Close to Home, 32min., USA
Directed by Whitney Skauge
Through the exploration of their personal and shared experiences, four young advocates imagine a world where access to safe, affordable, and reliable housing is not a privilege but an undeniable human right.

https://www.instagram.com/whitneyskauge/

Get to know producer Patrisse Cullors:

1. What motivated you to make this film?
I wanted to help tell a story that so often gets silenced — the story of queer youth navigating houselessness while also finding chosen family and stepping into advocacy. For me, this was deeply personal. I’ve lived that reality, and I know how powerful it can be to see yourself reflected on screen with dignity and truth.

2. From the idea to the finished product, how long did it take for you to make this film?
The process unfolded over a year. From 2023 to the end of 2024. Building trust with the LA Emissary and making sure the film reflected their voices authentically took time, and I see that time as a sacred part of the creative journey.

3. How would you describe your film in two words?
Love and Survival.

4. What was the biggest obstacle you faced in completing this film?
The biggest challenge was ensuring the film didn’t replicate the same harm that institutions often impose on young people. We had to make space for care, for consent, and for the youth to lead the narrative.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I felt gratitude and relief. Gratitude that people understood the heart of the film, and relief that the message — that young people are not broken, the systems are — resonated so strongly.

6. When did you realize that you wanted to make films?
As an artist, storytelling has always been part of my practice. I realized film was a medium I wanted to step into when I saw how powerfully it could bring people together to imagine a different future.

7. What film have you seen the most in your life?
I’ve seen Bamboozled, Spike Lee’s film. A satire on Black entertainment and media in America.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Festivals can do more to support films that center marginalized communities, not just in screenings but in distribution, impact campaigns, and long-term relationships. It’s not only about premiering films, it’s about making sure these stories reach the audiences who need them most.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
It’s been straightforward and easy to navigate, which is helpful when you’re managing multiple projects.

10. What is your favorite meal?
Anything made with love and shared with community. But if I had to choose: my grandmother’s dirty rice and roasted chicken.

11. What is next for you? A new film?
Yes — I’m continuing to explore abolitionist aesthetics through film, art installations, and live performance. My next projects build on the same themes as Close to Home: care, survival, and imagining new systems of belonging.

STEALING ASH, 13min., USA
Directed by Frances Capel
After their best friend dies, four best friends plan a heist to steal their ashes and take them on a final joyride for the send off they deserve.

https://instagram.com/campyatc

Get to know filmmakers Valerie Dohrer & Frances Capel:

Valerie Dohrer: Co-writer and Producer
Frances Capel: Co-writer and Director

1. What motivated you to make this film?
VALERIE: Stealing Ash was made at the Young Actors’ Theatre Camp Winter Film Intensive. It was one of 11 films Shawn Ryan and I produced during the seven days of our students’ Winter Breaks. We were both inspired by our many non-binary and trans students who bravely try out new names and pronouns to figure out what feels most like them at camp first before coming out to their families and friends back home. A few do not come from supportive families or communities and have to go through their adolescent years playing two versions of themselves. It is our young people who are unapologentic about who they are that creates a safe and supportive environment for others to be themselves at camp. We can be different around different power or personality dymnaics with the people in our lives and it was important to us to not make Ash’s mom a villain. As part of the healing journey for the friends, they felt they needed to do their own memorial for their version of Ash. Adolescent logic does not always mean taking time to think things through and the high stakes the teens feel makes for a fun story!

FRANCES: Having worked at the Young Actors’ Theatre Camp for 11 years, I have had the opportunity to teach so many bright and emotionally intelligent children. I have learned just as much from them as I hope they have from me. With Stealing Ash, I wanted to make a film that exemplifies and honors the bond of a close, foundational friendship and how our openness can be a tool. I would be remised if I didn’t mention the perspective I have gained from my trans peers and friends. I wanted to celebrate this and also highlight that learning is a lifelong process.

2. From the idea to the finished product, how long did it take for you to make this film?
VALERIE: We frote out first draft in September and then did various revisions until early December. There were drastically different versions with totally different stories, that just didn’t feel right so we kept going. When we finalized the script, I did casting, and then we set it off to our students to memorize their lines and the Student Director, Alex (who posed as Ash for the photos) got to do some brainstorming with us about how to make the film. We shot from December 29-Janaury 2nd and then editing happened until March 15th.

FRANCES:I love to rewrite and change a script so idea to finished product was about six months. We filmed for six days in Santa Cruz for about 7 hours per day. I am beyond grateful to my amazing team and support system on this project. Honestly, this was one of the most seamless productions I have been a part of. Stealing Ash definitely comes from a place of care and love.

3. How would you describe your film in two words!?
VALERIE: Love true

FRANCES: Vulnerable & heartfelt!

4. What was the biggest obstacle you faced in completing this film?
VALERIE: For me, it was that I was also producing 10 other short films and the coordinating the shooting schedules to allow for multiple films to be able to use the same space. Our only off campus locations for this one were the Church for the opening, and the local high school for the lunch scene. We also only have 5 shooting days of at most 6 hours each and New Year’s Eve was right in the middle of it. We got VERY lucky with the weather this year but we’ve had some past years where it’s rained all but 30 minutes on a single day!

FRANCES: I think my actors would say eating the same burrito for 30 or so takes. I don’t know, I thought kids love burritos. Again, still learning. For me though, the hardest part was scheduling and coordinating around the 10 other films we made at YATC’s winter film camp. Managing to get a bus of people to the church for the first scene and shoot it in an hour was a feat to say the least.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
VALERIE: I was a little nervous! We hosted a film festival for our students and their families to but it’s very different to show your film to people who are in no way biased and associated with anyone involved! I loved the very kind feedback we got and it was amazing to hear what they thought of this film that we love!

FRANCES: I really appreciate your words! I’m a person that craves feedback. It means a lot to me that you all took the time to put together the video!

6. When did you realize that you wanted to make films?
VALERIE: Frances and I met as Young Actors’ Theatre Camp campers when we were young and we’ve known each other much longer than we haven’t! Both of us were campers, then counselors, and now Frances is an Instructor/ Film Director / Head Makeup Designer and I am the Associate Director/ an Instructor. We’ve learned about filmmaking from the camp and I love the endless possiblilites of creative story telling. Both of us have written short films solo and bounced ideas off one another, but we were both so excited by this idea that we decided to write it together. I think some of the funniest lines are just us trying to make the other person laugh! I always want an excuse to work with Frances! We also love meeting passionate filmmakers that want to mentor the next generations of creatives! Our program is a hands on training tool, and I never would have considered that I could be a filmmaker without this program to let me do it and explore in my teens.

FRANCES:I have always loved film. I grew up in theatre and attending YATC. I realized I wanted to be screenwriter when I stumbled upon a screenplay in high school. I then mirrored the formatting and wrote my first script. I didn’t have the privilege of going to college but knew this is what I wanted to do, so I wormed my way into YATC’s film department and will not be leaving anytime soon.

7. What film have you seen the most in your life?
VALERIE: What a Sophie’s Choice of a question! I think it would probably be Baz Luhrmann’s Moulin Rouge!

FRANCES: Tough when you grew up in Blockbuster. I can’t think of a specific film but I am always drawn to high-femme teen dark comedies like Jaw Breaker & Sugar and Spice. The first film I remember loving at four years old was actually The Others with Nicole Kidman. I think I have always loved darker themes, or maybe I was just a creepy child. Lately though, I have been on a Barbara Streisand kick.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
VALERIE: I would have loved to meet everyone in person but it’s so valuable to get the Audience Feedback videos and I love that you also do blog and Podcast interviews! I am looking forward to being connected with the other filmmakers. We love making conenctions at festivals and we’ve even brought on some cinematographers to work with us that we met at different festivals!

FRANCES: I want a t-shirt! No, I am unsure. I can let you know next year 😉

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
VALERIE: It’s been fine for us.

FRANCES: I am so lucky that my producers at YATC take the lead when submitting to festivals.

10. What is your favorite meal?
VALERIE: I love sushi with seaweed salad!

FRANCES: A French 75 paired with Taco Bell

11. What is next for you? A new film?
VALERIE: I’ll be producing another group of short films this winter and I have two scripts in the works!
One called Sophia’s Choice about a girl who arrives to camp overrun with girls named Sophia and each one is expected to choose a nickname, only our Sophia, is standing her ground.
The second is called Pretty Sweet Sixteen about appreciating the friends who do show up for you and that quality will always be more important than quantity.

FRANCES: Yes! I am writing a new short film to be produced by YATC at our Winter Film Camp. It’s going to be a fun one!

Detectives & Dragons, 8min., Canada
Directed by Lucas Candelino, Benjamin Kostecki, Evan McDowell
A know-it-all detective is tasked with incriminating a murder suspect through a fantasy role-playing game by recreating the scenario of the killing. Tensions escalate when he goes off-script.

https://instagram.com/candelino.jpeg

Get to know filmmaker Lucas Candelino:

1. What motivated you to make this film?
A: These types of role-playing games make for a fun scenario since they have very specific rules players have to follow. We thought it would be a fun idea to have a fish-out-of-water character, like a cop, try to play it while trying to follow these rules and avoiding being caught.

2. From the idea to the finished product, how long did it take for you to make this film?
A: It took about 3 months, mostly pre-production and editing while shooting took 2 days.

3. How would you describe your film in two words!?
A: Dry chaos.

4. What was the biggest obstacle you faced in completing this film?
A: The biggest obstacle was having enough time to shoot. We only had 8 hours inside the store, but we also had to rehearse, record ADR, move equipment, etc… By the end, we were gung-ho.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
A: I’m happy they enjoyed it. I’m especially glad they noted that an audience member can watch this without playing the game before; we really tried to write the script with that in mind.

6. When did you realize that you wanted to make films?
A: I made a terrible Illuminati documentary on a Samsung tablet when I was 12. Still, it was fun, so I decided to continue making videos as I grew up.

7. What film have you seen the most in your life?
A: Top Secret!

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
A: This is my first time submitting, so I had a great experience and appreciate the feedback provided.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
A: The site was very convenient, no complaints.

10. What is your favorite meal?
A: Lasagna, like Garfield.

11. What is next for you? A new film?
A: Likely another short. I usually make comedic stuff, so I think a drama/horror is the plan.

AN ANATOMY OF GRIEF, 15min., Canada
Directed by Anthony Joseph Spatafora
A mother grieving the death of her son while being haunted by his corpse.

https://www.instagram.com/ananatomyofgrief_shortfilm/

Get to know the filmmaker:

1. What motivated you to make this film?

It actually came to me in a dream I had a few years ago, where I lived in a reality where I had been gone for 10 years and no one knew where I went. I came back into my friends’ and family’s lives and saw how my absence affected them. My parents were especially heartbroken. I’ll never forget the moment in that dream when I came face to face with my mother after being gone for 10 years. The sadness, relief and pain in her face and voice haunts my brain to this day and it is what inspired me to write this story.

The story was also based on my own personal experiences with loss in my family. My father’s dad passed away when he was young leaving my dad, uncle, and grandmother alone. My mother’s father had an accident which altered who he was until the day he passed away. Seeing how these events affected my family and how they were all able to bounce back from it made me want to express how there is always hope even after immense loss.

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

It took me about a year and a half to develop the script and go into production and post-production. But I actually wrote the story in 2021 and then I adapted it into a script in 2024 because the story resonated more with me then. I finally finished it in April of 2025.

I rewrote the script many times. At one point, I had the mother’s sister in the story as her support system, but I cut her out because I thought it was more important to show Cassandra (the mother) dealing with this loss on her own. Because not everyone has somebody to rely on.

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

Always Hope.

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

The whole project was challenging because it was all new to me. I hadn’t made a film with a budget this size before ($1,500).

Directing the crew during production and figuring out the schedule with my 1st AD was especially difficult. We crammed a lot into one day—including all of the makeup scenes and the morgue sequences and completing all that in one day felt amazing. But it was hard to direct my actors when I was also so particular with how every other aspect of its production looked.

Post-production also had its struggles. At one point, we nearly submitted the film out of sync! which was a very scary moment haha.

Also figuring out how to integrate my artwork into the film was difficult for me. But with the help of my professor Shannon Vieira-Covello I was able to find points in the story as to where they should belong.

My biggest challenge in post-production was battling my lack of confidence. At times I felt like the film wasn’t good enough, but I fought through that self-doubt and made it the way I envisioned anyways. I owe huge thanks to my editor, Dani Michelle, and my sound mixer/editor, Christopher Goruloski. They both did such an incredible job, and the film wouldn’t be the same without their work. I also want to thank my friends Abdullah Umar and Tae Sax, and my professors Shannon Vieira-Covello, Garrett Kerr and Kazik Radwanski for their support on this project. Their feedback and insight helped the film become the best it could be.

5. What were your initial reactions when watching the audience talk about your film in the feedback video?

It was nice to hear people express how much they appreciated the film, some people called it beautiful and said it was a great expression about dealing with grief. A lot of people I know didn’t initially like or understand why Alex’s ribs were exposed but hearing one person express how the mother was trying to put her son back together made me happy to see that people actually do get it haha.

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

In high school, I took a class called Comp Tech, which was a film and editing class. I made a lot of films for the class and outside of it with my friends. We had so much fun in high school making films that I saw that I could do this for a living.

Around then, I was also watching a lot of films, particularly horror movies, that genre always resonated with me the most.

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

Probably E.T. I watched it so many times in high school—partly because I was too lazy to take the DVD out of the player, and partly because I just loved the story.

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 all did a fantastic job promoting both my film and myself, and I really appreciate everything you’ve done for me.

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

Pretty good, actually. The website is very user-friendly, and I didn’t have any issues using it.

10. What is your favorite meal?

My grandmother’s lasagna.

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

As of right now, I just finished production designing a feature film, which was very challenging. I might take a little time to relax before diving into another big project like that.

That being said, this month I am production designing two short films. One is called Pilastro, written and directed by Ellie Reeves—you can check out the details on its Instagram page (@pilastro_film). The other is a 48-hour challenge project, which is still a secret for now.

I’ve also been working on two scripts on the side—one for another short film that deals with trauma, and another for a comic called Frogs With Hair. You can see some of the completed pages of that comic on my website’s portfolio page: [https://bluemarjack.wixsite.com/ajspatafora/portfolio-collections/illustration-portfolio/the-frog-brothers].

On top of that, I’m finishing up editing a music video I directed over the summer for my friends’ band, TORRENT, for their song DIG. If you’re into the post-punk genre, you can find TORRENT on Spotify and other streaming platforms. The video will be released on October 31st on their YouTube channel.

FARE SHARE, 26min., USA
Directed by Carlos Leos
On the surface, it’s just another rideshare. But as a weary driver picks up a silent, blood-covered passenger, what begins as awkward small talk unravels into a quiet confrontation with his own doubts, fears, and faith. With no answers from the woman in his backseat, and none from the universe he keeps questioning, the ride grows increasingly tense. Some fares are routine. This one carries a price.

https://www.instagram.com/actorcarlosleos/

Get to know the filmmaker:

1. What motivated you to make this film?
I was motivated by my passion for storytelling and my belief in film as a way to spark conversation, healing, and reflection. This Anthology project, all 13 films, came from a very personal place, inspired by the people and experiences that shaped me. I wanted to give voice to stories that don’t always get heard.

2. From the idea to the finished product, how long did it take for you to make this film?
The process took about a week to outline all 13 films. For Fare Share, I filmed, edited, scored, and finished the cut in 2 days. Overall, the anthology has taken about 2 months so far, with 8 of 13 films completed.

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

4. What was the biggest obstacle you faced in completing this film?
Funding and resources were the toughest challenges. Like many independent filmmakers, I had to stretch every dollar and rely on sheer determination and creativity to bring the story to life.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

It was humbling and exciting. Hearing viewers connect with the story in their own words reminded me why I do this, to move people, to make them think, and to remind them that stories have power. It meant the world to see how everyone connected with the story and truly understood it.

6. When did you realize that you wanted to make films?
I realized it after my music career opened the door to acting. That first set experience showed me a whole new way to create. From there, I knew filmmaking was my calling, I could merge writing, performance, and vision all in one place.

7. What film have you seen the most in your life?
The Godfather… it’s a masterclass in storytelling, family dynamics, and cinematic craft.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Networking opportunities are key. Connecting filmmakers directly with potential collaborators, distributors, and mentors during the festival adds lasting value beyond screenings.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
FilmFreeway has been smooth and straightforward. It’s a great tool for independent filmmakers to connect with festivals around the world and manage submissions in one place.

10. What is your favorite meal?

A hearty pasta dish, like fettuccine with a rich sauce and fresh herbs. Simple, comforting, and always satisfying.

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

Yes, absolutely. I have several projects in development under 3Wize Media, including a Western series, a supernatural anthology, and a heist thriller. I’m always writing, producing, and building toward the next story that will challenge and inspire audiences. My goal is to keep creating projects that spark conversation and elevate underrepresented voices.

The Briefcase, 6min., USA
Directed by Valdis Pelenitsyn
What begins as a typical criminal job between old friends takes an unexpected twist, leading them into an unpredictable situation.

Get to know the filmmaker:

1. What motivated you to make this film?

Honestly, the motivation was the same as always — the desire to create. We first shot a one-minute sketch with one of the actors and that now-famous briefcase I ordered on Amazon. It turned out great, and I thought, “We have to use this briefcase again. It cost me 40 bucks!” That’s how we decided to expand it into a 5-minute short film.

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

I’d say the prep and pre-production took about a month, and the editing process lasted around a week.

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

Goofballs on a mission Sorry, more than two words

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

We filmed at night in an alley in an industrial area, and nearby there were some homeless folks living on the street. I was really worried they might interrupt or get into the frame. But everything went smoothly! Huge thanks to them for that.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

For me, it’s incredibly important that my work evokes emotions in people. It doesn’t matter what kind of emotions — what matters is that the film doesn’t leave you indifferent.

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

That happened when I was 17. A lot has happened since then.

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

Great question! Probably not a movie, but a series — Scrubs. I’ve watched it more than 10 times! All eight seasons. Each time, like a fine wine, it reveals something new to me.

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

It would be amazing to have networking events with festival participants, producers, casting directors, and talent agencies.

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

It’s an excellent platform — probably the only one where independent filmmakers can truly showcase their work to the world.

10. What is your favorite meal?

Baked salmon with potatoes — absolutely delicious!

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

Of course, a new film! I’m already working on it. 😉

DILEMMA, 14min., USA
Directed by Trevan Jay Hiatt
Dilemma is a tense psychological thriller that delves into the consequences of a single, reckless decision. When high school friends find themselves trapped in a situation they can’t escape, panic sets in, and their once-close bond begins to fray. With each choice they make, the weight of their actions grows heavier, and the line between right and wrong blurs. Dilemma is a gripping exploration of guilt, fear, and where unexpected paths can lead us.

https://www.instagram.com/dilemma.film/

Get to know Producer Matthew Flug:

1. What motivated you to make this film?

I’ve always been fascinated by moral dilemmas — those impossible, high-stakes choices where there is no clear right answer. With Dilemma, I wanted to explore how guilt, complicity, and friendship can spiral when a single choice changes everything. I was motivated to create a film that would leave audiences questioning themselves long after the credits rolled.

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

From the first spark of the idea to the finished film, Dilemma was nearly a four year journey. I wrote the script in early 2021 and made the decision to bring it to life in mid-2024. While the writing process came together fairly quickly, the real challenge—and reward—was assembling the right director, cast, and crew, and then shaping the story in the edit. That was where the project truly came to life.

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

Tense. Unforgiving.

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

The biggest challenge was balancing the intensity of the story with the practical realities of production. Dilemma relies heavily on emotional performances in confined spaces, so creating an environment where the actors could safely go to those dark places — while still keeping the shoot on time and budget — was our greatest hurdle.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

It was both surreal and deeply rewarding. Hearing complete strangers reflect on the film’s themes — and even debate what they would have done in the characters’ shoes — reminded me why I made Dilemma in the first place.

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

I started out as a CBS News broadcast associate, which gave me an incredible foundation in storytelling. But I always felt pulled toward narrative filmmaking — creating worlds, characters, and questions that can’t always be answered in journalism. Dilemma is the result of following that pull.

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

The Shawshank Redemption. Its themes of hope, redemption, and moral strength never stop resonating with me.

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

Opportunities for connection are invaluable — whether that’s more chances to meet fellow filmmakers, introductions to industry professionals, or platforms to showcase our work to wider audiences. The audience feedback element was fantastic, and I’d love to see even more structured networking opportunities.

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

FilmFreeway has been seamless for me. It’s straightforward, intuitive, and makes it easy to track submissions and deadlines — which is a huge help when you’re juggling the many moving parts of a film’s festival run.

10. What is your favorite meal?

Sushi!

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

I’m currently writing something new that I am very excited about— and I hope to share more soon!

The Moment I Said It, 3min., USA
Directed Ryn Deyo
This piece reflects the moment of introspective learning — where the quiet, unseen transformation that occurs when healing begins is explored. We don’t return to what was, but learn to live with what is.

Get to know the filmmaker:

1. What motivated you to make this film?
I wanted to explore the quiet, internal shifts that happen during healing—the invisible yet powerful transformation we go through when we accept the truth of our experiences. The film allowed me to translate that emotional process into movement, using the rope as a metaphor for what connects our past to our present.

2. From the idea to the finished product, how long did it take for you to make this film?
From concept to completion, it took about four months. A lot of that time was spent refining the choreography so the imagery and movement aligned with the emotional depth of the story plus collaborating with the phenomenal dancers and production team that helped bring my vision to life.

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

4. What was the biggest obstacle you faced in completing this film?
Integrating the choreography seamlessly with various film techniques was a key challenge, ensuring we were honoring both the movement and cinematic vision. I’m grateful for the adaptable team that made it possible where we created a final work that feels cohesive and impactful.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was moving and affirming. To hear people connect to the imagery and emotion in ways I hadn’t even anticipated reminded me why I make work in the first place.

6. When did you realize that you wanted to make films?
As a professional choreographer, I’ve always been drawn to the visually striking power of movement. I realized I wanted to make films when I saw how the camera could magnify that power— capturing a range of gestures, emotions, and textures that might be missed on stage.

7. What film have you seen the most in your life?
Probably Step Up. While it’s not the most experimental film, it was one of the most well known examples of how choreography could drive narrative on screen. I admired how it made dance feel accessible and engaging to a broad audience while maintaining artistic integrity through street and technical movement as well.

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’d love to see more networking spaces—virtual roundtables or collaboration opportunities where filmmakers can connect and share resources across creative disciplines.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
Smooth and straightforward. It’s an intuitive way to share work globally, and I appreciate how it streamlines submissions and updates.

10. What is your favorite meal?
A classic pizza with goat cheese, arugula, and hot honey never misses. There is this “hole in the wall” pizza shop in Paris I used to go to during my time abroad and this pizza was always a 10/10.

11. What is next for you? A new film?
I’m thrilled to be collaborating with dancers and filmmakers on new work, bringing innovative movement projects to audiences and creative communities worldwide.

Resonance in the Castle, 17min., USA
Directed by Brandon Katcher
A mysterious castle breathes with light and color, drawing all who enter into its shifting embrace. Stained glass spills vivid hues across ancient stone, golden reflections dance over strange artifacts, and ethereal performances flare up like living paintings. Surreal, electric, and unbound by space or time. Musicians, dancers, and performance artists bring their visions to life, each performance casting a ripple, before fading into the ether. A place of mystery and spectacle, this living museum exists only in the moment it is seen, leaving behind only echoes. Here, the castle is not a place but a state of mind, a dream in motion, inviting us to lose ourselves within its walls.

Get to know the filmmaker:

1. What motivated you to make this film?

The opportunity to make Resonance in the Castle came at a key moment in my life, when I felt directionless and depleted. I had just wrapped a grueling, two-year documentary production, and like so many filmmakers, I found myself in that fog of burnout and uncertainty. What’s next? And then, pure coincidence gave me the opportunity to join an artist residency in a century-old castle in Italy. I traveled there with only a few basic ideas, the glimmer of a story. But through collaboration with musicians, dancers, sculptors, and actors from around the world, a film was born through the freedom of creating without expectation.

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

Not knowing what to expect from the location or the artists involved, I arrived in Italy with only basic ideas and visuals in my head. Once I was able to see the castle in person and meet the artists, those ideas became collaborations, and the scenes took shape. Each artist had a plan for their live performance, which we adapted for each room and scene. The actual filming took place over two days and became an improvisation as I learned to “dance” with each performer. During the week in the castle, we also performed live in front of an audience and filmed a documentary of the event. Once I returned home, the editing process took about two months.

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

Dream in Motion. I know it’s technically three words, but for me it encapsulates the mood and echoes from within the castle.

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

Honestly, the filming was the easy part. Everything came together very naturally, and we didn’t need to force anything—besides battling the intense heat in the castle and constantly climbing six flights of stairs over and over. During the edit, the hardest aspect was the sound design, especially in the basement. The acoustics were rough, and the floor was covered in sand, which made moving while filming a very noisy endeavor. That audio track definitely required a lot of cleanup. The narration was also added in the later stages, when we realized we needed just a bit of grounding to give audiences something to latch onto.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?

With an experimental film, you leave much of the interpretation up to the audience. So it was great to hear different perspectives on what they believed the film was “about,” what it meant to them, and what emotions it evoked. I am primarily a documentary filmmaker, so being able to create something truly abstract and dreamlike, and then experience all the different reactions to the work, was humbling.

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

I was lucky in that I knew what path I wanted to take from a very young age. I made my first film in the 8th grade, affectionately titled Attack of the Killer Mutant Worm. And have stuck to that path for the past 25 years, for better or worse. But it always creates adventures in my life, so I can’t complain!

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

Besides my own film (which I always end up watching 100 times during post-production)? I am drawn to films that create moods, worlds, and auras: Apocalypse Now, The Fall, Tron (both). Visual and sound design is often more important than script to me.

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

The Experimental Dance and Music Festival has given far more feedback and transparency than I have experienced with most, which has been great. Most festivals are closed circuits, and you never know what to expect, if anything, when applying. You almost never receive feedback or communication above the bare minimum, which often makes the process feel soul-crushing. So thank you for making filmmakers feel like they are a part of the process. I would be honored to work with this festival again.

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

I have submitted five films to FilmFreeway, and to Withoutabox before that, starting about 15 years ago. I would say it has been of varied success. The festival process can have its ups and downs, and the transparency of most festivals is definitely lacking. But the website itself is well put together and clear.

10. What is your favorite meal?

Dim sum, or really any kind of dumpling, makes my day.

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

I am currently in pre-production for a documentary series called Colors of the Spectrum, offering a window into the experiences of neurodivergent students as they create something remarkable. Set within Autistry Studios, a groundbreaking therapeutic makerspace for autistic teens and adults, we hope to challenge perceptions and encourage audiences to step outside their own boxes and color outside their own lines. We will commence filming in October of this year, and more information can be found at www.colorsofthespectrumfilm.com.