Against the backdrop of Los Angeles’ glowing past, LA84: A Neon Legacy uncovers the enduring cultural imprint of the 1984 Olympic Games—a moment when the city redefined itself through design, civic pride and neon color. Through rare archival images and intimate interviews, the film traces how the era’s bold visual language continue to shape L.A.’s identity today. Both a love letter and a critical reflection, LA84: A Neon Legacy captures the city’s luminous contradictions—where nostalgia, commerce, and creativity collide.

Review by Andie Kay:

When you think of the eighties so many things come to mind. New age romantics, punk rock, Nagel artwork and bright neon colors. LA 84: A Neon Legacy centers around the 1984 summer Olympics in Los Angeles California and how the team of designers created and executed a cutting edge design that landed a place in history.

Produced by Paul Elliston, and directed & edited by Khara Cloutier, this film incorporates some amazing past footage. It gives you an inside look into the challenges the designers faced and how they excelled. Cinematography was done by Paul Elliston and Ray Cobo, and getting the chance to see the interviews with the team of designers was informative as well as inspiring.

That new wave design with vibrant, neon colors allowed future artists to take risks they might not have taken in design. This group of individuals and artists were the pioneers of something incredibly special that continues to speak to all of us.

January 2026 FANTASY/SCI-FI Festival Testimonials

A woman who loves eggs but one day, she is haunted by an egg monster.

What motivated you to make this film?

My name is Bao and Eggsecution is a film born out of my love for eggs and eating eggs. My grandmother has always berated me for eating way too many eggs a human being could handle and often chided me for doing so, warning that one day i would gain an allergy from doing so. When i moved here to the states from Singapore, i was given free liberty to eat all the eggs i wanted since i was no longer living with my family. in that way, i was unleashed. But there was always a nagging feeling at the back of my head telling me that maybe theres some wrong in eating so many eggs a day. Hence, this film was born from that fear that was ingrained in me since young. And because  I love horror and genre so much, i decided to put a fun twist into both the visuals and story of this film. 

From the idea to the finished product, how long did it take for you to make this film?

The film roughly had a timeline of 6 to 8 months. Because of the support from American Film Institute., I was allowed access to shoot on 35mm film – the Panavision Millennium xl2, 3 perf and in addition, with the support and generous donation from Kodak, we shot on 50D celluloid film – which was an amazing opportunity. My facility head and mentors, Stephen Lighthill, Sandra Valde-Handsen and Sara Ross Samko were very supportive of the original pitch for my visual essay and we eventually had to tailor it down to smaller ideas and smaller spaces due to budgetary and location restraints. But i am still extremely proud of the team that managed to make this happen! Thank you for selecting Eggsecution as part of your line up in the Experimental Film Festival! 

How would you describe your film in two words!?

Disgusting and Delicious! 

What was the biggest obstacle you faced in completing this film?

One of the biggest obstacles i faced was budgetary restraints. Because this film was self funded and i knew i was not working at that time, i had to save and set aside a workable budget for my film. Though equipment was provided by AFI, it was still a big project considering that i wanted to use SFX and practical effects and costume changes, along with the build of the monster in the film. My costume designer – Kai Burns and my SFX artist – Daniel Sukara were the MVPs, coming down to AFI to do countless tests to make sure the colours of the wigs, gooey, eggs and monsters were of the right shades of colour and effects could work seamlessly. 

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Conversation with the award-winning dance film creators, director Cherie Carson & DP/Editor Micha Dunston on the planning stage in pre-production. Building choreography with dancer. Doing shot list & storyboards with cinematographer. Prepare. Prepare. But open the doors for improvisation on set. Let the creativity guild your planning.

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LISTEN to the full podcast: https://youtu.be/a-ZwsSGVxV4

SPLIT FOCUS, 6min., Dance/Experimental

Directed by Cherie Carson. DP/Editor: Micha Dunston

“Split Focus” is a captivating dance film that delves into the intricate relationship between self-perception and external projection. Through mesmerizing shadow play, the film explores images of spirit and internal feelings versus outward appearances, prompting viewers to question which aspect demands more attention— the dancer herself or her shadow. Visually poetic, it offers a compelling examination of how we project ourselves into the world and the duality of inner and outer identities.

http://www.upswingaerialdance.org/

https://www.instagram.com/upswingaeria

Conversation with Brazilian filmmaker Heloísa Cardoso and the making of her REVENGE film at the Academia Internacional de Cinema. What is the future of Brazilian filmmaking. There are a ton of talented artist in the country. Will they get the change to make great films?

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LISTEN to the full podcast: https://youtu.be/gI9rS4Q_DpE

A young woman waits for her lover for a secret trip. However, he does not show up and does not respond to her messages. That’s when strange and inexplicable events begin to happen in her house. She asks for help from her lover, who ignores her. Realizing that she is hopelessly alone, she gives up waiting for salvation and surrenders to her own shadow.

https://www.instagram.com/cardosohelo/?hl=en

Director Statement

“Submerged” is my graduation film from Academia Internacional de Cinema. This short film is an extension of the research I’ve been developing in theatre and literature, proposing a reflection on the tendency to wait, something encouraged in girls from a very young age. The wait for a great love, a hope for something external that will give life meaning. The horror surrounding this waiting evokes the idea of a monstrous femininity: when left alone, the protagonist of “Submerged” unconsciously materializes her shadow, which ultimately consumes her and breaks the cycle of passivity.

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Conversation with award-winning screenwriter Eric A Vasallo (A Polar Bear’s Nightmare) on the writing of an important Environmental screenplay.

Climate change is effecting the animals. A polar bear and grizzly bear have never met for millions of years on the planet. Now because the polar bear is looking for food and navigating south, we have mating and the GROLAR BEAR.

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Watch the Best Scene Reading: https://www.youtube.com/watch?v=Kl_qNRmmZSs

A grizzly bear and a polar bear mate as a result of climate change and in an attempt to find food for their “grolar bear” cub the male polar bear must leave the safety of their ice cave to hunt and find sustenance for his new family in a harsh and increasingly difficult environment. He encounters humans and gets himself into a bit of trouble while simply trying to survive and provide for his family.

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https://www.instagram.com/planetaeric

Get to know the writer:

It is a story about the Canary in the coal mine of climate change – Grolar bears. Grolar bears are a new hybrid species, a mutation resulting from the union of a polar bear and a grizzly due to habitat overlap caused by climate change.This is a comical, yet heartfelt story of one father’s mission to feed his young grolar bear cub or face starvation. His nightmare begins when he encounters humans. Will he survive a nightmare lost among humans and get back safely to his family and save his cub? Or will his family be another casualty of our greed and exploitation of our planet’s resources?

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Terrific read on my script, did a tremendous job! Great feedback and suggestions. Enjoyed meeting them and had fun on the podcast. Heartily recommend the Toronto Comedy Film and Screenplay festival.

Deadline Today to submit to the festival:

Since 2016, the FEEDBACK Film Festival has been showcasing the best of COMEDY directors, producers, writers, and actors at the festival in Toronto.

In-person and hybrid multiple screenings.

The Toronto Comedy Festival occurs every single month.

Various options to submit to the festival. A hybrid model.

– Cinema screenings for audience feedback video.

– Blog and podcast interviews. And a bonus virtual screening (optional!) geared to create community over distance, PLUS, get your film seen by the right people.

– Also option for live screening in Toronto (always sold out!) where you can attend for Q&A and audience reactions.

For FILMS:

Submit your short or feature film.
– NEW OPTION for guaranteed submission.

For SCREENPLAYS:

Submit your screenplay (feature, TV, short) and get full feedback no matter what from the industry. Winners get their script performed by professional actors.

– Also option to submit a 1-page script (guaranteed winner).

Another option is to submit your screenplay for a 10 day or less turnaround for your feedback.

Get your short film showcased at the FEEDBACK Film Festival and get an audience video.

Offers filmmakers to get their works showcased at the FEEDBACK Film Festival. Then the filmmaker will receive an audience reaction video for their film.

Get your script and story performed by professional actors at the Comedy Festival.
– 0ffers screenwriters, novelists, and storytellers at all levels the fantastic opportunity to hear their stories read aloud using TOP PROFESSIONAL ACTORS.

Conversation with Italian filmmaker A.M. Nonnis, with Matthew Toffolo, on the making of an independent feature horror film using an all non-actor cast, and the resources of the small town. Using the excitement of the town to make an award winning feature film.

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LISTEN to the full podcast: https://youtu.be/bVvnplt1E74

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Red Wins, 77min., Italy

Directed by A.M. Nonnis

Six people play a dark and ruthless gambling game in which every card can either grant significant rewards or decree a death sentence. With each turn, a mysterious red light selects the player, inexorably determining the fate of every participant.

https://www.instagram.com/mattia_nonnis

https://www.wildsound.ca/videos/audience-feedback-red-wins

Get to know the filmmaker:

What motivated you to make this film?

I was driven by passion and stubbornness. I almost had no money to make this project, but I had amazing and talented people around me who made it happen. I was allowed to use our town’s beautiful theater for filming, found the actors, arranged a crew, and then I said to myself, “You know what? We can do this.” Red Wins was in my mind, and I needed to bring it to life as soon as possible.

From the idea to the finished product, how long did it take for you to make this film?

It took around 3 years. I started writing Red Wins in early 2021 and finished post-production at the end of 2024. By January 2025, I finished the last small corrections, and then Red Wins was ready for the festivals. I’m not gonna lie, it was so hard to let it go. I kept making little corrections for a while!

How would you describe your film in two words?

Irregular and oppressive.

What was the biggest obstacle you faced in completing this film?

Let’s be real, shooting Red Wins was no piece of cake! It was my first movie, the budget was low, and even if everyone who joined me in this adventure strongly believed in the project, I couldn’t hold them up for too long. We had breaks, some even lasting months, between different phases of filming. The post-production part wasn’t any easier. I had to focus on other work as well and find time for Red Wins. I had to keep going through the night sometimes, and it was exhausting. Covering different roles was hard, but no doubt, I put every piece of my soul into Red Wins.

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Award-winning screenwriter Darryl Mansel chats about how he only writes when he’s inspired. That is his routine. Only when he feels that spark to put pen to paper is when he disciplines himself to get it down. Daryl also chats about how criticism and feedback on your work is SO important. It needs to happen in order for you to have perspective.

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LISTEN to the full podcast: https://youtu.be/67lCeAPm3hg

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Watch Today’s Best Scene: https://www.youtube.com/watch?v=vNkD7_Fp8HI

Get to know writer Darryl Mansel:

What is your screenplay about?

Once Upon a Time in Space is about perseverance and struggle. It asks the question ‘how far are you willing to go to obtain something that you need?’

What genres does your screenplay fall under?

Science fiction, action, adventure

Why should this screenplay be made into a movie?

It should be made into a movie because adventure is sorely lacking these days. Plenty of action, very little adventure. The audience wants to go on a ride with characters, this will give them the means to do so while having the choice of which character they ultimately want to succeed.

How would you describe this script in two words?

WILD BUSINESS.

What movie have you seen the most times in your life?

Star Wars Episode IV: A New Hope

How long have you been working on this screenplay?

2.5 years

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 Army Veteran and filmmaker Law Artis chats with Matthew Toffolo about the similarities of the military and making a film. Long 12-16 hour days. Chain of command. Everyone has a job to do that makes the whole unit work. You don’t do your job and everything falls down.

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LISTEN to the full podcast: https://youtu.be/S2hXYvuM7hA

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Law’s World: Lipstick Bandit, 13min., USA

Directed by Law Artis

“A sassy pansexual sex blogger prepares for a high-profile house tour, but his plans are derailed by his narcissistic bestie, determined to retrieve something she claims is irreplaceable.”

http://lawartis.com/

https://instagram.com/laws_world

Get to know the filmmaker:

What motivated you to make this film?

I grew up watching so many tv shows and as a performer I wanted to create something I’ve never seen. I wanted to mix my love of reality tv, web series, and film into my own version of a proof of concept film for my web film series I wrote. It;s time for a plus size, poc, to lead a comedy film series and why not me!

From the idea to the finished product, how long did it take for you to make this film?

This was a one year process. I am a graduate of School of Visual Arts as a Film Directing Grad Program. I wrote the script in the summer of 2024, and started preproduction winter of 2024, and was in post production by early spring 2025.

How would you describe your film in two words!?

Fabulously Iconic.

What was the biggest obstacle you faced in completing this film?

Biggest obstacle for any indie filmmaker/creative; where is the money coming from?

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