In a near-future world ravaged by the memory-wiping virus X9, brilliant young scientist Andrea Santiago discovers a suppressed cure hidden by the powerful Biotech Pharmaceuticals. Having once been recruited into the system she now seeks to dismantle, Andrea grapples with betrayal, moral compromise, and the overwhelming cost of truth.

https://www.instagram.com/sarantosmelogia

Get to know the writer:

1. What is your screenplay about?
X9 explores what happens when the boundaries between human emotion and artificial intelligence blur. It’s a sci-fi thriller wrapped around a deeply human question: what defines love, loyalty, and consciousness when technology begins to feel? Beneath the futuristic setting lies a story about redemption, sacrifice, and the fragile line between creator and creation.

2. What genres does your screenplay fall under?
It’s primarily a sci-fi thriller with strong psychological and emotional drama elements. Think Ex Machina meets Blade Runner 2049, but with the emotional core of Her.

3. Why should this screenplay be made into a movie?
Because X9 reflects where we are right now — standing at the crossroads of ethics, emotion, and evolution. It’s a visual and emotional experience that invites audiences to question their relationship with technology and each other. It’s thrilling, thought-provoking, and cinematic in a way that blends spectacle with soul.

4. How would you describe this script in two words?
Hauntingly human.

5. What movie have you seen the most times in your life?
Good Will Hunting. Every time I watch it, I’m reminded that truth and vulnerability are the most powerful special effects in storytelling.

6. How long have you been working on this screenplay?
The concept first came to me years ago, but I began shaping X9 seriously about two years ago. It’s gone through multiple rewrites — each draft peeling back another layer of its emotional and moral complexity.

7. How many stories have you written?
Over 60 screenplays, plus novels, poems, and hundreds of songs. Writing is simply how I process the world. Whether it’s a lyric or a scene, I’m always chasing emotional truth.

8. What motivated you to write this screenplay?
As a board-certified plastic surgeon, I’ve spent my life studying both the beauty and imperfection of humanity. Given the recent pandemic, paranoia and the fear about big Pharma and corporate greed, this idea was born from that paradox — how we create, repair, and sometimes destroy in pursuit of perfection. I wanted to explore what happens when our desire to improve humanity leads us to challenge what humanity even means.

9. What obstacles did you face to finish this screenplay?
Time. Between music, medicine, and storytelling, every day demands balance. But I’ve learned that creativity isn’t about waiting for the right moment — it’s about making one. The emotional depth of X9 also challenged me; it pushed me to confront parts of myself I didn’t expect to find on the page.

10. Apart from writing, what else are you passionate about?
Music is my heartbeat. I’ve released a new song, poem, and chapter every month since 2014. I’m also passionate about empathy — whether through surgery, songwriting, or screenwriting, I try to heal in my own way.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I entered because Fantasy Sci-Fi Thriller Festival celebrates the kind of storytelling that blends imagination with emotion. The feedback was incredible – insightful, validating, and energizing. To have X9 recognized for its depth and cinematic potential means the world to me. It reminds me why I keep creating: to move people, to connect, and to remind us all that even in the future, the heart still matters most.

Film Synopsis: After serving time in prison for a crime that shattered her family, a mother returns to reconnect with her estranged daughter for the first time in fifteen years, only to realize that her daughter is on the verge of moving overseas to start her own family.

Project Links

•  Instagram

1. What motivated you to make this film?

It initially started with me, wanting to challenge myself to craft a short film with emotional depth and compelling characters. As a director, I am always interested in exploring relationships on-screen in unconventional settings. I also had almost nothing to show for my work before that other than a short 3-minute scene I directed during COVID, so I was eager to prove myself. After brainstorming, I became interested in exploring the theme of forgiveness and the relationship between a mother and a daughter. As the script developed, I felt a deep connection to the story, and that further pushed me to make the film.

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

The screenplay itself took me almost 10 months to write and re-write. The pre-production and production were about 6 months due to so many scheduling conflicts, and post-production for about 6 months. So almost two years! 

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

Relationship Study

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

We had to endure a lot of logistical and scheduling issues. We were working within strict budget constraints, and the film wouldn’t work unless we could find the right cast to play the principal roles due to the film being performance-heavy, an affordable location that fits the story, and equipment to shoot the film.

What is your favorite stage of the filmmaking process?

– I love Pre-Production the most because I love the process of discovery… I love talking to each collaborator and exploring character, story, and other aspects of the film. Production comes second because it is stressful, but you get the rewarding feeling of seeing the film come to life.

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

I was in my second year of film school when I watched YouTube videos about film directing and instantly felt that was my calling

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

It would have to be Denis Villeneuve’s Sicario.

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

More opportunities to get honest feedback from working directors, producers, and filmmakers, and mentorship on how to advance filmmaking career.

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

Pretty good.

10. What is your favorite meal?

It has to be a full English Breakfast

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

I am working on a romance short film, a struggling comedian falling in love with a woman funnier than him.

A self-reflection of the filmmakers emotional journey from self-doubt to self-acceptance. There are always moments in life where we feel confident we can complete something, but then encounter an obstacle and feel self-doubt. Eventually, we accept the weaknesses in ourselves, overcome the obstacle and gain confidence again.

Project Links

•  Website

Review by Julie C. Sheppard;

While the film Pieces of Me is quite brief at less than two minutes, it covers a wide timeline, acknowledging several transitional periods of an individual’s life. The animation is bold, depicting a series of geometric shapes that suggest humanness, from a tiny round seed to fragmented objects, notably shattered body parts. This imagery is chaperoned by poetic text which describes a seedling finding purpose, to dealing with the inevitable judgments of society, and the self-doubts that this can cause. 

It seems a wise choice to start with black and white shading of items and then to present a colourful kaleidoscope when the central figure is exposed to the outside world. Other striking imagery involves being trapped in a cage, holding back the pressure of walls closing in, and many hands of influence pulling focus. Fortunately, the figure eventually seizes the moment in a brightly illuminated bottle, finds independence, and is now on a self-sufficient journey. 

This brief but strikingly dramatic tale is well told by the talented voice artist who possesses a full-bodied, resonant sound. By the end of the piece, confidence is further exuded by the voice artist’s captivating emphasis and increased pace in speech. Pulsing instrumentals are punctuated by the reverberation of the firm piano notes, which rise to a crescendo – – the central figure is now ready to take on the world, after many struggles and transitions.

From the award-winning director, Patricia A Burke, comes a captivating parable that explores the journey of a young boy prince and his profound connection to his teddy bear. To find true happiness, William embarks on an inward journey. Guided by a wise shaman, he learns valuable lessons about himself and the world around him. This story delivers a timeless message about the importance of discovering belonging within a community.

Review by Julie C. Sheppard:

The Boy Prince and the Bear is a delightful coming-of-age animated short in the style of a medieval fairy tale, complete with an enchanting castle and costumes. The animation is charming, using defined bright colours for characters in the forefront, and soft, muted watercolours in the background. The plucky acoustic guitar under the narration has a renaissance chamber music feel to it, which works perfectly for this period piece. 

Melodic screenplay reading is provided by the talented narrator who has a fitting British accent and the ability for multi-character depiction, much as a parent would when reading a child a bedtime story. Of course, the film begins with the classic opening phrase of “In a distant land…”. 

Also, in the style of many a fairy tale, there is a strong character arc. The Boy Prince meets a wise mentor, and gains insight and maturity. By shedding a childhood attachment, he learns how to deal with life’s inevitable challenges on the path to growing up.

In Hong Kong, the boundary between city, mountain, and ocean is blurred. Four Hong Kongers, who are strangers to one another, each facing their own life challenges, simultaneously choose to delve into nature in search of themselves. In the depths and peripheries of the city, amidst mountains, fields, the ocean, and shores, they explore their own connection to nature. Different questions converge onto a single issue, leading to a journey of reflection and redemption. If human development and the destruction of nature have become a reality, what else can we do? Is it too late to take action? This is their journey, and ours too, through the spirit of the mountains and oceans.

Review by Julie C. Sheppard:

As with other nature documentaries that strive to inspire human change and to build awareness of the importance of protecting Earth’s ecosystem, the feature Never Too Late also ascribes to these noble goals. We are privileged to meet four people who share a common love for the flora and fauna in the Hong Kong area. The very fact that they want to be part of this film reveals their reverence for the environment, and they capture nature with such talents as fine painting, photography and videography, on land and under the water. 

Breathtaking cinematography in the film shows magnificent mountains and forests – – we get to enjoy the lush tropical feel of the area, in addition to close ups of artistic depictions. Impressive sound recording of creatures lets viewers immerse themselves in this natural utopia. The camera is also observant of the massive skyscrapers and residences in the heart of the city – – its frenetic energy and loud traffic is in strong contrast to the peace and tranquility of the rustic areas. The film also offers some social commentary with captivating interviews of rural locals – – they explain their sentiments about newcomers and city folk who have moved into their area to escape life in the frantic heart of Hong Kong. 

The central figures prove to be realists. They know it is hard to stop the progress of city developments, but they also recognize that they can make a difference, given their abilities and perseverance. This project proudly shows that Hong Kong has a thriving ecosystem beyond its skyscrapers, and it is worth observing, depicting in art, and preserving.

“VYR” is a 10 minute poetic short documentary exploring the ancestral power of creativity among Ukrainian artists in exile. Set in London, the film follows a theatre collective founded by a Ukrainian woman, Vyr, as its members engage in intimate conversations, folk rituals, and symbolic visual practices. Through circles, songs, and meditative gestures, the documentary reflects on how artistic energy becomes a refuge, a connection to cultural memory, and a source of resilience far from home. Combining lyrical observational cinematography with traditional lullabies, ambient sounds, and abstract visual motifs, VYR presents creativity as a living, ancestral force that unites generations and sustains identity in displacement.

Review by Andie Kay:

This beautiful short film centers around Victoria Mushtey who is the founder of the VYR Collective. This group of artists and creatives have built a community to support their projects and their passions. To listen to Victoria talk about VYR with such joy and enthusiasm, you cannot help but become as invested as she is in this wonderful group.

Directed by Ellada Liudohovskaia this film explores the impact of the war in Ukraine with some emotional interviews with the artists. As well as the sense of hope they felt finding this community. Cinematographer Panos Vlassas did such a stunning job. I loved the black and white segments with just hands creating images within flour and finally seeing the bread being shared by the group. Not to mention the dance performance was incredible.

The background music was perfectly chosen for this film. Plus the way it began with one of the members singing was incredibly moving, her vocals were stunning. This film is a must watch!

A family, torn apart by a past tragedy, must unite and overcome internal and external conflicts to reclaim their advanced starship from a fanatic general who plans to use its unique capabilities to trigger a galactic-scale “reset” and fulfill an ancient prophecy.

Get to know the writer:

1. What is your screenplay about?
NEXUS is a high-stakes sci-fi political thriller about a fragile galactic peace shattered when an ancient cosmic machine, responsible for erasing entire civilizations, awakens again. As two rival powers spiral toward war, a damaged but revolutionary starship, the Thermidome, becomes the last line between survival and annihilation. At its center is Commander Trice Webb, an engineer desperate to solve the mystery that consumed his brother, uncover the truth behind the catastrophic Citadel attack, and stop a fanatical general determined to trigger the universe’s next “Prime Event.”

2. What genres does your screenplay fall under?
Science Fiction
Space Thriller
Political Thriller
Action-Adventure
Mystery / Conspiracy

3. Why should this screenplay be produced

NEXUS blends the cinematic sweep of The Expanse and Interstellar with the tension and layered political intrigue of Andor. It delivers spectacle without sacrificing character stakes, giving audiences a universe that feels both epic and personal. It introduces a fresh mythology, the Prime Event cycle, anchored by a diverse, emotionally rich cast and a world with franchise potential. Strong action, grounded science, and morally complex storytelling make it both commercially resonant and creatively unique.

4. How would you describe this script in two words?

Epic Catastrophe

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

Star Wars. Did you have to ask that?

6. How long have you been working on this screenplay?

Off and on for 30 years. BUT: the last two years was the focus. I learned a few things and applied them world-building, story engineering, iterative drafts, and structural refinement based on coverage and competition feedback.

7. How many stories have you written?

I’ve written over a dozen screenplays, spanning sci-fi, thriller, crime, adventure, and psychological drama—from features like Guardrails, Frozen Lies, and The Devil’s Cut to shorts and TV pilots. This has helped me develop a strong command of structure, character, suspense, and thematic clarity.

8. What motivated you to write this screenplay?

I wanted to explore how civilizations confront extinction—not through a villain, but through knowledge, and how ordinary people respond to cosmic-scale inevitability. I was inspired by the idea of a family caught between science, prophecy, and political manipulation. The emotional core—Trice trying to uncover what really happened to his brother RJ—grounds the entire saga. On a thematic level, the story examines cycles of conflict, inherited trauma, and whether we can break patterns we don’t understand.

9. What obstacles did you face to finish this screenplay?

Balancing the scope of the world with the intimacy of the characters was the biggest challenge. The political layers, military tension, and scientific mysteries all had to interlock cleanly without overwhelming the story’s emotional drive. Structurally, it required multiple rewrites to ensure the mystery of the Prime Event, the Dark Corridor, and the conspiracy behind Imma’s attack revealed themselves at the right pace. Finding that balance—and maintaining clarity—was both the struggle and the breakthrough.

10. Apart from writing, what else are you passionate about?

I’m passionate about technology, space science, and real-world aerospace engineering, which heavily influences the grounded feel of my sci-fi scripts. I also love history, real-world geopolitical conflict analysis, and storytelling across film, games, and serialized formats. All of which shape the depth of the worlds I build.

11. What influenced you to enter the festival? What were your feelings on the initial feedback you received?

I entered because I’m committed to improving the craft and testing NEXUS against industry standards. Festivals offer invaluable external perspective, visibility, and potential to connect with producers seeking ambitious sci-fi projects. The initial feedback was energizing. It highlighted what was working and pinpointed areas that could become even stronger. It confirmed the script’s potential while giving me a clear path to elevate the next iteration.

San Esteban: Freedom, Mysticism and Nopales, 27min., Mexico
Directed by Francisco Herrera
At the foot of the mountains of Zapopan, Mexico, lies San Esteban — an indigenous town whose identity has been shaped for generations by agriculture, ritual, food, and an intimate bond with the land. Sheltered for centuries by valleys and canyons, the community now stands at the edge of an expanding metropolis, caught between preservation and transformation.

http://www.pacoherreraphoto.com/

Get to know DP/Producer Paco Herrera C.:

1. What motivated you to make this film?

I was motivated by the need to document a community at a moment of quiet but profound transformation. San Esteban is a place filled with history, resilience, and identity, yet often overlooked. I wanted to show how indigenous traditions and modern influences coexist, collide, and reshape each other. And honestly, I wanted to give something back to the people who welcomed me — to help their stories, their land, and their work be seen.

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

The project unfolded over roughly a year. I spent significant time in San Esteban, filming as the community’s rhythms revealed themselves. Then we realized we needed to integrate the “outsiders” — the adventurers and nature-driven visitors who are now part of the town’s reinvention — and following them extended the shooting period. Post-production took several months, especially the sound design, because capturing the essence of the place meant treating sound almost as another character.

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

Rural Resilience

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

The biggest challenge was staying invisible enough to allow the community to be themselves. We worked with a very small crew to maintain intimacy, which also meant long days and wearing many hats. Another challenge was finding the right balance between respecting traditions and portraying the changes happening around them without judgment. Balancing the presence and influence of both communities — the indigenous farmers and the new adventurers — in the construction of a new identity was also complex.

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

It was incredibly moving. As filmmakers, we spend so much time immersed in our own intentions that hearing what resonates with others is both surprising and rewarding. Seeing people pick up on the emotional undercurrents — the land, the identity, the tension between past and future — made me feel the film reached what it was meant to reach.

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

Pretty early. I started experimenting with analog video when I was very young, long before I knew it would become a career. Film school confirmed it: cinematography, storytelling, and connecting with people through images felt like home. From there, I never really stopped.

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

I have a daughter, so lately I’ve been watching the same animated films more than a dozen times — and I love them.

Before that, in film school, I dissected films to learn from them. Cinema Paradiso, Empire of the Sun, and Apocalypse Now were favorites, along with Amores Perros and Fight Club. In documentaries, Baraka, Bowling for Columbine, Del olvido al no me acuerdo and En el hoyo were major influences.

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 value festivals that create meaningful interaction between filmmakers, local communities, and audiences — whether through conversations, roundtables, or small workshops. Opportunities to connect beyond the screening room, especially around the themes of the films, make a huge difference. Practical development labs and networking spaces are also incredibly helpful for independent filmmakers like myself.

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

FilmFreeway has been very straightforward and efficient. For independent filmmakers juggling multiple projects, the platform makes submissions, materials, and deadlines manageable. It’s a tool I rely on for most of my festival strategy.

10. What is your favorite meal?

I love tacos! And ramen!

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

Yes — the plan is to continue this line of work by creating another short documentary about a neighboring community. Every town has its own story, its own way of facing change, and I want to build a series of portraits that highlight these unique identities. The goal is to replicate the San Esteban experience and keep exploring the relationship between land, tradition, and modern life.

San Esteban is the second in this series, and I hope to produce a first season of six films.

The story of an ordinary American dog.
Struggling to find his place in the modern world, he points his beak toward the Old West in search of purpose and meaning.

1. What motivated you to make this film?

My connection with the song and the songwriter from childhood.

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

This is hard to measure, as it was in ideation phases way before I was even in college. The active time animating was also in spurts over the course of several years.

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

Silly but poignant!

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

Tons of revisions until I had it the way Josh more or less wanted it.

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?

Pre-production for sure, I loved thumbnailing the story, I’ll share some thumbnails here: (see attachments)

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

For as long as I can remember, when I’ve listened to music I’ve always pictured cartoons in my head and wanted to have the know-how and wherewithal to make them real.

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

The Ukrainian animated Treasure Island from 1988 is up there. I love how David Cherkassky did camera moves.

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

No issue, very convenient system.

9. What is your favorite meal?

An Ethiopian smorgasbord, probably.

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

I’m thinking a new music video, maybe for my own music that I’m starting to make, unless another client comes along.

The Call, 64min., USA
Directed by Laura Boyd Owen, Charles Edwin English
The Call is a powerful documentary that breaks the silence around firefighter mental health, offering an unflinching look at the trauma, PTSD, and suicide crisis facing first responders. Through raw interviews, real-life stories, and behind-the-scenes access to firehouses in New Mexico, the film explores the emotional toll of a profession associated with bravery, but rarely with vulnerability.

http://thecalldocumentary.com/

Get to know filmmakers Laura Boyd Owen, Charles Edwin English:

FEEDBACK Film Festival Interview

Charles English

Executive Producer | Cinematographer

1. What motivated you to make this film?

Making a documentary has always been a dream of mine and we were able to connect with amazing people from the firefighter community to help us tell this important story.

2. From the idea to the finished product, how long did it take for you to make this film? It took us a little over a year of hard work with a bit of help here and there from some of our colleagues.

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

4. What was the biggest obstacle you faced in completing this film? The lack of budget was a real challenge! I borrowed gear from friends and did all of the filming as a one-man crew onsite. Laura put in the long hours in post-production and here we are now!

5. What were your initial reactions when watching the audience talking about your film in the feedback video? It was strange at first since this is our debut film, but hearing their perspectives on The Call was really valuable to us.

6. When did you realize that you wanted to make films? I have always wanted to make a film since I first saw Star Wars and finally got the opportunity. It has been a long, but amazing journey!

7. What film have you seen the most 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 further your filmmaking career? I think that there could be more opportunities for independent filmmakers to connect at events, even if your film isn’t accepted.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? Film Freeway makes it really easy to submit to the festivals that you are interested in and has a pretty good search option for upcoming events.

10. What is your favorite meal? Easy pizza! Or maybe curry!

11. What is next for you? A new film? That is the goal. Now we just need the opportunity to tackle the next challenge!

FEEDBACK Film Festival Interview
Laura Boyd Owen
Director | Producer | Editor

1. What motivated you to make this film?
I’ve always believed filmmaking can be one of the most powerful ways to create change. The Call came from a desire to use my craft for something meaningful and to shed light on the mental health struggles first responders face and help spark a broader conversation about support and understanding.

2. From the idea to the finished product, how long did it take for you to make this film?
Our very first official meeting took place on January 25, 2024, and we completed the film on May 31, 2025. What started as a small idea quickly grew into an incredible journey that lasted nearly a year and a half.

3. How would you describe your film in two words?
Impactful, hopeful.

4. What was the biggest obstacle you faced in completing this film?
Working with no budget was definitely the biggest challenge. Every part of this film was created on our own time – late nights, weekends, and a lot of heart. Our small team was both a limitation and a gift since while resources were tight, the creative freedom and personal investment made it deeply rewarding.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I felt a mix of shyness and pride. Hearing people connect emotionally with the story and message was incredibly moving. It reminded me exactly why we made this film in the first place.

6. When did you realize that you wanted to make films?
I knew from around age ten that storytelling was my path. I loved creative writing and quickly fell in love with cinema and screenwriting. That passion carried me through film school and into a creative career in video production. And finally, into directing my first feature-length documentary alongside my filmmaking partner, Charlie English.

7. What film have you seen the most in your life?
Gladiator (2000) by Ridley Scott.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Connection opportunities with distributors and/or investors would be incredibly valuable. For independent filmmakers, guidance and networking can make all the difference in reaching new audiences and platforms.

9. You submitted to the festival via FilmFreeway. How has your experience been working on the festival platform site?
It’s been great! FilmFreeway makes it easy to navigate, discover quality festivals, and manage submissions all in one place.

10. What is your favorite meal?
Spaghetti with marinara sauce, a side salad, warm bread, and cookies for dessert. Simple comfort food perfection.

11. What is next for you? A new film?
Absolutely I plan to keep creating. The Call proved what can be achieved with passion, creativity, and no budget, and it has inspired me to take on larger projects with even greater scope. I’d love to collaborate with producers and partners who share a vision for powerful, human-centered stories that make a real impact.