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SUBMIT your novel now (both your 1st chapter or full novel accepted) To be eligible for our Writing Festival Events. Submissions take 3-5 weeks for evaluation
The Second City – A Documentary, 34min., USA Directed by Samson Ziegelman My goal with this documentary is to share the magic of The Second City and the art of improvisation with actor and writer Bob Odenkirk and Second City Vice President Kelly Leonard. We discuss their Second City experiences, the stars they have worked with, how improv shaped their careers, and advice for the younger generation.
Get to know the filmmaker:
1. What motivated you to make this film?
I spent four summers at The Second City, learning and performing improv, and it left an indelible impression on me. With this documentary, I wanted to give back to The Second City and hopefully inspire people interested in comedy to give improv a try.
2. From the idea to the finished product, how long did it take for you to make this film?
The entire process, from gathering the footage to filming, interviewing, and editing, took me roughly four weeks.
3. How would you describe your film in two words!?
Chicago Comedy
4. What was the biggest obstacle you faced in completing this film?
At first, my biggest challenge was getting people to be part of the documentary, but I am so honored and grateful to Kelly Leonard and Bob Odenkirk for agreeing and making the project so special.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I am so pleased and grateful that people responded so positively. I am very glad people learned more about The Second City!
6. When did you realize that you wanted to make films?
For as long as I can remember, I have loved being creative. I have always been interested in movies and my passion sparked after I watched Ferris Bueller’s Day Off. The way John Hughes highlighted Chicago, the city I grew up in, was deeply inspiring to me, and I hope to one day highlight the city in a similar way through my films.
7. What film have you seen the most in your life?
The films that I’ve seen the most in my life are Ferris Bueller’s Day Off, Pulp Fiction, The Truman Show, Superbad, and The Wolf of Wall Street.
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 the blog, podcast, and whatsapp group are all great starts and I look forward to the connections I make through this film festival. Two additions which could improve the festival even more is if there was a theatrical screening of our projects so we can see the reactions/feedback in person and if we could be given the contacts of the industry professionals that enjoyed our work.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Good so far.
10. What is your favorite meal?
Italian food
11. What is next for you? A new film?
I am finalizing the script for my next short film which will be in the crime genre that pays tribute to the French New Wave. More exciting projects to come!
RISING TIDES, 103min,. USA Directed by Charlie Spickler Rising Tides is the story of how climate change is affecting the fishing communities on the East Coast, the Coral in the Keys and the domino effect it has on the various regions. We are looking at the Science of Climate change and the politics of what is and what is not being done in Congress.
I read an article in the New York Times about the Peconic Bay Scallops dying before they could be harvested. I grew up out on Long Island, so this became personal for me. That led me to looking at the Blue Crabs down in Maryland and the bleaching coral down in Miami and the Keys and next thing you know, – Climate Change doc.
2. From the idea to the finished product, how long did it take for you to make this film?
It took about eight months from inception to final cut.
3. How would you describe your film in two words!?
Climate Change
4. What was the biggest obstacle you faced in completing this film?
A third part of the story was supposed to include the Lobsters up in Maine, unfortunately I couldn’t not get any Lobsterman to talk to me while I was shooting the film. There is a lot of politics going on up in Maine right now and the Lobstermen are very weary of the media.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was overwhelmed. Especially some of the comments that were made that literally mimicked my reasons for making the film, I wanted this film to be accessible and understandable for people with no experience with climate change and or the science of global warming. I wanted to present this information in a way that was understandable, Based on the comments I think I succeeded in doing that.
6. When did you realize that you wanted to make films?
In 1997 I had been working in theatre for almost ten years and a good portion of that as Lighting Designer. I was getting burnt out and woke up one morning and decided I wanted to make a film. The independent film movement was in its infancy at the time. I spent the next 13 years making narrative feature films. In 2011, we adopted a new puppy from an animal shelter in Brooklyn and I was so impressed by the grass roots nature of the shelter, I went back the next day and suggested that we do a documentary about the shelter. I had never made a documentary before. But Rescue! Brooklyn was born and 15 years later Rising Tides was my fourth documentary film.
7. What film have you seen the most in your life?
That’s a good question, And hard to answer because there is not just one. I feel comfortable giving you the top three – across Genres.
Documentary – The War Room – D.A. Pennebaker, Roger and Me – Michal Moore Serious – The Godfather Funny – “Annie Hall”
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 you guys are amazing and your hands on working with the filmmakers, no one else does. Helping to get our films out to people who would never see them is amazing and pretty unique..
9. You submitted to the festival via FilmFreeway. How has you experiences been working on the festival platform site?
I have been using FilmFreeway since my first doc and it really makes festival submissions so much easier. I remember the days when you had to reach out to each festival separately and then send a screener. FF had simplified the process immensely. Also the discount you get on the submission fee can add up. As well as being alerted to when deadlines are coming up.
10. What is your favorite meal?
Another hard question to answer.
I am a bit of a foodie. Lobster – seafood dinner on my birthday. Pastrami and Corned Beef sandwich from Katz Deli with a well done square knish with mustard and Doctor Brown’s Cream Soda.
11. What is next for you? A new film?
I have a number of irons in the fire – we have three potential documentaries that we are waiting on for financing. As you know, getting financing for documentary films is never easy. Our two main projects are: DIsappearing Doctors, – We are exploring the epidemic of physician suicide here in the United States and we are tying the American Healthcare system into that as our current healthcare providers are not just screwing the patients but are making it almost impossigle for physicians do whar they do.
The Second documentary, Which at the moment is called “Dreams of Flight”, which we are also waiting on funding for, is about the Aboriginal Tribes in Australia. There are over six hundred different tribes in Australia and not one of them speaks the same language. Yet they invented the boomerang thousands of years before Leonardo ever thought about flight. We will be delving into the culture of the Tribes as well as the current political climate of unification and the Voice of the People act.
I hope that is what you are looking for. Let me know when you want to do the podcast interview.
BAD BLOOD, 19min., Argentina Directed by Guillermo Ronco Abandoned by the state and with his daughter’s life at stake, police officer Rafael chooses to break his deepest convictions and commit a crime to resolve his situation. But when what was supposed to be a robbery turns into a kidnapping, he discovers that there are limits he cannot cross.
1. What motivated you to make this film? In 2018/19, I began developing my first feature film, “Saints of Buenaventura”, but it was canceled due to the COVID pandemic. So, my next move to push forward this project was to shoot a short film with similar characteristics in terms of tone and artistic style. So, I took the structure of the third act of the first draft of that script and turned it into a story with a beginning and end in less than 20 minutes.
2. From the idea to the finished product, how long did it take for you to make this film? During the development of Saints of Buenaventura, producers asked me to make a short film to showcase my storytelling and directing skills, so I made a treatment of Bad Blood back in 2020. But the real work took me three months of pre-production, three days of shooting, and another three months for the post. Six months in total.
3. How would you describe your film in two words!? Loyalty vs Morality.
4. What was the biggest obstacle you faced in completing this film? Fetting a five-day shooting plan into three days.
5. What were your initial reactions when watching the audience talking about your film in the feedback video? It was awesome! The way they got engaged and moved by the story, and their comments about the right pacing and the sound score building suspense and anticipation. I work so consciously on those topics that it makes me very proud that I got them right. Feedback is priceless for us filmmakers. Thanks so much for that!
6. When did you realize that you wanted to make films? Since ever! As soon as I could get my hands on a VHS camera, at age 11/12, I started shooting small thriller films with my friends, editing in-camera, using ketchup sauce as blood, and making up the story as we went along. We had a blast making that.
7. What film have you seen the most in your life? Jaws. Every time it is shown on TV, I have to watch it until the end. I can´t help it.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career? Making effective connections with agents/producers. The hardest part of this path is to catch the attention of those who can make our scripts become movies. Help us with this, please!
9. You submitted to the festival via FilmFreeway. How have your experiences been working on the festival platform site? FilmFreeway is a great platform. With more festival options than you can handle, and so easy to navigate and submit.
10. What is your favorite meal? I´m Argentine; grilled meat is a classic for us.
11. What is next for you? A new film? I have a bunch of feature film scripts ready to roll!
FEARLESS, 3min., Canada Directed by Kiara Kiki Evans In a world where the line between existence and nonexistence blurs, ‘Fearless’ follows the journey of a young nihilist confronting the darkest corners of human fear. As he grapples with the allure of nonexistence, he’s forced into a terrifying confrontation with his deepest fears, forcing him to confront the true essence of his humanity.
Get to know the filmmaker:
1. What motivated you to make this film?
I made Fearless as my last hurrah in my fourth & final year of film school. I had the story for Fearless maybe five years prior. I have always been drawn to tell this story but I wanted to have a portion in stop motion so out came Fearless the claymation horror short.
2. From the idea to the finished product, how long did it take for you to make this film?
Fearless has gone through many iterations, starting as a short story back in 2018. It transformed into a script during my time at film school in 2021 and, by my final year in 2024, evolved into a claymation horror short. The story itself isn’t fully told yet, and I hope to expand on it and bring the rest to the screen someday.
3. How would you describe your film in two words!?
Optimistic Nihilism
4. What was the biggest obstacle you faced in completing this film?
The tedious nature of the stop-motion shooting process was a major challenge, especially since most of the prep and production was done by me alone. I was learning the craft as I went, which made it difficult to bring others in to help.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Watching the feedback video with most of the team was a really special moment. Hearing people’s thoughts is always rewarding—and it’s even better when they like what you’ve created!
6. When did you realize that you wanted to make films?
I realized I wanted to make films when I recognized how much I loved escapism. I wanted to create the kinds of outlets that helped me navigate life.
7. What film have you seen the most in your life?
Meatballs (1979)
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Clear and concise steps for submissions, feedback, and screenings would be incredibly helpful.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It’s been a good experience overall.
10. What is your favourite meal?
Spicy tuna poke bowl with lots of pineapple.
11. What is next for you? A new film?
Hopefully, more stop motion! I’m also exploring creative direction, particularly for music videos. Beyond that, I’m writing, editing, and revisiting both new and old projects.
nor any memories of the turning backs, 15min., Turkey Directed by Ahmet Mete Balyan, Zeynep Su Topal [poem_body_memory_voice] none of them belong to each other and all of them belong to themselves an accumulation over the years// a practice of relating** on love, migration and mourning
Answers from Ahmet Mete Balyan and Zeynep Su Topal:
1. What motivated you to make this film?
I think our main motivation is to bring together and make visible the materials and experiences we’ve collected over the years from different disciplines, which have been just sitting there on their own. From this coming together, seeing something that feels unique to us ended up shaping both the process and the outcome.
2. From the idea to the finished product, how long did it take for you to make this film?
This film is made up of materials from 4 years, including poetry, music, performances, installations, sound designs, unfinished projects, countries, cities, neighborhoods, and hundreds of independent videos. The process started on its own about a year and a half ago with the way the first two videos spoke to each other, and it’s grown into what it is now. So I guess making this film took about 4 years. or a year. :p
3. How would you describe your film in two words!?
grief and joy.
4. What was the biggest obstacle you faced in completing this film?
Outside of the stereotypical production problems – and in fact the most internal – the main obstacle was ourselves. In this atmosphere, it was often difficult for us to find the motivation to make what is not, become.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
The idea of people from the other side of the world are watching and experiencing the film we’ve made, feels like madness on its own. I’d love to be in the place of an audience that watched without subtitles 🙂 I wonder what they saw, what they heard, and how they felt…
6. When did you realize that you wanted to make films?
we both have personal and undateable moments that we decided to present ourselves with cinema and gaze at life with camera. but our artistic partnership started when we shot the first video for the movie ‘for no reason’.
7. What film have you seen the most in your life?
mete: i don’t know? I guess maybe wings of desire? i don’t know.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
More accurate visibility and presence for the artist and project. more diverse mediation between the audience and the filmmakers.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I think it was very useful and user friendly platform.
10. What is your favorite meal?
aahahahahahh maybe lahmacun can be our middle point.
11. What is next for you? A new film?
I think we both want to find a new method for ourselves to make a movie or performance that will be more artist friendly yet no loss from the authentic and powerful effect of it.
MEROPE, 8min., USA Directed by Juan Carlos Zaldivar The short film, Merope, follows a personification of the hidden star on a journey towards emancipation from the ties that historically have bound her and her six sisters, the Pleiades constellation, in a narrative about captivity and victimization, towards a new story where she claims visibility and a more authentic place in the universe for her and her sisters.
Conversation with: JC = Juan Carlos Zaldivar – Director/Producer C = Christel Veraart – Co Producer/Narrator/Composer/Co-Founder Reflections Festival W = Winifred Muench – Co-Producer/Co-Founder Reflections Festival
1. What motivated you to make this film?
JC: Winifred and Christel had the revolutionary idea of creating a multi-disciplinary art festival that would result in a collaboration. Merope was born from our group which included a composer, a filmmaker/animator, a collage artist, a photographer, a dancer, a poet, and a choreographer —with a wardrobe person and a camera person. Winnie and Christel acted as producers.
2. From the idea to the finished product, how long did it take for you to make this film?
One year
3. How would you describe your film in two words?
JC: a visual poem about emancipation.
C: Cosmic meditation.
4. What was the biggest obstacle you faced in completing this film?
Shooting in the dark. We had to be creative about lighting a forest with flashlights! Shooting on a shoe string we had to be very resourceful. Our director is famous for making things look like a million bucks with noir lighting.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
The audience’s reaction was truly exhilarating! Watching people connect so deeply with our film and hearing their insights in the feedback video was both humbling and inspiring. Hearing the audience describe the film as wonderful, meditative, peaceful, harmonious, and touching was profoundly gratifying—it affirmed that our vision resonated deeply with viewers. Their heartfelt appreciation for the music and the emotions it evoked validated the passion and dedication poured into every aspect of the project.
The soundtrack has been highly celebrated, with the composer’s brilliance shining brightly. The film has been awarded the coveted “Composer of the Future” at Cannes’ World Film Festival, “Best Film Soundtrack” at LA’s 10th Music Film Festival, Finalist “Best Soundtrack” at New York’s Oniros Film Awards Festival, and Finalist “Best Soundtrack” at New York’s International Film Awards. The film itself has earned prestigious recognition, being named “Best Dance Film” at Tblisi’s Music/Dance Consonance, “Best Dance Choreography” at New York’s International Film Awards, “Best Poster” at New York’s Oniros Film Awards and nominated finalist for “Best Dance Film” at Cannes’ World Film Festival and Nominee “Best Dance or Poetic” at Lisbion’s Cinescape. These accolades celebrate the artistic vision and dedication of everyone involved, from the stunning cinematography to the way our Sedona landscapes framed the narrative in such a compelling way.
6. When did you realize that you wanted to make films?
JC: I have known it all my life. Ever since I saw an actor who I saw died in the movies come back to life in an interview after. I live in wonder of what a film actually is. I think moving images are nothing short of magic. The defy time and space, they defy death and emulate creation.
C: I realized I wanted to make films after years of creating my own visuals to accompany my music, which you can see on my website and YouTube. My music naturally evokes imagery, and over time, I felt the urge to bring those visuals to life in a more structured narrative form. As a composer, singer, lyricist, and world traveler, my work transcends boundaries, and film became a powerful new medium for me to express that vision. The transition into filmmaking felt like a natural extension of my creative journey, allowing me to blend music, storytelling, and visual art into one cohesive experience.
7. What film have you seen the most in your life?
JC: Hmm. I would have to say Vertov’s and Yevisaleta Svilova’s “Man with a Movie camera” . I show it to my students every year. This film, by the way, is sadly often only credited to Dziga Vertov as the director, but that film is 50% editing, the same way that Merope is 50% music.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
– JC: I have been to more film festivals I can probably name since 1986. The landscape has changed so much! Sadly most film festivals have become businesses. The word Festival comes from the Latin word “fester” or “festus” which denotes a celebration. As a filmmaker I used to love going to film festivals and celebrating with other artists and supporters. The celebration part is now missing. Films are collaborations. The aspect of meeting other people to work with was a key aspect of film festivals when they started. That aspect is missing these days. On the other extreme, some film festivals have become markets now, but they have all sorts of red tape and exclusions that take the fun and random pairing that a celebration atmosphere often brings.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
JC: Its convenient. Like the calendar reminders feature the most.
C: Submitting to your festival through FilmFreeway has been a smooth and efficient experience. The platform’s user-friendly interface and having all the necessary information in one place make the submission process much easier. It streamlines everything, allowing filmmakers to focus more on their creative work.
10. What is your favorite meal?
JC: Any meal. Food. I love food. I’m a foodie. I am always up for something new. I love tastings and multi course meals. I love the movie Babette’s Feast where a female chef who is fleeing her country during the war is sheltered in a small village, where she takes all of her money to create a poetic, last feast for the farmers that took her in, which gives them experiences they had never had had.
C: Same here, I am a foodie as well and I loved Babette’s Feast.
11. What is next for you? A new film?
JC: I am always making video objects. I am developing a feature doc to reframe the way we look at dementia, and a companion national outreach educational campaign that includes an interactive photography exhibit entitled The Gold Room to create a collection of golden portraits of people living with dementia. We need to start seeing the value of what this challenging disease is here to teach us and stop focusing on what it is “taking away from us”.
C: I am continuing to work on a series of Vignettes, based on my debut book “Santa Fe & Esmeralda” of which the first one won “Best Story” at your LGBTQ+ Festival
This is the tale of the immortal Vampire Goddess Lilitu of ancient lore and her near human lover Dougal, their three identical red haired daughters and an oblivious species known as humanity.
2. What genres does your screenplay fall under?
Science Fiction/Fantasy
3. Why should this screenplay be made into a movie?
Since I first took up the pen to write this story I have watched as rewrites of successful films and sequels and prequels have graced our screens, some enhanced by more seasoned writing and special effects while others show little imagination or creativity and relying on the name of it’s original. This story has no comparison.
4. How would you describe this script in two words?
Sensuous thriller
5. What movie have you seen the most times in your life?
Hard to answer. I had a mother, have a wife and daughter. Now grandchildren, so you’re looking at Sound of Music verses Willie Wonka (the original), or numerous episodes of Bluey.
6. How long have you been working on this screenplay?
First got the idea in 1986, so a very long time. But then again, the short back story was first written down in 1974 as an English Literature test in High School.
7. How many stories have you written?
I’ve written many stories through the decades, but I’ve found they all end up as part of this one.
After all, this story lasts almost eighty million years from beginning to end.
8. What is your favourite song? (Or, what song have you listened to the most times in your life?)
When you get to my age and I think you’ll find this with most of the Baby Boomers, we have many songs that fill us with sweet memories. Songs from the sixties, seventies and eighties.
Although I have had a fondness for Classical, Jazz and Blues from pretty much all eras.
9. What obstacles did you face to finish this screenplay?
Well, she’s still not finished.
The story has probably about another four hours of telling. That’s another two parts. But when it comes down to it, life is the obstacle in any artistic endeavour.
In the very early years, it took six months to write the original first part and a further three months to write the second part and lastly the third part was a year.
Then I married and the world turned upside down.
Leaving the artistic community where I belonged in Sydney to the country surrounded by mundanes, was unsettling enough, but almost immediately, my new wife became ill and has remained that way ever since, slowly deteriorating over the years.
This meant fully engrossing myself in the mundane world of country backwater Australia. So backwater, that at night, you can almost hear the banjos playing.
Even after moving to city edge the pursuit of work sometimes turned an eight hour day into a twelve including travel.
Then of course, with my wife’s illness, I am truly grateful to be in Australia rather than the US, because this screenplay would never have had the opportunity to be dragged out of the dusty cover for its next rewrite where the resultant maturity of the author has led to a story with depth and living individuals with real personalities.
10. Apart from writing, what else are you passionate about?
There are many things that interest me. I’m rebuilding a ’72 Norton motorcycle at the moment and I’m hoping to get it running on water, or at least a dual fuel machine.
I paint landscapes. I love rewilding places. My wife had a property outside of the city that was waterlogged and although there were a few big trees on it, most of them had been taken by the previous owner. I dug out a huge fishpond by hand and shaped the land for the run off to end there and then planted a forest all around it. Even built a bridge over the water. When we eventually moved to a 100 year old cottage on a tiny block of land, I couldn’t help but do the same thing all over again.
Acting. Before marriage, I was always either on the stage or working as an extra on a TV or film set.
Studying theatre arts prepared me in ways I couldn’t conceive of, from being able to read or send messages to others using body language alone to being able to become other people entirely in the blink of an eye no matter where on Earth they come from The Political World.
I know that no one wants to be interested in such a subject and I am told more than I would like, that both this and religion are subjects that should be avoided. I would corner Adventists, Jehovah witnesses and Mormons at the front door to prevent their escape. And be very careful about throwing some patriotic crap in my direction, I hone in on that like a tiger shark. Love to debate. Especially with politicians on subjects that really matter.
11. You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?
I never consider entering a competition all that hard.
Admittedly, there are many programs out there that are really difficult to use, but as time goes on, those who are setting these sites up are getting better at the job. For me, it was easy.
12. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
Being a Scot, the biggest problem I have is parting with the money, but this time I’d just drawn out some of my Superannuation to buy an old motorcycle, which I procured cheaper than I expected and so, there was a lot of leftover. The parts requiring replacement and for the upgrade were less expensive than I expected and there was the competition. Just sitting there in my email, looking all sexy and addictive.
My brother owns a CFX company that he operates out of Indonesia where he lives. His partners live all around the world and he is doing well for himself.
He has never believed in me and has intentionally gone out of his way to avoid letting me play with him, refusing to even glance at my story.
We were talking on the phone the day I entered the competition and I told him that I was getting tired of trying to get the screenplay sold. His response, being one of gratitude I was at last, showing some maturity in this matter by giving up this fantasy, gave me hope and so I immediately, on hanging up from him, opened the site and lodged my entry.
When I received the feedback, I was stunned. This story that lived within my mind like a second life, changing and writhing to be noticed had suddenly been heard.
I have won very few contests and with some, even the winnings were lost before they made their way to me, so I had not envisaged such praise and how the few failings in the work were mere technicalities.
Suddenly I was again hopeful that the world could share in my story, where I remain to this day. I look forward to sending a photo of my Best Screenplay Award to my brother.
My screenplay (the long version) is about a journalist on the sidelines watching as politicians get on their soapbox for their spiel. It’s designed as a musical where different politicians will step up and sing their spiel. As the broad spotlight takes in politician and press / supporters they will cajole and charm and then as the spotlight focuses to them, it’s their motives and thoughts. Needless to say in Australia we have had some funny candidates over the decades, so you have your whip cracking gun toting candidate to your passionate professional trying to do some good, candidates for the money, others for the fame and power.
2. What genres does your screenplay fall under?
It’s designed as a musical screenplay, fiction.
3. Why should this screenplay be made into a movie?
Probably the closest movies would be Chicago / Goddess. To be honest it would need some work to be movie worthy.
4. How would you describe this script in two words?
Musical fun.
5. What movie have you seen the most times in your life?
That is a hard one – it’s probably more of a list of movies depending on my mood. The Fugitive, Man of Steel, Dog Woman Dead Dog Walking,…
6. How long have you been working on this screenplay?
Full length – as a hobby, a couple of years penning different scenes. All condensed into a 1page screenplay – probably an hour or so.
7. How many stories have you written?
Probably half a dozen in varying states of completion! :-p
8. What is your favourite song? (Or, what song have you listened to the most times in your life?)
You’re the Voice by John Farnham
9. What obstacles did you face to finish this screenplay?
Time.
10. Apart from writing, what else are you passionate about?
Bushwalking, rowing, art, photography
11. You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?
It’s a really easy site to use and upload to.
12. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I saw the competition listed and thought I have a screenplay I could condense to one page, so I entered. Feedback has been positive to date.
Festival Reviews 