Depth Nomads – Kazakhstan, 78min., France Directed by Arnaud Palu Laurent was once an elite French judoka. In 2008, he participated in the Beijing Olympics, carrying the hopes of a nation only to walk out moments later, defeated in his first fight. What followed wasn’t just the end of a match, but the quiet burial of a dream. He gave up on judo, silenced by shame, convinced that failure defined him. When we invited him to join us in the forgotten steppes of Kazakhstan, he accepted, not to return to the sport, but to finally confront the part of himself he had abandoned.
A biography is a written account of a person’s life that tells the story of their experiences, accomplishments, and challenges. The word “biography” comes from the medieval Greek words bios, meaning “life”, and graphia, meaning “writing”.
Submit your Short Story to the Festival and we will automatically have it performed by a professional actor and turned into a promotional video for yourself.
Get FULL FEEDBACK on either the 1st chapter or entire novel book from our committee of Professional Writers, and Writing Consultants. Get your novel performed by a professional actor at the festival.
NEW OPTION: Or, just submit for an actor performance reading transcript of your novel (any 5 pages of your book). Great way to promote the sales of your book if you’re already published.
This festival has a guaranteed 4-tier set up for each accepted script. (No matter what, all screenplays submitted receive FULL FEEDBACK on their work.) 1) Full Feedback on your script 2) Actors performance video reading of your script 3) Blog interview promotion. 4) Podcast interview on the Film Festival ITunes show.
Bookshelves with books for children. Educational library with literature for preschoolers and kids. Reading and studying. Fairy Tales, Encyclopedias and Dictionary. Cartoon flat vector illustration
FIELD REPORT | FLACK FAMILY FARM, 15min., USA Directed by Travis Limoge Nestled in the hills of Enosburg Falls, Vermont Flack Family Farm has been contributing to the vibrance of their community through their symbiotic work in the soil for nearly a half a century.
sustain, 5min., Austria Directed by Peter Schakl sustAIn is the Idea to combine sustainibility and artificial intelligence. Openess is to show generally ideas of sustainibility.
Kazbegi, 5min., Slovakia Directed by Yakiv Antypenko Set to a traditional folk song recorded live at a Georgian wedding, this short documentary immerses viewers in the natural and cultural rhythm of the Kazbegi region. With no narration, the film focuses on the detailed sound design and visual atmosphere — where every insect and breeze plays like an instrument in a living orchestra.
Portrait of a Seaweed Farmer: Ana Borrero, PhD, 10min., USA Directed by Jeff Siebert Portrait of a Seaweed Farmer: Ana Borrero, PhD, follows a Spanish marine scientist who leaves behind a high-stress academic career to cultivate something far more sustainable—seaweed and a life in balance. Now working in coastal Norway, Ana channels her scientific expertise into growing an industry poised to combat climate change through regenerative farming. With humor, heart, and humility, Ana reflects on her journey from a microscope-loving child to working mother of two, driven by both environmental urgency and a desire to be present for her young family. A deeply personal look at how one woman found meaning—and a future—beneath the surface.
Operation Wolf Foster, 18min., USA Directed by Justin Grubb Once nearly extinct, the critically endangered Mexican wolf is making a comeback – thanks to a bold conservation effort that places captive-born pups into wild dens. Operation Wolf Foster takes you inside this high-stakes recovery program, following the delicate journey of newborn wolves as they’re flown across the country and carefully introduced into the wild, offering hope for the species’ future.
Submit your FAMILY short story to the festival here, and we will automatically have it performed by a professional actor and turned into a promotional video.
Get FULL FEEDBACK on either the 1st chapter or entire novel book from our committee of Professional Writers, and Writing Consultants. Get your novel performed by a professional actor at the festival.
NEW OPTION: Or, just submit for an actor performance reading transcript of your novel (any 5 pages of your book). Great way to promote the sales of your book if you’re already published. (see examples on the video playlist below)
This festival has a guaranteed 4-tier set up for each accepted script. (No matter what, all screenplays submitted receive FULL FEEDBACK on their work.) 1) Full Feedback on your script 2) Actors performance video reading of your script 3) Blog interview promotion. 4) Podcast interview on the Film Festival ITunes show.
Trail Mix, 50min,. USA Directed by Glenn Robert Sweitzer Trail Mix follows a 2,000-mile journey from Georgia to Maine, uncovering the personal struggles and healing of hikers seeking solace, purpose, and transformation. Directed by Glenn Sweitzer, the film reveals how nature becomes a powerful path back to wholeness.
The FRR Festival was a magical experience! The vibe was exciting, intelligent, very welcoming and the communication was easy and smooth. It’s clear to see why this festival has done so well as they really love this particular genre and excel at it. I highly recommend that you put FRRF at the TOP of your list and hope to see you later this year!
Thank you for selecting my screenplay for a table read! It was immensely helpful to hear the words from the ‘outside’. I have finally been able to understand where and why I was stuck in the first pages of my script. I’m very grateful for this opportunity and for all that you do and for the quality of the festival.
Best festival experience! Love the feedback, interactions, podcast interview and viewing online!
It was an absolutely pleasure, joy and honor to take part in this beautiful festival and be award with the Best Long Form Short Film award for our project “you Breakfast”. The care, respect and attention they put towards the filmmakers is outstanding, making it an amazing experience for all the participants. The reviews and comments provided by some of the audience members are incredibly valuable and speaks about the great organization behind this festival. I would seriously recommend it to any filmmaker. Thank you very much
David Hackl was the production designer and second unit director for Saw II, Saw III and Saw IV, as well as for Repo! The Genetic Opera. He then went on to direct Saw V to critical and financial success. R
I was fortunate to sit down with David to talk about his career and what’s next:
Matthew Toffolo: You have worked in the Art Department and Directed over 25 films, is there a film or two that you’re most proud of?
David Hackl: I’m very proud of the Saw franchise and feel grateful to have had the opportunity to work on it. It a piece of cinema history now. I also have a real fondness for Outlander as it was one of the most epic projects that I’ve done. I had to research it like crazy and learn everything about viking architecture, culture, weaponry etc. We had to build everything, weaponry and huge sets that included a viking village with 22 buildings and an 80 foot Viking ship that was fully practical. The craftsmanship from the whole crew was outstanding in every department. I’ve always loved viking stories and would love to direct a viking feature now.
PHOTO: Still shot from the film OUTLANDER (2008):
MT: Tell us about your first Production Designer assignment in “Jerry and Tom”. Kind of an underrated film with a lot of camera movements and set/scene transitions. Some very inventive cinematic designs too. How did you get that assignment? Would you agree that this film really jump-started your career?
DH: “Jerry and Tom” was a fantastic first experience as a Production Designer. I had been designing and directing commercials for 10 years by then but I wanted to get into long format. I’m good friends with Saul Rubinek and we were location scouting another film when he told me about Jerry and Tom and I said “that should be your first film”. The story was written by Rick Cleveland (West Wing, Six Feet Under, Mad Men, House of Cards) and it sounded so great. The film we were on fell apart but then Saul called and said the Jerry and Tom was green lit.
We wanted to create a visual signature for the film and Saul brought up the idea of transitioning between scenes seamlessly rather then cutting. I loved what they did in Red Rock West and I took the idea and ran with it. The crazier an idea was the more Saul wanted to do it. So I wasn’t going hold back. I was thrilled to work with suck a stellar cast (Charles Durning, Ted Danson, William H. Macy, Sam Rockwell, Joe Montegna) and I think I wanted to show off a bit. It’s definitely an underrated film, though when I look at it now it seems so dated.
PHOTO: Still shot from JERRY AND TOM (1998):
MT: What is the biggest difference when Production Designing a TV series in comparison to a feature film?
DH: When you’re production designing a TV series everything tends to move a lot faster and on a shorter timeline then features. I love the pace of TV and the fact that you plough through so much work. I’m very comfortable with working fast and I’ve always been lucky to have great teams to support me. Features, on the other hand, give you the chance to develop ideas more,not because you have so much more time but because you generally start with a more solid script and singular focus. But both features and television are starting to feel similar on all aspects.
I love the more cinematic quality of television we’re seeing where the bar is getting raised constantly.
MT: How would you describe your SAW experience in one sentence?
DH: Wow that’s tough, one sentence? Working on the SAW franchise was fantastic creative challenge.
MT: What was the biggest thing you learned when you directed your first film SAW V?
DH: I learned how frigging hard it is to direct a feature. As a production designer you often have people lined up at your door to ask hundreds of questions a day. But as a director it’s more like a thousand questions. Designing is a good place to prepare yourself for directing and my directing now informs my PD work better as well.
PHOTO: Meagan Good in the film SAW V:
MT: From an outside perspective, the SAW franchise seemed to work like a corporation. Someone creates an idea, then as you grow people at the top move onwards while the key production heads move up the ladder of responsibility. Gaffer to DP. Art Director to Production Designer. Production Designer to Director (YOU). They really helped the growth of a lot of careers. Is this a true assessment?
DH: It’s true SAW gave a lot of people wonderful opportunities but I don’t know if that was a strong intention as much as a next natural progression. I think the producers felt more comfortable about keeping it in the family and it was certainly a nice gesture of gratitude. We all had such a great shorthand that it seemed to make sense to keep it in the family.
MT: Some argue that SAW V is the best of the franchise. Is there a reason why you didn’t direct SAW VI?
DH: I was originally in talks to direct Saw IV but the very day they called to make me and offer I had just found out my wife had cancer. (She’s clear and great now) But the producers suggested that I direct Saw V and VI instead. But after Saw V Kevin Greutert was keen to direct one and rightfully so. He had edited every one of the Saw films from the beginning. Few people knew the franchise better then Kevin. At the same time the producers decided to do a 3D Saw film and asked me to direct it. They asked me to stay on for the whole year and learn everything there was about 3D filmmaking and how we could best use it on a Saw film. Unfortunately 3 days before we shot SAW 3D the producers exercised my pay or play deal bumping me off the picture and exercised their 2nd picture option with Kevin Greutert forcing him off Paranormal Activity 2 when it was announced that it was going to open the same day as Saw 3D.
Welcome to directing!!
MT: What are you currently working on?
DH: I’m busy building a slate of films for my company with a few optioned novels and scripts for both TV and features. I’m writing a lot and working with writers, which I love. I’m also pushing hard to move into television directing.
MT: What film, besides the ones you worked on, have you seen the most times in your life?
DH: That’s easy. Apocalypse Now and Bladerunner. My two favourites films
MT: What is the future of the horror franchise?
DH: If you’re asking about SAW 8: Legacy it’s coming. Writers were just announced. I’m excited see what they’ll do next.
In more general terms horror franchises are all about an idea that has legs and I’m certain there’s going to be a new one any minute. I have a couple myself. (…he says with a smile!)
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
AN ADVERT FOR ONE NIGHT, 15min,. UK Directed by Graham Birch Lisa responds to a newspaper advert to meet Sarah in a hotel room for a night. They meet and have a wonderful night that sadly uncovers that one was badly abused and the other is currently suffering serious mental and physical bullying from a partner. Will this allow them to bond? What will they do?
My friend was going through an abusive relationship at the time and it was terrifying. He was psychologically destroyed. So I flipped it to the more common female perspective as it is simply not acceptable. Domestic abuse isn’t just physical. It’s wider than that and destroys people.
I also wanted to highlight the dangers of getting drunk and thinking you are in control of a situation. I want people to watch the film and maybe question if they should go home with that person. Particularly when you are young and at a night club. I always tried not to let my friends go off alone (male or female) as there are people who are simply not good.
I also wanted to create a film of exquisite beauty and use the lighting to enhance everything. You’ll notice that the colours change in the film, sometimes suddenly, sometimes from scene to scene. Showing differing emotions and settings.
Bang Bang, 14min., China Directed by Guan Yi Chongqing, a city built on mountains in Southwestern China, remains a stronghold of porters known as “bang bang” who move goods along streets on the rugged terrain. But the porters are slowly fading from view in the face of modernization. From 400,000 people working as bang bang in the city in 2010, they have shrunk to fewer than 2,000, mostly elderly.
CHAPPILANA, 23min., India Directed by Komalankutty Methil Pudiyankom-Kattusseri Vela Festival of Palakkad District has many unique features, one of which is a Chappalana, an elephant made of wood, bamboo and dry grass, with an ancient and fascinating story behind it.
Deferred, 18min., Sri Lanka Directed by Lanka Bandaranayake Ambitious and academically successful young Sri Lankan women, who have long dreamed of studying abroad, now find themselves at crossroads due to new UK immigration policies that prevent them from bringing their spouses along. Deeply personal and emotional journey, also, Sociopolitical explanations of academics unfold how they have to navigate the harsh reality of choosing between their educational goals and their familial bonds.
Sayad Capello, 24min., Iran Directed by Rostam Nazari Teenagers from the outskirts of the city have dreams in their heads. Sayad, despite his physical disability and his love of coaching football, is trying to make the dreams of the children to be fulfilled!
VOICES FOR MADIDI, 24min., Canada Directed by Jonathan Derksen Bolivia’s Madidi National Park is considered to be the most biodiverse place on planet earth. The Uchupiamonas people, who call the park home, are in a constant battle against forces eager to exploit the protected area for its hydroelectric potential, hardwoods and gold. In this documentary, we hear from of the eco-warriors at the front lines.
The Madidi area of the Bolivian Amazon is perhaps the most biodiverse place on earth. I first visited the area in 1982 as a teenager, when a group of friends and I ventured down the Beni River in a motorized dugout canoe during the rainy season, only to almost meet our fate in deadly rapids, whirl pools and a maze of giant tree snags. Fortunately, we were taken in by some Moseten hunters, who fed us and gave us shelter until the rains abated and we could carry on.
I returned to the area in the nineties as a photojournalist on a national parks beat, then, in 2007 as an expedition leader. In 2008, I filmed with National Geographic on Bolivia’s infamous “Death Road” traversing the Andes to the Amazon. In 2016 and 2017, I worked on a coffee table book “Madidi: an uncertain future” with photographer Sergio Ballivian.
On each expedition, I interacted with the extraordinary Uchupiamonas people, who taught me the ways of the jungle and the profound importance of protecting such unparalleled biodiversity. They also educated me about the various existential threats to the region and its indigenous people. This lit a fire under me.
In 2023, I returned with a film crew in hopes of bringing their story to the rest of the world, culminating in “Voices for Madidi”, a bilingual expression of the eco-warriors serving the front lives of a little-publicized battle.
Festival Reviews 