HOME, 30min,. USA
Directed by Sue Schroeder, Adam Larsen
Filmed in France and Poland, Larsen and Schroeder, alongside an international community of gifted artists – from Columbia, France, Germany, Israel, Poland and the US- seek to create connection, impact, and meaning through a visually rich and poetic experience of beauty and loss, tenderness and urgency, action and recognition, mirroring and magnifying light. The work is gentle and steadfast, sharing and protecting life and in its surest moments, revealing the “we”, instead of the “I”.

Get to know filmmaker Sue A. Schroeder:

What motivated you to make this film?

Adam Larsen and I have collaborated on a number of projects with one or the other of us taking the lead. For HOME, we chose to start with a “shared” idea, tied to our kindred artistic vision – beauty and nature. An urgency developed as the climate crisis raged on. Activating empathy in our viewers, a “felt” sense became all the more important – hence the personal stories and human figure within the film.

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

Curiosity and amazement – how each viewer has their individual experience of the film and yet all are true.

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Watch the best scene reading: https://www.youtube.com/watch?v=pbYF3iAqTGE

A newlywed couple takes on a one time gig to make ends meet and wind up creating America’s very first sitcom in the process… based on a true story.

Get to know the writer:

What is your screenplay about?

This is easily the hardest question – there’s so much to say about this!

This screenplay is a based on the true story of Mary Kay and Johnny Stearns, a couple of Broadway-bound newlyweds living in New York City during the dawn of the small screen. It’s an interesting time to be sure – post WWII, there are less TV sets in the U.S. than residents in all of of Manhattan. There’s more dead air than actual programming, and anything that does make it to air is done live. The pair manage to get their hands on 15 minutes of precious air-time, and are given carte blanch to make something great with it. They have no idea what they’re doing… but, then again, neither does anyone else! What they come up with is a show about their lives, featuring them as, well, themselves. In doing so, they accidentally create America’s very first sitcom, breaking barriers that would soon be too taboo to show on screen, from sharing a bed, to sharing a child years before I Love Lucy and The Munsters.

… And yet, nobody knows about it!

The reason for this is multifold. Some seasons weren’t recorded at all, or were recorded with lackluster equipment. Years later, company takeovers resulted in entire reels being thrown out. Of 300 episodes, only one remains.

What I’m proposing is a show about the making of this show. This screwball dramedy miniseries would follows the three season timeline of the original, and be in the vein of The Marvelous Mrs. Maisel, but with the self-awareness of Kevin Can Fuck Himself.

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PLASTIC TOURISM, 18min., Indonesia

Directed by Ira Setiawati

“Plastic Tourism” is more than a documentary; it challenges viewers to confront uncomfortable truths. It is a call to action and testament of the delicate balance between human leisure and environmental responsibility.

Get to know the filmmaker:

What motivated you to make this film?

There are many plastic trashes on beaches & we have tried hard to solve it by many ways but not effective enough to solve it. So we hope this movie can open eyes of many tourists, business people on beaches, government & local people to be aware more about these plastic trashes & together solve it well.

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

I was so touched & happy that other people in other part of earth appreciate this movie well & pay attention to the earth’s critical condition at this moment.

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AFTERMATH, 10min., USA
Directed by Nevin Bolla
In a post-apocalyptic world, two survivors are caught in a tense struggle within a decaying building. As they confront their harsh reality, a siren signals the end of a critical survival round, forcing them to grapple with their fears and fleeting hopes.

http://www.nevinbolla.com/
https://www.instagram.com/nevinbolla/

Get to know the filmmaker:

What motivated you to make this film?

I’ve always been fascinated by post-apocalyptic worlds where humans are forced into these intense fight-or-flight situations. When I started writing Aftermath, I wanted to bring that vibe to life while still keeping it character-driven. The idea was to make the world feel bigger than what’s shown in the short, like a teaser for something larger. With limited time and budget, I couldn’t dive into elaborate effects or massive world-building, but I could hint at it.

The goal was to test the waters for a story that could expand, maybe even into a series someday. I drew inspiration from I Am Legend, Hunger Games, and Squid Game, mixing the best elements to create a mysterious world that leaves the audience with questions, not about what’s happening to the characters in the moment, but about the world itself. That’s the kind of storytelling I love, where curiosity keeps people hooked.

How did it feel to watch the audience feedback on your film?

It made me smile. My goal is always to create something magical, and hearing people talk about the creativity in the shots or the direction was so rewarding. No film shoot goes perfectly, we had our share of issues, like reworking shots or cutting things in post. But seeing the audience still connect with the world we created and appreciate its originality was incredible. It’s moments like that that make all the effort worth it.

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Watch the best scene reading: https://www.youtube.com/watch?v=-7fvjESla-Q

Get to know the writer:

1. What is your screenplay about?

Maggie May is a story about falling in love with your best friend and the fallout of that experience. This theme is set to the background of a female fictional rock band.

2. What genres does your screenplay fall under?

Maggie May is a drama but could be considered as a coming of age sub genre. It can be considered a musical as well.

3. Why should this screenplay be made into a movie?

Whether or not you are queer, many people share the experience of falling in love with a best friend. Maybe that’s worked out, but often we have experiences with unrequited love. Additionally in these times, it’s more important than ever to highlight unabashedly queer stories.

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BUBBLING SYNAPSES, 4min,. France
Directed by William Eguienta
An idea… needs space, time & love to grow…
But, at what cost? Your friends ? Your wife ? Your kids ?
Of course not, it needs to be set aside, in a bubble, waiting for the right moment…
The wait is long, too long… This must emerge from its bubble, it must come to life, now !

https://www.imdb.com/title/tt31189065

Get to know the filmmaker:

What motivated you to make this film?
I wanted to test 2d animation for the first time. so i was thinking about a subject that doesn’t need speaking characters, but with a strong emotional impact. 48 hours later, the script was written and I was starting working on a storyboard. It’s an impulsive creation, no filter, no overthinking, just pure expression of what’s in mind

What were your initial reactions when watching the audience talking about your film in the feedback video?
This kind of film is always strange to evaluate. it’s depends a lot on who is the viewer more than an exact message the filmmaker try to spread. I was happy to see that they all catched the poetry behind images and sound to serve the story as an intense experience my film don’t hold the viewer by the hand, and everyone seems to understand subtilities in Bubbling Synapses’ metaphores, that help me to see and confirm ways to communicate emotions visually, so it’s a really important thing to me.

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REMEDY, 30min., USA
Directed by Pat Mitchell
An intelligence agent must relive his past to remedy a mistake he once made.

https://www.imdb.com/title/tt2147487/

Get to know the filmmaker:

I love Sci-fi Films. Not just any sci-fi films but the surreal ones. The films that blur the lines of reality and fiction.

Films with heavy degrees of realism are my kind of films. Science fiction by definition is the belief that using science can explain what we can’t explain.

I have always been intrigued by how far reality can be pushed before becoming fantasy. Once you can’t explain your story grounded in science, your film is fantasy.

Don’t get me wrong. Fantasy can be intriguing but it comes at face value at times. Basically any existing nature leaves unexplained like fully industridalized extraterrestrial planets, Middle Earth, magical beings.
But nothing tops an imaginative story with its limits bound to what is right outside your window. Star Wars vs Star Trek debates always come to mind.

There is a major disconnect between the real world and Star Wars. As much as I love those movies, I prefer the rooted reality of Star Trek.

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LIVE FROM THE GENEVA!, 13min,. USA
Directed by Nick Leahy
Amidst the hysteria of the Red Scare in 1953 Chicago, a nightclub staff becomes entangled in a political scandal when their star performer’s iconic red-and-gold pocket square becomes the focal point of media chaos.

https://www.themoviedb.org/movie/1295719-live-from-the-geneva
https://www.instagram.com/livefromthegeneva/

Get to know the filmmaker:

What motivated you to make this film?

I wanted to write a story that tackled themes of misinformation on the Internet, and especially how they influence our beliefs socially, politically, and economically. And I wanted to sort of find a good way to wake people up to sort of what’s been going on around them by comparing that period in which we live in today to that of the Red Scare, and sort of show a compare and contrast between what we know as a terrible period of American history and the Red Scare, and sort of seeing if there is anything we can really learn from it and apply to towards misinformation online today in order to not repeat the same mistakes that we may have already learned in the past.

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

It was kind of crazy, because I hadn’t heard direct feedback before from people outside my friends and family, so I was a little nervous to see what people would say. But generally, the comments were very nice, and people said that they liked a lot of the stylistic choices and themes. They liked the creativity behind the project, which I am really grateful for. I think I got my message across in a good way. So that’s always good news. And yeah, I just appreciated all the kind words.

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Watch the 1st scene script reading: https://www.youtube.com/watch?v=urypTjeGVRY

After a twister rips a biker bar from its foundation, two rival biker gangs crash land in the mythical land of L. Frank Baum’s tales. Thinking they know the story, the two foes quickly unite, but encounter forces that they don’t know as well as they thought. In this Adult Swim style animated show, think of Sons of Anarchy surviving the twisted land of Oz. May also be live action.

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WIN/WIN, 5min., USA
Directed by Rafael Puga Valega
A group of friends gathers to drink beer and play cards after their national football team suffers a tough defeat in a tournament. While playing one of them mentions an interesting idea on how to confront the team situation

https://www.imdb.com/title/tt32642576/?ref_=hm_rvi_tt_t_1

Get to know the filmmaker:

What motivated you to make this film?

I basically wanted to start my first steps as a filmmaker with a short film that wasn’t difficult (or too difficult) to produce and that also had a short runtime. This story fitted well with that.

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

I was afraid of hearing them at first, but I had already seen the film had won an award for best story so I felt they were going to be mostly positive. And I was glad after hearing them most of the time! Still I have to admit I heard them in low volume for the first time just in case hahaha. But I think that’s my way when dealing with reactions or reviews.

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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?

What motivated you to make this film?

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.

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12 ANGRY LESBIANS, 22min,. Canada

Directed by Patrice Leung

A comedic riff on '12 Angry Men' set in the early 1990s, featuring a group of lesbians stuck in their team's annual softball meeting. This short film explores the diversity within 'diversity', and its tortuous need for democracy to triumph at all costs.

Conversation with Patrice Leung about her foray into narrative short film after an unbelievable 40-year career as a First Assistant Director.

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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.

https://www.instagram.com/jonathanderksen/

Get to know the filmmaker:

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.

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SKATE FAST TURN LEFT, 1min., USA
Directed by Mary Hawkins
Two friends, Fifi Fleshwound and Little Mary Switchblade, have a quick conversation about their roller derby years…

http://tookaturn.com/
https://www.instagram.com/thngstookaturn/

Get to know the filmmaker:

What motivated you to make this film?

My friend Andrea came up with Things Took a Turn, and I’d wanted to submit ever since I’d heard about it. It’s an animation anthology for women and gender minorities, and it just sounded like good weird fun… I told Fifi about it, since I’m not a writer-of-things and she is, and we chatted a bunch about ways to react to the prompt for that season: the End of the World. We’d meet in a diner, talk for about fifteen minutes about how we were going to approach the project and then veer off into old derby gossip. Eventually, I told her that we needed to nail things down and while we were at it… why didn’t we make the film about us and our experiences. We’d been coming up with little fictional scenarios, but our actual experience was better and more interesting. We’d put years of work into roller derby. It’s an all-consuming hobby and a really interesting community.

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

I loved the reactions! People put so much love and thought into their feedback and I really enjoyed hearing what they had to say, especially since most of the people who’ve talked to me about my film have been people I already have a connection to, either because they’re friends or also played roller derby or live in NYC. To see that total strangers were also interested in my film and really got what it was about really made my morning. My movie is only 45 seconds long. so nearly any description of the film is longer than the film itself.

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Hannah Enhman chats with Canadian actor J.C. Williams about his leading role in the feature film “Home Swiss Home”.

HOME SWISS HOME, 72min., Switzerland
Directed by Geert Smets
Mike, a defiant New Yorker, is left by his girlfriend Julie, who argues that he doesn't have the necessary means to provide for the future family she so desperately wants. Determined to win her back, he sets out to secure his long-awaited promotion.

Follow Interviewer Hannah Ehman on Instagram: https://www.instagram.com/ehmanhannah/

Watch Hannah’s national commercial spots: https://www.ispot.tv/topic/actor-actress/bP8/hannah-ehman

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TRUE ROMANCE, 29min., Canada
Directed by Katherine Costal
A lovesick teenager tries to rekindle her relationship with a past boyfriend by inviting him to a surprise party, only to discover the harsh truth behind their romance and the love lives of the guests.

https://www.instagram.com/kat_costal/

Get to know the filmmaker:

What motivated you to make this film?

I got the idea for it after watching other people’s love lives, and seeing all the emotionally immature and unaffectionate behaviours they encountered. I noticed that a lot of people fall into these kinds of relationships but it happens most commonly to the younger crowd. I wanted to depict some of those dynamics from an outside perspective and show what observing the dating culture can look like. I think that when you’re in your teens and early twenties, love and romance can be too serious of a thing for you to know how to navigate, so your early relationships will likely end badly. For that reason I think it can be difficult to find love in the world when you’re a hopeless romantic. At the same time, there’s societal pressure to begin dating at a young age, and that pressure’s just not necessary when it’s perfectly okay to be single and use that time to understand yourself. I wanted to tell people that they shouldn’t be disheartened by the hurtful or incompatible behaviour they may experience, and that they should wait for the person that satisfies the idea of romance they have.

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

I enjoyed hearing the audience’s thoughts and what they each took away from the film. I especially appreciated how a lot of them identified the types of relationships I was depicting and I hope that they understood the satirical nature of this film. It was fun to see them react to the conflicts and listen to how they perceived the surrealistic way the characters talked and behaved. I had speculated before what viewers would think of the semi-surrealism that I put into it so the feedback video is very helpful to me in gauging that. I really liked how each of them seemed to have their own favourite thing about the film and it’s nice to hear their opinions.

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Watch the Screenplay Reading: https://www.youtube.com/watch?v=JcVED8gwsec

https://www.instagram.com/saraheedmonds/

G-man and Greg are just two guys trying to get through the day by doing the bare minimum. However, when a vampire hunter appears at their place of business, the pair start to suspect that their sunscreen-loving coworker Kevin is her target. After a few near-misses with the hunter’s traps, G-man and Greg decide to put their lives on the line to save Kevin from her murderous plot—even if he is undead.

Get to know the writer:

What is your screenplay about?

“Kevin’s Not Dead” is about two small town mechanics who are suddenly roped into helping a Romanian vampire hunter fulfill her quest for revenge. However, when her target turns out to be their strange but seemingly harmless coworker, they start to question whose side they’re really on.

What genres does your screenplay fall under?

This screenplay is a horror comedy (emphasis on the comedy).

Why should this screenplay be made into a movie?

I’m a bit biased, obviously, but I think the biggest draw for this screenplay in terms of production value is just that it’s fun! This screenplay offers a campy take on the vampire film that offers a nod to the classics while also keeping a more lighthearted contemporary tone throughout that I think works well for attracting both horror and non-horror fans alike. It’s a relatively self-contained script, as well, which is hopefully appealing in terms of set and budget demands. I think it strikes a good balance of being a low-budget option with a fairly broad audience appeal.

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RESURRECTION UNDER THE OCEAN, 3min., Turkey, Experimental
Directed by Serkan Aktaş
“Resurrection under the Ocean” is about the resurrection of a man who was helplessly sinking to the bottom of the ocean, after falling to the bottom of the ocean, with a symbolic narrative.

Get to know the filmmaker:

What motivated you to make this film?

“Making Resurrection under the Ocean was driven by a deep personal and creative desire to explore themes of human resilience and transformation in the face of adversity. The ocean has always been a powerful metaphor for the unknown, for both the depths of the human experience and the mysteries that lie beyond our comprehension. I wanted to create a story that reflected the fragility and strength of life, much like the ocean itself—where vast, powerful forces exist beneath the surface, often unseen.
The inspiration also came from my fascination with the idea of rebirth. In many ways, the ocean represents a kind of infinite possibility, a place where life can be both created and destroyed. This duality resonated with me on a personal level, and I wanted to explore the transformative power of human experience, especially in the face of environmental change and the shifting tides of society.

The film also stems from my love of storytelling that combines both the physical and emotional realms. The underwater setting allowed me to visually convey feelings of isolation and survival, while also diving deep into the psychological effects of confronting the unknown. Ultimately, Resurrection under the Ocean is a reflection on human survival, connection, and renewal, all set against one of the most powerful and mysterious forces in nature.”

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

“Watching the audience react to Resurrection under the Ocean in the feedback video was both humbling and exciting. It was incredible to hear their thoughts and to see how the film connected with them. The feedback was deeply insightful, and I was moved by the emotions it evoked. It reassured me that the story resonated with people, and it reinforced my passion for filmmaking.”

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STRING HEAD, 7min., USA
Directed by Matthew Vargas
A man in bed, after failing to fall asleep, is forcefully kept awake by String Head – an entity made of string that psychologically tortures him by wrapping him in a cocoon made from the deepest, darkest thoughts of his mind.

Conversation with director Matthew Vargas & Cinematographer Ryan Wilson Subscribe to the podcast:

Get to know Matthew Vargas

What motivated you to make this film?
One night at 3:00 AM I had a vision of String Head walking into my room. A thread of red string was on top of me. Thinking of String Head at the end of my bed was a creepy fascinating image – I had to make it and explore it. I also wanted to push the boundaries with Production Design as I never have before and use it to really convey symbolism and tell a story.

What were your initial reactions when watching the audience talking about your film in the feedback video?
I love the reactions and I feel so giddy about the different analyses. The positive reaction to the final song made my sound designer, Rochelle, very happy as they wrote + sang the song themselves under their artist name La Roche. The comparison of the film to night terrors that occur in real life was so on point that I felt a great sigh of relief. Many ideas had to be conveyed in this film and I feel as though they all landed. I was worried because there is no dialogue, but that is intentionally so in the film because these terribly anxious moments usually occur wordless and in the brain.

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KITE, 6min,. Canada
Directed by Jerry Trieus
A short film about a dancer on a mission to experience flight. The journey is disappointing and filled with challenges. The result is a transformation as the dance artist finds strength through perseverance and ultimately freedom.

Get to know writer/producer Virginia Duivenvoorden:

What motivated you to make this film?

Kite began as a stage piece where I incorporated film on stage in the form of projections. I knew that I eventually would like to also see it as a film on its own. It all began as a photograph by Brooke McAllister. in one of the photos, I was wearing a black skirt and dancing with a 7 yard piece of tulle fabric. I loved the photos. In 2021 I decided to choreograph a dance to match them. That’s when Kite was born. When I started the choreography, I was in too much physical pain to think about performing. That’s when Brynne Harper started working on KITE. We spent two years developing the stage piece and we shared it in three different performances two were outdoor performances and one on stage for a work in progress showing. I approached Kites in all aspects from building and flying them to studying the history. All of the processes became part of the kite story from the failed kites that never flew and then to the handmade windsocks , which were actually amazing. It became a story about transforming from looking outside oneself to looking inside and finding that sense of flight and freedom from within the body. That was a journey that I really needed to make in order to process what was happening in my body with the pain and other medical conditions that I was coping with during the creation process.

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

I felt emotional seeing that the piece was clear in its message and was being received very much in the way that I had hoped for. It was rewarding to see that the message of resiliency and strength had shone through.

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