Interview with Poet Deidre S. Powell (Advocate Plea – For the Child)

Performed by Val Cole

Get to know the poet:

http://www.deidrepowell.com

1) What is the theme of your poem?

The poem explores justice, advocacy, and compassion — giving voice to the child whose story is often buried beneath legal arguments and adult conflicts. It reflects both the fragility and resilience of children caught between systems meant to protect them.

2) What motivated you to write this poem?

As a family lawyer and mediator, I have witnessed how children’s voices can sometimes be lost in the process. Intimate partner violence affects children deeply and leaves lasting effects. This poem was born from a desire to speak for them — to remind the world that behind every case file is a child longing to be heard.

3) How long have you been writing poetry?

I have been writing poetry since I was about ten years old, but I began publishing recently. Poetry has become my second vocation, a bridge between law, faith, and love.

4) If you could have dinner with one person (dead or alive), who would that be?

Maya Angelou. Her wisdom, courage, and cadence taught me that truth spoken with grace can move nations.

5) What influenced you to submit to have your poetry performed by a professional actor?

I’m a writer, not an actor. I prefer to hear other people’s interpretations of my work. I wanted to hear the poem interpreted through another voice , to see how its emotional truths would resonate beyond the page. The idea of transforming advocacy into performance felt both healing and necessary.

6) Do you write other works? scripts? Short Stories? Etc.?

Yes. In addition to poetry, I write children’s books and short stories. I have a few upcoming poetry collections such as Echoes from the Unseen and Who Else Cries in Silence. These poems examine global injustice and faith, while my children’s book Tell Me a Story, Grandma celebrates intergenerational love, faith, and storytelling.

7) What is your passion in life?

My passion is giving voice to the unseen, whether through advocacy in the courtroom or witness through poetry. I believe words can heal, illuminate, and restore our shared humanity. My passion is also leaving a lasting legacy of love, faith, and justice for my family.


POEM:

Justice,
before you rule,
Please hear me—
not as counsel,
but as one who has stood in that midnight kitchen
through her words,
through her trembling hands,
fighting for Pêpê’s best interest—
a child the law claims to protect,

yet leaves trembling.
It is not enough
when his hand explodes against her mother’s face,
the sound sharp as a rifle crack,
making the glass in its frame shiver.
It is not enough
when her cheek blooms red,
then fades too fast for the lens to catch.

Pêpê—her mother’s pet name,
whispered like a shield.
At night she lies rigid in her bed,
listening to her mother’s muffled whimpering,
each sob a small surrender.
She learns too early that comfort is dangerous,
that silence is armour.
I hear her in the pauses her mother cannot fill,
in the way fear wraps itself around every word.

She is six.
Only six—
and already her eyes know how to measure a room,
track his every move,
clutch her mother’s skirt as though it’s the only thing
anchoring her to safety.
She memorises the path to the door,
ready to run before she’s learned to ride a bike.

Do you know what it is
to argue a case with your throat closing?
To know that “best interest of the child”
is not a theory,
not a balance sheet,
but a warm bed free from dread—
and still watch the law lean to “access”
and “parental rights”
as if they outweigh
a child’s right to breathe without fear?

He does not feed her.
He does not clothe her.
He does not keep her warm.
Yet he claims the right to hold her,
to call it love,
to shape her into a silence that will last her life.

The mother is shamed as bitter if she speaks,
while he—
who punched a hole beside her face—
walks away smiling.
And Pêpê learns to fold herself into small spaces,
to call fear normal,
to believe this is what families are.

Justice—
I see her years from now,
laughing in a sunlit kitchen,
her footsteps light,
her nights free from dread.
Your choice can make that real.

You are not deaf
to her small voice asking:

“Do I have to go?”

Your gavel can crush—
or shield.

Choose her.

Carve a future
where Pêpê wakes to mornings of peace,
where only her cereal crunches.

This Month’s FilmFreeway Festival Discount Codes – 50% off codes!

This Month’s FilmFreeway Festival Discount Codes – 50% off codes!

Toronto DOCUMENTARY Feature & Short Festival
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EXPERIMENTAL, DANCE, & MUSIC FESTIVAL
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FEEDBACK Film Festivals: 9 Various Festivals to submit to!
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HORROR Underground Film Festival
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ACTION/CRIME/THRILLER Festival
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FANTASY/SCI-FI Film & Screenplay Festival
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THRILLER/SUSPENSE Film Festival
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November 2025 THRILLER/SUSPENSE Festival Testimonials (45 FIVE Star Reviews!)

Really cool hybrid festival. Great communication. I would definitely recommend this to any other filmmakers based on the feedback videos alone.

Submit to the Festival via FilmFreeway.

What an amazing festival! The feedback I received was extremely helpful, thoughtful, and detailed. I was honored that my short script, “Not My Secret to Tell” won the Thriller/Suspense Festival. It was wonderful to have the Best Scene from the screenplay performed by professional voice actors and I felt respected and engaged during the podcast interview.
Really, this film festival is one you should enter! So much more than some others that are simply laurel factories.


Awesome festival, but what really sold me was the audience feedback videos they made. Great marketing material for the project! Would definitely recommend for indie filmmakers.


Great festival with many interesting events. Feedback from real people. Great communication and very fast. Thank you for giving opportunity to show our work to the world! Strongly recommend!


Podcast: EP. 1623: Filmmaker Claire Tomlinson (Surviving Alone: The Tale of Simone)

Simone is the last Greater Bamboo Lemur in Ranomafana, a protected rainforest in south-east Madagascar. After a happy start in life, surrounded by family, Simone finds herself alone, as members of her family disappear one by one. Three years on, and she’s still alone – a social animal, a primate, just like us; how has this isolation affected her mental state? Through primatologist Dr. Patricia Wright and researcher, Alba Schielen, we witness Simone’s desperate bid for companionship, as she takes a bold step for survival. At last Simone is happy again, but is all as harmonious as it seems?

https://www.instagram.com/ct_wildlife/

Director Statement

I had a chance encounter with the lemur featured in my film whilst trekking in the rainforest during my honeymoon in Madagascar in 2022. Upon hearing that this lemur was the last of her species in the area, I was eager to find out more about her and tell her story, which serves as a poignant reminder of how the global biodiversity crisis is affecting animals on a personal level.

——

Subscribe to the podcast:

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Interview with Filmmaker Angy Antonios Akly (The Way Back Home)

The Way Back Home is a two-minute poetic film that unfolds underwater, where a woman’s expressive movements accompany a powerful monologue on identity, womanhood, and self-ownership — written, directed, and narrated by the filmmaker herself. As the performer drifts through silence and resistance, the voice rises against the weight of judgment and expectation — reclaiming scars, softness, and the right to become. A cinematic meditation on finding one’s way back to the self.

Project Links

1. What motivated you to make this film?

I wanted to create a visual letter to my daughter—and to every woman— and I had created this film for women’s day, and all I could think about is that I am the mother of two beautiful daughters and mostly because I know about the invisible pressures we carry from before we are born, especially in the Middle East. The underwater space became a metaphor for silence, strength, and survival. It allowed me to express what words alone couldn’t say: the constant act of rising back to the surface.

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

The idea came very instinctively, and the film was created within just a week, I had a clear vision of how I wanted to do it. I gave my friends a call, they jumped on board and off we went to filming… everything flowed naturally. The post-production, sound, and narration were done also within another week where I completely isolated myself and did the edit and all voice recordings.

3. How would you describe your film in two words!?

Depths of a woman

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

It was the funding, but it didn’t take long before I contacted a friend of mine who offered the full funding of the film. Keeping in mind that many people worked on this project voluntarily as well, believing in the project.

5. There are 5 Stages of Filmmaking: 1) Development. 2) Pre-Production. 3) Production. 4) Post-Production. 5) Distribution. 

What is your favorite stage of the process and why?

My favorite stage of this project was its filming because it felt very soothing, very spiritual and the energy in that aquarium studio was magical.

6. When did you realize that you wanted to make films?

Ever since I was 18, now I am 44 years old.

7. What film have you seen the most in your life?

Malèna by Giuseppe Tornatore.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?

Connecting filmmakers with curators, writers, producers, and distributors through creative talks or one-on-one mentorships would be incredibly helpful. We need not just exposure but genuine dialogue and exchange.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

It’s been easy and inspiring. The platform gives independent filmmakers visibility and accessibility that once felt impossible.

10. What is your favorite meal?

Anything Mediterranean—simple, fresh, and full of flavor. I am also a great cook, and always prefer homemade meals that are cooked from the heart, and food that has soul!

11. What is next for you? A new film?

I’ve just filmed a new underwater piece with artistic nudity — imagined as a parallel world where a woman finally feels safe to be her truest self. It’s the beginning of a narrative short that continues my exploration of women’s emotional and visual freedom.

Interview with Filmmaker Michele Fraternali (Devil’s Cry)

“Somewhere.. between reality and dreams, The Artist begins his Descent… towards the light”

“Devil’s Cry” is a short film that blends visual art and music.

All Music and Sound Design were Composed and Performed by Michele Fraternali using only electric bass.

This Opera and the Caracters were inspired by the timeless journey of Dante’s Divine Comedy and the magical world of Devil May Cry.

Project Links

1. What inspired you to make this film?
Hello everyone, and thank you for this interview! After experimenting with directing my first music videos, I felt the need to challenge myself further and create a short film that could capture part of my introspective and spiritual journey — through the characters, the story, and the music.

2. How long did it take to make this film, from the idea to the finished product?
I’d say it took about as long as a baby’s gestation — roughly nine months from conception to the end of post-production.

3. How would you describe your film in two words?
Sincere and visceral.

4. What was the biggest obstacle you faced in completing this film?
Definitely composing the soundtrack for the film’s most crucial moments. I set myself the challenge of using only electric bass for the score, and together with my brother Gabriele — who directed the music production — we managed to find solutions we were truly satisfied with.

5. Making a film consists of five phases: 1) Development. 2) Pre-production. 3) Production. 4) Post-production. 5) Distribution.
What’s your favorite part of the process, and why?

I prefer the production phase, especially editing and composing music, because that’s when all the pieces come together and the work takes shape. It’s a stage that requires a lot of focus and care.

6. When did you realize you wanted to make films?
I never really did — I just followed my need to express myself when it became too strong to ignore.

7. What film have you watched most often in your life?
The Matrix.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you advance your filmmaking career?
I think personal feedback is very important — it can help audiences better understand the film’s key themes and encourage more people to watch it.

9. You submitted your work to the festival via FilmFreeway. How was your experience working on the festival platform?
It was very rewarding, I must say — especially unexpected, given the numerous awards and official selections I’ve received, both nationally and internationally.

10. What’s your favorite dish?
Pizza — I’m Italian.

11. What’s next for you? A new film?
I still need to bring several ideas into focus, but it will certainly be a continuation of my journey of spiritual discovery.

Interview with Filmmaker Dana Play (SIBLING ARRIVAL)

Filmed in an intimate setting supported by a mid-wife, an eight-year-old sibling’s delighted reactions and questions of birth are heard off-screen while her baby brother is being born – with all who are present also experiencing the elation of birthing.


1. What motivated you to make this film?

A neighbor-friend was about to give birth to her baby and we both were eager for me to capture the moment with my 16mm film Beaulieu camera.
 
2. From the idea to the finished product, how long did it take for you to make this film?

About two months.
 
3. How would you describe your film in two words!?

Joyous childbirth.
 
4. What was the biggest obstacle you faced in completing this film?

This was one of the easier of my films to make – after transferring the sound captured separately, I edited the film with a Steenbeck flatbed editor, and then prepared the A/B rolls myself, and sent it out to the lab for processing at W.A. Palmer Films, in 1983. After receiving a faculty research grant, I sent my original 16mm out to ColorLab in Rockville, Maryland where the film was scanned to digital. The film has had selected screenings, in both forms, projected in 16mm and digital.
 
5. There are 5 Stages of Filmmaking: 1) Development. 2) Pre-Production. 3) Production. 4) Post-Production. 5) Distribution. 
What is your favorite stage of the process and why?


Production (filming) – I love the act of filming and capturing the action on film. It’s immediate, challenging aesthetically to get all of the right angles, and allows me to “be there.” I love post-production also, but it is a more solitary meditation experience.
 
6. When did you realize that you wanted to make films?

As a child we had a regular-8 camera when I was about nine years old, when I was able to do some of the filming and photography on family trips. After taking darkroom photography courses at Miami-Dade Junior high-school, I began with 16mm experimental filmmaking at the California College of the Arts that brought this all together and launched my career in filmmaking and teaching production on the university level.
 
7. What film have you seen the most in your life?

Most memorable was my orientation into art film when I saw The Red Balloon (1956 directed by Albert Lamorisse), at the Enoch Pratt Library in Baltimore, that inspired me at age five.
 
 
8. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?

The ease of having a one-stop distribution website helps  with an easy process – upload the movie, poster, etc., and find festivals – that facilitates getting the work out to world-wide audiences, attending international film festivals, and deadlines that prompt completion.
 
9. What is your favorite meal?

Mediterranean sampler.
 
10. What is next for you? A new film?

I’ve recently completed or completing Charlotte Salomon’s Letter and Ottilie Moore Heiress in the Resistance, and Charlotte Salomon Portrait of the Artist, in my trilogy related to my great aunt Ottilie Moore who sheltered and rescued refugees in the South of France during WWII, including the artist Charlotte Salomon, and then finalize my mini-series Ottilie Moore and Charlotte Salomon in the Nazi Era. As far as other new work, I plan to continue with experimental and independent production on various films currently in development. 

Filmmaker Jasmin Please Haugstuen (LUCKY ALIEN)

LUCKY ALIEN, 15min., USA
Directed by Jasmin Please Haugstuen
“Lucky Alien” is a gripping short film that explores one woman’s fight for love and dignity against the merciless bureaucracy of immigration, shedding light on the dark corners of a broken system. This social drama with a sprinkle of dark humor will evoke feelings and moments of intense suspense, witnessing uncomfortable but real situations that happen everyday on these country borders. With it’s fast-paced dialogue and seemingly endless levels of hell, the cast of characters in this world of limbo will make you laugh and cry, and hopefully inspire conversation and actions for change. – BASED ON A TRUE STORY

https://www.instagram.com/luckyalienfilm/

Get to know the filmmaker:

1. What motivated you to make this film?
Honestly, while this was happening to me there was a point where I saw my reflection sitting there crying holding on to my Teddy Bear and I told myself I would make a movie about this one day. When I came home I tried contacting news outlets in Norway telling them my stories so they could warn people about this – but I never heard back. I never got any opportunities to tell the story in a way I felt was going to reach as many people as possible. This could happen to anyone and I don’t think anyone is prepared for this, so I wanted people to know to be very careful. I wrote a blog post about it and hoped maybe it would garner some attention – it did not. 10 years later and I still have travel anxiety, but I felt distant enough from the trauma to be able to tackle it as a film – so it felt like the right time.

2. From the idea to the finished product, how long did it take for you to make this film?
Since it wasn’t really an idea, it was something that happened to me – over ten years. When I decided to make it, it was probably around 8/9 months of fundraising, preproduction and then eventually shooting, and another year in post, still trying to fund the editing, color grading and festival submissions. A long time! I probably could have spent more time tinkering with it in post, but I felt done. I just wanted to send it on it’s merry way and hope it would reach the right people and make an impact. I needed to move on to a lighter subject. But I’m very proud of it, even though it’s not perfect.

3. How would you describe your film in two words!?
Not fun.

4. What was the biggest obstacle you faced in completing this film?
Funding. I could not have done this without the support of people who donated. I worked pretty much full time begging and scraping while crowdfunding and it took 6 months to raise 15K, and I didn’t even have everything we needed when we started shooting. So I was terrified I wasn’t going to be able to pull it off. The locations had to be nailed down too which is hard with a low budget, AEROMOCKUPS were amazing and helped me a lot and we were able to work out a great deal with them at their really amazing airport and airplane sets. It was the first film I wrote NOT writing around locations I already have, it HAD to be set in those locations as it was based on a true story – That was challengning.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was so great. Just wonderful hearing that people appreciated being sort of alerted to that this happens (although its become a super topical thing of late and more people know now) that was one of my biggest goals. I also loved how every single one of them commented on Noa’s performance. She is an incredibly talented actress and carried this film, I immediately sent it to her so she could see for herself what an impact she made. I also loved how people could appreciate that it was told through a privileged POV, which sadly sometimes is a more effective way to get people to pay attention and empathize.

6. When did you realize that you wanted to make films?
When I was watching them as a kid, wasn’t sure in what capacity – just that I wanted to be a part of the circus somehow. Initially I wanted to be an actor, but fell in love with the collaborative process so much that I wanted to be even more involved.

7. What film have you seen the most in your life?
Probably Harry Potter and The Prisoner of Azkaban hahaha

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 really think the really well curated and set up networking experiences are the best. A lot of the time it feels like people are just there to see their own film and they don’t care about anything else. But when a festival starts off with a great networking event with a speed dating setup so that you don’t have to muster up the courage to approach people – but there’s a facilitated way to meet people, I find that I care more about other people’s projects and connect more naturally.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It feels impossible, and like a numbers game, and sometimes rigged. The platform is user friendly and okay, but you really have to spend time looking at the right festivals.

10. What is your favorite meal?
Gah that’s hard. No. I can’t. I love foooood

11. What is next for you? A new film?
SPACE T.I.T.S ! My next project is a Sci-fi 10 minute proof of concept for a feature fllm. It’s a Barbarella meets Star trek, with an all female cast set in spaaace with silly stuff, practical effects, puppets, awesome costumes etc.