DARK TENET, 6min., USA Directed by Jesus Narvaez, Jonathan Lanz Emily, Abby, Dan and Jake, arrive at the remote cabin for a relaxing weekend. After settling in, Jake receives a call and leaves abruptly, expressing concern over a family emergency. Later that evening a hysterical woman, Amber, shows up in a panic pleading for safety. Unfortunately, Amber has led an dark, ominous cult right to their front door.
Get to know filmmaker Jesus Narvaez:
1. What motivated you to make this film?
– The motivation that I had to make this film which was a story that I made that I wanted to show and tell about. Finding topics or genre that engages me to motivate me making this film.
2. From the idea to the finished product, how long did it take for you to make this film?
– This film took about six to nine months to go through the whole the film process from pitching the idea to post-production of the film. Another year to finish finalizing the film to submit it to film festivals.
3. How would you describe your film in two words!?
– Two words to say about this film is “Very Disturbing”
4. What was the biggest obstacle you faced in completing this film?
– There were a lot of challenges when completing this film. The biggest obstacle I was facing when completing this is film was what the story I was telling here. I was trying out telling a story more from a visual viewpoint from a storyboard that drew instinctual from my head. It was a mystery to unravel itself.
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?
– The favorite stage of the filmmaking process is the development because that’s where I fun stuffs is created.
6. When did you realize that you wanted to make films?
– I realize I wanted to make films when I was twenty-nine years old at the time. I started the filmmaking process in my early twenties by taking college classes. However, I was undisciplined at the time. I was saying to myself I want to make films but I needed the skills, disclipline, and knowledge that’s when I went back to college to learn making films.
7. What film have you seen the most times in your life?
– The film that I seen the most times in your life has to be Halloween (1978). Still remains to be a classic to till this day.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
– The person who I want to collaborate with on a film is Guillermo Del Toro. Because it would be a challenge and good learning experience to learn from the master.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
– My experience working with festival via FilmFreeway has been a great experience to submit to many kinds of film festivals outside there and get your work critique by film professionals and critics. I would definitely recommend it.
10. What is your favorite meal?
– My favorite meal to eat is Steak and Lobster with a side of Baked Potato loaded, a garden salad, a piece of bread, and a lemonade. It’s tall order.
11. What is next for you? A new film?
Well, I’m working on a comic book project which is long overdue and now making it a reality trying to finish it and see everyone says about it. Making a new film? Hmm… It’s been a while since I made another film. I would like to make another new film just need to see idea in front of me and tell a story.
1. What motivated you to make this film? Simon and I both have teenage daughters who spend far too much time online! Friday Night Flop felt like a timely look at the importance of family in an age of digital distraction.
2. From the idea to the finished product, how long did it take for you to make this film? 10 months on and off in total. We had the idea and wrote the script in Jan 2024. The shoot was over 3 days in July and the edit was completed in October. It premiered in London in November.
3. How would you describe your film in two words!? Warm and funny!
4. What was the biggest obstacle you faced in completing this film? Budget. While we received a generous grant from UK Jewish Film we wanted the production quality to be as high as possible. Thankfully, I work in television and Simon in advertising so we were able to pull a few favours!
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? Production and post production. The bronze medal goes to writing the script (development)
6. When did you realize that you wanted to make films? To be honest, I wanted to work in television when I was at University. It was only during the pandemic that I started to think about making a film. And now I have a taste for it! I refer you to answer 11!
7. What film have you seen the most times in your life? Pulp Fiction
8. In a perfect world: Who would you like to work with/collaborate with on a film? A cross between Quentin Tarantino and Nathan Fielder
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? It’s been excellent. It’s user friendly, well organised and informative.
10. What is your favorite meal? Cauliflower cutlets with macaroni (my grandma used to make them).
11. What is next for you? A new film? We’re working on the feature version of our short, Friday Night Flop.
Cooked, 3min., Canada Directed by Darcy Birtwistle Trapped in a loveless marriage, a woman gets a glimpse of a better life inside her microwave. On the other side: her alternate self, living freely, lovingly and armed with a plan. What begins as a surreal connection across realities turns into an unhinged plan between parallel selves.
Get to know the filmmaker:
1. What motivated you to make this film?
This was a school project – I’m in a high school film program at Etobicoke School of the Arts in Toronto. I enjoy working with themes of perception and reality in my films, and for Cooked I wanted to focus on how the choices you make can change the reality that you end up living in. Which means, if you are stuck in a bad situation, you don’t have to accept it – you can make choices to change things.
2. From the idea to the finished product, how long did it take for you to make this film?
For Cooked, storyboarding and refining the idea took the most time, I’d say two or three weeks. After that, filming was done in one day, plus a couple days for editing.
3. How would you describe your film in two words!?
Dual Worlds.
4. What was the biggest obstacle you faced in completing this film?
Finding an actor. I had originally planned for a different actor, and they cancelled at the last minute so I had to scramble to find someone else. Carrie (who plays the main character) is a friend of a friend and she had played a supporting role in Glitch, an earlier film of mine. I was running up against a deadline, and luckily she was available and ended up being totally perfect for the role! She’s great to work with and very collaborative.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was super fun! It’s definitely a weird feeling. I’ve never done anything like this before but it was awesome to see people interacting with it and speaking about it like it’s an actual “professional” film.
6. When did you realize that you wanted to make films?
It happened over a long time. Like most kids in middle school I was on TikTok, and over time I had learned some basic editing skills on the way. My parents noticed this and encouraged me to go into an arts high school. At first I was more interested in the drama program, but I also had an interest in photography, and film seemed like the obvious combination of the two, so I auditioned and I got in, had two great teachers, and by Grade 10 I realized how much I actually enjoyed making films.
7. What film have you seen the most in your life?
It would have to be The Hunger Games or The Social Network.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Out of all the festivals I’ve submitted to which frankly hasn’t been a lot, this has been the best experience so far. The Under 5 Minute Film Festival is clearly focused on uplifting emerging filmmakers, and the level of care and effort really shows. With many other festivals your film is selected, it plays, and that’s the end of the experience. The feedback and comments are so valuable. The comments are genuinely supportive and kind, which makes a huge difference especially if you’re just starting out. I really wish more festivals implemented something like this, since it helps filmmakers grow and feel more motivated to continue creating.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
My film teacher had been recommending it for a while. So far, my experience has been very positive. It’s very easy to use when it comes to uploading content and managing submissions. It’s a great place to keep all my films in one place, rather than searching for the right files on my desktop. I also really appreciate the frequent notification about new festivals and opportunities, it keeps me in the loop especially as someone with very little experience in researching festivals.
10. What is your favorite meal?
I love love love chicken souvlaki with rice and a big greek salad.
11. What is next for you? A new film?
Yes! A new film! I would really like to create a film that wasn’t just shot in one day…. So that is my next project.
Chasing Diesel, 11min., Directed by Graham Birch In London’s gritty underbelly, Jayce, a luckless thug with a heart of gold, must retrieve his boss’s dog, Diesel, who unknowingly carries a secret that could save a life. As Diesel becomes bait in a chaotic chase through the city’s labyrinth of underground tunnels, Jayce navigates deceit, betrayal, and comedic mishaps in a madcap adventure. The race is on to see who will get Diesel first.
The executive producer wanted to make a film to showcase his talents and make something lasting. He originally was going to film in a shipping container but that fell through so we used some underground tunnels. It was a fantastic location. With the dog element – I get so tired of gangster films being about drugs, money or jewellery so I wanted to mix it up!
2. From the idea to the finished product, how long did it take for you to make this film?
3 months
3. How would you describe your film in two words!?
Brilliantly Daft!!
4. What was the biggest obstacle you faced in completing this film?
Time. We only had a very limited timeframe to shoot this and it meant compromising on some scenes. We did a super job in the circumstances and the cast and crew were tremendous.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I thought one of the reviewers had a favourite character in Mallet. He’s a superb actor and made the character likeable. I liked the feedback very much and the TV series was a good idea from one.
6. When did you realize that you wanted to make films?
After I saw my first film as a child
7. What film have you seen the most in your life?
Predator – sorry, but it’s just brilliant
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 that the connections that you are providing with whatsapp groups etc is a great idea!
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Excellent – it’s very easy to use and a great process.
10. What is your favorite meal?
Chateau Briand with french fries and a beef/pate sauce.
11. What is next for you? A new film?
I’m writing a film about AI and have some great actors lined up for it!!
DESERTION, 30min., Luxembourg Directed by Chantal Lorang After World War II, a military chaplain remembers the young soldiers who lost their nerve and ran away on the Eastern Front. In military prison he also had to look after Josy Lorang, a Luxembourger who had been forcibly recruited. Josy could no longer endure the Wehrmacht’s atrocities at the front and the attacks on the civilian population, deserted and was recaptured and sentenced to death by a court martial. During the last weeks of his life, he regularly wrote to his young wife and parents from prison, confided in the military chaplain and sought strength in his faith.
Get to know the filmmaker:
1. What motivated you to make this film?
family trauma
2. From the idea to the finished product, how long did it take for you to make this film?
2 years
3. How would you describe your film in two words!?
death & love
4. What was the biggest obstacle you faced in completing this film?
Finding historical sites and props, rifles, uniforms, Kübelwagen… from the time of the Second World War without a budget was a real challenge.
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?
Production
6. When did you realize that you wanted to make films?
At the age of 20 I was an actress in a student-movie called ‚Gwendolyn’
7. What film have you seen the most times in your life?
‘Call me by your name’
8. In a perfect world: Who would you like to work with/collaborate with on a film?
Ingmar Bergman / Andrei Tarkovsy/ Jane Campion
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I just can recommend filmfreeway, I used this platform previously for other prize-winning shortfilms of mine like ‚The seaside is our home’ or ‚Behind the mask’
10. What is your favorite meal?
Scampis / potato pancakes
11. What is next for you? A new film?
Photo series on the theme of male vulnerability, or the continuation of DESERTION from the lieutenant’s perspective.
THE SANGUINE, 25min., USA Directed by Patrick McNerney, Daniel Jones A crestfallen master and outcast servant rob the grave of a long dead warlord to find he’s returned to defend it.
After years of working on commercials, music videos, and client-driven projects, I wanted to create something entirely my own—both creatively and technically. I was especially interested in exploring new visual effects techniques and seeing what could be accomplished with little to no budget if everything were handled completely in-house.
Throughout my career, I’d often been told that certain visuals or ideas simply weren’t possible without substantial budgets, representation, or outside backing. Rather than viewing those limitations as obstacles, I decided to remove external control factors entirely by producing, directing, filming, and editing the project independently.
I reached out to Daniel Jones, an exceptionally talented writer, musician, and actor, and asked him to collaborate. I shared a few visual effects concepts I wanted an excuse to explore and asked him to write a short screenplay. What began as a five-minute script quickly evolved into a much larger undertaking: a period fantasy-horror short filmed across multiple locations throughout Texas, featuring original music, period costuming, and a fully realized world.
The production was ambitious and challenging, but incredibly rewarding. Daniel’s original screenplay extends far beyond what we filmed, leaving room for future expansion into a longer film or series. I’m proud that we were able to bring The Sanguine to completion and grateful for the opportunity to share it with audiences. Viewers can expect a dark fantasy-horror experience with layered storytelling and plenty of hidden Easter eggs for those who pay close attention.
2. From the idea to the finished product, how long did it take for you to make this film?
From early concept to final delivery, the film took several years! The first discussions happened in 2019 and the screenplay was written by Daniel in 2020. By February of 2021 we had secured our copyright and set out making story boards as well as filming various “proof of concept” scenes to ensure the visual FX I had in mind would work. I also needed to know how to film those things when it came time for production so the proof of concept filming/editing was very critical. In addition, I spent a while learning some new software like Unreal Engine and Cinema 4D in addition to sharpening skills in software I was already familiar with like After Effects. In 2024 I was very busy working on series for another company as well as running a business. We secured locations that year and filmed, and started the editing and post process in 2025. By November of 2025, we were finally ready to submit the film to festivals! Grit and determination was required throughout to continue the process and make it happen. Everyone has careers, families and other obligations so we had to be very diligent to always keep the project moving forward.
3. How would you describe your film in two words!?
History repeats.
4. What was the biggest obstacle you faced in completing this film?
The biggest challenge was balancing ambition with constraints. Creating a convincing medieval world with a small team required creative problem-solving at every stage—especially in production design, locations, and sound. Rather than fight those limitations, we leaned into them, which ultimately shaped the film’s tone.
5. What is your favorite stage of the filmmaking process?
Post-production. That’s where the film truly reveals itself. The edit, sound design, and score allowed us to sculpt tension, pacing, and meaning in a way that wasn’t fully visible on set.
6. When did you realize that you wanted to make films?
I’ve always been drawn to storytelling through sound and imagery, but filmmaking became a clear calling once I realized how powerful that medium was at a young age. Films that lingered with me long after the credits—rather than explaining everything—made me want to create worlds of my own.
7. What film have you seen the most times in your life?
The Exorcist, The Matrix and the Indiana Jones franchise.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
In a perfect world, collaborating with filmmakers who prioritize tone and mythology. Artists who trust the audience and let mystery breathe.
9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
FilmFreeway has been a very streamlined and transparent platform. It’s made submissions, communication, and tracking festival responses straightforward, which allows filmmakers to focus more on the work itself.
10. What is your favorite meal?
Something simple and hearty—good bread, meat, and spirits. Very on brand, apparently, for the film and a Texan!
11. What is next for you? A new film?
Currently we are focusing on the film festivals, marketing and distribution for The Sanguine. I’ve been working with an independent studio in Florida on other creative ventures, but would like the opportunity to pitch The Sanguine as a larger IP ultimately, using the short as a proof of concept.
THE SUPPORT SAKE TOUR, 37min., USA Directed by Christopher Leyva When a catastrophic earthquake devastates Japan’s Noto Peninsula, San Diego business owner and mother Raechel is compelled to act. After learning that Seiko Kinshichi has lost both her home and her historic family brewery, Raechel—who once endured a similar loss—feels a profound connection and becomes determined to help a stranger rebuild her life.
Experiencing an extremely large earthquake in Japan, for the second time in my life, motivated me to take action to help others who were going through the aftermath of disaster. I wanted to spread awareness while keeping the story relevant in people’s minds for years to come. So many times, a story of tragedy gets lost amongst other stories of tragedies and the people and their struggles get forgotten. Creating a film is a means to solidify it in history and it allows us, as a community to not forget and to continue to support even in small and unique ways.
2. From the idea to the finished product, how long did it take for you to make this film?
It took us about a year and a half to complete from idea to finish project.
3. How would you describe your film in two words!?
Helping Community.
4. What was the biggest obstacle you faced in completing this film?
Besides money, the biggest obstacle we faced was opposition when people we ask for support couldn’t understand what we were trying to do. That could be quite heartbreaking and negative however we push through and made it happen.
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?
Because our film is a documentary, production was definitely the best part of the filmmaking process. We were able to meet amazing people and do amazing things!
6. When did you realize that you wanted to make films?
Because this is my first film, I realized I wanted to make it as it was happening in real time. We really wanted to capture it and continue to spread awareness beyond that single moment in time.
7. What film have you seen the most times in your life?
It might be a tie between Forrest Gump, Princess Bride, and Grease from when I was a child.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
Woody Harrelson
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
For a newbie like me, it has been wonderful. It’s very streamlined and easy to use. I’ve really cut down on research time by having everything in one place.
10. What is your favorite meal?
Today, it’s pasta. If you ask me tomorrow, I might say something different. I like variety and it depends on my mood.
11. What is next for you? A new film?
I would love to develop this story into script for a full feature movie or a series in order to reach a bigger audience and to have a more complete story. There are so many things we left out for the sake of money and time.
“Long Island South Shore”, 29min., USA Directed by Cat Torres, April Audia A single mother and her teenage daughter living on the south shore of Long Island. Fighting each other to be seen. Living in the conflict of oppression and dominance. Both fighting to win, both will end up losing.
We wanted to tell a story that touched on the hypocrisy of how it feels to grow up in a town (this one specifically on the south side of Long Island) where you feel as a young person you are held to a standard of behavior that your own parents are not living up to. Our story focuses on a single mother and a teenage daughter and how that hypocrisy can send their relationship into a tailspin.
2. From the idea to the finished product, how long did it take for you to make this film?
Almost three years. From idea to script to pre-production to principal photography to post production to a locked film.
3. How would you describe your film in two words!?
Shattered trust.
4. What was the biggest obstacle you faced in completing this film?
Having to balance everyone’s schedule. We shot in a lot of different locations and with many people to tell our story. It was a challenge to have everyone’s schedule clear at the same time.
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?
Post Production- when you see all the elements come together and you can also save something in editing or color correcting or even switching scenes around. It the puzzle coming into focus.
6. When did you realize that you wanted to make films?
When I was younger but making a film was to expensive. Once it became more affordable, I jumped in.
7. What film have you seen the most times in your life?
That varies.
8. In a perfect world: Who would you like to work with/collaborate with on a film?
Jennifer Esposito. She’s a brilliant filmmaker. Go see “Fresh Kills”.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Excellent.
10. What is your favorite meal?
As my mother called it, “New England” meals.
11. What is next for you? A new film?
I am creating all the time. Writing, producing, acting, directing. I always have something in the works. At this exact moment I am performing in theatre, writing a pilot and hosting a podcast called “Over It! With April & Char”.
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.
Festival Reviews 