IGUANA LIKE THE SUN, 100min., USA (March Festival) Directed by Julian Robles In a humble coastal compound of southern Mexico, amidst a total eclipse of the sun, an unexpected guest arouses the broken dreams of a family that has lost its guardian figure, overshadowed by the cosmic loneliness where they were left to their faith.
When I was very young, I worked with Mexican playwright Carlos Olmos. Although I was unable to see the original play “The eclipse”, nor have I ever seen it staged, I was dazzled by it from the moment I read it and thought it may be a great movie. The idea of becoming a film director hadn’t even crossed my mind yet.
2. From the idea to the finished product, how long did it take for you to make this film?
Olmos wrote a previous script that was optioned a couple of times but never came to fruition. Years after his death, I took up the idea once again, made my own version, and decided that I would direct it myself. Almost a decade passed between the first draft and the moment I stepped on set.
3. How would you describe your film in two words!?
Cosmic loneliness
4. What was the biggest obstacle you faced in completing this film?
Recreating the light of a total solar eclipse was perhaps the most complex challenge. Beyond the solar corona, which can be recreated in VFX, the entire celestial vault is altered from the previous moments, a very peculiar light impossible to generate by CGI. For this reason, we filmed all the magic hours, in a hurry because they only last 20 minutes, and thus have enough shots for this long sequence.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was surprised by the way they had connected with the story and also understood what lies behind the plot, even though these characters seem quite far from them.
6. When did you realize that you wanted to make films?
I am the grandson of a projectionist who learned the trade when cinema was silent and projectors were hand-cranked. I was destiny to do films.
7. What film have you seen the most in your life?
Gone with the Wind. And if you don’t like it, frankly…
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 did not attend the fest. I cannot say nothing about it.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Food is like movies, books, or love: our tastes are always changing.
10. What is your favorite meal?
Fruta verde (Unripe Fruit), an adaptation of the famous novel by Enrique Serna.
PEGASUS HIGHWAY, 15min., Australia Directed by Ethan Grahek Two Bronies (Adult male fans of small, collectable Pony toys) are out to buy weed for their first time. Unbeknown to them, it is also their dealers first deal. What should have been a simple transaction quickly devolves, forcing one of the Bronies to chauffeur the eccentric drug dealer on a psychotic road trip. But there is more to these Bronies than the dealer could ever fathom.
Get to know the filmmaker:
1. What motivated you to make this film? This film was my Honours film I completed at Deakin University, Melbourne. For the very first assessment presentation I attended at uni, a young woman did a presentation on bronies, they really piqued my interest, i’d never heard of them before because I grew up in a small, rural town. I went down a bit of a rabbit hole and discovered the uh… interesting… world of the Bronie fandom. Whilst searching I wondered how a Bronie would be perceived at my small town high school, that seed of an idea developed into the final film. I thought the idea was pretty unique so that really motivated me to see it through to completion over the years it took!
2. From the idea to the finished product, how long did it take for you to make this film? I conceived the idea in 2017 and began research and development of it for my Honours year in 2020. But we all know what happened that year. There were going to be heavy COVID restrictions imposed on our film sets so I decided to flee back to my hometown until the lockdowns subsided. I returned to Melbourne to finally complete the production in Oct 2022 – Feb 2023. So realistically, even though the process took all those years to finally complete, the actual time spent on it was approximately 7-8 months.
3. How would you describe your film in two words!? Unexpected, Whack
4. What was the biggest obstacle you faced in completing this film? The Covid pandemic for sure, plus the constant rain during production, as well as the long hours spent completing all the VFX solo.
5. What were your initial reactions when watching the audience talking about your film in the feedback video? I honestly thought it was pretty incredible, almost surreal hearing people from another country comment on and more excitingly, seem to enjoy my whacky little film! It was really great and insightful listening to people say they dug the details that you put so much time, research and effort into!
6. When did you realize that you wanted to make films? When I was in year 9. I originally thought I wanted to be an actor, growing up in a small town, there were very few opportunities to act so I started making youtube videos to practice, through this process I discovered that I found it much more endearing being behind the camera than in front of it.
7. What film have you seen the most in your life? If we’re talking about my entire lifetime, I’d say Star Wars II: Attack of the Clones. If referring to my adult life, I’d say Two Hands.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career? Honestly, the fact that you guys provide these feedback videos is awesome, and is certainly what drew me to screen my film with you! Especially as someone that is fresh out of uni and can’t necessarily afford travelling to film festivals.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? I love FilmFreeway! It’s so good having everything available in one place! Saves on a lot of the research time!
10. What is your favorite meal? Burritos
11. What is next for you? A new film? For sure. I’ve made up a bit of a roadmap of what I’d like to achieve over the next few years and next up is either an action short or a horror short about a drag queen. I’m thinking more likely the latter because action is very expensive.
MARION GRUBER: PREPAREDNESS IS PREVENTION, 30min. USA Directed by Donald Rayne Mitchell Dr. Marion Gruber is a world-renowned expert in vaccine development, regulation, and licensure. She worked at the U.S. Food and Drug Administration (FDA) for many years, serving as the director of the Office of Vaccines Research & Review (OVRR) from 2012-2021. In this short film, Dr. Gruber and several of her colleagues describe their efforts to ensure that life-saving vaccines were available during some of the most recent and well-known public health emergencies and why preparing for the next infectious disease threat is critical.
In collaboration with the Vaccine Education Center at Children’s Hospital of Philadelphia, I helped to create the educational initiative we call the Vaccine Makers Project (VMP). The VMP is made up of K-12 curricula which are supported by a variety of films and animations, the feature documentary, HILLEMAN among them. From the beginning, one of our goals with the project has been to put a human face to the science of vaccines. There’s a lot of noise out there around vaccine science but at the heart of the conversation are people that, in many cases, have dedicated their lives to protecting their fellow human beings through the prevention of disease. Marion Gruber is one of those people and her inspiring career is what motivated us to make this film.
2. From the idea to the finished product, how long did it take for you to make this film?
In the summer of 2022 we were exploring the idea of making a film about Operation Warp Speed, the government program that made the rapid development of the COVID-19 vaccines possible. But it didn’t take long to realize that we just didn’t have the budget or the people power to do justice to that subject. During the course of that research, however, we were fortunate enough to interview Dr. Gruber and the more we learned about her involvement in not just the COVID-19 pandemic, but the 2009 flu pandemic and the Ebola outbreaks in the mid-teens, the more we felt that her story was one the world should know about. My first interview with Dr. Gruber happened in mid-September, 2022 and we finished the film by mid-April, 2023.
3. How would you describe your film in two words!? “Tempered urgency.” Think about what’s at stake when an infectious disease strikes. Lives are being lost with every passing minute. To stop those lives being lost we must act with urgency, but not with haste, because if we’re not careful our actions could cause more harm. Dr. Gruber and her colleagues understood both the urgency of shielding the public from the COVID-19 pandemic and simultaneously protecting the public from unproven products. They met that massive responsibility by tempering their desire to act fast with their need to rigorously evaluate the science. And they did that admirably!
4. What was the biggest obstacle you faced in completing this film? Imagine what happens on a daily basis at the FDA; maybe a meeting with your staff in the morning, a catch-up over lunch with a colleague, lots of phone calls and Zoom calls and then probably another meeting or two in the afternoon. Ebola is wreaking havoc in West Africa and you’re saving the world by having one meeting after the next. That’s not a very visually exciting story to tell. (And by the way, the FDA doesn’t video record all their meetings anyway so good luck finding archival footage of your subjects doing their jobs.) So as a filmmaker telling this story, the biggest obstacle was finding the visual language to convey the drama and the stakes that were at play in the work of Dr. Gruber and her team. We found that visual language primarily through news footage. And even though our protagonist wasn’t the subject of that news footage, our antagonists were, and that’s what drove our story forward.
5. What were your initial reactions when watching the audience talking about your film in the feedback video? Honestly, the audience reactions to the film were exactly what I would hope for; that realization that scientists working in public health are people just like us, and that they have families and they’re in this boat with us. If there’s one thing we need right now it’s more faith in each other. I think a film like this reminds you that institutions are made up of people, and that most people strive to be the best they can be and want to help where and when they can.
6. When did you realize that you wanted to make films? Like every filmmaker that grew up in the 1970s, I knew I wanted to make films when I saw Star Wars for the first time.
7. What film have you seen the most in your life? In high school I worked as an usher, then a projectionist at the local movie theater. The cinema had two screens so I spent a lot of time managing the various movies that were running. But in between shows I would stand in the back of the theaters and watch the films. Raiders of the Lost Ark was one of the movies we hosted during that time and so I’ve probably seen that movie more than any other during my lifetime.
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 New York SCIENCE & NATURE FEEDBACK Film Festival is doing it right by bringing the festival experience into the virtual theater. It’s great to be able to experience a film with others in the same room but so often in today’s world creating that experience is really hard or even impossible. And that’s when this kind of experience is invaluable, not only to support filmmakers but to also create community around important subjects. Anything you can do to bridge that gap between the theater and our living rooms is so appreciated.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? Nothing but good things to say about both FilmFreeway and the New York Science & Nature Feedback Film Festival!
10. What is your favorite meal? Chicken Korma w/ rice, Chana Masala and Naan 🙂
11. What is next for you? A new film? I’m just finishing a short illustrated animation about the History of Vaccine Science in Pennsylvania and continuing to develop a feature film project based on Bill Foege’s book, House on Fire: The Fight to Eradicate Smallpox.
APHASIC DREAM, 24min,. Bolivia Directed by Leo Rojas Fernando, a guy with a messy life, starts having strange dreams of a kid in an abandoned warehouse.
– My main motivation is to make Bolivian films to be recognized worldwide, I want to show the quality of stories we can tell.
2. From the idea to the finished product, how long did it take for you to make this film?
– Approximately 4 months.
3. How would you describe your film in two words!?
– Opportunity and proud.
4. What was the biggest obstacle you faced in completing this film?
– The money, we had no much money and that limited us to many things that we wanted to do. But I think we managed to deliver a very good job with the little budget we had.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
– I was very proud and happy to see that other people enjoyed my short film, I think that’s the most beautiful thing about filmmaking.
6. When did you realize that you wanted to make films?
– Since I was 11 years old, I knew I wanted to dedicate my whole life to make films.
7. What film have you seen the most in your life?
– The Lord of the Rings trilogy
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
– Maybe record the reaction of the audience while they are watching the short films.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
– It is a very comfortable and easy to understand platform, quite intuitive.
10. What is your favorite meal?
– Lasagna
11. What is next for you? A new film?
– I will continue to make a few more short films, until I get the opportunity to make my first feature film, after that, I will not stop.
OJUE, 13min,. USA Directed by Fernando Alberto Broce A panamanian fashion designer living in the US, who is embarrassed about her culture, is forced to bring her dad with dementia (who is convinced that he is still in Panama) to her most important exhibition.
Get to know the filmmaker:
1. What motivated you to make this film?
Since I moved to Los Angeles two years ago, I have felt a great nostalgia for my country, Panama. I wanted to tell a story whose characters would reflect this. I wanted to tell a story that would serve as a collage of the things I miss most about my country.
2. From the idea to the finished product, how long did it take for you to make this film?
It took about three months writing it, four months of pre-production, 7 days of filming, and four months of post-production. In total, almost a year.
3. How would you describe your film in two words!?
Panama, identity.
4. What was the biggest obstacle you faced in completing this film?
The last two minutes of the short film were definitely the most challenging. Replicate a festival like the “Thousand Skirts”, with more than thirty women arranged with the Panamanian skirt, shooting inside the lock in the Panama Canal, shooting with a band of more than seventy members. Undoubtedly, that final montage was challenging but the best thing that could happen to the short film.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was very happy that even though this is a story with Panama in the middle, the feeling was effectively transmitted to the audience of this festival, despite the fact that they were from other parts of the world.
6. When did you realize that you wanted to make films?
When I was little I watched an astronaut movie and spent a month wanting to be an astronaut. Then I saw one about writers and I wanted to be a writer. Then about lawyers, about doctors, etc. at the age of 13 I realized, that what I wanted was to make movies.
7. What film have you seen the most in your life?
Her, The Swiss Army Man, Interstellar.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
To have the recording of the audience reacting was more than enough. The more spaces we have to see and talk about the reactions of our work, the better.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Very easy and smooth!
10. What is your favorite meal?
Octopus ceviche.
11. What is next for you? A new film?
Currently writing my first feature film as writter and director. Also working daily as an editor and production designer
DISMISSAL TIME, 29min,. USA Directed by Andre Joseph When a black high school student in a reputable prep school becomes the victim of a vicious form of cyberbullying, his history teacher makes it her mission to bring those responsible to task when the administration fails to act. Inspired by true events.
Get to know the filmmaker:
1. What motivated you to make this film?
I experienced racially-motivated bullying as a high school freshman where I was one of the few black students in my class. For years, I tried to suppress the trauma privately even though there were times I was uncomfortable in my skin. When the murder of George Floyd in 2020 sparked a national reckoning on race relations in America, I felt motivated to speak about my experience through film and I began to write Dismissal Time that summer inspired by my history.
2. From the idea to the finished product, how long did it take for you to make this film?
It was roughly one year of rewrites plus fundraising through the non-profit organization Fractured Atlas. Once it was cast and the crew was assembled, we shot 4 days in October 2021 in locations around Philadelphia and South Jersey. Then it was 6 months of post-production work.
3. How would you describe your film in two words!?
Social responsibility.
4. What was the biggest obstacle you faced in completing this film?
Filming during the pandemic. It created some limitations as far as the amount of student extras we could have on set among other factors. Luckily, everyone played it safe by taking precautions and following COVID protocols in all locations.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
For the most part, I felt the audience members who spoke gave a fair assessment of the film. The most important part of their feedback was how they could relate to the situation at hand and saw the importance of taking a stand when an injustice gets swept under the rug.
6. When did you realize that you wanted to make films?
Probably at 10 years old when I used to play with my cousins at our grandmother’s Brooklyn apartment and begged our late uncle to use his video camera. It motivated me to write a wish list of ideas I wanted to make as movies until I finally owned a camera at age 14.
7. What film have you seen the most in your life?
Great question! There are so many to choose from! If I had to choose at least one, it might be the original RoboCop. The effects and the story themes still hold up today.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
More networking opportunities and helping filmmakers find ways to raise funds as well as educating us on successful distribution outlets.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
It’s generally good from the standpoint of keeping all submission materials streamlined and reviews help to separate legit festivals from bad ones. Though FilmFreeway could do better on weeding out illegitimate festivals that aim to rip off the filmmakers financially.
10. What is your favorite meal?
A nice grilled sirloin steak with extra veggies.
11. What is next for you? A new film?
I’m in post-production on my next feature THE LAST VENDETTA which is the third and final entry of my trilogy that began with DISHONORABLE VENDETTA and VENDETTA GAMES which you can find on Amazon as well as Tubi. Additionally, I’m reworking a Western idea I have into a web series and a few other scripts I’m currently preparing.
The remarkable, dystopian film HOLE PUNCHED EAR, employs cinematic filmmaking techniques that make the audience long for more from this short narrative. The story begins strong, with heavy rain pouring over a skyscraper that is later revealed to be a prison. Something bad is about to happen, the score and graphics set the stage to the point that if everything turned out okay, it would be a surprise. Fortunately the filmmakers, Alan Yammin and Ben Tull, do not disappoint.
The futuristic setting is apparent within the first minute of the film, when Zorina’s arm displays a timer counting down that is imbedded into her skin. It’s not quite clear how this is possible, but it feels normal within this universe to the point that writing with a pencil and paper feels out of place. This gives the feeling that Zorina is very much out of her element within the prison as she awaits execution for a crime that in not revealed within the film.
This film could easily be turned into a feature film as the narration and visual cues leave the feeling of Faye desiring justice for her sister. It feels as if more is yet to come, while also being complete as a short film. It gives a cinematic feel with fantastic direction and acting. The beginning to the end makes this film intriguing, peaking curiosity with the desire to explore more of this particular universe.
Yammin and Tull were able to tackle the premise of leaving the audience wanting more of this story. The set up of the universe is almost at an expert level, with stellar graphics and wardrobe to contrast the old world that Zorina is from despite the fact that she is about to be executed in this futuristic, dystopian society that is hell-bent on controlling people.
Hope. Inspiration. Freedom. All these words conjure powerful feelings and we each define what these things mean to us. What inspires you? What gives you hope? What is your idea of freedom? These three words are the best way to describe Barbette & Fontaine – hope, inspiration and freedom.
Directors John-Carlos Estrada and Zak Zeh did an amazing job with this film. As did Thomas Swafford with his sensational cinematography work. They honored a trailblazer in the entertainment industry, Barbette. She paved the way in the early 1900’s by embracing the freedom to be herself and gave countless others inspiration and hope. One of those individuals is Cynthia Lee Fontaine, a wonderful drag performer. There have been so many parallels in Fontaine’s life to Babette’s and the struggles they both faced and overcame.
This film is so beautifully and artfully done. You can’t help but be inspired, hopeful and to remember that freedom of expression is a form of love… and love always wins.
A typical suburban neighborhood is plunged into a nightmare as an invisible, monstrous force begins picking the neighbors off, one by one. The terror outside the house is no match to the terror that forms inside the house where survival, isolation, and hunger all play tricks of the mind for a man, an expectant wife, and their unborn child. The film begs the big question and the great reveal – What is eating the neighbors?
“Sparrow Street” takes bold strides in the eerie footsteps of Darren Aronofsky’s “Mother!” by transcending unconventional horror tropes and delving into a narrative rich with allegorical depth. Directed by Billy Jack, the film invites audiences to navigate a world where horror extends beyond the supernatural, into the intricacies of human existence in the dark side of nature.
At the heart of the film lies a compelling gluttonous metaphor, encapsulated by the theme of aggressive eating and discussions about the poisoned state of our food supply. The script artfully explores questions about what defines a healthy diet and the reflections of our dietary choices to our very identity. In a suburban neighborhood where the wind becomes an antagonist, forcing people indoors, the movie builds a mysterious universe where something is in the air, leading to the demise of neighbors.
The initial gluttonous perception of food, the sustenance of our bodies, creates a sense of urgency and desperation among the characters. The narrative follows a couple expecting a child, emphasizing the consequences of their gluttonous choices that push them into perilous territory. The film takes a grim turn when heinous situations unfold within the confines of their home, ultimately resulting in the tragic death of the wife and the harrowing delivery of the baby from her corpse.
“Sparrow Street” masterfully portrays the theme of sacrifice when faced with the bleak reality of having nothing left to live for. The protagonist’s journey reflects the resilience to keep going despite overwhelming despair. A pivotal moment of salvation arises as an apple lies at the end of the bed, challenging conventional perceptions of perishables in an apocalyptic setting. The temptation of the apple, stolen by another, foreshadows the characters demise, drawing a poignant parallel to the biblical story of Eve eating the forbidden fruit.
The film expertly weaves a sense of refuge into its narrative, evolving into an anxiety-driven environment years later. The passage of time provides a glimpse into the future for the main characters, now navigating a world where their baby has grown, walks, and receives an education even. The palpable weight of anxiety in the air resonates, mirroring the real-world experiences of a society emerging back into function from a pandemic. “Sparrow Street” subtly encapsulates the emotions and challenges faced collectively without explicitly stating the parallel to our shared community experiences.
“Sparrow Street” is a thought-provoking cinematic exploration transcending the horror genre, blending allegory with suspenseful storytelling. Billy Jack’s direction, coupled with a poignant script, delivers a film that not only chills but also prompts reflection on the complexities of human choices and the enduring effects of societal upheaval.
A showcase of the best new movies and their respective trailers from around the world today.
AUDIENCE AWARD WINNERS:
Best Story: CANEPA´S ROAD BRIDE Best Editing: WAIT Best Direction: THE MEMORY OF MY HEART Dance Trailer: THE TIDES Student Trailer: DEAR FORGIVENESS Music Video Trailer: FEARLESS Thriller/Suspense Trailer: THE BATON ROUGE SERIAL KILLER Crime/Mystery Trailer: THE D WORD Comedy Trailer: OMG! THE CAPTAIN IS HERE Mockumentary Trailer: THE END OF DAYS Sci-Fi Trailer: BLACK HOLE Mythological Trailer: SICK TWISTED FAIRIES Supernatural Trailer: DELUSIONAL STATE Documentary Trailer: DREAM BIG FOR WHAT YOU WANT TO HAPPEN Horror Trailer: ABHORRENT
See the Full Lineup of Films:
THE TIDES, 2min., Directed by Sophia Williams The beginnings of a movement to amplify the under-heard voices of dance. Created and directed by female Cypriot/New Zealander artistic director, Sophia Williams, and choreographed by Leiland Charles on the Artists of Pointeworks.
DEAR FORGIVENESS, 2min., Directed by Lawrence Dumas Jr. A young and successful entrepreneur is about to launch one of the biggest deals of his life. This deal will put him in the top 1% of the business world. He is striving to honor his mother Sunshine Sandison who passed a year ago. Jaden deals with grief and resentment towards his father Brian who left during Sunshine’s sickness. This is hindering Jaden from completely locking in on the upcoming brand launch.
FEARLESS, 30 seconds Directed by Asel Suluu Our project is a celebration of women’s empowerment, uniqueness, and freedom. It revolves around a fearless female persona who boldly embraces her freedom and refuses to be constrained by boundaries, prejudices, or stereotypes. Her belief is simple but powerful: YOU are in charge of your life, do what you love, and be fearless.
THE BATON ROUGE SERIAL KILLER, 3min., DIrected by Bishop Stevens This film unravels the haunting true story of the first African American serial killer, Derrick Todd Lee, whose chilling reign of terror spanned from 1993 to 2003 in Baton Rouge, Louisiana. The film exposes a dark chapter in history where racial bias shields a cunning predator, challenging investigators and the community.
OMG! THE CAPTAIN IS HERE. Part 2, 1min. Directed by Anaëlle Morf, Cristina Müller A TikToker explores a haunted boat. Part 2. anaelle.morf@gmail.com
THE END OF DAYS, 1min., DIrected by Jonathan Christopher Martin-Ives In this mock trailer, a British teenager, gifted with clairvoyancy seeks to warn anyone who will listen to her about an impending alien attack. She falls on deaf ears.
BLACK HOLE, 3min., Directed by Jim Territo A Space Probe reflects on all it’s learned and lost as it drifts into oblivion; a “Space Cowboy Ballad”. Michael-Leon Wooley, vocals. Proof-of concept for a full-length animated feature.
WAIT, 1min., Directed by Jared Jacobsen, Lorena Diaz A man and a woman suddenly find themselves alone in a vacant lot and neither can remember how they got there.
KUINERRAQ, 4min., Directed by Magnus Shipe A young seventh grader explores the heritage of his maternal grandma through this glance at a Yu’pik village and his Native Alaskan roots.
IF HUMANS WERE PLASTIC BOTTLES, 2min., Directed by Muhammad Wafri Zaidani Telling the feelings of a plastic bottle if it was a human.The film becomes a powerful allegory for environmental sustainability, urging viewers to reflect on their own habits and consider the long-term consequences of a throwaway culture. “If humans were plastic bottles” delivers a poignant message about the importance of individual responsibility, collective action, and the need for a more sustainable way of living.
SICK TWISTED FAIRIES, 3min., Directed by Marisa L. Williams Original music from the motion picture “Demons Among Us” by Thorisaz, Joshua Brian Knight, and Ras Shomari; featuring Flying Veda and Morgan as dark fairies.
THE MEMORY OF MY HEART, 2min,. Directed by Marc Martinez In a quest for healing, a bereaved child psychologist uncovers a sinister secret buried within her patient’s new heart, leading to a dramatic crusade for justice amidst a backdrop of unspoken tensions.
GONE WITH THE WINDSHIELD, 2min., Directed by Lawrence Riggins Crash Test Dummies bust out of their car factory to rescue one of their own. From the Award Winning Screenplay.
CANEPA´S ROAD BRIDE, 2min., Directed by Victor LANGUASCO There is a popular legend “The bride of Canepa’s Road” which was spread among the northern towns in Argentina a long time ago, similar to a Latin American legend called “The Moaning”.
Músika, 4min., Directed by Alberto Herrera A delightfully harmonic tale of the origin of music
ROBOT ASTEROID, 1min., Directed by Paul May A trailer for my sci/fi horror screenplay.
DELUSIONAL STATE, 3min., Directed by Trelanda Lowe Following a near-fatal accident at a party, Ryan McDillon must resolve his issues within thirty days according to Angel and Mr. Grim over a work-related bet the two have together. Ryan must make amends among the people in his life. He must maneuver through his dysfunctional family, a pregnant girlfriend, hiding his boyfriend from his girlfriend, dealing with his long-time best “friend” who only wants to keep Ryan in the party world for selfish reasons, navigating painful PTSD memories from his childhood pastor, and battling sobriety.
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.
ABHORRENT, 1min. Directed by Anthony Buziak A smalltown deputy must discover the source of a recent slew of animal attacks
Festival Reviews 