In the ’80s, alien Emily crash-lands near the quaint town of Stony Plain, desperate to find the enigmatic fuel “115.” Stuck in a reverse time loop, she relives her mission daily, struggling to blend in while searching for the elusive substance. Every morning, kindhearted JT offers Emily a ride, and she glimpses something special in him that others overlook. As her encounters with the townsfolk spark hilarious misadventures, she unexpectedly finds love with JT, navigating the complexities of human behavior and dodging jealous Catherine’s advances. Faced with the reality that her salvation lies not in “115,” but in the bonds she’s formed, Emily must choose between her mission and the romantic connection that could break the cycle. A heartwarming, retro sci-fi rom-com that explores love’s power to transcend time and space, and why it takes more than a day to truly fall in love

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Review by Julie Sheppard:

“115”, the Canadian rom-com with a sci-fi twist, takes you on a satisfying trip down a “quantum tunnel of love”. The non-linear structure is captivating, and gives real homage to such film classics as “Groundhog Day” and “50 First Dates” with its own quirky “Letterkenny-style” sense of Canadian humour, set in rural Alberta.  

There was a clear juxtaposition between the pristine, sterile Star Trek-like alien craft and the warm scenes of a small town, including a local pool hall, dusty roads, and an outdoor keg party — complete with torches and a campfire — at a farm.

It was clearly apparent that all the cast members were enjoying this project to the fullest, and were quite convincing. The two main characters were of special note. Emily’s arc was dramatic, moving from a somber, jerky-moving robot to a fully fleshed-out, graceful character infused with emotion. J.T., though not requiring as much of a character arc, definitely transitioned from a goofy heartthrob, to a more thoughtful romantic lead, grounded in reality.

Filmic elements that heightened the sci-fi flavor of the film were the use of stylish outer space CGI, and a crisp, computer-like voice over. The 80’s-styled wardrobe and tunes were fabulous, exposing my age, by bringing me back to my teenage years! It was a big relief to see Emily reach the end of her tunnel, as true love becomes her fuel.

A highly trained operative, belonging to a clandestine ancient group of expert mercenaries, is given a mission to recover a valuable item for one of the 13 most influential families on Earth. As war breaks out and alliances formed centuries ago crumble, survival becomes the top priority for everyone involved.

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Review by Andie Karvelis:

The Days of Knight is reminiscent of the James Bond and Jason Bourne films or Tom Clancy’s Jack Ryan series. As a matter of fact, it’s set up as a series and this was the third episode. The clandestine agency and secret operatives going on impossible missions. It’s exciting edge of your seat entertainment and that’s what John P. Martinez delivered.

There were several things that really impressed me about this episode. John did ( almost ) everything. He wrote, directed, edited and played a small role in the episode. That’s a feat in and of itself, and I appreciated how clever he was about telling the story. He used stock footage, sound effects, and some special effects from Adobe & Artlist but blended them into what he shot in a way that was believable. The shots that were supposed to be at night, he created that look in post with a filter or LUT and it worked.

Anthony Martinez ( possibly John’s brother? ) was our Knight operative and he did a great job. I fully believed that he was a secret agent and he carried himself perfectly. The music that was chosen added that suspense and that was thanks to Theatre of Days and Alon Peretz. I absolutely adored the voice-over in the beginning. The effect on it really drew you in and captured your attention and set up the episode beautifully.

Filmmaking on a smaller budget can be done sensationally well, and John P Martinez nailed this. I look forward to seeing more of his work in the future.

The film tells the story of a character’s surprise visit from their future self, bringing a message of hope and redemption.

Review by Victoria Angelique:

The power of positive messaging in seconds hits so fast that if someone blinks, they’d miss it in SELF CARE IN SECONDS. Hope amidst despair is a feeling everyone has had and sometimes it takes a reminder from yourself that “you are enough” as the man in the film is confronted with a version of himself from the future knocking on his door.

The viewer doesn’t know what led up to this moment, only that something dramatic happened for a future version of the man to show up to give himself hope in a moment where he needed the vital message of being enough. The whimsical score and lighting seems like this is almost like a dream, something that couldn’t happen in reality but only in dreams when the subconscious could give important messages that reverberate in the soul. It is in dreams when people are most likely to listen to messages, even to themselves, because they are forced to listen. The abrupt ending is almost like waking up with the message of being enough at the forefront of the mind in this short 15 second film. 

The length of this film would be perfect for an advertisement before a longer video as it’s short enough that people couldn’t clip skip. The message would stick, it would peak the curiosity to learn more about self care and to bring a positive message to someone that might be having a bad day. The message of being enough is something that isn’t spread enough and if the right people see this, it could change their lives.

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Writer & Director Curtis Johnson

Producer & Actor Shane Franklin

In the transformative backdrop of Argentina’s evolving democracy and vibrant art scene from 1987 to 1996, “Santa Fe & Esmeralda – CrossRoads” chronicles the profound and enduring friendship between Kita, a young Dutch woman, and Lorenzo, the gay son of a prominent Argentine family. United by their love for music, they navigate complex family dynamics and the harsh realities of AIDS, with Kita becoming Lorenzo’s caregiver and preserving their bond through storytelling after his death, celebrating a love that transcends boundaries.

Review by Parker Jesse Chase:

Santa Fe & Esmeralda – Crossroads,” is a visual audio book, offering an exploration of friendship, love, and the human condition set against the colorful backdrop of Argentina’s evolving democracy and inspired art. This film chronicles the deep and enduring connection between Kita, a young Dutch woman, and Lorenzo, the gay son of a prominent Argentine family.

Their bond, rooted in a shared love for music, is tested by complex family dynamics and the harrowing realities of the growing AIDS crisis. Kita’s role as Lorenzo’s caregiver becomes the heart of the narrative, as she preserves their friendship through storytelling, celebrating a love that defies societal boundaries.

The film’s aesthetic is a compelling fusion of art and animation, with double exposure techniques enhancing the visual storytelling. This approach solidifies movements behind the painted cells, creating a sense of continuity and depth. The sound design further elevates the experience, with everyday noises, like the hum of cars, integrating and reflecting the emotional landscape of the characters.

The narration is soft-spoken, calming, and deeply engaging, drawing viewers into a world where reality blends seamlessly with what seems to be AI-fabricated art. The story unfolds like a dance, where serene ballet sequences convey the emotional highs and lows of the characters. The music, particularly in these moments, is powerful, bringing the viewer to their knees just as it does Kita, inviting us to read between the lines of love, loss, and longing.

At its core, “Santa Fe & Esmeralda – Crossroads” is a story of newfound freedoms, deepening friendships, and the challenges of aging during a time of global uncertainty. It captures the essence of a fairy-tale-like year abroad, where bonds are formed in the face of adversity, laughter is shared without reason, and long-distance friendships thrive on strong communication and a sense of home.

The film also delves into the harsh realities of facing a terminal illness, portraying the fear, vulnerability, and unwavering support that define the experience of caring after someone you love. Kita’s journey is one of profound emotional resonance, illustrating the power of memories and the ways in which love can transcend language barriers and societal norms.

“Santa Fe & Esmeralda – Crossroads” is a beautifully crafted story delving into tales on life, love, and the enduring power of friendship, offering a touching tribute to those who navigate the crossroads of life with grace and courage.

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What happens when you grow up in a world where there was only one projected image of what a ballerina “should look like” – down to the pink nude pointe shoes?

Review by Andie Karvelis:

As a child, I remember many lessons that my Gran taught me using various adages. One of them was “Don’t judge a book by its cover” and as usual, Gran was right. Some of the kindest people I have met have been covered in tattoos and piercings, while the most sinister look like they stepped off the pages of Vogue or GQ.

Micah Bullard’s story is moving, powerful and the epitome of not judging a book by its cover. The cinematography in this film was beautiful and the location was so serene it was almost magical. The perfect spot to film this and watch Micah perform.

Sophie Powers and Michelene Mallard Billy did everything. When I say everything, I am not exaggerating. They co directed, co camera operated and shared director of photography roles. Sophie also produced and edited this short film. These two are an amazing team and I look forward to watching whatever they do next. It’s bound to be sensational.

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Synopsis:

“Chain,” directed by Ling Han, is a 3D animated short film featuring charming characters and a sophisticated environment. It uniquely tells the story of the mantis catching the cicada, unaware of the oriole behind.

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Review by Andie Karvelis:

This was sheer perfection and I don’t say that lightly. It takes a village any time you make a film, but making an animated film can be even harder due to the characters involved. If they are animals who don’t speak you need to find a way of conveying emotion. Plus the task of making them endearing to the audience. Everything plays a part from the lighting to music to story to art style and this group of filmmakers nailed it.

Produced by Tzu-Ying Ho and Ling Han ( who also Directed the film ) found a highly skilled and talented group of animators, artists, look and lighting supervisors to give us an enchanting story about the circle of life. The look and feel of this film could fit into the Studio Ghibli realm of excellence. The world they created was realistic, vibrant and the right amount of anthropomorphism.

The story in and of itself made you feel empathy for the cicada, giggle at the antics of the spider and the mantis and feel the suspense when the oriole arrived on the scene. The music and sound effects added were brilliantly timed and helped heighten all those emotions. Sensational job to the entire team who worked on this!

Synopsis:

Cast out by the academic community at her college for her extreme beliefs that artifacts belong with their cultures, not locked up in some museum, young historical photographer AMELIA SLOANE is shocked to learn a former and beloved professor has bequeathed to her a collection of valuable and rare artifacts – including the legendary sword Excalibur – and a mysterious message “You’ll know what to do with this.”

Review by Victoria Angelique:

Adventure awaits in CARVED IN STONE for Amelia after her mentor Dr. Bishop’s untimely death leaves her with his entire archive of literary objects believed to be items of mythology. The premise is exciting, with remarkable cinematic quality cinematography and graphics that bring the story to life. 

The detail to props and characters are amazing. The filmmakers gave nods to the original Arthurian legend by introducing characters such as Tristian and Percival, names of some of the original knights of King Arthur’s round table. The prop design is mind blowing. The book was found in Turkey with the directions to the place where Excalibur should be returned and the beauty of the legendary sword itself, complete with a dead language. 

The graphics and animation certainly captures attention. Animations coming from the book that show the location of the home of the sword in the stone as Amelia’s eyes turn to gold and her voice turns robotic was a pleasant surprise. It kept the heart racing. When Excalibur is returned to the stone, the fire shooting up to the sky and out in a circle was expertly created. It was quite clear that director, Porter Justus, cared about every frame being a cinematic masterpiece.

CARVED IN STONE seems geared towards a family friendly audience, a pilot episode that could lead to more exciting adventures as the series follows the adventures of Amelia and Tristan. Preteen audiences would love the flirtatious idea of a proposed romance between the two leads, while each episode could spark a newfound love of classic literature. A series like this has a world of literary adventures waiting for the characters to explore.

Synopsis:

A cowboy about to order his very last drink at closing time meets his unexpected match: a cowgirl waitress who gives him the check (and a whole lot more).

Produced & Lead Cast: Elizabeth Marie Kallman

Review by Julie C. Sheppard:

Given the title, The Cowgirl, and the opening country music, we are tipped off that we might be about to embark on some form of emotional “ride”. 

As the story unfolds, we get to enjoy the company of two compelling characters with intriguing stories under their belts. Both performers were able to gradually reveal their secrets and insecurities in a convincing, playful way. 

The countrified wardrobe was right on point with the theme of the film. As for the bar setting, it perfectly framed the couple, who were filmed with skillful camera angles — both from the side and straight on. This adept cinematography allowed us to clearly see their expressive faces, as they eventually and rather sheepishly showed their true colours. 

Without having to spell everything out, I liked the narrative choice to keep us guessing. An amusing, entertaining short, it was quite obvious that the ride was not over, even as the credits rolled. 

“The Stage” – follows a young girl’s visit to a theater, where she is enchanted by everything, from the grand entrance to the velvet seats. Her innocent perspective is challenged when she accidentally enters the performers’ dressing rooms and witnesses their raw emotions. This thought-provoking art-house film explores how this experience alters her view of the world.

Review by Parker Jesse Chase:

“The Stage” is an art-house short film that captures a young girl as she explores the enchanting and eerie world within the theater stage. The film’s cinematography is both engaging and elemental, playing a crucial role in immersing the audience to join in on the girl’s experience.

The opening scene, with its 360-degree shot that transforms a stagnant chandelier into a spinning spectacle, sets the tone for the film, leading us seamlessly to the girl spinning on the floor—a visual metaphor for her descent into the surreal world of the theater.

The film excels in its use of camera movement, particularly in the dolly track shot that draws the viewer closer to the stage, focusing our attention on the performers. Each character is meticulously designed, striking, and memorable, contributing to the film’s overall visual impact. The young girl’s immersion in this theatrical experience is initially magical, but as the story progresses, a creeping sense of unease takes hold, hinting at the darker undertones that exist beneath the narrative.

As the girl inadvertently enters the performers’ stage or dressing room, she witnesses their raw, unfiltered emotions, leading her to question the nature of the world she inhabits. The film deftly shifts from the enchanting to the unsettling, culminating in a chilling realization that the theater may be a representation of hell itself. The final reveal—that the grand theater is, in reality, an abandoned, graffiti-covered buildin —forces the audience to reconsider everything they’ve seen. Are these performers the ghosts of the past, or is the theater a manifestation of the internal hell we all carry?

The film is a dazzling blend of beauty and darkness, using its artistic vision to juxtapose the two in dramatic fashion. The lighting, color schemes, and wardrobe choices are all meticulously crafted, highlighting what needs to be seen while allowing shadows to play with the imagination. The visual storytelling is poetic and biting, exploring themes of power imbalances, political ties, and societal injustices through a surrealistic lens.

“The Stage” masterfully uses subtle movements and thoughtfully composed shots to create art within every frame. The concept of showcasing the variety of human experiences—hunger, addiction, violence, and despair—through the eyes of a child watching a heightened theatrical performance adds a layer of complexity to the narrative. The film’s satirical take on excess and gluttony, reminiscent of the extravagance of the Capitol in “The Hunger Games,” underscores its critique of societal issues.

One of the most haunting sequences involves a puppeteer, where the eerie laughter and the dreamlike quality of the scene blur the line between reality and fantasy. The backstage moments, where performers reveal their true selves behind masks, yet remain voiceless, further enhance the dreamlike, almost nightmarish atmosphere of the film.

“The Stage” is a visual feast that challenges its audience to question the nature of reality, the roles we play in life, and the masks we wear to hide our inner turmoil. It’s a film that lingers in the mind, leaving viewers to ponder whether the theater was a glimpse into a fantastical world or a reflection of the hellish reality we often overlook.

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Synopsis:

A man wakes with amnesia after an explosion. Unaware of his identity, he’s a mafia boss targeted by a cartel. His past threatens their operations. As he regains memory, he confronts the dangerous crime world

Review by Andie Karvelis:

When an explosion gives a mafia boss amnesia, he wakes without realizing that he’s been targeted by a cartel because of his past. As his memories slowly start returning, he has to confront the dangerous crime world he was a part of.

I have mixed feelings about this film. On one hand, I really like the premise of the story that was created by Zedd K Ghazal. It’s such a unique storyline and it grabs your attention. Zedd created a wonderful action/adventure story that is suspenseful and intriguing. Yet there were some things that didn’t make sense to me but huge props to Zedd K Ghazal who also starred in the film, edited and directed this with Sam Salman. I really liked how the filmmakers chose to do the flashbacks. They added in special effects so you understood you were seeing something from the past. Also they did a great job with the music, it really elevated the emotion of the scenes.

Robert Zambrano was the Cinematographer/ Audio engineer and I have to give him credit because having multiple tasks on a production is hard. The cinematography looked really nice. Plus the Stunt Coordinator Billy Leo did a great job with the fight sequences. For me, I would have loved to see the camera angles help sell some of the hits. The devil is always in the details and in a full length feature there are going to be lots of devils to contend with.

All in all, I love the idea of this and I think the filmmakers are really on to something special.

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