xxVISIBLE

September 17, 2021 by Carmela Baranowska

Covering one year of the 2020 pandemic, a successful young Asian American struggles to navigate life during the lockdown.

Interview with Writer/Director Bobby Yan

Congratulations! Why did you make your film?

I began the process of creating and writing xxVISIBLE last year in the early stages of the pandemic and lockdown - before Mr. Ratanapakdee was murdered, before there was #StopAsianHate, and before the Atlanta massacres. My aim was to capture a time capsule of last year during the pandemic, specifically representing an Asian American voice - one in which has barely been represented in the media and news, other than a quick news blurb.

My goal in creating the film was to provide visibility and light to our common voices as Asians in America, especially during a year filled with social unrest, conflicting political rhetoric, and the resultant rising anti-Asian hate and increasing danger on the streets. All the events in the film are actual events I've experiences myself, not necessarily all in that one year, but real nonetheless.

Imagine I’m a member of the audience. Why should I watch this film?

As a director and writer who has spent my whole life and career working hard on my craft, I am very proud of this work. I hope others can view it and appreciate the art and storytelling behind it.

I'd also say watch it to perhaps learn something new or unexpected, experience another point of view outside your own. If I can place the audience in another character's shoes and get you to feel and empathize with him or her, I've done my job.

How do personal and universal themes work in your film?

I feel it's a great responsibility as creatives who work in media to truly understand the power they possess in using the construct of storytelling to connect audiences with each other on a human level. The power to rewrite the narrative for a common good and ultimate heal the world is within each of us as a filmmaker or creative.

Within xxVISIBLE, lies my heart within this understanding. In portraying the character of Stanley, my goal was to open up important but difficult conversations about the concept of identity, race and politics in this country that hopefully resonates well after the credits roll.

The danger of being targeted as an Asian in America is only a smaller symptom of a much greater ill. Any of our differences can all be used against us, whether we are black, Arab, Jewish, Queer, a woman, poor or any other dividing construct. The reminder that we are all ultimately one and in this life experience together is a reoccurring personal theme in all of my work.

How have the script and film evolved over the course of their development?

This was certainly a revolving script that developed as the year went by. I spent the first half of the year acclimating myself to life during the pandemic and nationwide lockdown, as well as personally affected by the murder of George Floyd and the nationwide protests. This film is a reflection of my passion for both storytelling and activism, and finding a happy medium in between. Last year was a huge reminder to me of why I became a filmmaker in the first place, which was to make a difference in this world before I go.

What type of feedback have you received so far?

I've received the most amazing feedback from both friends, audiences and professionals who I greatly admire. The biggest impact of the feedback is hearing how the film opened up eyes to something they never knew or thought about.

Has the feedback surprised or challenged your point of view?

I'm reminded of the fact that once you create your art, it's not yours anymore. It belongs to the world. The challenge in creating anything from your heart is to be able to accept all criticism as well as accolades that come from it. Ultimately, there's no surprise per se, but rather a renewed understanding that my voice is unique and to continue to use it loudly, truthfully and unabashedly for the world to see and hear.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Number one, thanks for the chance to express and showcase myself. It's not taken for granted. And ultimately for more people to watch the film and continue to follow my work, as this is only the beginning.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I would certainly need press and journalists to come on board and support this project to get more eyes on it. This film is more than just a hashtag of #StopAsianHate. I hope this film helps open eyes and ears to the collective problem so hopefully we can work towards solutions and healing. I would love for this film to be seen by as many people as possible. I think it would also do well in schools and the educational sector.

What type of impact and/or reception would you like this film to have?

It's about opening more conversation. To have more eyes on Asian American issues and build community and allies with other groups in order to find solutions towards a common goal, especially our commonality between other marginalized communities.

What’s a key question that will help spark a debate or begin a conversation about this film?

What can you do to help stop the hate against Asians in America? If you see an elderly person on the street get harassed, will you try to intervene or help stop it?

What other projects are the key creatives developing or working on now?

You can catch our lead actor William in the next season of "Kobra Kai" on Netflix, and I am working on my first feature film as well as currently working on episodics for television.

Interview: September 2021

We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela

xxVISIBLE

Length:

12:00

Writer

Bobby Yan/Brent Lewis

Director

BOBBY YAN is a second-generation Chinese American director & writer from New York City. Committed to creating works that shift cultural narratives and boundaries, Bobby has infused a distinct unique voice into his work that spans a wide gamut of diverse genres and themes.

He graduated from Tulane University in New Orleans and holds a Masters degree from NYU in Visual Effects. Starting out early, he has directed over one hundred music videos and commercials and garnered Seven Emmy Awards as a Sports editor and producer. With seven narrative shorts under his belt, Bobby was chosen to be a part of the ABC Disney Directing Program as well as Ryan Murphy’s HALF Initiative Mentorship program.

He is currently working on his next feature script, a unique Asian American coming of age story that explores inter-cultural boundaries and relationships fused with music and comedy.

Producer

KARYNROSE BRUYNING is an award winning writer, director and producer and the “July” in CHRISTMAS IN JULY 1982, (a film and theater production company founded by herself and fellow Tuskegee University alum Artemus Jenkins) which is best known for their work with the hit docu-series, P.OP. and the SMOKE AND MIRRORS web series. In January 2020, KarynRose Bruyning founded PRONOUNCED BRUYNING, a solo production company which debuted with -SHIP: A Visual Poem, written and directed by Terrence Daye and produced by Bruyning which went on to win the Sundance Grand Jury Award for US Fiction Award in the same year. www.karynrosebruyning.com

Key cast:

William Lex Ham (Stanley), Fanny Lawren (mother), Matthew Brooks (Drew), Skyler James Bailey (Ahmed), Buck Newman (man on Street)

Facebook:

https://www.facebook.com/mrbobbyyan

Instagram:

https://www.instagram.com/xxvisible/

Hashtags used:

#indie #xxvisible #filmmaker #shortfilm #director #writer #stopaapihate #asiansforblacklives #bipoc #lawofattraction #alliedvoices

She Started It

September 16, 2021 by Carmela Baranowska

Five young women will stop at nothing to build their start-up dreams.

Interview with Director/Producer Insiyah Saeed

Congratulations! Why did you make your film?

Thank you so much! We made this film to inspire anyone, especially young people to think big, to build that entrepreneurial mindset, and to put a spotlight on those women who were the driving forces of tech entrepreneurship. When we started the process in 2013, women in tech were not household names. It was through our film and various initiatives (which have exploded now) that the awareness started to build and the world has changed for the better. We are so lucky to have been part of that contribution.

Imagine I’m a member of the audience. Why should I watch this film?

We filmed, never seen before footage women pitching their start-ups, behind the scenes of what it's like to build a start-up, which we feel had not been done in this kind of detail before. This film, with these narrative stories, is the first of its kind - about a world not everyone knows about; its an amazing opportunity to get to know this world with these powerful characters.

How do personal and universal themes work in your film?

Part of the film's natural process is to show how families support their kids who want to carve out a different path than what had been pre-destined for them. Some families support that idea, and some don't and that's explored in the film. How do you react when you fail at something? How do the parents react when their children fail? Are they compared to their siblings? This was one universal theme that all audience members related to.

Another universal theme was how to handle failure. It seemed that in American society failure was cool, but abroad in Europe and elsewhere it wasn't an option.

How have the script and film evolved over the course of their development?

Since the film is a documentary where the story can always change, we had to work hard as producers as well as in the edit room to keep filming and also editing to achieve that clear story arc for each character. We would decide on the spot if we needed to go to New York or Vietnam for example, to get some more verite to achieve each story arc. Of course budget was a huge constraint and we did our best to manage that - we were fundraising while producing - just like a start-up!

What type of feedback have you received so far?

The response to the film has been phenomenal throughout the world. We have screened all over the world at community events, tech events, women's events, schools, top universities and corporations like Harvard, Stanford, Columbia, Yale, Google, Lyft, Facebook, VMware, Twilio, libraries, airlines and we were also a diplomacy tool for countries like Mongolia, Ethiopia, India, Dubai, Bermuda, Russia through the USC's film diplomacy program. People love the film and it's characters and the lessons learned. We realized there is a place for independent film and not just that but a NEED.

Has the feedback surprised or challenged your point of view?

The feedback has been phenomenal and screenings and educational screenings are still being requested. The response has been very interesting. There were events where people were so inspired by Thuy and Stacey - the main characters - that they too, just wanted to get out there and build something. We also found it interesting that people found entrepreneurship to be a hard battle and would not want that path for themselves, or found coding or CS "too hard" to pursue. We feel there's a lot of room for exposure to the sciences, STEM fields and entrepreneurship to young adults.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We are emerging filmmakers and would love our film scene by a wider audience now that its available on itunes and Google Play!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We would love more journalists and reviewers to talk about this film and educators to bring it to their classrooms. More info can be found on: www.shestarteditfilm.com

What’s a key question that will help spark a debate or begin a conversation about this film?

What would you do if you weren't afraid to fail?

What other projects are the key creatives developing or working on now?

Insiyah Saeed is working on book project on women entrepreneurs, and short films on women, entrepreneurship and diasporas and Nora Poggi can be found producing her Creative Distribution Podcast on Apple Podcasts.

Interview: September 2021

She Started It

Length:

1:24

Writer

Jennifer Steinman, Nora Poggi, Insiyah Saeed, Fernanda Rossi

Director/Producer

NORA POGGI: Nora Poggi is a French journalist/filmmaker who directed and produced her debut film in 2016, SHE STARTED IT. She has interviewed key players in Silicon Valley for four years for publications including Examiner.com & Usine Nouvelle. She previously worked at French social network Viadeo.com and award-winning production company Lucky Dragon Productions. She is a TEDx speaker and has been featured in Inc, Forbes, Fast Company, Glamour, Huffington Post and others.

INSIYAH SAEED: Insiyah Saeed is a journalist and documentary director and producer based in Silicon Valley. Her first film SHE STARTED IT is one of Inc Magazines “5 Films To Watch” in 2017 on entrepreneurs. The film has screened at over 16+ film festivals, hundreds of venues, schools and corporations around the world and at this year’s SXSWedu. She has been featured in Inc. Forbes, CNN, Fast Company, Indiewire, C-NET, Women in the World and more.

Key cast:

Stacey Ferreira, Agathe Molinar, Sheena Allen, Brienne Ghafourifar, Thuy Truong

Looking for:

distributors

Facebook:

https://www.facebook.com/SheStartedIt

Instagram:

@shestarteditfilm

Hashtags used:

#shestartedit #women #womenintech #womenentrepreneurs

More info:

www.shestarteditfilm.com

Now Available:
https://itunes.apple.com/us/movie/she-started-it/id1574425045

L'Immigrato

September 15, 2021 by Carmela Baranowska

Three brothers explore their rural village, gathering and poaching food. Their imaginations run wild, an escape from the poverty of their upbringing. But this is South Italy, WW2. Some things cannot be dreamt away and nothing will ever be the same for them again.

Interview with Writer/Director/Producer Sophia Capasso

Why did you make your film?

This film is a scratch on the surface of the stories I heard growing up, handed down through the generations. I wanted to make a film about war through children's eyes and the devastating effect it can have on families. At the time I was very focused on showing catalysts that force people to move between countries, this was the beginning of my Nonno's journey to the UK post WW2 and the reason the film is called 'L'Immigrato/ The Immigrant'.

Imagine I’m a member of the audience. Why should I watch this film?

You will be transported to the south of Italy. If you want to be immersed in a simpler time, surrounded by heat, nature and good food then this is a film for you!

How do personal and universal themes work in your film?

This is an incredibly personal film. You will hear the voice of our protagonist, Antonio, now in his 80s (heavy accent and all), before being transported back to the 40s. Every element has been designed to fill your senses so you feel like you are out exploring with the 3 boys, the sound and music being just as vital as the shots themselves.

How have the script and film evolved over the course of their development?

This was my first film, so it changed a lot! In fact in the edit I cut and entire section of the story to simply the film, returning to the theme that made me make it in the first place and ensuring that was firmly in place. The actors were children from the local village and so we worked closely with them and allowed improvisation to replace dialogue.

What type of feedback have you received so far?

Positive! Many older generational Italians recognise this time and their younger family often tell me stories that have been passed to them that are very similar to my grandfather's. Viewers seem most to enjoy the languid feel of the short and the archive footage at the end.

Has the feedback surprised or challenged your point of view?

It has definitely been kinder than I expected!

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I would love to build more of an audience for the film, we make films to be watched after all

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Film festival directors would be incredible. I am uncertain of it having much of a financial appeal on a large scale but I would love to get it to the right homes and audiences.

What type of impact and/or reception would you like this film to have?

I would love people to see it and remember a time gone by but not so far away. In the modern comforts we live in so far from war torn homes I would like it to remind viewers that there are still people out there in these situations and of the power of compassion

What’s a key question that will help spark a debate or begin a conversation about this film?

Was this necessary, did these children need to experience this?

Interview: September 2021

L'Immigrato

Length:

14:51

Writer/Director

SOPHIA CAPASSO is a British / Italian filmmaker based in London. Her directorial film debut L’Immigrato is based on her Italian heritage and follows three young brothers in south Italy during WW2. The short won The Hollywood First-Time Filmmakers Showcase 2020 and received an honourable mention at Ischia Film Festival 2020 amid other festival runs.

Producer

TUTTI TUTTI Productions

Key cast:

Matteo Guarnieri (Antonio), Raffaele Guarnieri (Carlo), Davide Funiciello (Salvatore)

Looking for:

film festival directors, sales agents

Twitter

https://twitter.com/capassosophia?lang=en

Instagram:

https://www.instagram.com/limmigratofilm/?hl=en-gb

https://www.instagram.com/sophcapasso/?hl=en

Hashtags used:

#italianfilm #warfilm #shortfilm #womeninfilm #foreignlanguagefilm #southitaly

More info:

https://www.tuttituttiproductions.com/l-immigrato-1

Focus on AFI Conservatory - The Motions

September 14, 2021 by Carmela Baranowska

A conflicted paramedic struggles to maintain focus in her life after her terminally ill husband requests help in ending his.

Interview with Writer/Director Frank Donnangelo

Congratulations! Why did you make your film?

I think for me, the seed for this story stemmed from a conversation I had with a family member not wanting to go see their terminally ill mother in the hospital, because visiting would only confirm that reality for them, and rather than deal with those feelings of loss, it was easier to pretend it wasn’t happening. Now some might say, “Wow, what a terrible thing to do to their own mother?” and perhaps so, but I’d argue that was human to have that feeling. It made me reflect on the times in my life where I’ve chosen avoidance rather than confronting inevitable moments or decisions.

Imagine I’m a member of the audience. Why should I watch this film?

The Motions is about putting off the hard decisions—as if putting it off will make the problem go away. Another way to put it is “avoiding the inevitable”—as if avoiding will make the problem go away. We’ve all been there, and that’s why I think a lot of people might relate to this film. It’s that connection to our personal experience. That one where if we wait long enough, the problem will hopefully fix itself or go away. But it usually never does, so yeah…we must make a decision. I hope in viewing, that there’s a comfort, or empathy that comes from this story.

How do personal and universal themes work in your film?

Whether it’s the, “We need to talk” conversation of an impending breakup or divorce, or even the news of losing a loved one, we often tend to deflect, ignore or even avoid the confrontation altogether, as if by not acknowledging the issue will make the issue go away. We will bury ourselves in our work, or in a bottle, or seek solace in another, whatever it may be, but in the end we’re just delaying the inevitable. Although terminal illness plays a part in this film, The Motions is very much a story about relationships, more specifically the end of a relationship, and asks the viewer if the one you love wants out, are you prepared to let go.

What type of feedback have you received so far?

The feedback so far has been overwhelmingly positive. It's been great to see how people connect and engage with the themes of the story. The film itself has been nominated for several "Best of" awards and won a few as well (Best Short Film at Flickers Rhode Island Int. Film Festival and Best Short Film at the Williamsburg Int. Film Festival)!

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I'm hoping to have the film expand to a larger audience - for more people to see and potentially connect with it.

What other projects are the key creatives developing or working on now?

I've been spending the time over Covid to finish a few feature scripts as well as query a few managers for representation.

Interview: September 2021

The Motions

Length:

15:51

Writer/Director

Frank Donnangelo

Producer

Luca Miano

Key cast:

Yaz Canli (Mara), Lane Compton (Jonathan), Charles Maceo (Connor)

Looking for:

distributors

Instagram:

https://www.instagram.com/frankdonnangelo/

Made in association with:

AFI Conservatory

The Weight of Perfection

September 11, 2021 by Carmela Baranowska

The Weight of Perfection is the deep exploration of an elite-level gymnast Ellen and her harrowing journey as she falls into an eating disorder when the pressures from her coach, family, and herself begin to create a web of psychological damage.

Interview with Anabelle D. Munro, Leanne Melissa Bishop, Jennifer Oleff

Congratulations! Why did you make your film?

Thank you so much!

We set out to create something that would entertain, impact, and educate our audience in the intricacies of how an eating disorder (ED) is triggered and conversely what one looks like for someone with a long term condition.

We were inspired to make The Weight of Perfection because we wanted to expose how the pressures of life can build up to create an overwhelming amount of anxiety and emotional damage. Without proper coping tools the wounds caused by these offenses can become disastrous, so much so that the only coping tool becomes an eating disorder.

Each of us on the production team have had our own issues with EDs and we were able to bring an in depth understanding of this mental illness. Every journey is different but with our combined efforts and experiences we knew we could make something accessible for many people to understand more clearly the mystery of this mental illness.

Using film as our medium allowed us to creatively express and show these layers in a visually stunning way without having to verbally explain it, sparking the much needed conversations surrounding this topic.

Imagine I’m a member of the audience. Why should I watch this film?

The Weight of Perfection is a captivating film that will engage people in a much needed conversation about eating disorders. The reason it is so important for this conversation to happen is because eating disorders are the most deadly mental illness but are the most difficult one for people to talk about. It has become much easier over the years to discuss sobriety and addiction, anxiety, depression, and a wide range of other mental illnesses but EDs continue to be the most stigmatized and misunderstood because of the lack of exposure.

Contrary to to the stereotype, eating disorders do not discriminate by age, race or sex and the stigma surrounding them prevents many people from understanding how and why someone develops one, or even recognizing that they may be suffering from one.

As an example of how present this mental illness is, more than 75% of the film’s team turned out to be ED survivors, we did not know this when we began building the team. We provided a safe space of sharing and connection and the magic created through this exchange translated straight onto the screen. The Weight of Perfection shows the horror, as well as the subtle temptations of an ED, and is filled with symbolism and psychological elements that explore the deep layers with an insight that only people who know can capture.

How do personal and universal themes work in your film?

The Weight of Perfection is about the desire to be the best. But when perfection seems out of reach the cost to achieve it means sacrificing health, family, friends, love, joy, self worth, and ultimately the desire to live.

Universally most people can relate to ambition, validation, recognition, anything that motivates them to succeed. Most people can also relate to the pressures of social media, the desire to be perfect, and dangers of toxic relationships. These themes translate across every race, age, and sex. The question is, how far would you go to feel like you have succeeded, how many likes does it take to feel validated, will you ever stop feeling like you're missing out or not good enough? If you are one of the lucky ones, you will not cross the line into an eating disorder. But at the very least you may be able to relate to someone who has.

As we mentioned earlier this is a very personal story for us. We have each had our own issues with EDs and this production challenged us to confront the closely guarded secrets about our own eating disorders. Those same secrets are the ones that people need to share in order to understand the mind of someone dealing with an ED. This topic is more relevant than ever, especially after the Summer Olympics this year Following Simone Biles’s decision to focus on her mental health, the recent news about the Olympian Laurie Hernandez and her abusive USA gymnastics coach and Shawn Johnson East discussing her battle with an ED while attaining Olympic gold in gymnastics.

How have the script and film evolved over the course of their development?

Leanne approached Jennifer about a story she wrote inspired by her life in gymnastics. Excited about the opportunity to have the much needed conversation about EDs we decided to make a short film. Anabelle joined the team and brought her artistic vision to Leanne’s personal story. She focused on key artistic elements to strengthen the underlying layers of the story which included toxic entanglements, the social environment, dream psychology and symbolism, as well as a spiritual component. Once we began, the project came together very fast. We worked feverishly to complete the script while simultaneously crowdfunding on Seed & Spark and building our team. With clear intentions, a minimal budget and only 2 days to shoot, we hammered out all possibilities during pre-pro so no time would be wasted while shooting.

What type of feedback have you received so far?

We are receiving incredible feedback which is extremely satisfying particularly because it is coming from not only industry professionals and audience members, but ED organizations.

Industry professionals are calling it “Deep, powerful, visually stunning”

From Project Heal CEO Rebecca Eyre, MA, LMHC, "As an eating disorder therapist and as the CEO of Project HEAL, it is incredibly meaningful to me to see a film that truly honors the nuances and complexities of the eating disorder experience. Eating disorders affect people of all races, ages, and body sizes, and they're especially prevalent among athletes - all of which The Weight of Perfection does a brilliant job representing. The raw honesty of this film makes it apparent that the cast and crew have lived this experience themselves. I hope this powerful story gets viewed far and wide, so that our many inaccurate cultural ideas about eating disorders can continue to shift and expand. Without that, the harmful stereotype that eating disorders look a certain way and only affect certain kinds of people will continue to cost people their lives."

Has the feedback surprised or challenged your point of view?

The feedback has surprised us in a good way because it confirms the necessity for this film and that audiences are understanding our intention. By way of awards and nominations through film festivals, the feedback we are receiving has been extremely positive for the story, its honesty and the beauty of the film itself. Our point of view remains the same, this is important content. Ultimately, having people see the film and then engage in conversations with us about it as both a great film as well as about eating disorders is the best feedback we could hope for.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We are honored to be on We Are Moving Stories which in and of itself is the basic exposure we need to inspire more people to have this conversation about eating disorders. We hope that this interview can also create more interest in screening opportunities through festivals or other outlets. As we move into series development and educational distribution we are looking to engage industry leaders with influence to bring a series to fruition.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We believe that the series currently in development would fit well on one of the streaming platforms so we are actively seeking the right people to meet within those companies or production companies well connected to bring the project forward.

We would also love to bring on board an educational distribution company to package and distribute the short film with an educational companion piece for groups like athletic departments, parent organizations, educator forums, and health class curriculums.

What type of impact and/or reception would you like this film to have?

We would like people to stop and think about how close they may be to an eating disorder or know someone that may be suffering or on the verge of developing one. This is an opportunity to make the deadliest of all mental illnesses a more comfortable topic for conversation. Yes, we said the deadliest..Eating disorders have the highest mortality rate of any mental illness, every 4th person dies from the long term effects of eating disorders. Our goal with The Weight of Perfection was to inspire a much-needed conversation about understanding the complex layers of addiction and to show what eating disorders feel like; torment, self-harm and self-hate - and not, as the myth is telling us, the vanity of wanting to be "skinny".

What’s a key question that will help spark a debate or begin a conversation about this film?

Do you or someone you know have an ED, are in recovery or recovered from an ED?

Would you like to add anything else?

Absolutely! This was such an honor, so thank you We Are Moving Stories for this opportunity to share our story. We would like to add that The Weight of Perfection represents not only a community of ED survivors and supporters, but a team that is 90% female, ethnically, racially and age diverse in front of and behind the camera. We are living proof that life after overcoming a dark and destructive time in life can come full circle and create beauty, understanding and healing.
“We’re better together” Project HEAL

What other projects are the key creatives developing or working on now?

Anabelle is currently directing a POV for a feature film called “Bridenapped” a bad-ass fast pace female-driven kidnap comedy and “Strange Fruit, a psychological thriller set in a desert motel where the effects of guilt and shame manifesting in a ghost joy haunting a pregnant widow who wants to start from scratch. She also has a dance drama feature film Ole King Cold that she directed with Del Weston that will hit the festival circuit soon.

Leanne is in post production on a short film she co-directed and starred in. The film centers around the horrific world of human trafficking with the goal to heighten awareness and inspire others to speak up. She is also in early production on a feature film 'What If' working to shoot late 2021. The story is of a woman who accidentally discovers she is the by-product of a hospital birth mix up. This sends her on the road to figure out what family is, and if it's blood or something more. Another project in early development is 'Cleopatra's Needle' - A thriller/ghost story inspired by the true events surrounding London's Cleopatra's Needle.

Jennifer is heading up affiliations with Project HEAL, ANAD and other potential ED organizations. She continues to work on the films PR and is overseeing development of the TV series inspired by The Weight of Perfection short along with Leanne and Anabelle. She is also currently working on her art as well as a collaboration with a fashion artist.

Interview: September 2021

The Weight of Perfection

Length:

15:55

Writer

LEANNE MELISSA BISHOP is a CPA and a former National Gymnast, who’s written, directed, and starred in numerous films. Recent credits include: Scouted, The Weight of Perfection, and Candice & Peter’s Smokin’ Hot Date. Leanne also has three feature films in various stages of production including the dramedy What If, the supernatural thriller Cleopatra’s Needle, and Ring of Fire. Recent Awards include BEST ACTRESS, Tell Me Something and BEST DIRECTOR The Weight of Perfection.
*Leanne also acted in and co-directed The Weight Of Perfection.

Director

ANABELLE D. MUNRO is a multi-award-winning producer and CEO of Blue Boots Entertainment film production company based in Los Angeles. Anabelle is also a creative producing partner and free-lance director at the Film Hub studios in Vista, CA. In addition to producing, directing, acting, and writing, Anabelle founded the The Most Important Films International Film Festival in Las Vegas which supports and honors purpose-driven filmmakers. Since 2017, Anabelle has also reigned as "The Queen of the A.O.F. Megafest," currently in its 18th season, and in 2021 she produced and MC’d the A.O.F. Megafest. *Anabelle also co-wrote and acted in The Weight Of Perfection.

Producer

JENNIFER OLEFF, CEO of Aglet Production, is an artist, preschool owner, and former art teacher. Combining years of business knowledge and her fine art background she began producing short films as a way to collaborate with other creatives to share impactful stories. Most recently winning awards for The Weight of Perfection, intended to start a much needed conversation about eating disorders.
*Jennifer was also involved in the creative process with The Weight of Perfection.

Key cast:

Hayden Hishaw (Ellen), Leanne Melissa Bishop (Amanda), Wyatt Oleff (Walker), Anabelle D. Munro (Kathy), Merit Leighton (Juniper), Kelly Perine (Frank)

Looking for:

distributors, producers, buyers

Facebook:

https://www.facebook.com/theweightofperfection

Twitter:

https://twitter.com/TheWeightofPer3

Instagram:

https://www.instagram.com/weightofperfection/

Hashtags used:

#eatingdisorderawareness #mentalillnessawareness #gymnastics #TWoP #shortfilm #womeninfilm #filmfestival

More info:

www.theweightofperfection.com

Where can I watch it?

Pasadena International Film Festival/Pasadena, CA - September 9, 2021
Burbank Film Festival/Burbank, CA - September 10, 2021
Royal Starr Film Festival/Royal Oak, MI - September 18, 2021
Golden Door International Film Festival/Jersey City, NJ - Sept 22-26
The Other Venice Film Festival/Venice, CA - October 2, 2021
FirstGlance Film Fest Philadelphia/Phoenixville, PA - October 15-17 2021

CHARLIE

September 11, 2021 by Carmela Baranowska

1882, when two travelers meet on a railroad the revelation that appearances are more than they seem, leads to a life or death scenario.

Interview with Writer/Director/Producer Lava Buckley

Congratulations! Why did you make your film?

This story was inspired by a true story I read a few years ago. When I was working in a casting office, I noticed that when we cast westerns, nearly all the roles were white. I asked the casting director why that was and she didn't seem to understand why this had to be inaccurate. So I started doing research about Asians in the old west and that is when I found dozens of amazing stories about Asians during the 1800's. And when I found the true story about Charlie, a Chinese Woman immigrant who dressed up like a man and went on a desert foot chase after her identity was discovered.

With the rise of Anti-Asian Hate, it was time to create this project. As an Asian American Woman Writer/Director, I felt compelled to finally make CHARLIE. This story is set to bring awareness of the racism Asians have faced since the 1800’s. It is also to showcase the strength of Asian Women.

Imagine I’m a member of the audience. Why should I watch this film?

CHARLIE is an action time period story that has a chase scene and the good ole stand off. However, it is not a typical western since we have an Asian Woman lead and not a shoot'em up style story. It's inspired by true events during the 1800's. This is a western from a person of color perspective.

How do personal and universal themes work in your film?

Even though I am Thai American and the story is about a Chinese Woman immigrant, I felt very connected to the Charlie Character. She reminded me of my mother. Charlie is brave, fierce and determined. As for universal themes, the story is to showcase the strength of Asian women and what they endure here in this country. In regards to personal themes, the portrayal of the white man, Sean, is based on various real experiences I have had as an Asian Woman. Every line he says is something I have heard.

How have the script and film evolved over the course of their development?

The script was written with what little I knew about the real story. Then adapted to the resources I had, plus adjustments with COVID-19. I made this film with $2,000 and had to plan very carefully how to film the story with COVID-19 in mind. The real story has more characters: 3 white men and 2 Chinese people (male and female). I had to shift the story to only have 2 characters for cost and safety issues. More people equals more challenges around COVID-19. I also had to keep the crew super tiny for the same reason.

What type of feedback have you received so far?

Before I filmed CHARLIE, I had a white man strongly suggest I completely change the story. He thought it would be a better story if I had a younger, sexier Chinese Woman as a prostitute and the white man was her hero that busts her out of a brothel. I choose to keep my story as written and so far, I have received a lot of supportive feedback. Even though, the film has been rejected from a film festivals so far, I mainly have positive insights from professional film makers.

Has the feedback surprised or challenged your point of view?

I am a little surprised at some of the film festival rejections. It does make me reassess what is and isn't working with the film. However, I also realize I made a film with only $2,000 and had to take on most of the production work. I even did my own costumes. At this point, the film is the best it could be with what I had. I am grateful to have made it than not at all. Next film, I will keep polishing my filmmaking skills to push it to another level.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I would love to connect with Film Festival directors that would be interested in an Asian Woman driven western. At this point, I am spending too much money on festival fees with little traction. And it would be great to talk to more journalists about the project. Many people are very unaware Asians were in the United States during the 1800's,

What type of impact and/or reception would you like this film to have?

My hope is people become aware that racism towards Asians is not new, that Asian women are over sexualized, and that are voices are needing to be heard. Also, I would like others to see that even in spite of incredible challenges, Asian women are strong. We are not the model minority.

What’s a key question that will help spark a debate or begin a conversation about this film?

CHARLIE could spark a debate. I personally have not heard feedback about the white male character, Sean. However, I feel it will flare some fragility. It's difficult for some people to see the reality of how Asian people are treated. It's easier to keep portraying us as jokes, women over sexualized or as a model minority. Which is why it is important for Asians to tell their stories.

My hope is that it sparks more of a conversation than a debate. To have people discuss Racism towards Asians and our history in this country.

Would you like to add anything else?

Thank you for considering CHARLIE! I appreciate your time. Did my best to answer the questions. I sincerely care about this film and not doing so great getting the film seen. Thanks again!

What other projects are the key creatives developing or working on now?

I'm working on a documentary about honoring traditional Asian clothes, writing a comedy feature and editing a documentary about Complex Regional Pain Syndrome.

Interview: September 2021

CHARLIE

Length:

11:15

Writer/Director/Producer

LAVA BUCKLEY is an award winning Asian American filmmaker based in Albuquerque, New Mexico. She works as a Production Coordinator for studio productions, but during her free time she directs stories she has written. Although Lava did not have traditional film schooling, she learned about film making while working on sets. Lava was fortunate enough to have a vast career working on studio productions to gain insight how film projects are made. Lava is driven to create films for her community that encourage positivity and overcoming challenges. When not creating films, Lava loves spending time off the grid in a camper van and taking photos.

Key cast:

Kitar Haiyan Chen (Charlie), John KD Graham (Sean)

Looking for:

film festival directors, distributors, journalists

Instagram:

www.instagram.com/lifewithlava

Hashtags used:

#asianamericanfilmmaker #stopasianhate #bipocfilmmaker #womandirector #aapiwomenlead #nmwif

More info:

www.beinglava.com

Made in association with:

Where can I watch it?

Santa Fe Independent Film Festival Oct 13-17, 2021

Friend of the World

September 10, 2021 by Carmela Baranowska

An eccentric general and a young filmmaker take refuge in a ravaged bunker after a catastrophic global war.

Interview with Writer/Director Brian Patrick Butler

Congratulations! Why did you make your film?

“Friend of the World” was born out of a feeling of isolation I needed to express combined with a growing anxiety nearing the 2016 election.

Imagine I’m a member of the audience. Why should I watch this film?

Our film covers a lot of fun genre territory: from gross-out practical effects to tasty monochromatic noir set pieces filled with absurdly funny and thought-provoking dialogue from two strong personalities. A timely adventure that touches on everything from lunatics in power to isolation caused by a catastrophic pandemic-esque infection, all behind the veil of camp genre fun and with a disturbing existential arc.

nick-young-alexandra-slade-still-2-friend-of-the-world.jpg

How do personal and universal themes work in your film?

As a filmmaker, I am familiar with the feeling of pouring your heart into a project for a year, and then have maybe 10 people watch it and maybe 2 of them care. This is my connection to the lead character, who meets an antagonist who seems to represent all her fears and desires simultaneously. This dissonance creates a tension between her personal growth and concurrent resistance to evil throughout the film.

How have the script and film evolved over the course of their development?

It started as a 15-20 page short, and after workshopping it, I expanded on the Beckettian elements of it by fleshing out the middle act - where the two leads become inexplicably trapped in the almost complete blackness of an unknown corner of the bunker. This is where the themes between the characters are no longer avoidable and Diane’s ambiguous perception of good and evil begins to grow.

What type of feedback have you received so far?

We have received tremendously positive feedback - of our many reviews, seven of them have acquired us a 100% rating on Rotten Tomatoes. Luckily, there has still been lots of criticism to keep us learning from our mistakes or appreciating elements that work for some audiences and not for others.

alexandra-slade-nick-young-still-1-friend-of-the-world.jpg

Has the feedback surprised or challenged your point of view?

I was actually surprised how well it was received and how so many of the critics seemed to get it, especially the more understated elements of the movie. The criticism we have received has all been valid, but for a 50 minute black and white absurd existential sci fi, I am surprised and thankful for how well it has been received!

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I hope more people get to see it! I was unsure how well it would do with audiences, and the reactions and praise we are receiving has made me more and more excited for new viewers to discover our film and these crazy characters.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We are currently streaming on Tubi as well as a few other services, but at this point, it would be wonderful to find more distributors or sales agents who are interested in the project. We are confident this would be a popular film for our audiences, should they have the means to find and watch it!

What type of impact and/or reception would you like this film to have?

I’d like people to walk away from our film not with answers, but hopefully feeling a profound connection with the characters’ search for meaning and identity. And hopefully people will identify a sick feeling of uncertainty at the end that I wanted to capture.

What’s a key question that will help spark a debate or begin a conversation about this film?

What is the relationship between self-preservation and evil, and how does this affect the characters as they navigate their world? What does the protagonist learn about this puzzle through the choices she ultimately makes?

What other projects are the key creatives developing or working on now?

I have recently teamed up with some of the actors and crew on two more features that are both in post-production: “Fruitful Mold” and “Hemet, or The Landlady Don’t Drink Tea”

Interview: September 2021

Friend of the World

Length:

50:27

Writer/Director

BRIAN PATRICK BUTLER is an actor, writer and director who has starred in films such as "The Gools," "South of 8," "Zach King's Day Off" and "We All Die Alone." He previously wrote and directed two short films, "Hatred" and "The Phantom Hour."

Producer

KERRY ROSSALL is a stunt coordinator, actor and producer who has worked in the film industry for over four decades. He has worked with some big names on projects such as "Apocalypse Now," "They Live" and "Ocean's Eleven."

Key cast:

Nick Young (Gore), Alexandra Slade (Diane), Michael C. Burgess (Berenger), Kathryn Schott (Eva), Kevin Smith (Thin man), Luke Pensabene (Ferguson)

Looking for:

journalists, buyers, distributors

Facebook:

https://www.facebook.com/FOTWmovie

Twitter:

https://twitter.com/FriendTheWorld

Instagram:

https://www.instagram.com/friend_oftheworld/

Hashtags used:

#FriendoftheWorld

More info:

https://charybdispictures.com/friend-of-the-world/

Made in association with:

Where can I watch it now?

Tubi; Plex; Vimeo

Hot VaXxX Summer

September 10, 2021 by Carmela Baranowska

A colorful music video celebrating getting vaccinated with a gorgeous LGBTQ+ cast and and a woman led crew.

Interview with Johaira Dilauro and Monica Mejia

Watch Hot VaXxX Summer here:

Congratulations! Why did you make your film?

I felt we needed to celebrate this moment in time. We have a vaccine, we are so much closer to better days! I wanted a vibrant visually stunning Summer Jam that brings a smile to peoples faces. A video filled with happiness, humor, sexy vibes and that celebrates protecting ourselves and our communities.

Imagine I’m a member of the audience. Why should I watch this film?

Want to see joyful content about Covid during these super dark and scary times? Everything during the pandemic has been so heavy and sad, but with darkness must come light. So prepare to be filled with colorful happiness.

How do personal and universal themes work in your film?

I am a nurse, but I am also a human being. A living, breathing, dynamic woman that needs to find ways to find joy and happiness. I have seen so much fear and death, life has been so heavy these past 18 months. To add insult to my profession and my vocation getting vaccinated has become...well do I even need to say it? We are experiencing so much preventable deaths. The video is bright and happy, hoping that through colorful beauty I can inspire those who are still hesitant to get vaccinated.

How have the script and film evolved over the course of their development?

The song first started as a catchy chorus stuck in my head. With the help of my Music producer Toney Carboney, the jam became a bop that im still not tired of hearing.
Cinematographer Monica Mejia heard the jam and was so excited to jump on board and make my vision a reality. It was not easy getting a cast and crew during the pandemic, but for a good cause we made it happen and I couldn't be prouder.

What type of feedback have you received so far?

The very best is when I get a message that someone got vaccinated because of my videos, that the best! I screenshot each message I get. It affirms to me that I am on the right path.

This_took_a_VILLAGE_and_a_tremendous_amount_of_good_energy_from_the_amazing_crew_I_had_with_me___cinematographer_aijem.m.jpg

Has the feedback surprised or challenged your point of view?

The feedback is interesting. Kids love it. Like little kids which I think is hilarious and awesome. I have gotten incredible Feedback about the artistry and how amazing of a production it is. Its simply the best when your artistry feels validated.

The challenging feedback is people against the vaccines sending me hate mail/messages about how I am committing genocide and I must be getting paid by pharmaceutical companies... these messages do not affect me anymore. I am a Scientist, I am a nurse...don't come at me with ignorance.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I am hoping to get more eyes on this important PSA. I hope to make this the summer jam you didn't know you needed. I hope to inspire people to play this jam and make fun videos celebrating. I want to hear this at parties, at vaccination sites, I want to see Dr. Fauci jamming out to it (that's the dream). I hope that my entire LGBTQ+ community see's how gorgeous and dynamic we are. I hope it inspires others to create and live boldly.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I need it all. I funded the whole project and I am so spanking new to the film world. I want to continue to create meaningful art advocating health, human rights, women empowerment. This is just the beginning and I hope that this projects speaks to who I am. I am very very proud of myself and my insanely talented cast and crew.

What type of impact and/or reception would you like this film to have?

This is a unique moment in time. I want this to be a gorgeous representation of 2021. The year of the vaccination and it coming in HOT!

What’s a key question that will help spark a debate or begin a conversation about this film?

Is it too soon to celebrate being vaccinated as we experience another pandemic wave?

Would you like to add anything else?

I am so grateful for being given a platform to share my music video. I genuinely feel like my ancestors wildest dreams for creating such gorgeous art. This project is bigger than me, this project needs to amplified to inspire others to get vaccinated.

What other projects are the key creatives developing or working on now?

I already wrote and recorded another Boppity Bop! "Rona you gots to go!"
the song is currently in post production, and my brain is already going wild with visuals for the next stunning PSA music video,

Interview: September 2021

Hot VaXxX Summer

Length:

2:45

Writer

Johaira Michelle Dilauro is a Registered Nurse that during the pandemic has chosen to release her anxiety and fear through music and joy. "I am so tired of this pandemic, maybe I can get through to my community through celebration and catchy beats!

Director

JOHAIRA MICHELLE DILAURO is a proud Latina with hopes of taking on the film world by storm with her colorful dynamic view of the world. "I have been deeply bitten by the directors bug and now i can't stop, the game needs me."

Producer

JOHAIRA MICHELLE DILAURO self funded the projects. I was hoping to obtain funding but I felt an urgency to create this video with the Delta Variant rapidly spreading and my hospital filling up again. If I can save one life by getting my community vaccinated then I did my job.

Key cast:

Monica Mejia-Cinematographer, Johaira Dilauro-Writer/Director/Producer, Music Producer- Tony Carboney Choreographer- Jesse Fields Hair & Make up- Brandon Jordan & Jesse Fields Cinematographer- Monica Mejia, Gaffer- Ryan Kerr, Key Grip- Taylor Frontier, Swing g&e- Jon Corum , 1st AC- Carolina Vazquez, Dancers: Adam Burt, Racheen Hughes, Jordyn Leann, Sarah Marie, Julie O'Connor, Tyler Worth Talent: "Cliffies" Adams, Preeti Ananda, Simone Iverson, Jonathan C. Fernandez

Looking for:

journalists, sales agents, film festival directors, distributors, buyers

Facebook:

http://facebook.com/johairamichelle

Instagram:

http://instagram.com/johairamichelle

http://instagram/lacuarentena.project

Hashtags used:

#hotvaxxxsummer #lacuarentenaproject

More info:

www.lacuarentenaproject.com

MDFF 2021 - INFERNO WITHOUT BORDERS

September 09, 2021 by Carmela Baranowska

The apocalyptic 2019-2020 Australian bushfires were a dire warning: respect the environment and listen to indigenous wisdom, or our world will become a living hell.

Interview with Writer/Director Sandrine Charruyer

Congratulations! Why did you make your film?

I had previously made a documentary called "PAMDEMONIUM", about the devastation cause by cyclone Pam, in Vanuatu. The film screened at FIFO International film festival in Tahiti, and attracted the attention of the French broadcasters, "FRANCE TELEVISION". This experience coincidentally started my passion and speciality in producing documentaries on natural disasters, climate change and society’s response to these.

As the Australian bushfires of 2019-2020 progressively became worldwide news, my French connection from New Caledonia contacted me at the beginning of January 2020. I first, thought that he was going to talk about the co-production project that we were working on, which was about a story about the emancipation of the Melanesian women of Vanuatu. But, instead, he presented a proposal I could not refuse: “Can you make a documentary on the bushfire issue and deliver it in within 3.5 months?” I must say that initially - due to the time crunch, uncalculated risks, and lack of time to raise funding - I said “No”. Around the same time, I attended the public ‘Climate Change Protest CBR”, where I met some very interesting individuals who inspired me. Then I thought about it, and started to do some research. I watched several Q&As which discussed cultural burning, which led me to pursue an investigation in that direction. One video with Victor Steffensen, the prominent aboriginal cultural burning leader, caught my attention; he was describing how traditional landowners manage fire control, and I knew from that moment that I wanted to produce this documentary. I thought this topic was too important and the broader community seemed largely ignorant of it, and this story really needed to be told, not only to the French audience, (as required by our commissioning broadcaster), but also to the rest of the world!

So, I called back my French broadcaster and suggested this angle for the story and they agreed. I then swung into producer mode, starting with a flurry of emails, social media connections, phone calls, visits to friends, and then called my crew, producer and writer. It was a very progressive organic process of finding the story, finding the people to interview, the subjects to tackle in interview questions etc… but we soon produced a list of passionate and informed people, who would contribute to the film, and within a couple of weeks, we started filming.

RFS-Inferno fire.jpg — Inferno Without Borders

Imagine I’m a member of the audience. Why should I watch this film?

These roaring fires have fascinated yet moved citizens scattered across the globe, so I believe that not only will this film attract the attention of all generations from the youngest to the oldest, but it will help to enlighten people on simple, ancestral and effective solutions that can be done to save the future of our planet. These devastating fires are not only an Australian problem – we are seeing these infernos become commonplace in other countries beyond our borders. This is an informative documentary which is a platform to give voice to experts on environmental concerns, but also to everyone who does believe in it. This film is a tool given to the audience who can use it and pass on the knowledge to their own communities.

How do personal and universal themes work in your film?

I was born with hearing loss issue and as a result, I compensated by developing the ability to observe and understand people’s behavior. Filmmaking involves the observation of human behavior in all its facets. I have always been interested in the complexity of the human being, the how and why of its evolution over time, and its connection with nature and animals -spiritually, emotionally, physically, and intellectually. My film shows these sensitive aspects of human beings and myself; the resilience in humanity, the sensitivity, the sense of community, the connection with Mother Nature. It also captures the subjects in a raw and unguarded state. Sensational and yet informative, victims are given a voice. The Indigenous Australians, the experts in politics, ecology and land management, stress the importance of adjusting to the new reality of extreme weather conditions and, crucially, adopting methods to reduce global warming. These methods are the cool burning which is the most ancient traditional method used in the Aboriginal communities. The custodians have been doing since the dawn of time, and it’s what makes them unique. Amidst the smoke and fury of this summer’s bushfire catastrophe, there is a positive note – the growing recognition of the value of Aboriginal fire and landscape management practices.

By re-adopting the indigenous methods of fire hazard reductions, introducing them into the world, maybe the traditional owners and custodians of the land will bring about tomorrow ‘s salvation and a new green revolution. These are the thematic messages that I try to convey in a personal way, and I use the medium of film to convey them.

How have the script and film evolved over the course of their development?

Piecing the story together via numerous interviews and without a narration was a challenge, but with help from our talented writer, Sophie Lepowic, we managed to create a strong back-bone as a starting point. It was important to educate ourselves as much as possible on the issue, so that we could make sure we were accurately representing the facts through our storytelling and choice of interview excerpts. It was also important to us to do justice to the strong Indigenous voices and represent their words and knowledge in the way they were intended. It was an honour and a privilege to learn about land management techniques from the oldest living culture in the world and we strived to represent that with the gravity that it deserves.

What type of feedback have you received so far?

I received very positive feedback from our interviewees, professional, French and Australian audience, even a festival film director called it:
“A great and important film”. I also heard words such as:
" Interesting, provocative, shocking, captivating, moving, game changer and educational." Even a professor in Anthropology from a university in Quebec, Canada wants to use it for her program. Generally speaking, people like the idea that the traditional landowner’s way of conducting “cool burning, could limit the ability of fires to spread so rapidly. Ancient culture has something to tell us that we can’t presume to know, and people are fascinated by that.

Has the feedback surprised or challenged your point of view?

Overall, the audience’s reaction was the one that I wanted to provoke. However, some feedback was surprising, such as the difficulty of understanding some Australian accents, but also questioning the French connection in the film, which came about because, our Australian fires were in fact polluting the French Islands of New Caledonia, 2000kms away - but which are also representative of other nations in the pacific which had Australian smoke over their homes-These clouds of pollution were the catalyst for the request to make the film, so we included a few reactions of French people living in Australia.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I love your platform; I have a story to tell which is in keeping with the objectify of your group. I also want to raise awareness of social issues, awareness about our film and filmmakers, awareness of the film when it screens at festivals and on platforms to encourage audiences to watch it.

I am keen to get more festival screenings, film sales through various platforms and overall, I feel honoured to be able to talk about my film with you.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Film festivals, network broadcasters & streamers for licensing, journalists, environmental and indigenous issue champions.

What type of impact and/or reception would you like this film to have?

The film is about global warming; so, I want to raise awareness of #environmental #climatechange #wildlife issues and to raise awareness of #indigenous #firstnation traditional knowledge regarding bushfires and bush management.

What’s a key question that will help spark a debate or begin a conversation about this film?

I see several ways of engaging a conversation or debate:
AUSTRALIA:
Why does Australia have an history of massive fires?

Or

Passed on through the generations, could Indigenous cultural burning save Australia's landscape from another catastrophic bushfire season and be the answer to preserve the land and its natural resources?

GLOBALLY:
How can Indigenous wisdom from Australia, and from other first nations, be better used to conserve local forest flora and fauna and manage fires in imported plantations? (Such as the Australian Eucalyptus trees, now found across the globe, but which rely on fire to seed).

What role and responsibility do governments have to consult with, use and apply indigenous wisdom to help manage and control climate change?

Would you like to add anything else?

We wish for the film to be viewed on a global scale, raising awareness concerning the politics that exacerbated the bushfires in Australia.

It is imperative for governments to make long term environmental financial decisions and to consider different alternatives to land management such as, cultural fires which is an ancestral indigenous ways of hazard reduction to support the natural cycle of the native flora and fauna.
The success of this film will be measured by the increased awareness of the benefits cultural burning in the future, in Australia or elsewhere across the globe.

What other projects are the key creatives developing or working on now?

We are working on a few different projects:
1. TV series wildlife-scientific genre documentary called “"Ridge to Reef” in co-production with Bluegreen Production, in New Caledonia. The project is commissioned by CANAL PLUS CALEDONIE and is focusing on the extinction of the animals and plants in the Pacific.
2. 52 ‘or TV series (T.B.D) human-social issue documentary called
“Mi Fala Ino Macas” in coproduction with France Television & VBTC, the film will be set in Vanuatu and highlighted a bi-colonisation that had shaped the nation of today, with a very complex system which, 40 years after its independence, left the society in a state of confusion as it tries to find a fine line between the rule of traditional customs and those of the modern law.
3. Feature film / fiction drama - An ensemble-female cast, in the mystery thriller genre, called “The Missing”, produced by Courage Films.
This story has a deaf child and with a female protagonist.

Interview: August 2021

INFERNO WITHOUT BORDERS

Length:

Writer

SOPHIE LEPOWIC (writer) /SARAH SMAJE (editor):

Piecing the story together via numerous interviews and without a narration was a challenge, but with help from our talented writer, we managed to create a strong back-bone as a starting point. It was important to educate ourselves as much as possible on the issue, so that we could make sure we were accurately representing the facts through our storytelling and choice of interview excerpts. It was also important to us to do justice to the strong Indigenous voices and represent their words and knowledge in the way they were intended. It was an honour and a privilege to learn about land management techniques from the oldest living culture in the world and we strived to represent that with the gravity that it deserves.

Since we were not filming on the fire frontline, we relied on first hand accounts captured on phone videos taken by people who were there at the time or the various fire departments. This helped create a sense of ‘being there’ and the level of fear and destruction that was occurring. These, along with the long and empty shots of the dead forest area and destroyed towns helped to create an emotional rhythm and journey throughout the film.

Director

SANDRINE CHARRUYER: Despite being born in France, my homeland is and always will be, Australia. After numerous years in Australia, I thought I knew enough about its culture, and explored the country in its depth, but while making this film, I quickly realized that I was greatly wrong. Australian still has a lot to teach me!
The unprecedented bushfires which raged in the country during summer 2019-2020, and which led me to meet the victims and the experts, proved the state of my ignorance. The culminating meeting of the Yuin Aboriginal community, our heroes; the firefighters, and political ecologist authorities explained to me and my team, how this disaster that plagued Australia could have been avoided, a revelation which came as a big shock to me. They all think that if the human greed had not failed and if it had listened to the cries of alarms perpetrated by all the agencies on the degrading state of the environment, this tragedy could have been avoided... The aboriginal community, which knows its bush like the tip of the fingers, and which has fostered a traditional technique of controlled fires since the dawn of time, has not been heard and has caused the imminent anger and frustration of all the citizens. The aboriginal community demonstrated their methods and proved its effectiveness to us. It has made me believe now, that despite the advances in technology and modern know-how, that nothing beats 50 000 years of traditional knowledge of Australian Flora and Fauna. It's knowledge from which we could all benefit. Still today, we so much have to learn from the knowledge of the aboriginal community with their humbling and heartwarming culture. I cannot thank enough all the Australian communities we met on our way, who enlightened and educated us

SOPHIE LEPOWIC: I wasn’t too keen to get involved in this documentary as I feared fire and my asthma was so bad with the fire haze, I couldn’t even take three steps without having to stop. But what’s asthma compared to losing your life or the devastation of the environment? There’s a lot of talk about human-induced climate change. Let’s face it, we are all part of the problem and everyone has a role to play to protect the planet. I felt it was my duty to face my fear and understand why bushfires were getting worse every, and not only here in Australia but everywhere (California, the Amazon etc). So, I decided to be part of the project and hit the road with my three fellow filmmakers to meet the fire fighters, the bushfire victims, the aboriginal community and interview some experts in ecology, politics, etc. It was heartbreaking and very shocking to be confronted with the disaster and hear people tell you about their terrifying stories. Nonetheless, when in the midst of the drama you, hear positive experiences and hope. So you know why you had to be there and why this story needs to be told. I had the chance to meet amazing people who taught me a lot and I am pleased to share their knowledge and points of view with you. This film is an emergency call and a message of hope in which I hope each of you will find their answers.

Producer

SANDRINE CHARRUYER/LAURA SIVIS :
We were in the midst of preparing another film, when we were first approached to make a documentary about the crisis unfolding as a result of the 2019-2020 Australian Bush fires.
At first we were hesitant.
Apart from the incredibly short lead time to finance the film's production...
- There were the practicalities: Was it safe or reasonable for us to be anywhere near the fire hotspots?
- Then there was the moral question of: should we be making a documentary, when so many people were in the midst of losing their businesses homes livestock and loved ones?
However, as we began investigating, we realised the complexity of the story before us.
It touched on situations we had encountered in our earlier projects - how do traditional practice and modern methods either compliment or compete to achieve an objective and the impact on the environment.
It didn't take us long to understand that we needed to hear the perspectives of indigenous communities, the firefighters, climate experts, and residents.
We knew the whole world was watching what was happening in Australia.
Apart from the international news coverage, the multicultural origins of Australian residents meant relatives and friends abroad, were deeply concerned by what they were seeing unfold.
We also had international firefighters coming to Australia and risking their lives to help get the fires under control.
We knew our audience went beyond our shores and our bushfire crisis had cousins in other continents.
So while Laura's home sat bordered by bushland, a timebomb ready to go off; Sandrine, Sophie, Tom and Sarah, went on the road to film what they could and speak to the communities affected.
We were graced by people's generosity and heartfelt testimony and very fortunate to have finished filming just before the Covid lockdown began.
Then the collaborative process of working out 'which story to tell' began.

LAURA SIVIS Courage Films founder, LAURA SIVIS has worked for, codeveloped and/or coproduced with major film companies including Future Films and Tapestry Films. Laura was a Fox Studios Executive/producer liaison for: MOULIN_ROUGE, FARSCAPE, STAR_WARS2, RED PLANET, MISSION_IMPOSSIBLE2, and THE_MATRIX. Laura has over 30 producing credits including features OUR_LIPS_ARE_SEALED (Olsen Twins, Warner Bros/Foxtel), COLD_AND_DARK (Luke Goss, Matt Lucas), I_WISH_I_WERE_STEPHANIE_V (ProducersAustralia Best Film nominee, Indiefest Winner, NYCIFF), documentaries: PAMdemonium (FIFO), INFERNO_WITHOUT_BORDERS (MIDFF), shorts: S21_3D, WRONG_ANSWER, DESY, INJA (Oscar Nominee).

Key cast:

Looking for:

journalists, distributors, film festival directors, buyers

Facebook:

https://www.facebook.com/Infernowithoutborders/

Instagram:

https://www.instagram.com/infernowithoutborders/?hl=en

More info:

https://anphietomproductions.com/inferno-without-borders/

Where can I watch it?

MDFF/Melbourne Australia; FILMANBIENTE/Sao Paulo Brazil, BBFF/Byron Bay Australia

WE ARE NOT HERE

September 09, 2021 by Carmela Baranowska

After recently finding herself in the afterlife, a young woman and her new companion are moving freely through time and space while being invisible. But this sense of freedom is challenged by the fact that they’re not able to touch each other.

Interview with Writer/Director/Producer Kasper Quintanilla

Congratulations! Why did you make your film?

Thank you! WE ARE NOT HERE was pitched to me by fellow writer Sunneva Elvarsdóttir and I was immediately very moved by the simple premise of the need for intimacy and being touched. At the same time there was an opportunity for me to explore some new settings and genres, and also move more in an experimental direction. When the pandemic happened, we also saw how our subject and themes seemed more universal than we originally thought, so that gave us an extra boost to give this project everything and get it out while it still felt relevant to most people.

Imagine I’m a member of the audience. Why should I watch this film?

This film can hopefully feel relevant for many people these days, as I believe many of us has felt distanced to other people and more alone than usual. And we try to tap into that, the actual physical need for closeness. There’s also a hint of science-fiction and/or fantasy elements, as our two leading characters are digital ghosts moving and dancing among the living. And of course one might enjoy this if you’re into more experimental narratives, dancing films or music video aesthetics. It’s also relatively short, so if you’re in need for something a little more quick and snappy, this might be for you.

How do personal and universal themes work in your film?

Well, this was my big concern as we started this project, as I felt the ‘need to be touched’ angle maybe felt a little too simple. But as we got into rehearsal and actually shooting it, it became very clear to me that this simple theme carries a lot of baggage for many people. And of course, as mentioned, when the pandemic struck everything we had discussed, imagined and fantasized felt much more real and universal as we saw people becoming isolated everywhere around us. So it became quite important to us to tell this story and tell it now, as it felt much more relevant than ever.

How have the script and film evolved over the course of their development?

The most interesting aspect for me was that we shot this in 2018 and felt the need to rewrite the whole film in post-production, more or less. I’m no Terrence Malick, so this became a very time-consuming project. It was very hard at times, but as mentioned, when we saw what happened to the world as the pandemic hit… It really was a shock to the system. The parts I was unsure about suddenly felt much more real. The last pieces of the puzzle fell in place, so to speak. In the end, I feel we were able to tell this story in the best way possible.

What type of feedback have you received so far?

It has been quite overwhelming! Of course, being nominated for The Golden Chair for Best Norwegian Short Film at the Norwegian Short Film Festival was quite special for us, and we even got mentioned as one of the top 10 films from the program by the renowned Norwegian film magazine Montages. So right now we’re kinda riding the wave from that, and hopefully there’ll be more feedback from other festivals and screenings around the world soon.

Has the feedback surprised or challenged your point of view?

Well, there has been many people who has read the film as a «pandemic-themed» short film, which is no surprise. Even though we shot this in 2018, we have surely been influenced by the world events around us, so I don’t view it as anything negative. If anything, some people has told us «it’s too short!» which may have surprised me a little bit, as I regularly find a lot of short films too long! But it’s a good thing I guess, leaving the audience wanting more. At least I choose to view it that way.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

First and foremost, we just want to show our film to more people! We really believe that there’s something recognizable here for a bigger audience, and hopefully there’s more people out there looking for something different that still feels relevant.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

The most relevant thing for us now is talking to film festival directors who needs these short time slots filled in their short film programs! But we’re totally open for conversations with journalists, agents, buyers and distributors. If a producer wants to join in on this and/or our next project that’s in development now, that would also be wonderful!

What type of impact and/or reception would you like this film to have?

As our society opens up, and we get more and more used to socializing, hugging and being close to people again, one might have to be reminded about how it felt when all of that wasn’t possible. And if our 7 minute short film sparks that memory or feeling or desire, I feel like we accomplished what we set out to do.

What’s a key question that will help spark a debate or begin a conversation about this film?

‘How free or in love can you actually be if you cannot share it physically with someone else?’

Would you like to add anything else?

A big shout-out to our actors Ingeborg, Helle and Fanny who made this film come alive. And a very special thanks to our editor Brynjar Lien Aune who never stopped believing. This film would never have seen the light of day without your support, and I hope we’ll do this again for many years to come.

What other projects are the key creatives developing or working on now?

There are so many talented individuals connected to this project, I don’t know where to start when it comes to all the fascinating projects that are in the loop from these people!.

I can only speak for myself, and I’m currently writing a new short film and trying to develop another short documentary project. Both are actually sport-themed in some way, although their subject matter is more personal.

Interview: August 2021

WE ARE NOT HERE

Length:

6:49

Writer

Sunneva Elvarsdóttir & Kasper Quintanilla

Director

Director, writer and editor KASPER QUINTANILLA is currently based in Oslo, Norway. After graduating from the European Film College he has edited and directed several short films, music videos and commercials, and is currently active as a freelance editor on several TV productions, documentaries and feature films.

Producer

Maja Flaathe & Kasper Quintanilla

Key cast:

Ingeborg Mantor (Elise), Helle Bendixen (Maria), Fanny Ovesen (Narrator)

Looking for:

film festival directors, journalists, producers

Twitter:

http://twitter.com/kasperq

Instagram:

http://instagram.com/kasperq

Hashtags used:

#WEARENOTHERE #WANH #VEIH

Where can I watch it now?

Screened and nominated for a Golden Chair Award at the Norwegian Short Film Festival in June 2021. Currently doing it's festival round all over the world, so hopefully coming soon to a festival near you!

Incoming: Words of War

September 04, 2021 by Carmela Baranowska

Seven Australian soldiers take part in a social experiment to share their experience of being at war.

Interview with Writer/Director Kerry Drumm and Producer Emma Hunt

Watch Incoming: Words of War on Vimeo

Congratulations! Why did you make your film?

KERRY: The idea behind INCOMING: Words of War started to form after I watched Peter Jackson's First World War documentary, They Shall Not Grow Old. I remember fighting tears at the footage of soldiers in the trenches playing cards, reading, writing letters home or trying to sleep. At the same time, above them, the sounds of war, fighting and explosions continue. I was reminded of my time as a military wife and receiving letters from my husband away on deployment.

EMMA: After creating Little Red Fox Productions in 2020, I wanted my debut production to be something that resonated with me. I knew Kerry would be writing from experience and as with Kerry’s writing, the script would be bold and confronting but laced with humour. I also have a direct family connection to the military, and I feel these stories need to be told.

Imagine I’m a member of the audience. Why should I watch this film?

We believe the series offers an insight into the unique world of the military. Both funny and moving, Incoming: Words of War is a character driven ‘talking head’ series developed and produced during the pandemic. If anything, the series showcases creators will never surrender! There is always a way to make content!

How do personal and universal themes work in your film?

Even though the stories are from the perspective of being a soldier, they talk about grief, PTSD, fear, being a parent, love, family all of which are universal themes.

How have the script and film evolved over the course of their development?

KERRY: Developed during lockdown and filmed within the lifted restrictions we have very little room to alter our path. Before I went to script, I spoke to the actors I had in mind and asked if they would be interested. I then wrote the script specifically for them over six weeks. Knowing we had little time to film, I wanted to write characters and stories that played to the strengths of the actors. We were forced to alter the location for filming as many studios remained closed as we came out of the lockdown. In the end, we filmed in my dining room over three days.

What type of feedback have you received so far?

To have been officially selected for a world premiere with SeriesFest: Season 7, when we had only just completed the series was overwhelming! To then continue with festival selections and nominations, including a very recent win of ‘Best Dramedy’ at this year’s Seoul Web Festival, the feedback has been very positive. We released all six episodes several weeks ago, and the feedback from military personal has been heartening. They recognized themselves and the stories. We couldn’t have asked for anything more.

Has the feedback surprised or challenged your point of view?

With any project, you’re never too sure what response you’ll receive when you release it out into the world. We’ve been told that we’ve made people laugh and cry, and especially men who found it extremely moving.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We are fans of We Are Moving Stories and very proud that we were one of the first films showcased when the platform first began with TANKED, directed by Katrina Mathers. We applaud the platform for supporting women filmmakers and with our series having many women in key creative roles, we wanted to celebrate that with We Are Moving Stories.

http://www.wearemovingstories.com/we-are-moving-stories-films/2016/3/29/tanked?rq=tanked

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

All the above! We are keen to have the series screened at festivals that specifically focus on military stories and web series. Later this year we hope to start discussions with several war museums for potential collaboration and screening. In addition to seeking funds to develop a second season combining soldiers and military wives.

What type of impact and/or reception would you like this film to have?

KERRY: Many of the stories in Incoming: Words of War come from my personal experiences of being a part of that world, and it was important to me that it felt authentic. My hope is that we've offered an insight into the life of a soldier and the world of the military but also that their stories resonate with the audience.

EMMA: My family who are in the military felt they knew the characters in Incoming: Words of War and had been in similar situations. We wanted our cast to feel like soldiers. We hired the uniforms, with some additional items loaned to us for the shoot. Unable to have someone do the actors hair and makeup, we studied military bun tutorials and sent them to the female actors. It was fundamental that we captured and respected the ‘real’ military as this was hugely important to both Kerry and I. We wanted the stories to feel real and resonate with those who live this life. I personally hope that we have given an insight into this world to those who are not part of it.

What’s a key question that will help spark a debate or begin a conversation about this film?

We hope that it questions the ongoing issues of PTSD within the military and we’re telling stories that need to be told.

What other projects are the key creatives developing or working on now?

KERRY: I’m developing several projects and currently writing a feature ‘Lionhearts’ and in the early stages of developing a new play, ‘Yorky’.

EMMA: Little Red Fox Productions is busy with rehearsals for the play ‘Brothers’ by Kerry Drumm, which has its world premiere at this year’s Melbourne Fringe. We’re also developing several other projects, both film and theatre.

Interview: August 2021

Incoming: Words of War

Length:

web series

Writer

KERRY DRUMM writes full-time for film and theatre since completing a PhD in animation. Credits include Great Barrier Reef 3D for IMAX, narrated by Eric Bana and produced by December Media. Kerry’s debut play Strawberry completed a season at Williamstown Little Theatre to critical acclaim in 2019. Her short play Half of Me, based on Strawberry, was selected for PlaySix Festival 2017 and has since been produced as part of a trilogy of short films. The films have had a successful international run on the festival circuit, with various nominations including Best Screenplay. Kerry’s other short works, Punched, Rocket and Be Someone Today, have been selected by Madwomen Monologues, ADP, Manchester, UK, Short Work Series, Wyndham Theatre, Voices of Women and PlaySix. Kerry is in development on several projects, including Season Two of Incoming: Words of War and a feature.

Director

KERRY: Incoming: Words of War is my debut directing live-action. Predominantly from an animation background working with stop-motion, including the feature ‘Bunny and the Bull’ directed by Paul King, director of the Paddington feature films. I also directed an underwater experimental film ‘Beneath’ which was screened at the V&A Museum, London.

Producer

EMMA HUNT has worked predominantly in theatre, including many Melbourne Productions and while living in London, worked at Shakespeare’s Globe. With an established career in finance and her involvement with several successful short films, Emma founded Little Red Fox Productions. As a producer, Emma aspires to develop and produce stories that engage with audiences and enjoys collaboration with artists and productions passionate about the stories they want to tell. Little Red Fox Productions is currently developing several projects, including Season Two of Incoming: Words of War and a theatre production Brothers.

Key cast:

Ruby Duncan (Corporal Rosie Nolan), Cam Faull (Captain Timothy Malone); Samantha E. Hill (Captain Laura Mantle), Cat Jardine (Q), Katrina Mathers (Major Madeline Laughton), Daniel O'Kane (Sergeant Jake Walker), Liam O'Kane (Corporal Ben Lawley), Liam Seymour (Sergeant Dexter Grant)

Looking for:

distributors, journalists, film festival directors, sales agents, buyers

Facebook:

https://www.facebook.com/IncomingWordsofWar

Instagram:

https://www.instagram.com/incoming_web_series/

Hashtags used:

#webseries #incomingwordsofwar #film #creators #australianmade #madeinmelbourne #storytelling #australiansoldiers #womeninfilmandtelevision #filmfestival #soldierstories #femalescreenwriter #femalefilmmakers #webfestival

More info:

https://incoming-web-series.com

Where can I watch it now?

Currently AACTA members can watch Incoming: Words of war as it is a contender for nomination in AACTA's Best Short Form/Online - Drama category.

Lifeblood

September 04, 2021 by Carmela Baranowska

Lifeblood is a film about the intersection of place, history, and Australian identity.

Interview with Writer/Director/Producer Nicholas Tory

Congratulations! Why did you make your film?

Thank you!

The film takes place in Bourke, a town in far north western New South Wales on the edge of the Central Australian desert.

Bourke is a forgotten place, but an undeniably beautiful place, this was our inspiration - a beauty that you have to slow down and look closely to see.

To watch Lifeblood is to experience the beauty and delicate complexity of Bourke and its surrounding country.

We wanted to make a film that allows you to experience this place in real time. We wanted to highlight White Australians' disconnection with Australian First Nations Culture, First Nations ways of life, the Stolen Generations, and First Nations ideas around being part of a place, living as part of an ecosystem, not imposing ourselves on our environment.

In these ways, Lifeblood is a call to rethink ongoing environmental and cultural apathy in Australia.

Imagine I’m a member of the audience. Why should I watch this film?

If you surrender to our film Lifeblood, and really 'see' it, just like if you were to go to Bourke and really 'see' the district, understand its history, and the delicate equilibriums at play within every aspect of life, you would feel, as we did, that it is a place worth protecting.

How do personal and universal themes work in your film?

Lifeblood is about seeing and recording the landscape.

Every project that I produce and direct starts with a collection of drawings and a preliminary written treatment. This is how Lifeblood started.

Having spent years creating award-winning public art installations for festivals in Sydney, Melbourne and Berlin, I decided three years ago that I wanted to further diversify my art practice. I went to art school in Sydney, and worked in the Australian Film Industry at the beginning of my career, so I decided I wanted to create an animated short film that explores the ideas around the intersection of place, history, and our identity in Australia. A story based in Bourke, New South Wales. We wanted to show what this historically important and almost mythical part of Australia is really like, to immerse the viewer in the landscape, and to make a film that doesn’t rely on the usual tropes and themes that you see in Australian cinema, and indeed a lot of mainstream animation

A new challenge, taking the viewer on a journey into the extraordinary Australian landscape, while posing the question - who are we as Australians? We are disconnected from our true cultural identity. We don’t understand our environment, and therefore we don’t know how to protect the delicate equilibriums that have existed for millions of years in our country and on our planet. We ignore the truth, and an entire culture that flourished for hundreds of thousands of years slowly dies. Why do we ignore these truths? Where are we rushing to? Stop and look. Stay a while, and you will see.

How have the script and film evolved over the course of their development?

Lifeblood was written and produced a bit like a documentary film, in that we took four road trips to Bourke in 2019 and 2020. During these trips we sketched, filmed and photographed locations, interviewed local people, researched the ideas and history of the place, and our story evolved from these experiences. We wrote the story for Lifeblood visually first, with a hand drawn storyboard and concept designs on paper. We scanned these drawings, and produced an animatic which evolved weekly or fortnightly from that point until we had completed the film over a two year period.

Lifeblood is a story told from a white Australian perspective, but was written by both Aboriginal people and white people. I wrote most of the story initially and then co-writers Ngemba Elder, Aunty Dot Martin and Proud Ngemba man, Phil Sullivan's stories were incorporated early on. Jonathan Nix was a co-writer and contributed many ideas and sequences to the film. The voiceover script was written during the editing process at the end.

This method allowed a certain freedom to focus on the important ideas, expressed with animation and landscapes, and with the sound design and our original score written and performed by Jonathan Nix

What type of feedback have you received so far?

We have received positive feedback about our film Lifeblood. The film is playing well on the film festival circuit, having been picked up by some amazing festivals, and has already received some award nominations.

Has the feedback surprised or challenged your point of view?

No it hasn't, although I know of course that there are views on the ideas in Lifeblood that would challenge our point of view, and I welcome these discussions. I have had a couple of robust conversations with First Nations People about the First Nations content in our film, but I am always clear that our film is written from a white perspective, with profound contributions from co-writers Aunty Dot Martin and Phil Sullivan, and hopefully people can see that the Aboriginal cultural elements and themes discussed are being handled respectfully.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We want as many people to see our film as possible. We want to make more work that explores truthful Australian themes, histories and mythologies, celebrating Australian culture and the extraordinary natural beauty of our country.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We are open to discussions about collaborating with any of the mentioned people to help get our work seen and 'heard' by as many people as possible.

What type of impact and/or reception would you like this film to have?

We want everyone to try to see Bourke through the eyes of Aboriginal people. to really 'see' the place. We want the Australian government to implement policies designed to meet global climate targets much sooner. Let's protect our home, because it's the only one we have.

We want all Australians to think without fear about why the natural world around us is so unique and beautiful and must be cared for far better. We want Australians to visit these places and experience them as we have. We all must understand what is happening to our planet, and the impact that we have had on Australia's First Nation Culture and knowledge. If we understood Australia like First Nations people do, we would know how to protect it.

What’s a key question that will help spark a debate or begin a conversation about this film?

Are the the people of Australia disconnected with Australian First Nation history and culture, and is this disconnection holding us back from understanding our history, our culture, our land and waterways, and why we are mismanaging them now and for future generations?

Would you like to add anything else?

Please watch our short explainer video about the making of Lifeblood:
https://www.dropbox.com/s/ie8yo1kfh70rjo5/Explainer%203%20WIP_3.mp4?dl=0

What other projects are the key creatives developing or working on now?

Currently, two more animated short films, two very short historical pieces for a cultural centre, and beyond that, one (approx) eight-minute animated film that we will be looking forward to entering in festivals. Developing and designing an Aboriginal Cultural Centre with local government client, and First Nation Artistic and Cultural Stakeholders. Touring a collection of interactive light sculptures that highlight climate change and the beauty of nature around the East Coast and eastern states of Australia. Developing two treatments for feature films.

Interview: August 2021

Lifeblood

Length:

20:20

Writer

Phil Sullivan, Aunty Dot Martin, Nicholas Tory and Jonathan Nix

Lifeblood involved a collaborative writing process, co-written by long-time collaborators NICHOLAS TORY and JONATHAN NIX, as well as Bourke local and Ngemba Elder, AUNTY DOT MARTIN, and proud Ngemba man, PHIL SULLIVAN.

Director/Producer

Nicholas Tory

NICHOLAS TORY's work seeks to explore themes around the experiences of living in urban environments and a desire to be closer to nature, the fragility and complexity of all life on our planet, human mythologies, and the roles that technology plays in our lives and in our world. Nick's art practice, and his cultural work and public art production business, Ample Projects, has a key focus on creating work that combines traditional artistic methods with new and old technology, to create relatable cultural work, public artwork and animated films.

Key cast:

Nardi Simpson

Looking for:

sales agents, distributors, journalists, film festival directors, producers, buyers

Facebook:

https://www.facebook.com/lifeblood.animation

Instagram:

https://www.instagram.com/nicholastory

Hashtags used:

#Lifeblood #LifebloodAnimation

Made in association with:

The people of Bourke Shire

Where can I watch it?

Catalina Film Festival/USA - Sep 2021
Show Me Shorts/NZ - Oct 2021
Sydney Film Festival/Aus - Nov 2021

Here You Are You Here

September 03, 2021 by Carmela Baranowska

A man obsessively tracks a spirit who haunts him and leads him from one uninhabited locale to another on a Sisyphean scavenger hunt.

Interview with Writer/Director Masa Gibson

Watch Here You Are You Here on the director’s website.

Congratulations! Why did you make your film?

My artistic partner-in-crime and I were planning a vacation to Iceland, and we decided a couple of weeks before to shoot a short film on her phone while we were there, and to let that film serve as our vacation photos. I threw together a script, we bought some accessories, and we gave ourselves a crash course on using the phone's camera (neither of us had formally DPed before) in the days leading up to the trip. Once we landed in Iceland, life paralleled art as we roamed the country looking for the most evocative locations, often chasing good weather and racing against time (dying batteries, setting sun, etc.). Inevitably, many things did not go as planned, and I believe the seat-of-our-pants nature of the shoot lends a visceral, surrealistic energy to the final product.

Imagine I’m a member of the audience. Why should I watch this film?

This short is part narrative film and part visual poem. It immerses the audience in a dream-like world of stark, desolate beauty.

How do personal and universal themes work in your film?

The film is only very loosely narrative, but it hits on themes of one-on-one relationships and co-dependence.

How have the script and film evolved over the course of their development?

The script (such as it was) was thrown together in a matter of days leading up to the shoot. It was more of an outline than a proper script. Many of the locations and actions were just indicated as vague placeholders, leaving open the possibility of rolling with whatever locations we stumbled into and incorporating them into the "story". All the dialogue was done as voice-over in post, and much of it was conceived during the post-production process.

What type of feedback have you received so far?

People generally seem to enjoy it, though there's a range in terms of the narrative "clues" that people pick up on. Some people project a very concrete story onto it, while others resign themselves to just experiencing it as a purely aesthetic work, which is just as valid. People are usually surprised to learn that the whole thing was shot on a smartphone.

Has the feedback surprised or challenged your point of view?

Because of the film's experimental nature, there is of course a lot of room for interpretation. It's been so interesting to hear some people's interpretations of certain elements in the film, especially when multiple unrelated viewers have converged on an interpretation that we as filmmakers never thought of ourselves. One viewer had the strong feeling that the protagonist was a character in a real-life video game; another viewer said that the film basically told her life story.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

The film has been a bit difficult to categorize in terms of genre; I hope that promoting it on WAMS will help it find an audience that is open to exploring works that are out of the mainstream and that resist pigeonholing!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We would love to hear from any distributors or film festival directors that are interested in showcasing slightly more experimental works.

What type of impact and/or reception would you like this film to have?

We're not aiming for any particular reaction with this one; we just want people to experience it.

What’s a key question that will help spark a debate or begin a conversation about this film?

I think it's fun to watch it with people you know and then discuss what you think "happened" in it afterwards. It reveals the different kinds of cues to which different people are sensitive.

Would you like to add anything else?

Almost everyone we've screened this for has missed at least one or two details that have a big impact on the possible interpretations of the film; if one has the means to watch it more than once, I would recommend doing so!

What other projects are the key creatives developing or working on now?

The COVID 19 pandemic hit not long after we released this film. When we went into lockdown, we decided to use the equipment (mobile phone and accessories) and skills we had garnered during the production of this film to shoot another mobile phone film, again with just the two of us as crew. But instead of gallivanting around to various striking locations in a remote country, we headed to the roof of our NYC apartment building. The film, called "Rooftop Intermission", was recently finished and is starting to make the festival rounds now.

Interview: August 2021

Here You Are You Here

Length:

14:51

Writer/Director

MASA GIBSON (they/them) holds a BA in Music from Rutgers University and a PhD in Linguistics from Cornell University. They are a classically trained singer and a Meisner-trained actor. After spending time on set as an actor, they migrated over to the other side of the camera to try their hand at filmmaking, co-founding Marked Pictures (markedpictures.com) with Abby J. Smith in 2013.

Key cast:

Looking for:

Facebook:
https://www.facebook.com/hereyouareyouhere

More info:

https://www.masagibson.com/here-you-are-you-here

Where can I watch it now?

It is currently being hosted by the Fantasy Film Festival's Vimeo channel (https://vimeo.com/channels/fantasyfilmfestival/videos/page:4), which was put together during the pandemic while the festival was unable to be held in person. Films on that channel can be viewed for a small fee. There are plans for the in-person version of the festival to be held in November (dates TBD) in Paris, France. The film has also been accepted into a festival local to the NYC area, which is slated to take place in late September/early October, but we have been asked by the festival's organizers to hold off on announcing anything about the film's selection status until plans for the festival become more firm.

(UN)KNOWN, (EZ) EZAGUN

September 02, 2021 by Carmela Baranowska

How many versions of our city do we know? Do people from diverse backgrounds coexist or live together? Lady shares the difficulties and opportunities she has faced since she migrated from Colombia to the Basque Country 16 years ago and, along with her son Urko, reflects on the road that still has to be traveled.

Interview with Director Maitane Carballo

Congratulations! Why did you make your film?

As a result of travelling for work in different countries around the world, learning about other cultures and people of different nationalities, I became interested in learning more about the realities of migrants in my own country. In this search I met Lady Toro Pelaez who worked altruistically in a feminist association of migrant women and I was able to observe the connection between mother and son and the transmission of values that Lady and Urko had. Then I knew that I had to tell that story and while I was telling it, I had to learn from them.

Imagine I’m a member of the audience. Why should I watch this film?

If you want to get to know another reality, to deepen into other points of view about migration and to reflect on it, I invite you to watch this modest short film. I would highlight the innocent point of view on the environment that surrounds Urko, a 5 year old boy. Lady, his mother, subjectively narrates his most sincere reality which I think gives a lot of food for thought.

How have the script and film evolved over the course of their development?

When I started looking for migrants to interview in my piece, I planned to interview 3 different women, but in that search I met Lady and Urko, mother and son, and I knew I had to focus on that relationship. I had planned many scenes that could not be carried out and instead I was given scenes that I had not imagined.

What type of feedback have you received so far?

Feedback has been generally positive. People have commented that Lady speaks and conveys her ideas very well and that it is a well-crafted speech. Urko really likes her a lot and he is a very special boy and adapted very well to the camera and the team.

Has the feedback surprised or challenged your point of view?

Of course there are always dissenting comments. There are people who do not agree with the testimony and perhaps call it exaggerated. On the other hand people have also perhaps missed more intimate sequences between Urko and Lady. I initially suggested more sequences, but in the documentary you have to adapt to the comfort of the protagonists and their personal circumstances.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

All visibility is welcome, after all we do this kind of work with that intention as well. We simply want to reach more people and invite them to think about it.

What type of impact and/or reception would you like this film to have?

If we invite debate, reflection and conversations between people living in the same place, we would be satisfied.

What’s a key question that will help spark a debate or begin a conversation about this film?

A sentence that comes out in the documentary piece. Do people from diverse backgrounds coexist or only live together in the same place?

What other projects are the key creatives developing or working on now?

I am working on the writing of a new documentary project which, that if it becomes a reality, will take place in Kinshasa in the Democratic Republic of Congo, in a foster home.

Interview: August 2021

(UN)KNOWN, (EZ) EZAGUN

Length:

16:52

Writer/Director

Maitane Carballo - Specialized in editing, sound and post production. Throughout her career she has worked in live sound and editing in numerous audiovisual projects. At just 21 years of age, she had the opportunity to edit the feature film “Argi” (Dir.Iratxe Mediavilla) which was selected in more than 15 festivals around the world. It was a great leap in her professional career and a real learning experience. From fiction she jumped to work in documentary cinema, where she discovered first hand a world full of possibilities and a more human and authentic cinema.

With the Basque director Maider Oleaga, she participated in the documentary feature film “Muga deitzen da Pausoa” (IZAR FILMS). She also met Elena Molina, with whom he made the sound design of her short film "Laatash" (best documentary at the 42nd FICIE Festival in Elche). An ambitious proposal in which she reaffirms her passion for the craft of live sound. Other projects that must be highlighted are: “EKAI (My Pequeño Gran Samurái) ”(Dir Arantza Ibarra, producer IZAR FILMS), LGTBQ + themed short film that is currently in the process of distribution. She worked as an editor and was, without a doubt, an exciting project, which openly reflects on the suicide of the young trans boy Ekai Lersundi.

Cinema is not just about entertaining and thanks to her ability to work as part of a team, she was chosen to work in a very ambitious documentary series as Head of Sound. Produced by Gariza Films and directed by Aner Etxebarria and Pablo Vidal, she has embarked on a journey through 9 countries around the
planet. This adventure, full of challenges and very enriching moments both professionally and personally, it has taught her to love character stories, social and anthropological even more. And this is one of the reasons why she decided to direct her first short film "(EZ) EZAGUN / (UN) KNOWN.

Producer

Izaskun Arandia

Looking for:

film festival directors, distributors

Facebook:

https://www.facebook.com/EzezagunDoc/

Instagram:

https://www.instagram.com/ezezagun.doc/

Hashtags used:

#ezezagun #dokumentala #documental #documentary #doc … #womenfilmmakers #womeninfilm #womendirectors … #euskalzinema #euskalzinegileak #zinema #zinea … #izarfilms #begirada #gasteiz #elkarbizitza #convivencia #migrazioa #migracion #acogida #emakumeak #mujeres #racismo #prejuicios #privilegios #educacion #hezkuntza #women #racism #migration

More info:

http://www.izarfilms.com/short-films.html

The Keeper

September 01, 2021 by Carmela Baranowska

A lonely widow yearning for connection, meets a collector of art at a speed dating event. What they are looking for in each other is vastly different.

Interview with Writer/Director/Producer Bob Celli

Congratulations! Why did you make your film?

Thank you! I believe stories find you, not the other way around. While I had a few project ideas in the mix, this idea bubbled to the surface quickly. The initial idea for The Keeper came to me from listening to my wife recount one of her crazy dreams. After I wrote the script, I had my wife, who is also my producing partner, read it. She put the script down and said “This taps into too many of my fears. I’m not sure I can help you produce this.” The next day she said, “I keep thinking about that script.” The journey began.

Imagine I’m a member of the audience. Why should I watch this film?

The Keeper will keep you guessing as you try to assess the situation Robert and Celeste find themselves in. Is it a Romance? Comedy? Thriller? The film is very intimate and personal. It will take you on a ride in more than one direction.

How do personal and universal themes work in your film?

Living in a hectic world we all can lose sight of how important real personal connections can be. What happens when two people, who are looking for two different things, meet? Does the longing for these connections make us take more risks? At what cost?
We all have secrets of some sort. How well do you really know the person you may be living with? The reality is that we live in a world where some of our most personal moments are “Shared” with “Friends”. We are often much more captivated by flashing notifications on our mobile phones than what we are actually living moments in real time.

The Keeper BTS with Actor/Writer/Director/Producer Bob Celli at center

How have the script and film evolved over the course of their development?

The director Alan Parker once said, "You make three films. One when you write it, one when you shoot it and one when you cut it together in the editing. With luck they are not too dissimilar from one another.” I believe this to my core.

For me The Keeper script idea came very quickly and completely. This is not to say that once on set there weren’t things that got scrapped because they just didn’t work in the moment. But, that is the beauty and the part I love about being on set. Those moments when magic happens and those moments where you need to shift gears and think on your feet to make a scene work.

Also, I don’t usually both act in and direct a film but it just felt right this time. I did have someone else in mind for the role of Robert, but it would have been a completely different film. In the end I believed my facial features would add a darker underlying feel to the character. Plus, the character is imbued with a lot of how I see things, the ending not withstanding. I knew exactly what I wanted him to be and what I wanted overall look of the film to be. The script and the final cut of the film are very similar. I knew what ride I wanted the audience to take, and even wrote and shot three different endings because I wanted the option to choose which ending worked best in the edit.

What type of feedback have you received so far?

Well, we all know that film and art in general elicit completely subjective opinions, but the response has been overwhelming to say the least. The feedback from festival audiences has been the most rewarding part of this journey. Before the pandemic hit and many festivals went virtual, it was wonderful to sit in a dark theater and listen to audience reactions as they took the roller coaster ride I hoped they would take.

Has the feedback surprised or challenged your point of view?

Yes and no. Over time you come to the realization that you will never make everyone happy, especially your critics, so stay true to the story you want to tell. Stay true to your vision. It will find a home and it will find an audience to resonate with.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

To have your work on a respected platform like We Are Moving Stories means that your project gets seen by a wider audience of creatives than would normally see it. There also exists the potential for community growth and future collaborations. It’s all good!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

At this point we are still in our festival run, which for us usually means two years. We will be looking to get distribution once we have completed the festival circuit. In the mean time, if there are any festival directors that feel our film would be a fit for their festivals I encourage them to just reach out to me.
As always, financing is the bane of any artist’s existence. We, as well as most creatives are always looking for producers who may be willing to come aboard and help us continue to tell stories that inspire and entertain.

What type of impact and/or reception would you like this film to have?

As with any project, I want the audience to come in, take a journey, and to maybe have their hearts opened and to feel something…love, loss, laughter, pride. I also hope the film stays with them. It has always been my test of a good film, does it stay with me after I leave the theater?

What’s a key question that will help spark a debate or begin a conversation about this film?

Is the longing for human contact and the choices we make to satisfy our desires worth the potential cost?

Would you like to add anything else?

Just a big thank you to you and all lovers and supporters of the arts for helping to bring independent film to a wider audience and especially now during these challenging times.

What other projects are the key creatives developing or working on now?

We, Laura Delano my wife and partner at DelanoCelli Productions and I, are currently working on honing three short scripts that will span comedy, thriller, and historical drama respectively .

We are also working on a feature script about a career soldier, who has lost faith in the military and struggles with a ghost from his past. While fighting his own demons he navigates a troubled marriage and complex relationships, both at home and while on his tours of duty. He attempts to save a young Arab girl from the cruelties of war to make a difference in a world that no longer makes sense to him.

I can also be seen in the upcoming season premiere of FBI: Most Wanted.

Interview: August 2021

The Keeper

Length:

13:54

Writer/Director

BOB CELLI has Written and Directed four short short films, Going Home, Figs For Italo, Brooklyn In July, and the Keeper. He is also is working on a full length feature entitled Amira about a soldier as he attempts to save a young Arab girl from the cruelties of war.

Producer

LAURA DELANO and BOB CELLI formed DelanoCelli Productions in 1995. Since 2015 DelanoCelli Productions has produced three short films, Figs for Italo, Brooklyn in July, and The Keeper. Delano and Celli have been fortunate to enjoy great collaborations with talented casts, crews, and production teams.

Key cast:

Betsy Adkins Johnson - Celeste, Bob Celli - Robert, Nicole Roberts - Ms. Maize, Stacie Capone - Lenore, Cristina Doikos - Fala, Max Brand - Boris, Aksel Daye - Sasha, Craig Colasanti - The Bartender

Looking for:

film festival directors, distributors, producers

Facebook:

https://www.facebook.com/bob.celli

Instagram:

https://www.instagram.com/delanocelli/

Twitter

https://twitter.com/cellib4

Hashtags used:

#delanocelliproductions #thekeepershortfilm #awardwinningshortfilm #indiefilmmaker #shortfilm

More info:

http://delanocelli.com/the-keeper.html

Where can I watch it?

South Dakota Film Festival/Aberdeen, SD - September 16 - 25th, 2021 (Virtual)
Shawna Shea Film Festival/Uxbridge, MA - September 21 – 25, 2021 (Live Screening)
World Cinema Antwerp Belgium Film Festival/Antwerp, Belgium - October 2nd -9th, 2021 (Virtual)
Texas San Angelo Revolution Film Festival/San Angelo, TX - October 14th - 16th, 2021 (Live Screening)
Dates added as they are received. For more see http://delanocelli.com/the-keeper-2021-festival-dates.html

Amissa Anima

August 31, 2021 by Carmela Baranowska

Four boys survive on the seedy night streets of St Kilda’s red-light district in the 1980’s.

Interview with Tatiana Doroshenko, David Markin, Katrina Mathers, Bernie Clifford, Julian Pocock

Congratulations! Why did you make your film?

The authors grew up together in St Kilda, so they are close to this story, witnessing the long-term effects of child-abuse and neglect across generations. This project is a voice for those silenced by shame, ignorance and pain. We made this film to bring attention to these crimes as many people are silenced. As with the Royal Commission into Institutional Responses to Child Sexual Abuse, we hope there will be further investigation into this period of Australia’s criminal history. There was a large media and police response at the time which is reported in the book ‘Rockspider’ but nothing significant has surfaced since the 1980’s. The Book’s author also encountered walls of silence at the time of publishing in 1999.

Imagine I’m a member of the audience. Why should I watch this film?

We hope audiences gain understanding and emotional empathy for children and people who live on the streets, and how they experience and cope with exploitation. To gain an intimate understanding of how a child is exploited and how this unfolds, and the nature of people who commit the crime.

We also hope that people will perceive the dignity of these children, and the complexities of the struggle to gain control of their lives

How do personal and universal themes work in your film?

Themes of bonding and trust are explored. The boys only have each other. There are no trusted adults in their world so, like kids in “Lord of the Flies” they are forced to make their own rules.

How have the script and film evolved over the course of their development?

The core story was written by David Markin, and then Tatiana Doroshenko co-wrote the screenplay. Tatiana developed the cinematic vision and style, adding magical elements, fuelled by David's content and strong sense of story. Script editor, Charlie Carman was a key player in triggering the writers to bring the character dynamics to the fore. The adult-themed material with a lead child cast, meant we had to work with the child employment office on every aspect of the script, and that also meant sections of the script that were contained in the original version of the screenplay (which had attracted some screenplay awards prior to filming), had to be edited or removed. It was a difficult and painful process but we’re so grateful to our cast and crew for their incredible flexibility to help bring the story to life.

What type of feedback have you received so far?

Amazing responses and support all round. The best feedback so far, has been from people who have experienced this kind of abuse, first hand. People have shed many tears on watching it, letting us know how authentic the film is, from their POV. Hence we set warnings for triggering content at screenings.

Has the feedback surprised or challenged your point of view?

Not really. If anything it’s been validating and satisfying to have such encouraging feedback. We hope that films like ours open up further debate and discussion about both the issues they raise, and the long-term effects on survivors and their families.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We’re obviously eager to draw more awareness of these crimes into the public eye. Hopefully having the film reach wider audiences around the world too will help to restore dignity to the children, now adults, who experienced it, and those children experiencing it now.

As producers, we believe that film can be used as a powerful tool in the fight against child pornography, sexual abuse and worldwide exploitation, as it offers an accessible way for people to emotionally connect with individual stories, and therefore consider the impacts of these experiences.

We’d like for our film to be used in educational contexts, at conferences and talks where social justice activities are focussed on research and support networks to help disadvantaged, displaced and abused children.

Being able to provide some written background and context via a platform such as this, we think will help to add value to peoples’ understanding of the film.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

To be honest, we’re interested to hear from anyone who thinks they may be able to help us get the film seen (to MA15+ audiences and older). We’re not in a position where we can ever have the film freely available online, due to the adult nature of the content, and having a child cast means we’re under strict privacy guidelines. We are not able to release images or names of any of the child-cast for example. For their protection! (Which in many ways is such a shame, as they were so incredibly good in the film. They really bonded beautifully and you can see their camaraderie on screen. They’re all much older now, but still, we do hope that other directors, casting directors, producers and worldwide production companies will see their work and cast them in other productions).

We of course also welcome contact from any festival directors, distributors, buyers, sales agents or journalists who would be interested in talking with us.

The other area we’d like to hear from is anyone working in the welfare field, counselors and researchers etc who might encounter people who’ve been through this - we would be pleased to host Q&A filmmaker discussion sessions and private screenings upon request.

What type of impact and/or reception would you like this film to have?

We’d like the film to contribute toward global awareness of the long term issue of child exploitation. One of our associate producers continues to work directly in researching and campaigning for social justice and education in this area and so we hope it is useful as part of this process.

“Amissa Anima” in latin, means ‘lost soul’ and we hope we can also simply connect with those who might simply appreciate the film as a self-contained story. It’s not an easy film to watch. While the content is unsettling, the film itself has a strong visual aesthetic. The historical content meant Tatiana called for classical, black and white visual execution, and we were honoured to have the highly experienced, and renowned Ellery Ryan ACS as our DOP. Every frame Ellery composes is full of beauty, and complexity.

What’s a key question that will help spark a debate or begin a conversation about this film?

“Amissa Anima” is an unconventional film, covering a difficult topic, based on true events, developed and told with authenticity. We hope that people are reminded that St Kilda in Australia does have a dark past, and sadly, though around the world the way the abuse unfolds may have changed due to technology, the issue is profoundly seeded in both our history and current day.

Would you like to add anything else?

Please do like and follow our Facebook page to stay in touch with us and to track any upcoming screenings or news. facebook.com/AmissaAnimaFilm

What other projects are the key creatives developing or working on now?

Tatiana has two feature scripts and some shorts in development. David has written further short screenplays, and one is currently in pre-production. The producers all have a range of new projects in various stages of production and development, and Bernie, one of the producers has also since launched a unique multi-discipline arts and music venue in Richmond in Melbourne called POME.

Interview: August 2021

Amissa Anima

Length:

15:20

Writer

Story by David Markin. Screenplay by David Markin and Tatiana Doroshenko

DAVID MARKIN has written poetry and made experimental films. He has several screen projects, including a feature in development, and is in pre-production on a new short.

Director

TATIANA DOROSHENKO’s short films and screen works have screened around the world. Highlights include EMAF, VAD Spain Transmediale Berlin, HollyShorts; and she wrote a Tropfest finalist screenplay.

Producer

KATRINA MATHERS has been writing, producing or directing short form content and animations for many years. BERNIE CLIFFORD has also been producing shorts for years.

Key cast:

Jim Daly (Bill), Justin Hosking (Irvin), David Kara (Paul)

Looking for:

sales agents, journalists, distributors, film festival directors, buyers, producers

Facebook:

https://www.facebook.com/AmissaAnimaFilm

Twitter:

https://twitter.com/TatianaTatyas

Instagram:

https://www.instagram.com/tatiana.doroshenko

Hashtags used:

#amissaanima #amissaanimafilm

More info:

https://amissaanimafilm.com

Where can I watch it:

Catalina Film Festival/USA - Sep 2021
HollyShorts Film Festival/USA - Sep 2021
Sedicicorto International Film Festival/Italy - Oct 2021

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Focus on AFI Conservatory - Children of Change

August 28, 2021 by Carmela Baranowska

A troubled teenage environmentalist will heal through the love and guidance of her friends and a primal reconnection with nature.

Interview with Writer/Director/Producer Nitzan Levinson

Watch Children of Change here:

Congratulations! Why did you make your film?

I began having anxiety and such deep sorrow about the environmental crisis, I truly felt like giving up. Couldn't eat, sleep nor think about anything else. There are not enough films about the climate issue and how that impacts us emotionally and psychologically...especially the youth and their ‘seemingly doomed’ future. With Children and the tools of cinema, I want to give my insight, thoughts and ideas for solutions to this overwhelming problem. I want to give hope and an outlet for all those who feel the way I felt.

Imagine I’m a member of the audience. Why should I watch this film?

My main objective with this film was to make people feel. A lot. And cry… I personally love crying and then smiling. Then, after they’ve released, to make them think and ask questions. I don’t think films, or anything for that matter really, should give concrete and all encompassing answers. I don’t believe that anything is fully right or fully wrong. I do believe though, in working out the muscles of the mind and the soul, guiding audiences to have stronger brains and hearts. I also think everything is a choice at the end of the day. This gigantic global issue could easily become extremely sad and hopeless. I chose to make it -not really happy hehe-, but definitely hopeful and a possible blessing in disguise.

How do personal and universal themes work in your film?

The problems and issues of the world, the complexity of situations and overwhelming feeling of isolation, loneliness and doom, function the same way in the case of a single individual, as well as the entirety of humanity. I see it like fractals. You know fractals? The part being the same as the whole?
Well, both individual and global pains, issues and intricate dejection, can be traced down to a rather simple human necessity:

Singing and dancing.

I know it may sound silly, but these two actually brings together and connects. I believe that we are very disconnected from ourselves, each other and nature (due to social media, modern life, etc). If we only connect, problems can be slowly worked out and digested in different ways. Death and decay, for example, is a natural and cyclical phenomenon. If we also understand it differently and perhaps positively (like some ancient and other modern civilizations have), it may also bring about change and a bettering in ourselves and western society as a whole.

How have the script and film evolved over the course of their development?

Uf, what a good question! I kid you not, there were about 30 something versions of this script. My poor team read a new slightly better and different version every week. AFI is amazing at helping one understand the technical issues, simplify the narrative, but (like my dear professor Rob Spera would say) ‘be more specific’. The theme, characters and setting of the story basically stayed the same, but I’d say that the arc of the characters, the series of events changed quite a lot and it simply got smaller. (I really have to give my friend and early co-writer, Jessica Ghitis, who later stepped aside telling me to take over as it was a very personal story, a lot of the credit here as well). Then, when I was fully cast with the amazing Emma as Joan, Daniel as Oliver (who was a non-actor and a true environmental teen activist), Selin as Maya and Connor as Charlie, the story continued to evolve and their characters came to life in magical ways I could never have imagined. Daniel, for example would say, I don’t think Oliver would say this right now, I think he’d simply do that, or Connor, with his fun ideas, would just do something unexpected and I’d just ask him to do that every time, etc. I truly was so lucky to have them all.

What type of feedback have you received so far?

With AFI, one is used to constant feedback and analysis at every.step.of.the.way. Hence the reason why I had over 30 drafts of the script. My favorite feedback though, usually comes from the people that I intend my audience to be. An example of that is feedback I got from a teen activist that saw the short concept doc I made in research for Children. She messaged me via IG and thanked me for creating an inspiring piece. That she’s been a teen activist for many years and that the work can often be tiring and dispiriting, but this gave her the boost to remind her why she’s doing it. And now I must thank her, her message also gave me the boost I needed to continue pushing the arduous process of pre production, fundraising and production. Every time I was tired or felt defeated, I’d think of her comment and that gave me strength.

Has the feedback surprised or challenged your point of view?

A fun little surprise came from the actor portraying Oliver (Daniel Thurmond). I think I took every single note he gave me -and he gave me quite a few-. He’s an actual high school teen activist, whom I met once at a meeting we had with the Mayor of Santa Monica to fight for an environmental act to be passed. I was the only non-teen activist at that meeting, along with their mentor Cris Gutierrez. Daniel led the meeting and I said to myself, holy ***, he’s the living version of Oliver. Anyways, one of his first notes was that I had incorrectly written in the script, ‘mud’, which wasn’t exactly the right usage, he said it was ‘wet soil’. I learned then that one has to also use respectful language towards all things on Earth.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

To have as many people watch the film!
Hopefully it can get some buzz and from that go to more festivals (so more people watch it) and later also perhaps go to a major streaming platform (so more people watch it ;P)

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Sales agents, buyers, distributors, film festival directors and journalist. As we're still in the process of editing, we need it all!

What type of impact and/or reception would you like this film to have?

This short is for ALL ages and I hope it can be impactful in many ways. I hope it can challenge some people’s perspective towards the climate crisis, help heal others, simply entertain, make some cry, others smile, others think deeply about the world, themselves, life, nature…I want it to be a film that stays with people after they’ve left the theatre or gotten up from their home couches. I also want them to identify with at least one of the characters and feel their friendship.

What’s a key question that will help spark a debate or begin a conversation about this film?

Leaving the climate crisis aside (as it really is a HUGE problem and it’s something that we’ll talk more and more about very soon), I’d like to touch on a subject that I haven’t yet:
The fact that there are barely any films with characters with Down Syndrome or other special abilities. If there are, they are focused on that ‘issue’ as if it were something very out of the ordinary and almost a conflict driven decision to put a character like that in the script. But that’s not the way real life is, it’s NOT A CONFLICT. It’s a very normal situation and who are we to ‘pity’ them and make a huge deal about it. I just think it’s the next step of addressing ‘otherness’ and open up even more that representation in film barrier.

Would you like to add anything else?

Yes! Thank you WEAREMOVINGSTORIES for this beautiful opportunity! I’m super excited to have Children be a part of your amazing platform along with all the other projects you’ve covered. I actually had read the article for Miller and Son with Asher Jelinsky a while back, and I’m so thankful to now be in the same place!

What other projects are the key creatives developing or working on now?

I’m currently writing the second draft of my first feature film (on a similar matter like Children of Change, but takes place in Mexico), called Flowing Earth.

Nico Blanco, one of the producers from Children, will actually also produce Flowing Earth. He’s also finishing his own first feature script, Asphyxia. Pablo Zamorano is finishing his other thesis, Magdalena and also his first feature script.

Jean Denegar, the A-MAZING cinematographer is currently DPing her first feature film, This Sucks, while her and I prepare to shoot a proof of concept short (and our cycle 3 for AFI), for Flowing Earth, as she’ll also DP that.

Joe King is also finishing his other thesis film, which he worked on with Pablo.
And, last but not least, Jessica Ghitis (early co-writer) is developing about three features and a pilot! And I think a book as well. We’re all busy bees ;)

Interview: August 2021

Children of Change

Length:

Short

Writer/Director

NITZAN LEVINSON was born in Mexico City and spent half of her childhood between Mexico and Israel, where her father’s family is from. At the age of thirteen she moved to Los Angeles where she acted in films and TV and danced Ballet professionally. In 2018 she finished her film directing studies at the Universidad del Cine (FUC) in Buenos Aires, Argentina.

She directed three short films, two of which have received awards at numerous film festivals. She has also worked as assistant director in feature films, storyboard artist, producer and production designer in short films and operas.

Nitzan interned at the development department at Piano Production Company (The Square, Beach Rats, Knife + Heart…)in Mexico City in 2018. She currently attends the AFI Conservatory as a directing fellow and also assists casting director and producer Heidi Levitt (Parasite, The Artist, JFK...)

Producer

NICOLAS BLANCO is a producer from Bogota, Colombia. He graduated from Tulane University, double majoring in Marketing and Finance, and minoring in Film.

He worked at Havas in New York City, followed by the production company Eye Full Media. He was one of the producers for the feature film, ACCIDENTAL BLESSING, which premiered in Colombia in February 2020 and is currently available on Amazon Prime.

Nicolas’ passion lies in highlighting new voices that add to the cultural conversation and are pushing the boundaries of the medium.

PABLO ZAMORANO graduated in Economics and Business Administration and worked as a Management Consultant for three years before deciding to change careers and work in the entertainment industry in 2018.

That year he produced and edited the short film, EVA, in collaboration with the Chilean film school Escuela de Cine de Chile, which was screened in festivals in the Americas, Asia and Europe.

At AFI Pablo has produced 4 narrative short films, including another AFI thesis, Magdalena and has 2 other projects in development.

Key cast:

Emma Halleen (Joan), Selin Cuhadaroglu (Maya), Daniel Thurmond (Oliver), Connor Long (Charlie)

Looking for:

sales agents, distributors, journalists, film festival directors, buyers

Facebook:

https://www.facebook.com/childrenofchangefilm

Instagram:

https://www.instagram.com/childrenofchange_afi/

Hashtags used:

#teenactivist #environment #connection #climatecrisis #nature #comingofage

More info:

https://www.childrenofchangefilm.com

Made in association with:

Curbio, Warner Brothers Media, AFI Institute, Bridges-Larson Grant, Caterpillar, Michael Tessler, Adam Leipzig, Rebecca Levine, Joe King, Carol King, Jackie Denegar, Charles Agbaje, Collin Knybel

Drunk

August 28, 2021 by Carmela Baranowska

Inspired by true events, a story that follows a young couple whose relationship suddenly turns violent as they attempt to cope with the loss of their infant son.

Interview with Actor/Writer/Director/Producer Danielle Stritmatter

Congratulations! Why did you make your film?

I made this film because I wanted to bring awareness to all the people, especially women, who experience domestic violence and break the stigma that sometimes surrounds it. This film is told from the victim's point of view, and it also includes real domestic violence survivor testimonials at the end that give insight into what it's like to find yourself in this situation. It's easy for other people to tell someone to just leave or walk away if your partner suddenly starts to show signs of abuse, and many times people get judged or blamed for staying, but for the victim sometimes the answer isn't so black and white.

Sometimes other factors such as having children involved or having something that ties you to this person makes it more difficult to walk away. In this case, it's the grief that ties these two people together and we see the struggle of the main character of staying because she feels like her husband needs her and that she still needs him regardless of how he's treating her. She also feels like no one understands her and she's being judged by her friends, which is a common feeling among people in this situation, and it isn't until the end when she finds other people who have been in her same situation that she realizes she's actually not as alone in this as she thought, and that she doesn't need him as much as she believed she did.

Imagine I’m a member of the audience. Why should I watch this film?

People should watch this film to get an insight into the every day life of someone who's living in an abusive situation. The more we understand what people are going through, the easier it is to help them get out of it. So many people who are in this situation often feel isolated and misunderstood, and the message that I want audience members and anyone who has gone through or is going through this type of thing to understand is that they are not alone, and that help is always going to be there when you reach out for it.

How do personal and universal themes work in your film?

This film is obviously deeply personal to me as someone who experienced this type of thing in a relationship before, and I never spoke up about it out of fear of judgement or somehow feeling like it was my fault. The universal theme here is that no matter what it is you're going through in life, it is guaranteed that there is someone else out there who has also gone through it and has felt in some way whatever it is that you are feeling. There are so many things in life that make people feel isolated, wondering why this is happening to them or feeling like there's no one who could possibly understand what they're going through. If you just reach out and look for resources, whether it's a support group, grief counseling, or just opening up to a friend, you will often find that you're not the only one feeling these things.

So many people never get the help that they need and that often has tragic consequences, so if this film can make even one person realize that there is always help and they are never alone and it can inspire them to pull themselves out of a bad situation, then it has served its purpose.

How have the script and film evolved over the course of their development?

The script didn't change all that much than when I first wrote it, other than getting some feedback about making it more showing rather than telling. But when I wrote this, I knew exactly what I was going for. My co-producer, Jill Awbrey, was a huge help in editing down the script and making it focused on what it needed to be, so it really just came down to what was most integral to the story telling and getting the message across in a way that would make the audience feel the emotion that we were trying to go for.

What type of feedback have you received so far?

Everyone who I had showed the film to initially had pretty emotional reactions, and I wasn't expecting to make my friends and family cry (that was never my intention), but for a filmmaker it'll always move you to see strong emotions from your viewers. I have also gotten pretty good feedback from the festivals I have submitted to, and the film even won Best First Time Short Film at the Berlin Short Film Festival.

Has the feedback surprised or challenged your point of view?

It did surprise me a bit to see such strong and positive reactions. As a first time director, and especially making a film about such a powerful and raw subject, I wasn't sure how it would be received, but I'm happy it's been successful and I just hope it continues to make some type of impact.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Well, of course I want to get this film seen as much as possible, and if I could find a buyer or distributor who wanted to help get this film out there, that would be ideal. I also wouldn't be opposed if a bigger production company wanted to use the premise to turn it into a full length feature film. Either way, I just want people to be touched by the message and for this film to reach as many people as it can, and I am also excited to get my work out there for people to see what kind of projects I am able to create.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I would honestly love to have all of the above!

What type of impact and/or reception would you like this film to have?

I would like this film to have a huge impact on people struggling to get out of dangerous or violent situations. If someone who sees this film is going through a situation they are afraid to pull themselves out of, or knows someone who might be going through it, I hope this film will encourage them to get the help they need before it's too late, and for them to choose themselves and their own safety over anything else.

What’s a key question that will help spark a debate or begin a conversation about this film?

The most common question survivors receive is- why did you stay? Why did you let it go this far? Why didn't you just leave at the first sign of abuse? Instead of being so quick to pass judgement, I want people to actually try to help someone instead of making them feel like it's somehow their own fault.

What other projects are the key creatives developing or working on now?

Well, I am always writing and creating and looking to make my next project. In addition to making personal films like this one, I also own a horror film production company called Dead Mermaid Entertainment and me and the co-owner of that company, Daniel Rosas, are also getting ready to put out a few new horror films in addition to our most recent film, Deceivers, which is now making it's way around film festivals.

Interview: August 2021

Drunk

Length:

13:20

Writer/Director/Producer

DANIELLE STRITMATTER is a writer, producer, director, and actress who has been working in the film industry for over 15 years and decided to start creating her own films to tell stories that will bring awareness to important issues, especially for women. "Drunk" is her directorial debut and is inspired by her own story as well as several other strong amazing survivors.
Key cast:

Danielle Stritmatter, Anthony Stanley, Laura Eletel

Looking for:

distributors, buyers, journalists

Twitter:

http://twitter.com/daniellestrit00

Instagram:

http://instagram.com/daniellestrit00

Soft Sounds of Peeling Fruit

August 27, 2021 by Carmela Baranowska

A coming of age story of a rebellious Korean American teenager named Hayoung who discovers the complexities of her mother’s love.

Interview with Production Designer Shi Min Yong

Watch Soft Sounds of Peeling Fruit here:

Congratulations! Why did you production design this film?

I was approached by Korean-American director Shelly Yo to production design her film. I was moved by the strong script and Hayoung’s character arc. I had many long conversations with Shelly and despite being Singaporean, there were a lot of tangible and intangible elements of Asian family and culture, the memories of youth during that specific time period, that I strongly relate to and identify. Shelly has a strong vision and she liked the preliminary production design look book that I made. We connected very well and I joined her on this journey to tell her story.

Imagine I’m a member of the audience. Why should I watch this film?

If you like a coming-of-age period drama, taking a walk down memory lane, I guess this would be the right film for you!

How do personal and universal themes work in your film?

It is Shelly’s deeply personal story that encapsulates her Korean American experience, yet is it also a story with universal themes of love, growth, loneliness, empowerment and social class.

How have the script and film evolved over the course of their development?

The overall story arc has stayed the same but certain details in the script did change based on the locations we have found. During post-production many scenes with specific locations/sets were cut out, it was not an easy decision but it is all for making the story better.

What type of feedback have you received so far?

I did not attend the Tribeca Film Festival premiere, but I have heard from fellow crew members and friends who attended that the feedback was positive.

Has the feedback surprised or challenged your point of view?

No, but I do know that this has been a huge learning experience and there is always room for improvements on my part.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I just want to increase the visibility and audience base for this film, and hopefully people would be as touched by it as me.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Anyone who is interested and connected with the film is more than welcome to reach out to us!

What type of impact and/or reception would you like this film to have?

I hope it helps people to have a better understanding of their parents who may express love in other ways.

What’s a key question that will help spark a debate or begin a conversation about this film?

Remember those flip phones?

What other projects are the key creatives developing or working on now?

Another short film that I production designed called MASS AVE is currently going on the festival circuit, it is a story about the strained relationship between a first-generation Sierra Leonean American and his traditional immigrant father.

Guo Guo is currently Head of Production at Media RED and Shelly is currently in development for a variety of projects, highlighting the stories of Asian Americans, immigrants, misfits and people living on the fringes of society.

Interview: August 2021

Soft Sounds of Peeling Fruit

Length:

14:00

Writer/Director

So Young Shelly Yo is a first-generation Korean-American director, screenwriter, editor and visual creative from Southern California. She holds an M.F.A. from Columbia University of New York and a B.A. from University of California San Diego. Her recent short MOONWALK WITH ME was a finalist for HBO’s APA Visionaries competition and was granted AT&T’s InspirASIAN Film Award (CAAM) and Best Student Film (Dead Center Film Festival).

Shelly is a recipient of SFFILM’s Sloan Filmmaker Fellowship, VC Media’s AWC Fellowship, a two-time finalist for Tribeca’s Through Her Lens Filmmaker Program and the Athena Screenwriting Lab. She is also a 2nd rounder for the Sundance Development Lab in 2020 and a finalist for the SFFILM Westridge Grant in 2020.

Production Designer

Born in Singapore, Shi Min began her career as a commercial interior designer and came to Los Angeles to pursue her MFA in Production Design at the American Film Institute Conservatory. Shi Min has designed numerous film projects that have been screened at film festivals including the Tribeca Film Festival, Los Angeles Asian Pacific Film Festival, and the CAA Moebius Showcase.

Producer

Based in LA and holds an MFA in producing at the AFI Conservatory, Guo Guo’s producing credits include the Palme d’Or nominated AYKA, winner of Best Actress at 2018 Cannes; 12 CITIZENS, winner of best picture at the 2015 Rome International Film Festival; MEIDUO, a 2020 Shanghai International Film Festival Media Award nominee; as well as 44-episode Chinese TV Series BE WITH YOU that has enjoyed over 1 billion views. During AFI, Guo Guo interned in Sales for HanWay Films at 2019 AFM, and in development for Plan B Entertainment. Fluent in English and Mandarin, she is a current participant in the Women In Film 2020 Mentoring Program. Guo Guo’s goal is to bring people together through a visual storytelling able to transcend time, space and everything in between.

Key cast:

Shannon Young Cho (Hayoung), Sook Hyung Yang (Umma), Luke Kim (Joon), Greena Park (Mrs. Lee)

Looking for:

film festival directors, journalists

Hashtags used:

#risingvoices #softsoundsofpeelingfruit

More info:

Made in association with:

Lena Waithe's Hillman Grad Production and Indeed's Rising Voices Program

BABS

August 27, 2021 by Carmela Baranowska

Like a slow motion train wreck, we watch Detective Becky Rawlings plunge into the depths of alcohol psychosis and its grim consequences.

Interview with Writer/Director/Producer Brette Taylor

Congratulations! Why did you make your film?

I needed to get it off the page as a creator, writer, actor and sober woman of many years. Chunks of dialog and words, in many forms, kept me awake at night. What was going through my head was intriguing. I knew there was something I needed to say, but I didn’t know what direction these words were going to take at first. Was it a song, an abstract poem, a vent? It eventually landed here. It became "BABS." I needed to show it, not just think it anymore. Also, the entire theme of this film is based around some hard truths about active alcoholism. A theme I know too well. Maybe it will help someone else speak theirs. I hope so! That's what works for me. Another reason is, I've been in the business of creating other people's characters my entire life but the harsh reality is that if you want to play your desired niche roles, you have to create them yourself. My hope is that this film will cover multiple bases.

Imagine I’m a member of the audience. Why should I watch this film?

Because you heard it was wild, offbeat, unusual and amazing! Something we need more of in film these days! ;)

How do personal and universal themes work in your film?

Art, in any form, often becomes the voice of a time. We’re in a monolithic viral pandemic. But we're also in an addiction pandemic. I’m hoping that by making this film we’ll be contributing to more awareness around the magnitude of this progressive, incurable & fatal disease.

How have the script and film evolved over the course of their development?

The structure has changed numerous times but the essence has stayed true. Due to budget & scheduling restrictions I had to compromise certain scenes. I will eventually develop those for the series. That said, I feel it shifted into a pretty cool & abstract film.

What type of feedback have you received so far?

The feedback has been extremely positive and constructive! I've learned over time not to ask too many people for feedback..as tempting as that can be sometimes. It's a fine balance between remaining open to critique while staying true to your vision. I was picky and structured with the people I asked feedback from. Most, never having read the script, were very excited and curious! Curious in that they want to know and hear more about these characters. I've received specific technical notes. Which has been a blessing in post.

Has the feedback surprised or challenged your point of view?

Yes. Mostly from a technical stand-point. This is not a typical beginning, middle & end kind of film. It's very offbeat & mysterious. I take what works and remain open to change while staying true its beats.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I hope to spark enough interest from others to keep BABS moving forward. I'd love to make this into series. There's still so much story to reveal.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Producers, film festivals and a great talent agent who can help tip the scale in the best direction.

What type of impact and/or reception would you like this film to have?

In general, I'm curious and open to how it's individually received.

What’s a key question that will help spark a debate or begin a conversation about this film?

What is the relationship between Detective Becky Rawlings and Lt. "Samms"?

Would you like to add anything else?

I need to give a huge shout out to my amazing cast & crew! Every single one of them has been a tour de force! We battled so many unpredictable elements shooting during a pandemic! To say "Troopers" is an understatement!!

Interview: August 2021

BABS

Length:

12:30

Writer/Director/Producer

BRETTE TAYLOR is the creator, producer & director of a few short films, notably, her passion short film "BABS" that she also stars in.

Brette was raised in New York City and attended the prestigious High School of Performing Arts where she studied both acting and dance. Her passion for dance also led her to study with the Cincinnati Ballet Preparatory Company at the University of Cincinnati's renowned College Conservatory of Music.
Brette has worked alongside some heavy hitters in the Industry; Pierce Brosnan, Julianne Moore, Stephen Lang, Patrick Swayze, Denis Leary and many more.

Also a photographer for many years, Brette takes pride in edgy & visually stimulating works, which is why BABS was filmed the way it was. BABS is her passion project...her directorial film debut.

Taylor credits her mother, Christine Parks, also a seasoned actor, as having a positive influence on her career.
Brette continues to produce and collaborate as a writer through projects that highlight her connection to streetwise, straight-shooting women. "Creating characters like these is what I crave", Brette says.
She recently starred in "Windows to Nowhere", an indie film that has been accepted into numerous film festivals this year. Brette is a serious boxer, accomplished in the art of Muay Thai (25 yrs.), and has a black belt in Tae Kwon Do.

Key cast:

Brette Taylor (Det. Becky Rawlings), Robert Bogue (Lt. Samms Messing), Stuart Rudin (Homeless Veteran), Anthony Palmer (Rookie Cop)

Looking for:

journalists, film festival directors, producers

Facebook:

http://facebook.com/thebrettetaylor

Instagram:

http://instagram.com/babsfilm_brettetaylor

Twitter

http://twitter.com/babsshortfilm

Hashtags used:

#Babs #shortfilm #addiction #onset #cinema #brettetaylor #production #dp #director #cincinnati #indie #producers #gratitude #teamworkmakesthedreamwork #actorslife #drama #filmcrew

More info:

www.babsfilm.com