film

Filmmaker Balca Elif Sagmanli (DREAMER)

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DREAMER, 10min,. USA
Directed by Balca Elif Sagmanli
In an effort to fall asleep, a young woman, Audrey, struggles through the entrapment of a dream-like state where she encounters the various challenges of time past, time present, and time future.

https://instagram.com/dreamer2023shortfilm

Get to know the filmmaker:

1. What motivated you to make this film?

The motivation behind the making of DREAMER was my quest to explore the themes of dreams/nightmares, sleep, isolation/absence, memories/fantasies, time, cyclical experiences, and out-of-this world experimental imagery/concepts. On a certain level, it is a personal film that encompasses self-exploration and my fascination for time and presence.

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

The initial idea of this film stretches back to a short film that I made with my best friend in high school. This concept has been in the back of my mind for as long as I can remember. In undergrad, I wrote and shot a different version of DREAMER. I never ended up finishing it because I knew that it was not the version that I aspired to share with the world. This all led to DREAMER becoming my thesis film at UCLA. I do wonder if I will ever continue to revisit these concepts and/or make a different version of it in the future.

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

Cyclical dreamstate.

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

The biggest obstacle that I faced in completing this film was my actually my cinematography research for my thesis, which was the exploration of how 35mm analog film works together with the digital 5K Full Format that I used. It was an interesting editing process as well because I had to decide when, why and how to use both of the formats.

The cinematography research explored the communication of both analog and digital formats in order to figure out if they would communicate different intentions and/or can be integrated organically. The film is a result of this narrative and technical integration. The intention of this film is to evoke dream-like, surreal, and calming emotions by creating a psychedelic and ethereal experience. Along with the film’s premise, the technical integration of two different formats of cameras allows this film to display its unique style and sensibility, and distinct aesthetic.

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

It was extremely helpful to hear feedback from an audience that had never seen, or heard of my film before. I think that more festivals should try to implement this feature because it is rare to hear direct audience feedback outside of film schools.

Balca Elif Sağmanlı

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

This will sound a bit cliché, but I have loved watching films ever since I was a kid. In middle school, I told my aunt that I wanted to make films (even though I had no idea what this meant yet). In high school, I took a film class, and that is when I knew that I had to continue making films.

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

This is such an interesting question! I think that I have seen Mean Girls the most. It is a bit of a cult classic film amongst my friends, and we watched it a lot in middle school/high school.

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 providing the opportunity of an interview is extremely helpful for student filmmakers, and more festivals should implement interviews. It would be great if the filmmakers could meet in-person at the festival to watch each other’s films.

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

It has been a seamless experience so far.

10. What is your favorite meal?

My favorite meal is a dish from Turkey called mantı (Turkish dumplings). It is the first thing that I eat when I am home in Istanbul, Turkey.

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

I am currently working on writing another short experimental film, and making a guitar centric/experimental music album (since I enjoyed playing guitar on the soundtrack of DREAMER).

Filmmaker Yiou Wang (WATER ALWAYS GOES WHERE IT WANTS TO GO)

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WATER ALWAYS GOES WHERE IT WANTS TO GO, 5min., Romania
Directed by Yiou Wang
“Water Always Goes Where It Wants to Go” is an ecoperformance CG art video of the body in synergy with the storied landscape of water. How can we go back to something we already have? We are born out of water, and water constitutes our body, our territories, and our myths. Mapping water through the body, in between transitory space for waters, the short film investigates the relationship between the self, its embodied and somatic dialogues, and these physical and symbolic waters, questioning how we can return to our first water, the common body.

http://yiouwang.org/
https://twitter.com/YiouWang1
https://www.instagram.com/yiou_wang_/

Get to know the filmmaker:

What motivated you to make this film?
This short film is the natural product of a very rich and interesting conversation Alina and I have. Many of our ideas clicked and crosspollinated. Alina is an actress and performance artist, who expresses through her body; I am a visual artist who expresses through image and form. We are both empaths who share an intuitive, embodied connection to a larger, more-than-human world. Alina has been introducing to the world the method of ecoperformance for many years, where she embodies a forest, a river, a crow, or an ancient mythic being and shapeshifts in synergy with the consciousness of the embodied. We began to focus on water, as water is our first body – the amniotic fluid is where we come from, and our common body. In many precolonial cultures and epistemologies, the land is often also corporeal. In Tuva, the mountain peak is the heart of mountain ranges, where rivers are the aortas, the soil’s blood vessels.

Alina and I wanted to create a branch of artworks embodying water combining her ecoperformance and my virtual filmmaking. She performs embodying water from our animistic perspective, and I do the motion capture, transferring her movement to the avatars of water. The scenography is designed with a root in theatre arts, where I put my 3D scanned natural environment pieces in the scene reminiscent of stage.

From the idea to the finished product, how long did it take for you to make this film?
It is hard to pinpoint the start of this project, since Alina and I have been communicating for a year and our minds grew into this rich constellation. Since the beginning, we agreed to draft some proposals to apply for certain live performance art grants. After that, we thought why not make a film to further illustrate our proposal? And the actual production and editing of this film was about three weeks. But it’s hard to say it’s only three weeks, because a lot of the models I put into the environment were from my longtime habit of 3D scanning in my forest hikes.

How would you describe your film in two words!?
Breathing, alive

What was the biggest obstacle you faced in completing this film?
I can’t recall. I’m sure there were wtf moments but my trait is that I hardly remember the hardships already dealt with, since my ecstasy during creative work is so great that it floods all.

What were your initial reactions when watching the audience talking about your film in the feedback video?
I’m really glad, fascinated, grateful to the chance to see audience reactions because I’m always interested in communicating with audience. I express certain message and affect, but I always strive to create works that are open-ended, and I’m really happy that different people gave different interpretation, sometimes not entirely our intention but eye-opening.

When did you realize that you wanted to make films?
I grew up drawing and painting surreal visions of alternate worlds, so I lean constructive. From a painting background, I construct every element of the full picture out of my imagination. I have long been fascinated by films and visual effects as mediums of surreal storytelling, and I would spend hours obsessed with mentally dissecting the scene, avatars, lighting, camera motion, in the joint space between art and tech.

I want to make painterly films, in techno-artistic craft and in sensoriality, to express humans’ connection to nonhumans and to a larger world, which is not all “I love nature” kind of romantic, but awake, sensitive, primordial, beautiful, yet sometimes dangerous. The space we inhabit is full of life, and in film, nothing is empty; every space of every frame is full. There is a world out there. Characters and stories happen naturally in this world.

What film have you seen the most in your life?
My favorite films lean ethnosurrealist fantasy drama, a merging between ethnography and surrealism, with roots in mythology and folklore. You Won’t Be Alone (2022) by Goran Stolevski and Stone Turtle (2022) by Ming Jin Woo touched me so deeply and are in line with what I create.

The Pig, the Snake and the Pigeon (2023) by Wong Ching-po. Life of Pi (2012) by Ang Lee. The Great Buddha+ (2017) by Huang Hsin-yao. Almost all films by Apichatpong. Spring, Summer, Fall, Winter and Spring (2003) by Kim Ki-duk. All these are deep wells of inspiration and artistry that I can watch a million times and can still gain something every time.

My favorite short is Birdsong (2022) by Omi Zola Gupta.

Recently, I also see a huge lot of Asian, Indigenous and African horror films.

What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Adding IRL screening followed by creative mingling events would be awesome.

What is your favorite meal?
I don’t have a particular favorite, anything warm would be a nice meal to me.

What is next for you? A new film?
Great question. Alina and I will further make our water-related work into a mocap live performance with real-time projection and a VR film. In both, she will be the choreographer and performer, and I will be the VR director, and the art director and live projection animation controller. We will push the boundary of performance arts to merge with digital technology and surreal imaging.

Filmmaker Alijah Johnson (CIRCLES)

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CIRCLES, 6min., USA
Directed by Alijah Johnson
“Circles” is a visually stunning short film that takes the audience on a symbolic journey of personal transformation. The protagonist undergoes a profound metamorphosis, depicted through allegorical scenes representing different stages of self-discovery and growth. “Circles” explores the intricate dance between self-discovery, vulnerability, determination, sacrifice, and artistic power. Through its rich symbolism and powerful visuals, the film invites viewers to reflect on their own journeys of transformation and the circles they navigate in becoming their true selves.

https://www.instagram.com/alijah.aj/?hl=en

https://www.wildsound.ca/videos/circles-review

Get to know the filmmaker:

1. What motivated you to make this film?

Well, the inspiration behind “Circles ” stemmed from a deeply personal experience I went through a breakup with my ex-girlfriend. Instead of letting that experience crush me, I decided to channel that energy into something transformative. It was like becoming an alchemist, transmuting pain into creative fuel. As I delved deeper into exploring energies and self-discovery, I realized the power we have over our own filters. I believe we create filters we have a process of interpreting information that we’re not fully aware of and become aware of we choose to let in and how we process it. Which takes a lot of self exploration to become aware of. This journey of self-awareness and transformation became the driving force behind the film. I wanted to emerge from that dark phase as a completely new person, (dark night of the soul double entendre for the mountain scene) and this film captures that journey of metamorphosis. This film was like medication for me, especially during a period of depression and profound personal transformation. Going through a metamorphosis is very uncomfortable, much like many processes in nature where growth is necessary. For instance, plants breaking through soil or butterfly coming out a cocoon. It’s not pretty or comforting, but it’s necessary for growth. A lot was Inspired by Dante’s Inferno, the theme of circles reflects the idea that we can get stuck in one perspective or state of consciousness, trapped by our irreplaceable filters. This film served as a reminder that exploring new perspectives is essential for personal growth, even if it means destroying old aspects of ourselves. The process of making the film was just as therapeutic as the final product. It taught me that I have the power to bring my visions to life and that the journey as an artist brining things from the unseen world that you only have access to, to reality is challenging but rewarding. Ultimately, “Circles” became a message to myself, guiding me through my own transformation and helping me learn valuable lessons not only when I was making it but also for myself in the future.

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

it took me 2 years

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

Multilayered metaphor

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

Getting people to understand what I was making. One of the biggest obstacles in creating the film was integrating personal elements into the narrative. I deliberately infused the film with aspects of my own life, like little “landmines,” strategically placed for curious viewers to discover. These personal touches serve as hidden gems or Easter eggs for those who delve deeper into my story. Like me being a firefighter and paramedic, incorporating these aspects of my identity into the film was both challenging and rewarding. It required careful thought to ensure they seamlessly connected with the themes of the films. These connections between unrelated elements often led to moments of artistic epiphany, and when these different ideas merged they created something truly unique and fulfilling.

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

I was very surprised because this film was so personal to me and it’s amazing to see that people are able to understand what it’s about because it so abstract, I was going through something very hard to articulate with words, im so grateful to create this as my first short film.

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

Symbols are not compelling than words, I think one of the hardest things about having a conversation is that you can only use words.

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

500 days of summer.

I can watch that movie every couple of months or years especially after every breakup or failed talking stage and come up with a new interpretation about relationships it interesting to see my brain notice and think of new things when I’m watching that movie. The last time I watched it I understood that you appear as a hopeless romantic to the wrong person.

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 what you guys did was great the the audience feedback video was very good because it was nice to see other peoples interpretation of it, and again it was very fulfilling that my ideas didn’t fall on deaf ears.

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

It was very easy process.

10. What is your favorite meal?

I would say pizza

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

Right now I’m working on a fashion film for a hair show in August that I’m going to be a model in also. The theme is pollution and I found a new word that I’m drawn to which is eclectic. I have a lot of interest and wear many hats and I learn that a lot of things from different skills bleed over. Kinda like in the karate kid with wax on wax off. And it’s just coming with creating a visuals that conveys eclectic. And I think people might disagree but pollution is a byproduct of something that is helping us survive in this world. And I think stating that unpopular is what art is about controversy not to provoke anger but by presenting things with a new prescriptive.

Filmmaker Robyn Killian (RIOTS VS. TSUNAMIS)

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RIOTS VS. TSUNAMIS, 6min., USA
Directed by Robyn Killian
When faced with the wreckage in which several local business owner’s life’s work, their shops, were set ablaze and reduced to rubble after protests had devolved into riots in the Los Angeles’ Melrose District, occasioned by the death of George Floyd, a black man, at the hands of a white police officer in late May 2020, I used the artistic mediums of experimental filmmaking and sound collage to document and express my grief by comparing the effects of two types of disasters, riots and tsunamis.

http://www.robynkillian.com/
https://www.instagram.com/robynrkillian/
https://www.facebook.com/robyn.killian
https://www.twitter.com/RobynKillian

Get to know the filmmaker:

1. What motivated you to make this film?

I made this film to work through my feelings after witnessing the destruction of my neighborhood, The Melrose District of Los Angeles after the George Floyd Riots of 2020. Everything changed. My safety and security was shattered. I felt like this one other time; In 1994 when the Northridge earthquake demolished my home. Since a riot is man-made the destruction feels more insidious than that of a natural disaster.

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

Because I made this film as coursework while studying at USC film school It is a bit difficult to answer how long it took to make it.

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

I would describe my film in the following two words: “Emotional Catharsis.”

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

The most formidable challenge I encountered during the completion of this film was the emotional journey of revisiting the profound pain that engulfed my community in the aftermath of the George Floyd riots. Witnessing the devastation inflicted upon local businesses and the shattered morale of my neighbors was not only heartbreaking but also deeply personal. Navigating through these raw emotions while striving to capture the essence of our shared experiences was a profound test of resilience and empathy.

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

Upon witnessing the audience’s reactions in the feedback video, I was deeply moved by the genuine appreciation expressed for various aspects of the film. One reviewer astutely recognized the meticulous craftsmanship behind the video editing, acknowledging it as the shining star of the piece. Another viewer’s admiration for the seamless intertwining of themes resonated deeply, affirming the depth of thought put into the narrative structure. The vibrant colors and masterful sound editing were lauded for their immersive quality, with the music design hailed as a pivotal element in elevating the film to a higher realm of artistic expression.

Furthermore, the acknowledgment of the film’s uniqueness and its ability to captivate the senses was humbling. To hear that the carefully constructed structure was perceived as dynamic and compelling was immensely gratifying, affirming the countless hours dedicated to crafting a seamless viewing experience. Moreover, to have the film described as clever, thought-provoking, and heartrending underscored its power to evoke a range of emotions and spark meaningful dialogue.

Most importantly, the recognition that the film offered a fresh perspective and shed light on a different set of victims was deeply meaningful. Knowing that it succeeded in raising awareness and fostering empathy from a unique vantage point filled me with a profound sense of purpose and gratitude. To receive such valuable feedback from the audience was truly an honor, reaffirming the impact and significance of the work.

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

Upon choosing film as the medium for a final project in a course I was taking, I had a revelation: filmmaking was the natural evolution of my artistic expression.

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

The film I have seen most in my life is, “It’s a Wonderful Life” 1946, closely followed by “Cinema Paradiso” 1988. Both serve as poignant reminders of the profound love I hold for movies.

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 appreciate the Feedback videos. They provide an opportunity for filmmakers to learn how their films are received by audiences . Additionally, festivals could help filmmakers to find interesting opportunities for distribution to gain exposure for their films.

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

My experience with working on the FilmFreeway site has been advantageous. It allows me to have a central place for my projects and easy access to search festivals that are a good fit for my movies.

10. What is your favorite meal?

I’m a foodie and enjoy most cuisines, therefore, I dont have one favorite.

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

What’s next for me? I’ve been working on another very personal project that I am not quite ready to share.

Filmmaker Giannakopoulos Efstathios (THE SILENT SYNTHETIC SYMPHONY: A Human-AI Collaboration)

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THE SILENT SYNTHETIC SYMPHONY: A Human-AI Collaboration, 7min., Greece
Directed by Giannakopoulos Efstathios
In a silent environment, artificial intelligence meets the boundless human mind and together they unite their powers to create a music and dance piece of scientific fantasy. The lyrics, composed by a robotic mind simulating the writing style of the great author William Shakespeare, draw upon a poem about Silence and how people perceive it today. The music was composed by a team of music producers, while the words are voiced by the unique, yet artificial, voice of the late English actor, Alan Rickman. Our protagonist performs theatrical dance movements, which constitute his unique way of communication. At times, he manages to harmonize with the space-time and feel tranquility within the silence, while at other times, he faces challenges. Will he, however, emerge unscathed from this enthralling blend of the artificial and the human?

http://www.3shumanai.com/
https://www.facebook.com/3shumanai

Get to know the filmmaker:

1. What motivated you to make this film?
I had the desire to express myself, to share ideas and emotions. The goal and inspiration for my work were to merge arts and creative editing techniques, and to visually and aurally capture the concept of “silence.” The silence experienced by people today through the social pressures they face. However, to achieve the desired result, artificial intelligence had to work for us, to make the impossible possible. By training the system, we obtained the material that “we lacked” and proved that targeted exploitation of technology can give us tangible results.

2. From the idea to the finished product, how long did it take for you to make this film?
From the initial idea to “the final export” took about a year. Some shots had to be done at specific times and dates, which imposed certain strict deadlines on us.

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

4. What was the biggest obstacle you faced in completing this film?
The biggest obstacle was that for first time in my life, i have to manage many talented and special people and to instill blind trust in them. As a control freak I am, this added anxiety and extra headaches for me.

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
It was a unique blend of pride, emotion, and excitement. With a big smile.

6. When did you realize that you wanted to make films?
Three years ago, I attended some film festivals and discovered that I could reach, but also surpass, that level. So, since then, I’ve been simply looking for the right opportunity.

7. What film have you seen the most in your life?
I never watch a movie for a second time. I like to hold onto the first impression. However, Greek television often aired “Alive”, (1993) and it was a movie that even today, its remake, “Society of the Snow” (2023) is shocking to watch.

8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
You can post films official teasers, and have all the social media very active.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
The platform works great for me. It is clear and easy to navigate.

10. What is your favorite meal?
Seafood dishes.

11. What is next for you? A new film?
Maybe a short documentary. I want to try something different this time.

Filmmaker Woody Yocum (GROCERY RUN)

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GROCERY RUN, 2min., USA
Directed by Woody Yocum
Just a quick run to the store for milk and eggs….and everything we could squeeze into two minutes flat. Directed and animated by Woody Yocum. Music composed and performed by Klaus Ebert.

https://instagram.com/woodyyocum

https://www.wildsound.ca/videos/grocery-run-review

Get to know the filmmaker:

1. What motivated you to make this film?
All of our shorts are collaborations between me and our great composer/master musician Klaus Ebert. Short animated film is a perfect outlet for both of us. This is our seventh short film together and we hope to continue into the distant future. I am the solo animator/visual artist on our projects. This is a blessing and curse as it is wonderful to have the freedom to experiment and take risks with new styles and approaches but animation also has a tendency to bury one in work. I have worked in the animation business for almost fifty years, starting out at Nelvana in its infancy in 1975. I have spent more than the last thirty years in LA with the last more than twenty five years at Disney TV Animation. The pressures of TV production have a tendency to confine us to roles that we are especially efficient at and decades can fly by doing a one part of the process that you know and are known for. Having the opportunity at the end of my career to explore new subjects and styles but also to do all the parts of the animation process I love, is something I wouldn’t trade.

2. From the idea to the finished product, how long did it take for you to make this film?
This film took about four months to make from starting to build the puppets to final comp and mix. Our process is a stop frame hybrid. I build the puppets out paper, wire, latex and hot glue, using tiny magnets instead of ‘tie downs’ in the feet. I have a very small shooting stage with a tin floor above which I built a large soft light box. I shoot almost all the character animation over green screen with our backgrounds as photoshop docs that I comp in After Effects.

3. How would you describe your film in two words!?
‘Paper World’ the style I am embracing is make all the characters and settings feel like they are crafted from paper.

4. What was the biggest obstacle you faced in completing this film?
My greatest obstacle is in cleaning up the inevitable flaws in my shoots. It is difficult and time consuming to track stop frame animation and this is a problem that I continue to try to search for easier approaches for/

5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was thrilled! I really appreciate the thoughtful responses from each of your reviewers. They really spoke to the goals that I had in mind in crafting the world of our little story. It gave me a real boost!

6. When did you realize that you wanted to make films?
It’s always been my dream but for me many of the NFB films of the sixties and seventies opened my eyes to the possibilities and I was lucky enough to go the Sheridan College in Oakville in the early days of their animation program.

7. What film have you seen the most in your life?
There are too many to say. For my favorite piece of animation though, I would have to say Genie’s ‘You Ain’t Never Had a Friend Like Me’ song from Aladdin animated by Eric Goldberg. People will still marvel at that hundreds of years from now.

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 love your video reviews! I gives any filmmaker such a boost to see an audience ‘gets’ what they are trying to do. You have a really extraordinary festival and we really appreciate being part of it.

9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Film freeway is flawless! It os the machinery that makes so much possible in the indie film world.

10. What is your favorite meal?
Anything with family around the table.

11. What is next for you? A new film?
Yes, there are several in the works and I am working on refining our stop frame hybrid technique for larger productions.

Filmmaker Podcast: EP. 1184 – ANDY CARRUTHERS (TARARUA S-K)

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TARARUA S-K, 22min., New Zealand
Directed by Andy Carruthers
Have you ever wondered what it feels like to push your limits in the wild, facing the ultimate physical challenge? The Tararua SK Traverse is waiting for you.

YouTube channel – https://www.youtube.com/AndyCarruthers62

Tararua S-K Film


https://www.facebook.com/TararuaSK
https://www.instagram.com/tararuask_film/

LISTEN to the podcast:

https://podcasts.apple.com/ca/podcast/ep-1184-filmmaker-andy-carruthers-tararua-s-k/id1406973270?i=1000651839418

https://www.wildsoundpodcast.com/the-film-podcast-by-wildsound/2024/4/8/ep-1184-filmmaker-andy-carruthers-tararua-s-k

Get to know the filmmaker:

I want to inspire people to go on an adventure ⛰️

You can sign up for the 7 day free trial at http://www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it’s only $3.99 per month.

Subscribe to the podcast:

https://www.instagram.com/wildsoundpod/
https://www.facebook.com/wildsoundpod

April 2024 – Movie Trailers Festival

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A showcase of the best new movies and their respective trailers from around the world today.

AUDIENCE AWARD WINNERS:
MOVIE TRAILER: FROM FRAGILE TO FAMOUS
Director: THE TAN MAN
Documentary Trailer: BAMBI
Edited Trailer: ROMAN
Environmental Trailer: DREAM BIG FOR WHAT YOU WANT TO HAPPEN
Experimental Trailer: EYES ON US
Fantasy Trailer: PROJECT ETHER
Horror Trailer: CHASING ZOMBIES
Inspirational Trailer: PARROT
Human Interest Trailer: GHOST ON A ESTONIAN FARM
LGBTQ+ Trailer: WITH MYSELF
Most Unique Movie Trailer: BEEMOVIE
Parody Trailer: OUR WARS
Performances: A LITTLE TOUCH OF HARRY
Sci-Fi Trailer: SCEPTER
Slapstick Trailer: MASTER CHANCLA
Story: THE LAST HAND
TV Show Trailer: CRIMES AGAINST CHILDREN: EP. 1

See the Full Lineup of Films:

FROM FRAGILE TO FAMOUS, 3min.
Directed by Lawrence Riggins

MASTER CHANCLA, 1min.,
Directed by Mariano Mendoza
A mexican KungFu Master with unique Martial Arts created by Master Chancla

http://www.marianomendoza.com/
https://www.facebook.com/MarianoBigDawg17
https://instagram.com/mexicanbigdawg

A LITTLE TOUCH OF HARRY, 1min.,
Directed by Neill Fleeman
Trailer for the film A Little Touch of Harry

http://pemarstonfilms.com/

GHOST ON A ESTONIAN FARM, 1min.,
Directed by Magdaleena Unt, Nikolai Unt
At the heart of the story is a woman with cancer who has three months left to live. He arrives in long-term depression, looking for a cure for cancer in the books. Inexperienced discovers cursed text in the painting. The spell worked. Her is diagnosed with cancer.

PARROT, 1min,.
Directed by Cameron Faulkner
After forcibly being sold a parrot, Ollie is thrust into a surprise birthday party hosted by his roommates. The night spirals into chaos as he tries to regain control and sort his life out. Based on an unbelievable true story.

https://instagram.com/parrotfilmofficial/

OUR WARS, 1min,.
Directed by Geo Thelen
In a Galaxy Not So Far Away…
Musk v. Zuckerberg
a Movie Trailer Parody

https://thelencreative.com/
https://www.facebook.com/ThelenCreative/
https://www.instagram.com/instatoblast/

SCEPTER, 2min.,
Directed by Jim S. Beeson
Dr. Karen Morrow is the lead computer engineer aboard the space station ‘SCEPTER’ – a terraforming facility orbiting the planet ‘Therion Prime’ in the Sagittarius clusters. While preparing for the installations first mission a saboteur named Eric Dyrne (thinking that the station is vacant) infiltrates the facilities power nodes and plants a virus in the computer’s software turning the engines into thermonuclear bombs.

https://threerings4.wixsite.com/spiritwar-picures

PROJECT ETHER, 2min.,
Directed by Jim Beeson
Professor Alexander Cheyne is a world renowned physicist specializing in the quantum teleportation of matter. His work with The CIAs remote viewing project ‘ICARUS’ led to his discovery that the minds of certain individuals called ‘sensitive’s’ are literally creating wormholes through space which explains the phenomena of psychic ability. All humans have this ability to some degree.

THE TAN MAN, 43 seconds
Directed by Greg James Blount
Jason, a charismatic Jewish/Italian New Yorker, appears to be just another successful entrepreneur, owning a chain of bustling tanning salons. However, there’s more to Jason than meets the eye. While the salons are a front for his legitimate business, it is the hidden world behind the back door that truly defines him.

https://www.soundtreeent.com/the-tan-man

DREAM BIG FOR WHAT YOU WANT TO HAPPEN, 3min.,
Directed by Peter Vordenberg
The trailer for Dream Big, a documentary about listening rather than talking in order to make progress in our fight against climate change.

BEEMOVIE, 2min
Directed by Vera Sebert
In this film bees are neither artificially animated nor do they appear as documented objects of study. They themselves take on the role of human actors. The meaning of their actions remains uncertain and offers a manifold projection surface for human recipients. The cinematic images provide insight into an alienated world, which, when viewed, is inevitably adapted to ours.

CRIMES AGAINST CHILDREN: EP. 1 , 2min.
Directed by Dr. Lisa Spencer
Dr. Lisa Spencer fights to change laws in the US and abroad to better protect children.

EYES ON US, 3min,.
Directed by Ilysa Spencer
This spy trailer introduces two CIA agents struggling between love and hate.

BAMBI, 2min.,
Directed by Ilysa Spencer
This true crime story, that happened in my hometown the year my dad died, comes full circle when the investigating PI meets me and hands me the torch.

ROMAN, 5min.,
Directed by Nina Calori, Valérie Piola Caselli
A mother, a son, a secret ….

THE LAST HAND, 10min,.
Directed by Denis Crampton
Four Assassins play a high stakes game of poker, when Big Al dies at the table it seems only right that the game is abandoned, however Willie has no intention of stopping his winning streak.

WITH MYSELF, 2min.
Directed by Leonardo Corbucci
Laura broke up with her boyfriend, Alex, the same day as the Covid-19 pandemic lock-down struck, her emotions spiral out of control as she realizes her boyfriend cheated on her. As she seeks revenge, she unexpectedly finds a special person, in a special moment, leading her to question and understand her sexual identity, with

http://withmyselfmovie.com/
https://www.instagram.com/with_myself_movie/

CHASING ZOMBIES, 3min.
Directed by Mike Ancas
This documentary was shot at the George A. Romero Filmmaking Program, with special effects by Tom Savini’s Special Make-up Effects Program. The story involves iconic zombie extras from the original Dawn and Day of the Dead who, decades later, find themselves in demand at Pop Culture Comicons. We chase down these zombies to see why these early Romero films resonate so much with fans. Meanwhile, the crew shooting this film set out on a horrifying adventure of their own.

https://www.imdb.com/title/tt26920161/

Short Film Review: SAUDADE. Horror / Thriller / Surrealist / Drama.

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Synopsis: A dancer faces a ghost of her past and has to come out victorious to find her true self once again.

Directed by: Josie Hull

Written by: Gica Pucca and Constantin Augustinus Sieve

Produced by: Diana Cody

Executive Produced by: Gica Pucca and Constantin Augustinus Sieve

Review by Victoria Angelique

The short dance film, SAUDADE, captures the attention of the audience immediately with the gorgeous cinematography that begins within the first frame. Director of Photographer, Christian Olsen, is incredibly gifted as he captures the smoke dancing across the screen and wrapping it’s way around the Female Dancer’s body. The director, Josie Hull, has the Dancer move into her memory as the smoke envelopes her body. 

The tattoos on the Dancer’s body, whether intentional or real, works with the film as a way of symbolizing the ribbon that weaves her to the Male Dancer. She is fighting to escape him, but the happy memories bring her back to him. She is fighting to cut the tie so that she live happily once again now that the relationship has ended. 

The score is this film is magnificent. It truly brings the film to life through going from intense notes to melancholy ones to bring the audience into the memory of the Female Dancer’s past. The music and the movements couple together to show the toxicity of the relationship, depicting how an abusive partner can keep hold of a person’s memory as she fights with herself to move on and learn to be happy once again in life.  The Male Dancer has limited movements, showing his power over the Female Dancer early on in their relationship. He still haunts her mind as she struggles to reclaim her own happiness long after the relationship has ended. The Female Dancer shows her own power as she forces him from her memory.

Dance films are rarely able to capture such powerful themes in such a short timeframe. SAUDADE is successful as it captures the mental anguish that an abusive relationship can have on a victim as the Female Dancer tries to escape her memory before she figures out how to overcome it and move on with her life. It takes time, but the feeling of relief when she is able to put her memories in the past and remember what makes her happy is something that will last with viewers.

ANIMATION Film & Screenplay Festival (FREE options to submit)

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Deadline for the ANIMATION Film & Screenplay Festival (FREE options to submit)

Submit via FilmFreeway:

Animation Festival

FREE Festival Submission option:

Festival will occur every single month.

ANIMATION Film Festival VIRTUAL Events occurs once a month on the WILDsound Streaming Service.

All film submissions are FREE. Opportunity to have your film showcased on the popular streaming service for 48 hours.

(Other opportunities to garner a distribution deal with the company and have your film showcased always on the streaming service.)

Festival also showcases screenplays that are animation themed. We give full feedback on all entries. Winners get their script performed by professional actors and made into a promotional video.

For the guaranteed submissions:

Submit your Animation Short Film and get it showcased at the FEEDBACK Film Festival. 12 film festival dates a year in Los Angeles and Toronto.

All festival dates are private screenings with the same Audience FEEDBACK videos made for the short & feature films. And recorded script readings performed by professional actors for the screenplays. This is our way of showing community over distance so everyone around the world can experience our Audience Feedback videos.

Other FREE Festivals to submit to:

POLITICAL Film Festival
https://filmfreeway.com/PoliticalFilmFestival

STYLE, EXPERIMENTAL, FASHION Film Festival
https://filmfreeway.com/stylefashionexperimental

STUDENT & YOUNG Artiss Film Festival
https://filmfreeway.com/StudentFestival

Toronto FANTASY/SCI-FI Film Festival
https://filmfreeway.com/torontoscifi

EUROPEAN Film & Screenplay Festival
https://filmfreeway.com/europeanfeedbackfestival