzi Pineda, Catalina Kennedy, Izzy Medina “Words I Can’t Forget” follows multiple women’s experiences of being criticized on social media and in their own communities, and how this affects their personal and professional aspirations. Throughout the film, women reflect on their personal stories and take solace in the stories of others.
Roses Through the Cracks, 10min., USA Directed by Nargis Fazili, Alexandra Abundez, Leonora Garcia, Kimberly Ortiz-Ortega Story about 4 immigrants within Los Angeles, conveying their stories about the challenges and struggles within the immigrant experience that can also birth moments of beauty. Though there do exist challenges faced by a majority of immigrants, the immigrant experience isn’t miserable but accompanied by lively and joyful moments. The film de fpicts a contrast embedded within the concept of this experience, sharing how the difficult and virtuous coexists.
This is a HYBRID film festival with live screenings for the audience feedback video you will receive, plus an optional virtual 2nd showcase to enhance the film’s exposure (optional).
Festival also conducts blog and podcast interviews with the filmmaker. We have also started a filmmaker’s WhatsApp group with over 150 joined to date to chat about next project and make contacts etc….
Monthly Festival designed to showcase the best of films (shorts, features, web series) and screenplays (short, feature, TV) in the world today.
This submission hub is for multiple FEEDBACK Film Festivals. Chose the best festivals for your film or screenplay to submit to.
– LOS ANGELES Feedback Festival (any genre) – ANIMATION Feedback Festival – ASIAN Filmmakers Feedback Festival – BLACK Filmmakers Feedback Festival – BLACK & WHITE Feedback Festival – LATINO Filmmakers Feedback Festival – POLITICAL Feedback Festival – SPORTS Feedback Festival – STUDENT Feedback Festival
Awards & Prizes
The FILM FESTIVAL Experience:
We are proud to announce a FOUR tier festival set up of your accepted film at the festival. Two screenings of your film at our festival, plus two separate interviews.
Screening #1 will take place and will be a private screening for a select group of people. They will then go home after the festival and record their comments of your film. Then we turn those comments into our regular FEEDBACK Festival Video.
Screening #2 takes place one time only (for FREE) VIRTUALLY for all to see on our online feed every single day. 365 festivals in 2022. Already these screenings are garnering an audience of 1000s each day.
So in the end you will have TWO showcases of your film and you’ll receive your audience feedback video a week before the Virtual Festival.
Then (Tier #3) we will send you a list of questions to answer for our blog interview that will promote you and your film. Then after that (Tier #4), we will set up a podcast interview on our popular ITunes show where we will chat with you about the process of how the film was made.
We also have bonus in-person public screenings twice a month in Toronto. The filmmaker can attend and do a recorded Q&A with the audience.
The SCREENPLAY FESTIVAL experience:
Winning screenplays are performed by professional actors and made into a video each month.
Festival Reviews 