Soul Kitchen, 4min., Japan Directed by Hakhyun KIM The head chef “Cookoo” awakens from his slumber and begins to cook. He cooks, and cooks, and cooks—without pause. He cooks endlessly, unceasingly, until death.
Get to know the filmmaker:
1. What motivated you to make this film?
After creating my previous work, DESK BUGS, I felt a strong desire to create something even more tightly integrated with music. Since I composed the music for DESK BUGS myself, I was able to tweak both the sound and the visuals simultaneously, which was a great process. However, for this project, I wanted to see how deeply I could synchronize my animation with an existing track. I had fallen in love with this specific track by Legendary beast aka. [[[E]]], so I reached out to them and began the animation process.
2. From the idea to the finished product, how long did it take for you to make this film?
It took exactly one year from conception to completion. For an experimental project, I feel it was just the right amount of time.3. How would you describe your film in two words!?
3. How would you describe your film in two words!?
Visual Rhythm.
4. What was the biggest obstacle you faced in completing this film?
Maintaining focus and momentum while balancing the project with my other professional work.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was truly happy to see the reactions—thank you so much. The comment about the “Adult Swim feeling” was spot on. If they ever come calling with an offer, I’m ready!
6. When did you realize that you wanted to make films?
It’s because animation is a comprehensive art form that compresses music, movement, storytelling, painting, and rhythm into one medium. Because of its sheer breadth and depth, I never get bored, which makes it the perfect fit for someone like me who usually seeks constant change.
7. What film have you seen the most in your life?
There are too many to choose from, but in terms of pure repeat viewings, it would probably be Oldboy.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Nothing specific at the moment.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The platform is very user-friendly and easy to navigate, though the fees can be quite high.
10. What is your favorite meal?
Chocolate.
11. What is next for you? A new film?
I am currently experimenting with a new drawing style, working with even smaller frame sizes than the ones used in this film. Once I’ve refined that technique, I plan to start writing the script for my next short animation.
Our Threatened & Endangered Species: Allegheny Woodrats, 66min., USA Directed by Tracy Graziano Our Threatened & Endangered Species: Allegheny Woodrat follows the Pennsylvania Game Commission and partners as they fight to save one of the state’s most elusive mammals. Once common across the Appalachian Mountains, the Allegheny woodrat has declined for decades due to habitat loss, disease, and the disappearance of its ancient ally—the American chestnut tree.
Get to know the filmmaker:
1. What motivated you to make this film?
Allegheny Woodrats is Episode II in a series on Threatened & Endangered Species. These films aim to educate folks on the challenges surrounding species conservation, and what people can do to get involved and actions they can take at home to help all wildlife. Wildlife conservation and management is complex, involving hard work, creativity, tenacity and human politics. If we tell the story well, we can ensure all of our native species persist into the future-because people will not protect what they don’t understand and they certainly won’t protect what they don’t know.
The efforts surrounding saving the Allegheny woodrat are complex and involve partnerships across state lines, with varying agencies, non-profits, institutions and universities. There are over 15 groups involved in seeing that this species persists into the future. But the challenges the species’ face is multi-faceted: from the effective extinction of the American chestnut, to habitat fragmentation that cascades into genetic isolation, inbreeding and population loss, and finally the increasing raccoon population as a result of habitat fragmentation. To save a species, we must address all of the challenges. The effort, creative thinking and dedication to our wildlife fills me with hope. Despite all the things going wrong with conservation on a bigger scale, these stories are so impactful and clearly state that we can and will affect change if we just act even in small ways.
I am driven to make a difference with the films I produce. Documentary film is a powerful tool that helps change hearts and minds-even for species or issues for which are foreign to many people. This species is a particular challenge because of the stigma in its name: it isn’t ‘just a rat’ and I hope this piece sheds some light on the importance of all wildlife, despite the name we have assigned them.
2. From the idea to the finished product, how long did it take for you to make this film?
I started documenting field work with woodrats-actually translocations-in August of 2020. So, shooting took place over five years with the bulk of it taking place in 2024. I began editing full time in late summer 2024, and tried to do re-shoots and all the interviews in early 2025. Altogether the editing process took 18 solid months.
I am one person and do all of the things: from research to writing, shooting and editing, it’s a monumental task of dedication.
3. How would you describe your film in two words!?
Woodrat quest.
4. What was the biggest obstacle you faced in completing this film?
The biggest obstacle in completing the film took place during each phase of production: the landscape itself is challenging to haul film equipment into. Bouldering and cameras don’t mix very well. Luckily, our biologists typically have an entourage of folks who eagerly tag along to help with trapping efforts-who doesn’t want to see a threatened species? I was so grateful to have lots of helping hands-but usually this just means taking in *all* of the equipment I could ever need in a day rather than being selective and leaving pieces behind. I am a one-woman band otherwise: shooting with multiple cameras, as well as taking still photographs all at the same time.
Pre-production and post-production are often smashed together with these projects because we simply aren’t given enough time to write a full-blown script in advance. I request scientific papers and pertinent background literature from the biologist and create a ‘wish list’ from that-much of which is unlikely to capture. So much of what I shoot is literally trying to document what is in front of me in every way that I can imagine in order to gather enough coverage for the editing process. And as with all documentary, there are whole events that take place that are not part of any plan and I’m just along for the ride scrambling to understand what I am witnessing and to record it all. It’s very exciting yet scary at the same time. It’s a lot of pressure to shoot in such a way as to tell a story, bring the audience along on the adventure, and also have the viewer become invested in the subject to the level where they actually care about the species in the end.
5. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution. What is your favorite stage of the filmmaking process?
I love shooting. One of my undergrad degrees is cinematography-I just love it. My younger self wanted to only shoot and be in the field 100% of the time. However, if all you do is shoot, the footage sits there and accomplishes nothing. I’ve really started to appreciate the post-production process more and more the further I’ve gotten into my career. When I was younger, I would dread sitting in the editing bay and it would take a force of nature to be disciplined enough to sit day after day. But I enjoy organizing the mountain of footage that results from all the time in the field, and coming up with creative ways to fill the holes in the story as well as imagining the best ways to communicate the science in each of these projects. On more than one occasion, epiphanies happen in the editing room-the juxtaposition of certain shots or events spark creative ways of problem solving and of having new eyes on the subject. I’m always learning and this film was no exception; I just generally love learning natural history information, science, and then everything that surrounds the tech in the documentary film industry.
Getting footage of a nocturnal threatened species certainly posed its own challenges, and there are behaviors I felt were critical to getting the audience to care about the species. Things like caching odd items, and pruning acorns and seeds from trees are behaviors that would be impossible to get in the wild. Having a ‘pet woodrat’ to act these things out is out of the question, so I turned to animation to illustrate these behaviors. During the literature review process, I read that the species itself has an interesting tie to our state. The very first Allegheny woodrat specimen -what’s called the holotype– was collected in a cave not far from Harrisburg. Our budget is basically my pay, so fancy historical reenactments are just out of the question-but animation brought that moment to life and helps define the species for the viewer. From there it was a natural extension to also animate a couple of key behaviors for the sake of the story and so that the audience can empathize with the subject.
6. When did you realize that you wanted to make films?
I was a little late to the party with filmmaking. As an undergrad, I started out as a painting major. I had a very strong background in art as a young person, but once I got to university I was bored, frustrated, and concerned about even being able to make a living off of my art. So, I switched to biology-one of my other life passions. I found it extremely challenging, but began to miss the outlet that only art could provide. So, I muddled around a bit and started taking some photography courses. I vividly remember doing critique in photo class and the professor asking me in front of everyone if I had ever considered filmmaking-because my series of photos up on the board always seemed to tell a story. That’s what finally made it click for me: I could put my passion for wildlife and ecology together with telling stories on film. So, there I was, a senior in undergrad, declaring a dual major in biology and cinematography. From there, I entered my undergrad film in the International Wildlife Film Festival in Missoula, Montana. I was invited to take a one-week course on Wildlife Filmmaking with Jeffery Boswall from the BBC, and during that week I learned about a graduate program in development at Montana State University. A year later, I was part of the very first class in Science & Natural History Filmmaking. It was a dream.
In looking back as a kid, I grew up in a place that was developed into housing over the course of my youth. The forests and fields that were my playground were completely paved over by the time I was in high school. This really affected me deeply and I suppose played a big part in what would eventually become my career.
7. What film have you seen the most times in your life?
Probably Watership Down. I watched that over and over again as a kid. Every time we went to the grocery store I would look to see if the VHS tape was on the shelf and available for rental. If it was there, we would take it home. I would watch it, rewind it, and watch it again. It probably wasn’t healthy. Haha.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
I would love to collaborate with National Geographic, the BBC, or PBS Nature or Nova on some science wildlife documentary films. I know that my science literacy and filmmaking skill set combine to tell unique stories. I do hope that even this film could be considered for broadcast. More people need to see the hard working folks behind species conservation, the passion they exude, and the persistence that it takes to save our native wildlife.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The submission process is simple and straightforward. Having everything organized and easily searchable is a huge benefit for my limited time in promoting my work. Also, the standard project page to fill out is immensely helpful and ensures that festivals get what they need to understand the film, and to hopefully promote it.
10. What is your favorite meal?
Breakfast. If I eat nothing else in a day it has to be breakfast.
11. What is next for you? A new film?
The next episode in the series “Our Threatened & Endangered Species” is on the return of the piping plover as a nesting species in the state of Pennsylvania. After more than 50 years of absence, this iconic shorebird has returned to the only suitable habitat in the state and successfully nested. This series is designed to have educational curricula to go with them to schools, universities, and sister agencies. Those accompanying materials are being written now by our very talented and dedicated staff. I am so grateful for the life that these films will have in shaping change.
I’ve personally struggled with anxiety for quite some time. After a while I realized that not everyone fully understands those feelings internally, I wanted to make this film from the perspective of the Main Character showing what’s going on inside her head.
2. From the idea to the finished product, how long did it take for you to make this film?
I had the initial idea begin sometime around March 2025, after writing, then re-writing we hit production in August 2025, which only took 1 (long) day of filming, then finished post productions near the end of September. In short, it took 7 months to make this film.
3. How would you describe your film in two words!?
Simple & Compelling
4. What was the biggest obstacle you faced in completing this film?
One of the biggest obstacles that I faced with this film was the screenwriting, the film itself has good dialogue, however the main focus is the feeling, a lot of dialogue isn’t even comprehensive. I originally started with no dialogue written and planned to have the actors improvise, after the first rehearsal I decided to take note of the improvised conversations and write them into the script. With the help of my AD and PA we were able to get those written quickly and put into the script. The reason for doing this was due to the fact we only had one camera meaning every close up was filmed separately this helped the actors have the right flow of the conversation in every take.
5. There are 5 stages of the filmmaking process: Development.
What is your favorite stage of the filmmaking process?
I enjoy Production the most! During this time, as a director I am seeing my vision come to life by the actors and crew, even with tight schedules I do truly enjoy this time. Especially seeing all the work from pre-production come into play.
6. When did you realize that you wanted to make films?
I think my initial realization was during my senior year of highschool in 2023, where my senior project was a short film, I truly began to fall for the art of filmmaking and since then has grown.
7. What film have you seen the most times in your life?
I honestly think I have watched Coraline, more times than I can count, I loved this film as a child and since then it has become a comfort movie for me.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
I can’t think of a specific person I would love to work with, however I would love to work with A24, I find that I resonate with a lot of their films.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
FilmFreeway has been great! It has made it so easy for me to see which film festivals would be good for me, and having everything in one place also makes the submission process very simple.
10. What is your favorite meal?
I really enjoy anything with salmon! Whether that’s with just some rice and veggies or a more elaborate dish.
11. What is next for you? A new film?
I’ve currently been writing some new screenplays, however producing those as of now may be on pause as I will be going to the Vancouver film school in May 2026, however I may be doing my first feature while studying!
IBLIS, 30min., USA Directed by Jay Smith Ackerman Noah is a young musician who can’t seem to catch a break. One day he discovers a device that allows him to manipulate time. He plans on using it to achieve his wildest dreams, but soon realizes the gadget is not what it seems to be….
– Everyone has regrets in their lives. But more importantly, everyone makes mistakes. It’s human. It seems like wherever you go and whoever you meet, mistakes are viewed as flaws in a person, rather than a learning experience from which we grow. But what if a company found out a way to take advantage of people and stop that growth? That’s what intrigued me to this film. Especially today, where our own leaders are trying to seem perfect by backtracking on every mistake, it just ends up making things worse. Noah thinks that being perfect will allow him to achieve his wildest dreams. But at the end of the day, should we really strive to be spotless? Mistakes are what being human is all about. That’s what matters. Ending a film on a sad note will hopefully motivate more people to stand up and make a change. After all… YOU ARE A FAILURE. PROVE US WRONG.
2. From the idea to the finished product, how long did it take for you to make this film?
I had been conceptualizing this idea since 2019. I was fascinated with ideas that end on a sad note. As time progressed, it was clear the message needed to be more than just a time travel film. We started writing in June of 2025 and finished in July. We filmed for a total of 15 days and spent 3 months in the edit making sure this would stand out among other projects. All things considered it was a pretty quick turn around time and so much fun to show people our story!
3. How would you describe your film in two words!?
Manipulative time.
4. What was the biggest obstacle you faced in completing this film?
I bet you see this a lot but it was definitely the budget. Living in the middle of nowhere with no resources or population to assist in filmmaking is almost impossible. ALMOST. We have pooled money over the years to afford to build custom sets ourselves, acquire talent who are as passionate as we are, and learn first hand how to create an original film while we all work full time. In this ever changing filmmaking environment where everyone has access to a camera, we have proven that despite our rural environment and limited support, anyone can make their messages heard.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Absolutely ecstatic that people not only enjoyed the film but appreciated the complex heartbreaking storytelling. It’s comforting knowing that our goofy jokes can make people laugh.
6. When did you realize that you wanted to make films?
I knew I wanted to make films ever since I was just a wee lad. Watching Pixar movies with funny jokes and impactful messaging spoke volumes. Visual storytelling in new and innovative ways always made me eager to go to the theatres a watch the newest film. In everything I’ve ever made, comedy is crucial in complimenting even the most impactful messaging. As long as I’m making movies, I will always strive to try to make bold choices that no one has ever seen before. But as long as I can make 1 person laugh, I’ve done my job and can rest easy.
7. What film have you seen the most in your life?
Definitely Monsters Inc. and Back to the Future are tied. Both movies inspire most of my decision making in film.
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 know FEEDBACK is in the title and I know making sure everyone is happy is the top priority. But there should be a box to check in the festival submission process that explicitly says that if the submitter wants feedback in addition to a video praising the film, then that should be an option. Even perfect movies have some questionable moments that can be answered. And especially for new filmmakers, I’d much rather be told what I need to work on, rather than what we did well on. I might be in the minority here but having that option would be great!
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I mean it was seamless other than missing the option that I listed above. Since we won the audience award for Best Performances, will our submission status change to award winner? Or will that only change if the festival itself gives out awards?
10. What is your favorite meal?
Spaghetti and meatballs with garlic rolls!!!! Oh my goodness I could talk about that all day. It’s that home cooking that is simple enough to satisfy but not too complex to ruin your taste.
11. What is next for you? A new film?
We are currently in pre-production with a feature film based off of one of our best friends! It will be very heavy on the emotional aspects of living in America as a person of color. We can’t wait for the world to see what comes from it!
The Price of Dreams, 19min., Canada Directed by Hà Lệ Diễm At just 15, Ngân longs to study and sing—but in northwest Vietnam, where child marriage and dowries still dictate futures, her life has already been planned. Her dowry—coins worth $400 CAD, a bottle of rice wine, and a kilo of pork—has already been paid. Now, she dares to ask for something radical: to return it and choose her own path. Will her mother agree? Directed by Academy Award–nominated filmmaker Hà Lệ Diễm, The Price of Dreams unfolds through Ngân’s own diary entries and reflections, capturing a quiet yet courageous fight for freedom and self-determination.
The Price of Dreams was created in partnership with Plan International Canada and our colleagues at Plan Vietnam. In our storytelling, we collaborate with independent filmmakers to honour the experiences of the people in our programs and to ensure their voices guide the narrative. For this film, we had the privilege of working with Academy Award–nominated filmmaker Hà Lệ Diễm, whose sensitivity and craft brought extraordinary depth to the story.
From Plan International Vietnam – Chau Nguyen
Influencing & Communications Coordinator at Plan International Canada: Noreen Flanagan, Creative Director
What motivated you to make this film?
Diem: When I met Ngân, the main protagonist of the film, she was very enthusiastic about filmmaking and eager to share her story. Her teachers at school, as well as her classmates, were incredibly kind, which made me feel truly welcomed into their world. I also felt it was an important story to share, as it could change other girls’ lives.
Plan International Vietnam: At Plan International Vietnam, our motivation came from witnessing, year after year, how child marriage continues to shape the lives of girls in ways that often go unseen. While statistics help describe the scale of the issue, they rarely capture what it feels like to grow up knowing that your future may already be decided.
What moved us to support this film was the belief that change begins with voice. Ngân’s story reflects a reality shared by many girls in remote communities yet rarely told from the inside. We wanted this film to be led by her perspective – told in her own language, within her family and cultural context – so audiences could understand child marriage not as an abstract issue, but as something shaped by tradition, care, fear, and expectation. Like our colleagues at Plan International Canada, we believe that stories create empathy where numbers cannot. This film is our way of showing that even in places where tradition feels immovable, listening can open space for dialogue – and that a single girl’s voice can begin to shift what once felt fixed.
Plan International Canada: At Plan International, our mission is to champion children’s rights and equality for girls. The Price of Dreams allowed us to shine a light on an injustice many people don’t realize still exists: child marriage. Every year, 12 million girls become child brides – roughly 23 girls every minute – and after years of progress, those numbers are rising again.
But numbers aren’t what move people. Stories do.
And the hope is this: that even in a place where tradition feels immovable, one girl’s actions can lead to a remarkable change. That a mother can reconsider in the best interest of her child. That a community can soften. That a future can open.
That’s why we wanted this film to be told from one girl’s perspective – not as a report. In Ngân’s region of Vietnam, nearly 60% of the population were married before the legal age, most of them girls. Sharing her story in her own language, family, and cultural context gives audiences a way to understand the issue not as an abstract problem, but as something shaped by tradition, expectation, and the quiet pressures of everyday life.
2. From the idea to the finished product, how long did it take for you to make this film?
Diem: I spent six months filming in two separate phases, followed by an additional two months of post-production in Vietnam. I filmed for a total of six days over two trips to the region. Once in December and then again in March. After that I spent an additional two months in post-production.
Plan International Vietnam: From our initial discussions with Plan International Canada to the final cut of the film, the process took over a year. The first couple of months were dedicated to an initial scouting process led by the communications team of Plan International Vietnam, which involved identifying – from nearly 29,000 sponsored children across different program areas – girls who wanted to share their story. A significant part of the timeline was also devoted to building trust with Ngân and her family, ensuring that the story was shared with care, consent, and respect. This relationship-centred approach was essential to telling the story authentically and responsibly.
Plan International Canada: From our first conversation with our colleagues at Plan Vietnam to the final cut of the film, the journey took about a year and a half.
3. How would you describe your film in two words!?
Diem: Bittersweet film
Plan International Vietnam: Quiet courage (We chose “Quiet courage” because the film shows how change does not always come through confrontation, but through small, brave moments of voice, trust, and dialogue.)
Plan: Tender defiance.
4. What was the biggest obstacle you faced in completing this film?
Diem: I felt quite hesitant and nervous when asking Ngân’s mother for permission to film the moment when she returned the dowry to the groom’s family. I had never met them before, and we had to walk to their house in another village. I knew this sequence was crucial and very important to the film, but it was also deeply private and would have been impossible to carry out without the consent and participation of everyone involved. In the end, it was Ngân’s mother herself who suggested that I come with my camera and who first asked the groom’s family for permission on our behalf. Thanks to her, we were warmly welcomed by the groom’s family, who treated us with great kindness. As a result, we were able to film a sequence that I initially believed would be impossible to achieve.
Plan International Vietnam: There were no major production obstacles on our side. The main challenges were contextual rather than technical. Filming took place in a mountainous area, and the subject of child marriage touches deeply personal family decisions and long-standing social norms. Our priority throughout was to ensure Ngân’s safety, dignity, and agency. This meant moving at her pace, being flexible, and allowing the story to unfold naturally. While this required time and sensitivity, it ultimately strengthened the honesty and impact of the film.
Plan: On our end, no big obstacles, thanks in part to the efforts of Diem and our Plan colleagues in Vietnam.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Diem: This is the first time I have received audience feedback in this way. It feels unfamiliar, yet I am happy to be able to connect with the audience through such a special means.
Plan International Canada: I was genuinely heartened to hear how strongly viewers connected with our story led approach. For years, audiences have been conditioned to expect NGO films to present issues through facts, figures, and expert narration. We wanted to move away from that – to make something truer, more intimate that brings the audience closer to the real lives and experiences. That’s why we created our Embedded Storytellers mini-documentary program: to work with local filmmakers who can capture the narrative from the perspective of the girls and communities themselves. Hearing the audience notice that shift – that the film feels like a window into Ngân’s world as she knows it, not an organizational message – meant a great deal to us.
6. When did you realize that you wanted to make films?
Diem: I was originally a journalist and later studied documentary filmmaking. What I love about documentaries is that they teach me how to listen to others and allow me to deeply understand the people who are living in different contexts in places I would otherwise never know so intimately and profoundly without documentary film.
7. What film have you seen the most in your life?
Diem: The film I have watched over and over again is Nobody Knows, directed by the Japanese filmmaker Hirokazu Kore-eda. I am deeply drawn to the films of Kore-eda, Ken Loach, and the documentary filmmaking duo Trần Phương Thảo and Swann Dubus. Their humanistic and compelling works have profoundly inspired me and given me great encouragement throughout my filmmaking journey.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Diem: Participating in film festivals allows me to watch many new films and continue learning. At the same time, I can connect with other filmmakers and broaden my worldview through the stories they share.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Plan International Canada: Excellent! Love it.
10. What is your favorite meal?
Diem: I love xôi sắn mỡ hành với gạch cua chưng hành khô, a traditional North Vietnamese winter home-style dish. Soft, steamed cassava sticky rice is gently dressed with fragrant scallion oil, paired with delicately steamed crab roe, and finished with crispy fried shallots.
Plan International Canada: I love a classic panzanella salad.
11. What is next for you? A new film?
Diem: I am currently working as both director and producer. As a director, I am shooting an independent documentary now, and as a producer, I am building a support network for independent Vietnamese women filmmakers.
Plan International Canada: We’re just completing a film from Uganda about a young girl named Sharon, who was married at 14 and rescued by the aunt from an abusive situation. She’s now back in school, one of more than 110,000 out of school children supported through our RISING project, which is delivered with Education Above All Foundation and Strømme Foundation and backed by Canadian donors.
A beautiful twist to the making of this film: when we approached Ugandan filmmaker Deo Kusemererwa, we didn’t know he had once been a sponsored child through Plan. After learning more about the assignment, he wrote to say, “I was once supported by Plan International at True Vine School in a village called Kyebando, Kampala, so it feels very special to see how our paths have now connected.” Given Deo’s own tagline – Telling Stories for Change – the moment carried its own quiet symmetry. A sponsored child grows up to tell the story of another girl finding her way back to school. It’s the kind of unexpected return that reminds us how change often moves: one story opening the door for the next.
Vagabond in Red: Iquitos, 52min., USA Directed by Tom Lonero A recovering addict and filmmaker from Pittsburgh sets off across Peru on a personal healing journey in the aftermath of a global pandemic. Shot entirely solo with modest gear, Vagabond in Red: Iquitos blends raw handheld imagery and poetic narration to explore the human condition through history, culture, social issues, and resilience. Legendary Amazonian landscapes provide the backdrop, but it’s the people Tom meets along the way who reveal quiet truths about survival, faith, and connection. This is not a luxury travel film—it’s a lived-in journey into what remains when the world goes quiet and we start listening again.
It began with pain. Travel was the entry point, but over time that pain gave way to wonder and a need for answers and about how places carry memory, trauma, and resilience, and the connections that pull the world together.
2. From the idea to the finished product, how long did it take for you to make this film?
From initial conception to completing the 6th and final episode – Iquitos, roughly two and half years. That includes travel, filming, post-production, and living with the material long enough to understand what the film actually wanted to be.
3. How would you describe your film in two words?
Raw reflection.
4. What was the biggest obstacle you faced in completing this film?
Sustaining momentum as a single-operator project. When you’re responsible for every creative and technical decision, the challenge isn’t just logistics, it’s also knowing when to stop refining and let the film stand on its own. I’m my worst critic, but most filmmakers are.
5. There are 5 stages of the filmmaking process. What is your favorite stage?
Post-production. That’s where the film reveals itself.
6. When did you realize that you wanted to make films?
When I realized film could hold multiple dimensions at once like sound, space, movement, and ideas. Voices still matter in a world increasingly trying to edit them. I want to contribute and not just take.
7. What film have you seen the most times in your life?
Jaws. The cinematography and the Indianapolis speech. It’s a masterclass in restraint and how framing, light, and a single monologue can carry dread, character, and history without excess.
8. In a perfect world: Who would you like to work with or collaborate with on a film?
Werner Herzog, not for scale or spectacle, but for his insistence on personal truth over conventional objectivity.
9. You submitted to the festival via FilmFreeway. How has your experience been working on the platform?
It’s efficient and functional. It does what it’s supposed to do, which matters when you’re managing multiple submissions as an independent filmmaker.
10. What is your favorite meal?
It depends. The meal I love and the meal I should be eating are often two different things. Ideally, it’s something simple and local. That diner with a story has the best breakfast even if it doesn’t.
11. What is next for you? A new film?
Yes. I’m developing the next chapter of Vagabond in Red and already filmed an episode in Costa Rica, but I am also advancing a standalone documentary titled Nunnehi, which focuses more on America’s deep history and the Appalachian cultural resilience. It will build on the same methodology and long-form observation, respect for place, and author-driven storytelling. It will hopefully dive into some deeper truths. I’m a strong believer in connections.
COOL BEAN, 1min. Directed by Furter Holman, Thomas Howe Watch as the beantastic stuntsman- er, stuntsbean, Buster Bean performs some death-defying stunts while holding two very alive and very insured eggs above his head!
HOT MESS, 3min. Directed by Tortor Smith Hot Mess offers an insight into ADHD in a compact and creative way, highlighting the damage and anxiety that can be caused by a well-meaning, but ultimately toxic, parent.
PLANET TOAD, 1min., UK Directed by Magdalena Metrycka Roaming through the cosmic sky, a star-devouring Planet Toad grows bigger and brighter, until her appetite reaches a breaking point and reshapes the night.
A DIGNIFIED BURIAL, 2min. Directed by Daisy Patnell Two rats debate the ethics of taxidermy.
FROZEN LAKE, 2min. Directed by Mohammed Shariq Puthen Peediakkal Frozen Lake follows a young man, burdened by past trauma and anxiety, who slips into a surreal journey through his memories while ice skating with his partner. Drawn beneath the ice, he confronts haunting visions of his younger self—trapped, yearning, and broken—forcing him to face the pain he has carried for years. Though supported by his partner, he realizes that healing requires inner reckoning. Blending visual surrealism with emotional intimacy, the film portrays the fragile but hopeful steps of confronting the past and learning to move forward.
ADAHI, 4min. Directed by Melike Üzüm Miles and miles away from civilisation and the closest intelligent creature around having a vengeful spirit, what could go wrong?
AGHHH!!!, 1min. Directed by Katie Wang A woman who is terrified of the outside world soon realises that the biggest danger to her life is actually… herself.
LIKE FATHER, LIKE GUM, 4min. Directed by Aidan Harris Like Father, Like Gum is a short comedy about a son who’s car troubles can only be fixed by his mechanically adept dad. Little does the father know, his son has already had a crack at the engine, using methods that will make any parent with mechanical sympathy cringe with horror.
CAT-TASTROPHE, 1min. Directed by MingHo Siu When a giant alien CAT arrived, a SUPERHERO—forced from mid-rest and leave his house—had to confront it wearing just a TOWEL. Annoyed and impatient, he find a way—lured it away with his LASER VISION. But his aggravated aim was too strong, sending the cat crashing into the MOON with a massive explosion.
RECOIL, 5min. Directed by Katia Lu World War II, China. A young Chinese soldier on a chaotic battlefield is suddenly plunged into a psychological exploration of the visceral metamorphosis from child to soldier. Tranquil homes collide with the fire of their destruction; the warmth of family is shattered by the scream of falling bomb.
FADING MEMORY, 3min. Directed by Yash Somnath Kunder Fading Memory is a sci-fi animated short set in a future where nature has faded into myth. A grandfather captivates his grandson with the tale of a terrifying beast, only to reveal it was once a tiger, now extinct. The film explores themes of extinction and humanity’s growing disconnection from the natural world, suggesting that the creatures we know today could one day survive only in stories and imagination.
MIND, 2min. Directed by Cindy Sophie Solombrino A Young girl travels down into the underground, where lack of caution may not be warranted…
OUROBOROS, 5min. Directed by Aaron Joaquin As a boy, he witnessed his father’s murder at the hands of a gun-wielding demon – trauma that ignited a burning desire for justice. As a man, he now struggles to walk the razor’s edge between justice and vengeance. In a neon-lit city’s dark criminal underbelly, his path of destruction begins to spiral out of control, with cash piling higher than the mountain of bodies left in his wake. But when the long-awaited confrontation arrives, the stakes shift — A snake lunges at its prey only to bite its own tail.
Eye Contact, 4min. Directed by Carmen Thomson An autistic woman starts a new job where her neurotypical coworkers begin to act strangely. Seemingly everyone at the office is taking horrific measures to force their abnormal, ritualised, cult-like way of making eye contact, going so far as to turn into horrible eyeball monsters.
ARKANY-G, 18min., France Directed by Daniel KICHENASSAMY In Guadeloupe, a series of mysterious murders is shaking the small community. At every crime scene, a strange and macabre detail recurs: the presence of an object placed near the bodies, like the killer’s signature. Terrified, the residents find themselves trapped in an invisible terror, and the usually peaceful island descends into chaos.
1. What motivated you to make this film? EN: Arkany G was motivated by the desire to blend a crime investigation with a deeper reflection on fear, community, and the unseen forces that disrupt fragile balances. Setting the story in Guadeloupe allowed me to contrast the island’s beauty with a dark, invisible threat.
FR : Arkany G est né de l’envie de mêler une enquête criminelle à une réflexion plus profonde sur la peur, la communauté et les forces invisibles qui brisent les équilibres fragiles. Situer l’histoire en Guadeloupe permettait de confronter la beauté de l’île à une menace sombre et invisible.
2. From the idea to the finished product, how long did it take for you to make this film? EN: From the initial concept to the final cut, Arkany G took approximately one year, including writing, development, shooting, and post-production.
FR : De la conception initiale au montage final, Arkany G a nécessité environ un an, incluant l’écriture, le développement, le tournage et la post-production.
3. How would you describe your film in two words!? EN: Tropical thriller.
FR : Thriller tropical.
4. What was the biggest obstacle you faced in completing this film? EN: The biggest challenge was creating a strong atmosphere of tension and mystery with limited resources, while making the island itself a character in the story.
FR : Le plus grand défi a été de créer une atmosphère de tension et de mystère avec des moyens limités, tout en faisant de l’île un véritable personnage du récit.
5. What were your initial reactions when watching the audience talking about your film in the feedback video? EN: I felt both moved and encouraged. Hearing the audience talk about the mystery, the atmosphere, and the setting confirmed that the film’s universe resonates beyond the screen.
FR : Je me suis senti à la fois touché et encouragé. Entendre le public parler du mystère, de l’atmosphère et du décor a confirmé que l’univers du film résonne au-delà de l’écran.
6. When did you realize that you wanted to make films? EN: I realized it when I understood that cinema could tell stories that combine emotion, suspense, and social reflection in a powerful and immersive way.
FR : Je l’ai compris lorsque j’ai réalisé que le cinéma permettait de raconter des histoires mêlant émotion, suspense et réflexion sociale de manière immersive et puissante.
7. What film have you seen the most in your life? EN: Se7en is one of the films I’ve watched the most. Its use of atmosphere, symbolism, and investigation strongly influenced Arkany G.
FR : Seven est l’un des films que j’ai le plus vus. Son utilisation de l’atmosphère, du symbolisme et de l’enquête a fortement influencé Arkany G.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career? EN: More discussions focused on audience perception and crime or genre filmmaking would be very valuable, especially for projects rooted in strong atmospheres.
FR : Davantage d’échanges autour de la perception du public et du cinéma de genre seraient très précieux, en particulier pour des projets reposant sur une forte atmosphère.
9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site? EN: FilmFreeway has been a smooth and efficient platform, making submissions clear and accessible for independent filmmakers.
FR : FilmFreeway est une plateforme fluide et efficace, qui rend les soumissions claires et accessibles pour les réalisateurs indépendants.
10. What is your favorite meal? EN: A Creole meal (colombo de cabris) shared with others — food, like cinema, brings people together.
FR : Un plat créole (colombo de cabris) partagé, car la cuisine, comme le cinéma, rassemble les gens.
11. What is next for you? A new film? EN: I am currently developing a new project that expands the world of Arkany G, continuing to explore crime, mystery, and human complexity.
FR : Je développe actuellement un nouveau projet qui prolonge l’univers d’Arkany G, en explorant encore le crime, le mystère et la complexité humaine.
HERO’S JOURNEY, 15min., USA Directed by Stan Alger When the fourth wall breaks, a young filmmaker must find his inner creative confidence and take control of his story before it takes control of the world around him.
I’ve always loved that idea of “What if the story was real?”, on that same token I love the concept of the multiverse, which is also a hot button seller these days, so I wanted to take those fun ideas and run with them to create this short film. Stories can inspire us and yes even motivate us in the real world. So in the film, the story literally inspires it’s creator, which while perhaps can also be a commentary on the state of film and TV development today….it also serves as exciting chaos!
2. From the idea to the finished product, how long did it take for you to make this film?
The script was written over the course of the summer, production took place in the fall, and the film itself was finished the following spring once my friend helped finalize all the remaining VFX.
3. How would you describe your film in two words!?
Childlike Wonder
4. What was the biggest obstacle you faced in completing this film?
There were a few! No production is without it’s obstacles. But I’d have to say, as much as I love them, the stunt sequences and swordplay were particularly challenging as I kind of dived head first into an area that I had previously done very casually on smaller shorts growing up as a kid. This was my senior thesis in college and so we had to do things “by the book” which meant following appropriate stunt protocol and not committing any “indie style cutting of corners”. I had to manage prep and warm up in addition to my actors, my shot list and the ticking clock. But ultimately having those rules in place led to a better and far more professional performance, and dare I say has wet my appetite for more action sequences in the times to come!
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I appreciated the feedback tremendously. I was so happy people enjoyed it! I was happy they loved our Actors’ performances, our DP’s camera work (Cinematographer), and that the beats and overall message carried across the way we had hoped. Most of all, our entire team was thrilled people had a good time!
6. When did you realize that you wanted to make films?
Ever since I was a little kid. As cliche as it may be, I grew up loving Spielberg movies. Seeing those films on the screen at home would do more than excite me, they would inspire me, they would scare me, they would make me sad, they would make me sit in wonder. It was through those movies that I came to love storytelling and other storytellers. After a very memorable evening discussion with my family when I was a kid, I decided I wanted to be a filmmaker – and I’ve been truly in love ever since.
7. What film have you seen the most in your life?
It’s a tie! I’d probably say “Raiders of the Lost Ark!” Again, the Spielberg boy in me 🙂
But, there is a largely forgotten comfort film of mine from the late 80s starring Michael J Fox called “The Secret of My Success”. The story itself is basically the American Dream. It encourages you to keep pushing, to keep going, to never give up. The main character, played by Michael J Fox, does just that, and not only does he believe the dream exists, he pursues it morally….with perhaps cutting a few corners. Ultimately the good guys win in the end over the corrupt businessmen and there is a killer soundtrack to accompany.
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 have done a terrific job!
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Wonderful. It was very intuitive and very straightforward. I really like the model.
SPARE!, 34min., France Directed by Jules Cales, Balthazar Ullmann Phil and Barney, two not-so-smart henchmen of a Mafia organization, stumble across a mysterious box full of money while burying a corpse in the woods. Their night turns to chaos when they decide to spend lavishly this unexpected fortune.
We weren’t very entertained by the new French comedies we saw in theaters, and we didn’t really laugh. We felt we could make the kind of film we’d actually want to watch – our type of comedy – with a clear purpose: to entertain an audience through action and comedy.
2) From the idea to the finished product, how long did it take for you to make this film?
Two years.
3) How would you describe your film in two words?
Rural Gangsters.
4) What was the biggest obstacle you faced in completing this film?
We had to postpone the end of the shoot and raise additional funds to finish the film the way we wanted.
5) There are 5 stages of the filmmaking process: Development, Pre-Production, Production, Post-Production, Distribution. What is your favorite stage of the filmmaking process?
It’s between production and post-production. We can’t choose.
6) When did you realize that you wanted to make films?
From a very young age, between 7 and 10 years old.
7) What film have you seen the most times in your life?
For Jules: La Cité de la Peur (Alain Chabat). For Balthazar: OSS 117 (Michel Hazanavicius).
8) In a perfect world: Who would you like to work with/collaborate with on a film?
In a perfect world, we’d love to have Spielberg and Scorsese as producing partners on a film.
9) You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
It’s been good.
10) What is your favorite meal?
For Balthazar: pig’s trotters with mashed potatoes, and profiteroles for dessert, at Brasserie Lipp. For Jules: the Majorcan salted pie called coca de trampó.
11) What is next for you? A new film?
We’re currently working on the feature-length version of our short film, and we’re also developing another short film.Show less My list
Festival Reviews 