Lotus

April 26, 2022 by Carmela Baranowska

Dreams ain’t free, choices are.

Interview with Actor/Writer/Director/Producer Samuel Lee Fudge

Congratulations! Why did you make your film?

My team and I wanted to create Lotus to spread awareness and insight to our unique perspectives and hardcore realities of growing up in inner city Miami, FL. We also wanted to create something that would inspire people to pursue opportunities for growth and self prosperity despite their obstacles and misfortunes. Within Lotus we put a spin on stereo types . Through script dialogue, we wanted in depth profoundness to radiate through characters in our film that come off visually as misfits in society. Every single element of Lotus has deep meaning and symbolism. No matter your background, all can relate to the characters Reed and Book.

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

Lotus is for the culture. Lotus gives people a deeper understanding of what takes place in our inner city communities and sheds light on those special individuals who yearn better but are trapped mentally and physically by these very same communities. More significant, lotus gives people a deeper understanding of self elevation and growth. The character Reed is faced with life’s biggest question; to uncomfortably grow or to remain comfortably stagnant? Anyone with dreams, ambitions or goals can relate. Lotus teaches audiences that it’s ok to pursue life greater than what it is. That it is ok to take risks. And it’s definitely ok to leave behind habits, people and communities that stand in the way of the greater lives we envision for ourselves. Lotus teaches life to people of all demographic.

How do personal and universal themes work in your film?

Lotus represents what young adults go through while trying to navigate through life and having to make critical choices for themselves.

Lotus tells the story of a young, black man named Reed. Reed is faced with the ultimate decision of his young adult life: to attend college or succumb to the social pressures of his inner city reality?

Within its natrative, Lotus delivers a powerful and empowering message for young Black youth; inspiring them to discover their own self potential and to surpass bleak circumstances despite obstacles . Obstacles are needed for true self discovery

I personally believe that dreadful and uncomfortable circumstances are necessary for discovering self will and grit . People should embrace growth and not be afraid to leave behind the things that hinder them from succeeding in life.

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

There were definitely many rewrites to Lotus. It also took us two years to completely finish the script. My team and I wanted to make sure that we told the story truthfully and accurately to how things were in the community in which the film was based in. We also wanted to strategically craft and master our message for the film. We knew Lotus was our biggest shot at having a chance to reach the mass. Our attempt had to be effective yet relatable to the youth of today’s culture.

What type of feedback have you received so far?

People love the film! Frequently, people from all over the country reach out to me via social media and express to me how influential Lotus has been to their lives. Many have been genuinely moved after watching the film. Lotus has been presented at grade schools and even universities, two of which being, University of North Carolina Chapel Hill and Paine College. In addition, Lotus has been screened for youth inmates in juvenile facilities and at risk youth in foster homes. I have also been invited to speak at numerous workshops and panels to discuss the film and how it’s impacted youth thus far.

Has the feedback surprised or challenged your point of view?

Not at all has the feedback been surprising for me. I knew that once we finished the project and released it, many people would gravitate to it instantly. The film was crafted beautifully and the story is real life ! Also, like mentioned before, everyone can relate. No matter what, you can’t ignore that. My team and I did an amazing job. I believe that Lotus can touch more lives if given a bigger platform .

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

I pray that more people watch the film and be inspired by it. I also pray for more resources so that my team and I can make Lotus into a feature film or maybe even an series.

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, distribution and Journalists !

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

I want to inspire more youth to believe in themselves and to not be afraid to grow. Through Lotus, I want to challenge all youth to strive to be at their fullest potential in life and within themselves. Lotus represents youth empowerment! Self empowerment!

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

What are some social issues in today’s culture that hinder youth from choosing positive life paths?

Would you like to add anything else?

Lotus is about choices, choices that could make or break your future.

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

I have a project entitled, .38 releasing in July. .38 is a cautionary tale shedding awareness on gang violence in the inner city and how it effects community youth. I have also just wrapped production for Mosiah, a short biopic based on the life of the Hon. Marcus Mosiah Garvey and his fight for black liberation in the United States.

Interview: April 2022

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

Lotus

Length:

0:24

Writer/Director/Producer

SAMUEL LEE FUDGE is an Atlanta based Actor, Writer, Director and Producer. He holds a M.F.A degree in Performing Arts from Savannah College of Art and Design (SCAD) and a B.A degree in film and theatre from Paine College, Augusta, GA. Fudge has worked as an actor in major motion pictures including the NAACP image award nominated film Emperor, produced by Reginald Hudlin and Mark Amin. In 2020, Fudge released the short film, Lotus through his Dream Lotus Productions. Lotus being officially selected in the 2021 Black Harvest International Film Festival and the 2022 Pan African Film Festival. Shortly after Lotus, Fudge directed and stared in the short film Canoe, produced by Nate Parker and the Nate Parker Foundation . Both Canoe and Lotus has earned Fudge critical acclaim , making his work as an independent filmmaker highly regarded. Fudge continues his life long objective of creating influential film content that will spark social change world wide.

Key cast:

Samuel Lee Fudge (Reed), Nathaniel Williams (Book), Natasha M. Gallop (Nina) and Ja’hi White (Young Reed).

Looking for:

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

Instagram:

https://instagram.com/lotusfilm2020?igshid=YmMyMTA2M2Y=

Hashtags used:

#Lotus2020

Screening:

PAFF 30

REDBIRD

April 25, 2022 by Carmela Baranowska

Leon Dart, an emerging young African American rodeo rider living in a small town in Oklahoma, must choose between his personal life or chasing after his dream of becoming a full time rider.

Interview with Editor/Writer/Director Dagmawi Abebe

Congratulations! Why did you make your film?

Eight years ago, during an undergraduate experimental film class, I was exposed to the world of modern Black cowboys in middle America through my professor/filmmaker Kevin Jerome Everson. Ever since then, I’ve wanted to make a narrative film set in that world that was also personal to me. My goal with this short film is to present to the world the African-American experience in the ever disappearing small all Black towns we never get to see in film and television. A timeless world where people of color are complex and have day to day worries living in a community that is a direct result of America's history. I’m thankful to be getting this opportunity to share this passion project with you in hopes that it gives everyone who watches it a brand new perspective on the black experience.

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

You should watch this film because it gives a glimpse of a different perspective of the African American lifestyle we never get to see on film. Opening our eyes and realizing the Black community is not a monolith is very important to getting rid of biases and prejudice.

How do personal and universal themes work in your film?

Once I found out about the Black cowboys of Oklahoma, the next step for me was to come up with a way to depict this community in the most authentic way I could. There are so many aspects of Black life in Oklahoma that I slowly had to narrow it down by picking a personal story that takes place in that world. I was able to do that by using my own story of being a runner throughout high school and college and putting in the rodeo world. It was very important to me to depict a young man who believes his whole world depends on one activity that he consequently neglects other parts of his community; his love life, and relationship with his father. We always seem to watch films where people leave their small towns because whatever will make them happy is waiting for them out in the big world. For me, I wanted to make a film that appreciated the small town while also showing the subtle influences young Black Americans have to overcome to just be themselves.

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

The script and film has changed a lot since its first inception. In the beginning I wanted to include a hazing ritual that takes place in the community. We even filmed the whole film that way and had a 24 minute version of the short edited with that in mind. Nevertheless, the story was lacking as we were not able to explore in depth the effect of hazing rituals. With time, I learned to let go of this idea and tell a story that focused more on the inner struggles of Leon Dart and his attempt at balancing his personal life with pleasing people in his community. In the end this is the story that I feel resonates more with audiences. I also hope to explore the idea of hazing rituals in the community in the longer version of the project.

What type of feedback have you received so far?

So far people have related to Leon's inner struggle and have also been intrigued by the depiction of a modern Black cowboy. The American cowboy was never presented as Black and that in itself has been fascinating for people that watch the short film.

Has the feedback surprised or challenged your point of view?

The feedback has validated my reason for making the short film. Growing up in Ethiopia I was only seeing a one-dimensional view of African American life. However, after moving to the United States and as I read various history books, I realized there was so much Black history left out of our schools or media. When I attended film school, I made it my personal goal to explore these stories with the hope that other too will find them as intriguing as I do.

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

My goal is to have more people learning about this community and understating that the Black experience is not a monolith. I hope more people can visit these town in Oklahoma and learn about their culture.

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 produce a longer version of REDBIRD either as a series or as a feature film. It would be great to get in touch with any producers, distributors, or film festival directors that can help us achieve this goal.

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

I would like this film to encourage others to tell diverse stories of various forgotten communities. In our time now where commercial filmmaking takes the front stage, I would like other people to realize that we can make intriguing films about everyday people.

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

Why was the story of the numerous Black cowboys left America left out of the Western movies of the early to mid 20th century?

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

I am currently on a second-draft a feature film script on African-American Chemist Alice Ball who found the treatment for leprosy in 1915 Hawaii.

Interview: April 2022

REDBIRD

Length:

14:00

Writer/Director

Dagmawi Abebe is an Ethiopian born-American Writer, Director, and Editor and a recent graduate of the University of Southern California's Film and TV Production MFA.

Producer

Mehmet Gungoren and Yves Beneche

Mehmet is a Los Angeles-based indie producer. Recently, he co-produced Armenian Turkish director Ozcan Alper's Black Night supported by the Berlinale World Cinema Fund, starring Sibel Kekilli of Head-On and Game of Thrones.Mehmet’s debut feature, Noah Land a German, Turkish, and Greek co-production, was awarded Best Screenplay and Best Actors in the 2019 Tribeca Film Festival.

Key cast:

Curtiss Cooke Jr, Kim Estes, Melinda Gay, Kristen Henry King, Kelcey Watson

Looking for:

distributors, film festival directors, producers, journalists

Hashtags used:

redbird, rodeo, oklahoma, western

More info:

https://www.dagabebe.com/

Where can I watch it?

PAFF

VIRAL

April 24, 2022 by Carmela Baranowska

Nina (26 years old) and her friends have made a music video which has gone viral. They are getting ready for their first TV appearance. As it turns out, they’ve been led to the broadcast under false pretences, which puts Nina in a dilemma: should she pursue her career in the media landscape in what appears to be an unfair system, or should she, as an underrepresented Black artist, take this unique opportunity to make a statement against it?

Interview with Director Shriejan Paudel

Congratulations! Why did you make your film?

I wanted to speak out against racism because I have had a lot to do with it myself. I thought it was time to make a loud, clear counter voice. We no longer have to accept this and have to speak out. It was important to me that the colored community in the Netherlands felt heard. And luckily we succeeded!

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

Racism is a tough subject. Watching a movie about this can therefore be quite challenging. Viral is a slightly augmented reality. By using comedy and using a playful style, you watch an entertaining film that makes a strong statement. And that's what I call the power of film. We use film elements by making a playful film that tells something very clearly about problems in our world.

How do personal and universal themes work in your film?

In the case of Viral, I've tried to magnify situations I know. The essence of what I want to say remains the same. Magnifying actually zooms in on the problem. The viewer can hardly interpret it any other way. So the feeling or experience that I had in my life I represent in this way. And as a director I make sure to apply the magnified situation directly to a real situation, like i had in my life.

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

It was a very tough job. My screenwriter Ashanti and I knew very well what we wanted to say. Making a film about racism alone in a white environment is very difficult. Sometimes we felt that we had to explain too often why something is racist because people didn't understand it. It slowed down the writing process. Making a slightly augmented reality is not easy. The entire film must remain in balance. If the camera becomes a bit more playful, then editing will have to come along, for example. And the risk of making a playful film is that it is too playful and distracts from what it is supposed to say. By staying in constant conversation with crew members, actors and certainly also the screenwriter, I have succeeded in transforming the ambitious scenario into a playful film with a powerful message.

What type of feedback have you received so far?

People of color cheered and gave us a standing ovation during the premiere in Amsterdam. For me, the film was a success because I wanted them to feel heard. White people came up to me and say the movie did confront them. They suddenly realized that they had 'accidentally' been racist in a certain situation and are now aware of it.

Has the feedback surprised or challenged your point of view?

Well actually yes. I expected the white people to feel attacked. And I did try to make a non-offensive film, but a film that is very clear. And that can be received as offensive. But I'm still surprised that the film especially made a lot of white people think about it.

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

First of all, I hope to inspire other makers that heavy subjects can be told in many light-hearted ways. And I want to motivate them to continue to speak out as an artist. In addition, I want to meet new people from the worldwide film industry. The industry in the Netherlands is very small and I would like to be able to get my message across to people from all over the world. Everyone's story is worth telling. I believe that the earth can be a paradise. I hope to contribute with my films. That is why I would like to make new contacts to continue my journey.

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

Producers should really come and see this movie. This film has of course already been made, but together we can develop a new project and continue the mission for equality. Film festival directors, distributors and journalists should definitely come and see this film. The more attention and screening this film gets, the more people can become aware of their behavior and the more colored people around the world feel heard!

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

As a result of this film, I hope that people will come closer together. That they really look at each other instead of being prejudiced. That they shake hands instead of throwing reproaches back and forth. With this film I hope that people will start to know each other better.

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

Would you speak out against injustice?

Would you like to add anything else?

It was blood sweat and tears to make this film. We've had a lot of opposition. And I don't mean the opposition that we as filmmakers have, but opposition because of the subject. It scared me and it hurt me a lot. Still, Ashanti (screenwriter) and I kept each other on our toes. The Netherlands needed this film and the world needs this film. I am an ambitious director who fights for things I believe in. Viral is not a perfect film, but the conviction of us as makers splashes off the screen. I hope to enter into new collaborations so that we can enrich the world with powerful films.

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

Due to the success of Viral, I am now developing a TV show with a production company in the Netherlands. It's about the sequel of Viral. I am also developing a TV film and a TV show about the Bijlmer. The Bijlmer is a neighborhood in Amsterdam where mainly black people live. I wanted to pay tribute to this neighborhood because it has been portrayed as a ghetto for too long. At last, I am developing quite a few concepts with people from my network. We still do this independently, but for this I am looking for producers.

Interview: April 2022

VIRAL

Length:

23:53

Writer

ASHANTI VREDEN (1994 Amsterdam/The Netherlands), studied Scenario at the Netherlands Film Academy where she did an internship at HALAL and graduated in October 2021 with the film VIRAL, nominated for Da Bounce short film awards, selected for the PAFF 2022 in LA and for the student competition of the Netherlands Film Festival 2021, where she won the Fentener van Vlissingen Award.

While graduating, ASHANTI researched as a participant in the Film Forward sanctuary, in collaboration with the Black Archives, for a series on the history of the old colonies and their people in the city of Amsterdam.

By telling stories through underexposed perspectives, often with a bit of humor, ASHANTI hopes with her work to contribute to inclusivity within the Dutch film landscape.

Director

SHRIEJAN PAUDEL (1990 Zoetermeer/The Netherlands) auditioned in 2009 at Film Actors Academy Amsterdam without any acting experience. After graduating, he appeared in the feature films Stuk! (Steven de Jong) and Project Fear (Bram van Splunteren). SHRIEJAN noticed that he was often offered the same stereotypical roles. To break this pattern, he decided to take matters into his own hands as a director.

In 2017, he decided to register at the Netherlands Film Academy for the direction of Film Director. During his studies he made the dark comedy 'The Barbed Wire of Karim' in which a Palestinian and Israeli neighbor come closer together. His third-year film 'Para' was a visualization of his own struggle against negative thoughts. With his graduation film 'Viral', nominated for PAFF in LA, Da Bounce Short Film Award and the student competition of the Netherlands Film Festival 2021, he gives minorities a voice in the Dutch film industry.

Producer

IDRIS BAKKER (1998 Amsterdam/The Netherlands) discovered her passion and ambition for film during the preliminary training of the Netherlands Film Academy. In addition to the productions at the academy, in her second year she produced the short film Moffenmeid (Raymon Hilkman, 2019), which was embraced by NPO 3Lab and won international prizes. She did an internship at Lemming Film to further develop herself in the field of script development and writing international applications. As a producer, IDRIS is looking for films that broaden the viewer's horizons and is not stopped by challenging experiments. She graduates with the fiction Viral (Shriejan Paudel, 2021), the documentary The Reverend's Daughter (Christine Boersma, 2021) and the 3D animation Desire (Lotte Salomons, 2021). For the next two years she will follow a master's degree in Production at the prestigious National Film and Television School in England.

Key cast:

Jelisa van Schijndel (Nina), Megan de Kruijf (Rosie Posie), Marie-léa Fleurima (Diamond)

Looking for:

producers, distributors, film festival directors, journalists

Facebook:

https://m.facebook.com/#!/shriejan.paudel

Instagram:

https://www.instagram.com/shriejan/

Hashtags used:

#BLM #nomoreracism #LGBTQ+ #speakout

More info:

https://www.shriejan.com/viral

Where can I watch it now?

PAFF

Apple Core

April 22, 2022 by Carmela Baranowska

Papa, a man living with tremendous guilt after the tragic death of his wife, trying to find redemption through his art.

Interview with Writer/Director/Producer Patrick James Thomas

Congratulations! Why did you make your film?

Thank you!! I made this film in a response to my journey as an artist. Life happens and we can slow our journey or derail us all together from that journey. The character of Papa is also a fear in me that I refuse to succumb to. As artist I believe we need to acknowledge what takes us from our journey, but keep moving forward. The journey doesn't have to be over as long as you're breathing and able bodied.

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

I think people should watch this movie because we all have experienced loss and the struggle to move forward. This is to let them know not to give up.

How do personal and universal themes work in your film?

I wanted to explore an intergenerational theme. How things are passed from generation to generation. Hopefully Papa doesn't introduce her to pigs feet!! Lol

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

So originally the film was going to be based in a Washington DC painters shop, but once I moved it took place in a home with a studio. Once I moved I also had to recast the lead role. I was in the development stage for a long time. I was in post production of my last film and running back in forth to Mississippi shooting interviews for my upcoming feature. So, the projects have been overlapping for a few years.

What type of feedback have you received so far?

Well. Friday is the first time it will be shown in front of an audience of people I don't know. I did have a cast and crew screening and I heard all good things. So I'm eager to hear what my 1st public audience has to say. Whatever feedback I get I will take it and learn from it.

Has the feedback surprised or challenged your point of view?

I'll know Friday night!!!!! Lets Gooooo!!

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

I would like as many people as possible to view this film. Hopefully in person during a festival if it's safe with regards to Covid. I had a good experience with We Are Moving Stories from my last film and I'm happy I got a chance to interview with them once again.

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 like more festival directors and journalists to help get the word out. Hopefully in turn I can get support for my 1st feature film that I'm developing.

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

I would like people to see a stories can be made with an older black person in the lead. We have stories to be told from all age ranges.

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

How do you handle grief?

Would you like to add anything else?

The cast and the crew were very dedicated despite the being on a shoestring budget. The DP told me to use his funds toward equipment. The 1st AD said let his go towards production. Most of the crew volunteered or didn't accept payment. Carle the main actor didn't have much hair on his head. When I asked him to grow it out like Fred Sanford or as much as possible. He grew it for about 6 months. He was really dedicated to the role. He's a carpenter, so he volunteered his time to go and fix a cabinet door that was damaged during production. The whole cast and crew were so dedicated! There are many stories of how everyone to put there all in to make this happen. That's why I call my films stews. Everyone dedicates their talents to create this pot of stew or film. They are the meat and potatoes. I have the recipe and the spoon mixing it all together.

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

I just finished the first draft of a feature length script about Walter Washington. He is the first black person to earn a doctorate degree in the state of Mississippi. My goal is to begin fundraising in June, while I continue to work on the script.

I have also been shooting a project for 2 years about raising a black son during these times.

Interview: April 2022

Apple Core

Length:

15:00

Writer/Director

Patrick James Thomas

‘When I write stories they are birthed from my experience. Papa is a sliver of myself.’

Patrick James Thomas is a film director, producer and writer out of Atlanta, GA. Patrick earned his Bachelor’s degree in Radio, Television and Film and Master’s degree in Fine Arts in Film at Howard University. As an artist, Patrick is interested in sharing stories that are personal, inspiring and shaped by exploring culture, history and faith.
Besides this film he is also working on a film based on the life of educator Dr. Walter Washington, who was the first black person to receive a doctorate degree in the state of Mississippi.

Producer

Patrick James Thomas

Key cast:

Carle Atwater (Papa), Alivia Hudson (Kela), Lisa Simpson Hoover (Pamela)

Looking for:

film festival directors, distributors

Twitter

https://twitter.com/mrpthomas

Facebook:

https://www.facebook.com/patrick.j.thomas.3

Instagram:

https://www.instagram.com/patrickjamesthomas/

Hashtags used:

#applecoremovie #claudeparkfilms #patrickjamesthomasstew #pjtstew #riptheframe

More info:

https://www.claudeparkfilms.com/

Where can I watch it?

PAFF

May 1st; Seattle Black Film Festival
June 2022: San Francisco (TBD)

ASHES / CENDRES

April 22, 2022 by Carmela Baranowska

With the help of a young Tunisian hunting guide, a retired French soldier sets out into the desert on a quest for redemption.

Interview with Actor/Writer/Director Mehdi AJROUDI

Congratulations! Why did you make your film?

The basic idea was to write a film about Tunisian history and highlight our country.

I wanted to take the topical theme taken up by everyone in the wrong direction, that of young people who go illegally to Europe. I chose the people who fought for our country to be our territory.

Also, I wanted to showcase Tunisia’s beautiful landscape and the capability of our crew

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

The project based on historical event. It’s an intense adventure between two men in the desert. A deep reflection on life while contrasting the desert’s beauty to its danger. Guaranteed goosebumps !

How do personal and universal themes work in your film?

It is based on true story involving my family. The film is about the impossible redemption, but also about the meaning of forgiveness in the face of the atrocities.

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

Like every film the process never goes 100% as it was planned, which ended up giving us some unexpected beauty shot and hard moments that we turned into advantages.

What type of feedback have you received so far?

Very positives feedback, everyone is asking question about Tunisia and it’s history.

Has the feedback surprised or challenged your point of view?

Certain feedback have Challenged our point of views when the film wasn’t seen with attention to details. You will find out more and more information by seeing it multiple times.

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

I am looking for filmmakers to shoot in the beautiful country of Tunisia.

People to get on the adventure of our next projects

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 festival directors, distributors directors, actors.

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

More awareness of other part of the world and the meaning of forgiveness.

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

Does forgiveness have a limit ?

Would you like to add anything else?

Guaranteed goosebumps !

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

I am working on a desert epic, Laurence of Arabia meets thief of Bagdad.

Interview: April 2022

ASHES / CENDRES

Length:

20:00 minutes

Writer

Vincent De Brus, Moez Ben Hassen, Mehdi Ajroudi, Lewis Martin Soucy

Director

Lewis Martin Soucy, Mehdi Ajroudi

Producer

MEDIWOOD STUDIOS
Key cast:

Mehdi AJROUDI ( Bilal), Marc ANDREONI (Vincent)

Looking for:

journalists, film festival directors, producers, distributors

Twitter:

https://mobile.twitter.com/ajroudimehdi

Facebook:

https://m.facebook.com/mehdi.ajroudi.7

Instagram:

https://www.instagram.com/sooo_med/?hl=fr

More info:

https://mediwood-studios.com/en/home/

Where can I watch it now?

Short Film corner (CANNES Festival) 17 to 29 of May 2022

Livestream: Alex's Together Well Story

April 16, 2022 by Carmela Baranowska

When youth minister, Alejandro "Alex" Bautista, suggested livestreaming services at the beginning of the pandemic there was some hesitation by church leaders. It was complicated and they didn't have all the technology. But that didn't deter Alex. "You say yes," he said, "and I'll take care of everything."

Interview with Editor/Director/Producer Elaine Waller Uchison

Watch Alex's Together Well Story here:

Congratulations! Why did you make your film?

Thank you! At the beginning of the COVID-19 pandemic my team and I thought that it was important to capture the stories of people in our community and provide a space for people to share their experiences and hear the experiences of others. Our big goal was to provide a tapestry of lived experiences that could lead to a more human-centered and broad understanding of health, healthcare and well-being.

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

Alex is a fascinating and inspiring person! He is dedicated to his community and used his creativity and technological skills to provide a warm and welcoming virtual space for people who had been cut off from their church services for months.

How do personal and universal themes work in your film?

Connection is an obvious theme in this film. We wanted to play with the idea of connection as something that happens in person in a setting like a church, but also a technical solution to a unique pandemic problem. And while the solution worked well for some of the parishioners, it didn't work as well for the Hispanic members of the church. Technology is a great and useful tool, especially during times like a pandemic, but it can't replace the real connection that happens in person and in shared community spaces.

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

Initially, we planned on incorporating Alex's work as a youth minster into the film but we decided to focus on the livestream system he voluntarily set up for his church. Alex's story is part of a broader collection of stories about the COVID-19 pandemic so this focus made the most sense.

What type of feedback have you received so far?

We've received positive feedback from Alex and others at his church. We've also received positive feedback about this film on our social media accounts.

Has the feedback surprised or challenged your point of view?

We haven't received a lot of feedback since our story project is very locally focused and we are still building a social media presence. All of the feedback so far has been positive but limited.

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

We are hoping to share Alex's story, and the entire Together Well collection of stories, more broadly to increase reach and interest in the work we're doing. We are also hoping to meet potential future partners and collaborators.

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

Ideally, we would like to reach film festival directors, journalists and possibly distributors who are interested in amplifying our work.

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

Much of what we see and hear about people's pandemic experience is negative, but it's also been a period of great innovation and intentional connection for individuals and communities. We want to highlight some of those positive experiences that have come from this challenging period as well.

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

How has the COVID-19 pandemic changed the way we connect with people and the way we think about community?

Would you like to add anything else?

We had very limited resources for this project and faced challenges filming during the pandemic. We were a crew of two - myself and my intern, Alli Weseman. We're proud of what we were able to accomplish with this film and our broader story collection, and we're also very aware of what more resources would allow us to do.

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

We are currently working on a collection of short films about racial justice and equity in healthcare with a focus on marginalized communities and individuals.

Interview: April 2022

Livestream: Alex's Together Well Story

Length:

4:54

Director/Producer

ELAINE WALLER UCHISON is a graduate of University of Oregon's Multimedia Journalism Master's Program and leads the RELATE Lab's multimedia team at Oregon Health & Science University. Alli Weseman is a current student at University of Oregon's Multimedia Journalism Master's Program and a RELATE Lab intern.

Looking for:

film festival directors, distributors

Twitter:

https://twitter.com/relatelabpdx

Facebook:

https://www.facebook.com/RELATELabPDX/

Instagram:

https://www.instagram.com/relatelabpdx/

Hashtags used:

#togetherwell #pandemic #covid_19 #livestreaming #innovation #connection #community #support #latino #latinx #immigrant

More info:

https://relatelab.org/togetherwell/

Bernard Checks In

April 14, 2022 by Carmela Baranowska

Bernard checks himself into a motel for yet another one of his business trips. When he accidentally stumbles into the wrong motel room, he meets a couple with a mischievous proposition. What at first seems enticing soon becomes fraught with tension as simmering conflicts between the lovers flare up, leaving Bernard to play unwitting mediator to their messy drama.

Interview with Writer/Director/Producer Michael Basta

Congratulations! Why did you make your film?

Originally I developed "Bernard Checks In" to work as a sneak peak into the world I wanted to create in a feature film I have written called "Raccoon," which follows the same character. What was originally intended as a treatment for pitch material soon became a much more self contained story as I grew more interested in exploring this character's desperation and hypocrisy. The feature film at it's core works as a critique of certain heterosexual men and I found this short film to be a great exercise in constructing a similar theme but in a small-scale setting. I like to think of this film as basically the prequel to my feature film.

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

I think for those watching this film they can find a lot of joy and humor from witnessing a man fumble further and further outside his comfort zone, all fault being his own. This is a comedy of errors where there's no easy victory for someone on a sleazy personal quest, so this film acts as a way to poke fun at it all. I don't intend to drive home any hard hitting messages, more so want people to sit back and watch as karma quickly takes effect in a comical way.

How do personal and universal themes work in your film?

I see this film as a humorous but critical look at the latent depravity of otherwise frail and mild-mannered heterosexual men like Bernard, as well as a bemused look at the milieu of buffoonish masculinity. My intention is not to portray bad men doing bad things but rather complicated and often likable men with toxic tendencies. From Bernard's attempt at infidelity to his incredibly poor marriage advise; these are heightened examples of the obliviousness and selfishness of a lot of men, especially caucasian men as there's an added privilege.

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

The script evolved quite a bit from its original creation. What was first intended just as a treatment for the feature film became its own story that can live as a stand alone piece without that context. From there more and more evolved as I started casting and letting the actors fine-tune their characters and lines. One example of this was when I casted for the motel clerk character, the actor brought a completely different and intense energy than I intended but once I saw it I knew that was the direction we needed to take him. It wasn't until I dived into post-production where I developed a lot of the tonality of the film. Much was altered when I added the music score, sound design, and moments with more experimental editing.

What type of feedback have you received so far?

I've garnered a lot of positive feedback on the writing, performances, and cinematography of the film. I personally think all the actors did an outstanding job and was usually the first thing people told me when they watched it. People took to these characters and how their bizarre interactions played out, especially with the shifts in the power status between them. There were a lot of positive reactions to the climax scene of Bernard's marriage "advice" for its ironic mix of ignorance and endearment between the two men. Unfortunately a lot of this film's festival run in the past year has been virtual so I missed some great opportunities to really receive a wide range of feedback.

Has the feedback surprised or challenged your point of view?

I haven't received too much challenging feedback yet but the film hasn't quite reached a broader audience. My point of view has remained the same since its creation but that said I don't think this film is free of any constructive criticism. I'm very open to hear any and all types of feedback whether it's positive or negative. It's all a learning experience.

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

Ultimately I'd love for this film to have more exposure. I'd like to hear how it resonates with more viewers so I can gain more perspective as I further develop my feature film

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 any and all of those people on board would be a huge benefit to me. Not only would I love more exposure and press for this short film but my ultimate goal would be to connect with the right people to help me fund and produce my feature film. My hope is that this film sparks many more networking opportunities.

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

More than anything I just want people to enjoy and laugh at these characters and scenarios. I want people to be enveloped in the outlandish and isolated world that's built in the film and come away thinking it was a fresh and unique perspective.

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

Despite his faults, is Bernard still a likable character?

Would you like to add anything else?

If anyone is interested in hearing more about my feature film "Raccoon," which this film is based on, they can visit raccoonmovie.com for more info.

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

Currently I'm in the pre-production stages for a feature film called "Euphus," along with other members of Omnes Films. This film will be directed by my close friend/collaborator Carson Lund, who was the cinematographer of "Bernard Checks In." The film follows the play-by-play of a New England recreational baseball league’s final game before their beloved field is bulldozed. It follows the humorous and veiled sentimentality of these grown men as the game stretches to extra innings and day fades into night, signaling the end of an era. The film is funded and slated to shoot this October 2022.

And as I mentioned (maybe too many times at this point) I'm still developing and seeking funding for my own written feature "Raccoon."

Interview: April 2022

Bernard Checks In

Length:

17:53

Writer/Director

MICHAEL BASTA is a Director, Editor, Writer, and Producer with a degree in Film/Video Production from Massachusetts College of Art and Design. He's also a Co-Founder of an independent production company called Omnes Films along with close filmmaker friends/collaborators. Though his storytelling interests are wide and varied, he particularly takes to narrative comedies that range from the mundane to the absurd.

Producer

The producers of this film are all apart of the collective Omnes Films. Since forming the company back in 2012, they've produce features, short films, documentaries, web series, and music videos. Notably, Omnes Films produced the feature film "Ham on Rye" (Tyler Taormina 2019) which has garnered a 96% on Rotten Tomatoes and was picked up by the distribution company Factory 25. Recently they've been included in Filmmaker Magazine's 25 New Faces of Independent Film.
Key cast:

Timothy Hornor (Bernard), Conner Marx (Bently), Ashley Platz (Sandy), Miles Anderson (Roman), Janet Hoskins (Ice Lady)

Looking for:

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

Facebook:

https://www.facebook.com/OmnesFilms/

Instagram:

https://www.instagram.com/omnesfilms/

Twitter:

https://twitter.com/omnesfilms

Hashtags used:

#bernardchecksin #darkcomedy #comedy #short #motel

More info:

raccoonmovie.com

Screened at

Garden State Film festival

Self-Portrait

April 13, 2022 by Carmela Baranowska

A portrait of humanity as captured by its surveillance cameras.

Interview with Editor/Director/Producer Joële Walinga

Congratulations! Why did you make your film?

Thank you! I made this work because its subject and material just overwhelmed me with excitement and fascination. It feels as though I started making it before I even realized I was making it. It began about four years ago as simply an obsessive interest in the material and manifested, finally, as an experimental documentary "portrait" of what this material shows, and what it might represent.

This film is made entirely of unlocked surveillance footage accessible on the internet, and I was fascinated by what this footage might reveal about us as a species – we as a type of animal who puts thousands of little cameras in all sorts of places, documenting... what, exactly? – but I was also just as fascinated by it on a visceral and formal level, in terms of the quality of light or motion or camera angle, or the way the glitching of the low quality video had a disorienting effect. With this film, I don't set out to present viewers a thesis, but rather to offer them an experience, something interpreted by the body or by that part of the brain that holds memories – little a-linear things or juts of energy or indescribable sensations or emotions. Like the memory of scent, or how wind feels on the face. Weaving it together in this way, the indifferent footage becomes a necessarily human, emotional experience.

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

This film has been described by reviewers as a sort of Rorschach test, and in retrospect, having seen the somewhat polarized response, I would have to agree. People either absolutely love the film, or they seem to resent it. If you are a member of the audience, with this in mind, I would hesitate to tell you why you should watch the film, or that you should watch it at all. Film is a subjective form. If it appeals to you in its subject, if you are interested in or open to exploratory cinema, if you can surrender yourself to experience and to your own feelings and thoughts while you watch something, then I think you will love this film. If you want this film to tell you something concrete, to present a firm idea for the whole audience to share in unison, you might leave unhappy. This film was made with a deep respect and admiration for the individuality of viewers. I have never in my work wanted to tell viewers what to think and feel about what they're witnessing: I want to create a space in which they can feel openly and interpret for themselves.

How do personal and universal themes work in your film?

Self-Portrait shows viewers glimpses from all over our world in succession – rhythmic, pulsing – some have compared the effect to that of breathing. And in viewing these real moments from our planet, and the societies which occupy it, what is actually revealed is ourselves.

This is an abstract work that touches viewers on a visceral level, that allows them access into its world not through reason or analysis, but through those parts of us that we don't quite understand, the part of us that remembers the sensation of wind on our skin or that is moved by the sound of rain to a memory of childhood, a memory which exists in sensation alone, not in narrative accounting. My intention with this film was to use the objective, disconnected, indifferent footage documenting humanity on this earth as a canvas to allow us to really feel our own humanity and subjectivity. In this way I think that the personal and universal, for this work, are intrinsically tied.

What type of feedback have you received so far?

This is a film that people seem to either really love, or strongly dislike. During our premiere, the head of SXSW Film Janet Pierson made sure that the introductions to each of our five screenings mentioned that it was one of her favourites in the festival this year. She even described it as "pure cinema mode" while recommending it in REALSCREEN.

On the other hand, some viewers have been upset that they didn't see very much happen in the footage, or that my thesis wasn't clear to them, expecting to leave perhaps with my take on humanity, rather than their own.

Has the feedback surprised or challenged your point of view?

To be honest, I was very surprised! In both respects, I was surprised to receive such rave reviews and support, as well as such unhappy responses. I come from visual arts, and things are just not the same there – I think it's an audience thing. People go to a gallery expecting to see art, where people might go to a film festival expecting to be entertained (or "infotained"), and the two can coexist but they will not always, at least, not for everyone for every project – we're all different and perceive things differently. But I get the sense that this is more widely accepted in visual arts where, in film, there seems to be some idea that things are objectively "good" or "bad", "successful" or "unsuccessful", as if it was not an art form with individuals as viewers just like all the other forms. There is no single "audience", there are people, with their own stories and experiences which inform everything they perceive. I'd personally like to see less "this was good" or "this was bad", and more "I liked this" or "I did not like this" in all film critique.

In adapting to this new landscape of vocal love and vocal dislike after the world premiere, I am reminding myself that my job is to communicate what I care about, what I connect with, and to always be true to that. My job is not to please people, even if I make a film and they go see it. They may be pleased or they may not be pleased. It's a neutral fact.

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

Well, I'm always happy to talk about my projects and process, to share my work with new audiences and to connect with future collaborators and peers!

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

I'm still searching for the right fit for sales agents and distributors.

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

I would propose a few questions that I think are especially exciting to have floating around in your mind while watching the film.

1. What do our cameras say about us?
2. What is the experience of being human? (This is one to let your sensations take control of, more of a feeling-question than an answering one)
3. If an alien species or future anthropologists looked through our surveillance output, what might they determine about us?
4. Do I connect with or recognize these images? Do I feel connected to or disconnected from the earth as represented here?
5. What could be the purpose of these cameras in these places? What are they looking at?

Would you like to add anything else?

Yes! One thing that is important to note about this project, on a formal level, is that all of the sound has been built up from scratch. The video footage captured from the internet was all silent, so the audio in this film has been imagined by my sound designer Ines Adriana and me, as a sort of fictional element. We thought and played around with what a moment might sound like or how we could use the sound to create the FEELING that the moment gave us. It's one of the reasons I think the film is such a visceral experience: we used sound to make the hairs on your arms stand up, to make a shot of a house feel cold and uninviting, or to make you feel warm and safe while the rain falls outside. The sound works as our subjective interpretations presented to you, for your body to interpret.

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

Very excitingly, I am developing my next documentary feature! I cannot share too much now, but it exists within the subject of prison abolition and I am thrilled to be partnered with a fantastic team and moving forward so swiftly and smoothly.

Interview: April 2022

Self-Portrait

Length:

1:07

Director/Producer

JOËLE WALINGA is a visual artist and filmmaker. Her work has been shown at the Art Gallery of Ontario, International Short Film Festival Oberhausen, Gallery 44 Centre for Contemporary Photography, Jihlava International Documentary Film Festival, and SXSW Film Festival among others, and is available at the Canadian Filmmakers Distribution Centre and online at Doc Alliance Films. She is an alumna of the 2021 Berlin International Film Festival’s talent development programme Berlinale Talents.

Looking for:

sales agents, distributors

More info:

https://www.selfportraitfilm.com/

Screened at SXSW 2022

You're Now Beyond Hope, Arizona

April 09, 2022 by Carmela Baranowska

When a viciously traumatized alcoholic is ordered to kill an AA sponsor whose gambling debts are worse than his own, he must learn the art of self-compassion or succumb to a perpetual cycle of moral decay.

Interview with Writer/Director/Producer Nick Dugan

Congratulations! Why did you make your film?

I made this film for a variety of reasons, but two in particular stand out: First, I believe in the elasticity of our individual capacities to evolve. People can change. And people do change. The conviction that people cannot change is pernicious and destructive. That same notion discourages, undermines, and disincentivizes people who desperately need to change from ultimately changing.

Second, I felt that rarely in film do you see people conquering addiction without the aid of a singular communal resource: Alcoholics Anonymous. I have deep reverence for the institution, and recognize the critical societal mechanism that it is. But what about people who are unable to fundamentally align themselves with the central organizing principles of AA? Or people who live among communities without that resource altogether? How do those people, who are suffering in silence and are not presented with alternative solutions, find a way to break the ostensibly endless cycle of their self-harm? How do they do it alone? In a few words: Forgiveness and self-compassion.

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

You should watch this film because the protagonist's internal struggle extends far beyond the scope of addiction. I think most people can relate to guilt and shame, and to the idea that guilt and shame beget more guilt and shame. They stagnate progress.

You should also watch this film if you're a fan of setting and genre. If you're drawn to isolated settings that pronounce a thematic undercurrent with greater exposure, or if you're magnetized by contemporary Westerns - this is the film for you.

How do personal and universal themes work in your film?

I am 616 days off the bottle myself. Naturally, that process required change. I often felt unworthy of living a better life, and therefore change was made difficult to acquire. This quote has stuck with me: "Part of why the alcoholic drinks is, ironically, to escape the pain of the damage that their drinking has already done." I drank because I didn't have any self-compassion. And I didn't have any self-compassion because I drank. I couldn't remove drinking from the equation. So I added self-compassion.

Hank, our protagonist, is marooned on an island of internal suffering. He's stranded in a literal and metaphorical desert, a place where his only companions are the thoughts that drive him to continue his own self-destruction. He can't reconcile the things he's done, and has no one to turn to other than the person who he's now being forced to murder. The same person who is his ticket to understanding how to exercise self-compassion.

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

I developed the script in conjunction with both the early days of my sobriety as well as the isolation brought on by the pandemic. As difficult as both of those stages were at times, they molded the story; for better or for worse.

What type of feedback have you received so far?

Always a tough question. The feedback has been encouraging. I put a lot of effort into calibrating my sensor for reliable feedback. But it's easy to second guess the positivity.

Has the feedback surprised or challenged your point of view?

I've been surprised by my surprise, if that makes any sense. I made this film because I thought surely there are other people like me out there; in the sense that they had to get sober on their own and didn't know how to go about it. And then I was surprised when the feedback confirmed that there are, in fact, other people like me out there. Go figure.

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

I've learned so much about my own litany of idiosyncrasies through other people's films. They've been such a tremendous resource for growth and self-realization. We Are Moving Stories seems to profile films of exactly that nature. And I'm just hoping to provide some fractional measure of the guidance and illumination that other films have provided me with.

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

My primary objective is for the film to be a resource. So I suppose who I need the most is someone who can provide exposure for the film.

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

I would like it to encourage people to be far more gentle and far more kind when it comes to themselves and their self-perceived weaknesses or defects.

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

Can people change?

Would you like to add anything else?

I would just like to express my gratitude. I'm honored to have this film profiled on a platform that is so creatively influential. And I'm humbled to have this film included in the same breath as the rest of the films featured within We Are Moving Stories.

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

I'm polishing and honing my feature length script while onboarding financiers with my producer, Ethan Lazar.

Interview: April 2022

You're Now Beyond Hope, Arizona

Length:

21:31

Writer/Director

NICK DUGAN is an LA-based writer and director based in Los Angeles. Nick graduated from Georgetown University with a BA in Government and found himself unwisely aiming for law school before pulling an abrupt U-turn into the film industry. He has since earned his MFA in Directing from Dodge College of Film and Media Arts at Chapman University.

Nick specializes in socially conscious narrative films. His thematic objectives are often rooted in normalizing universal compassion, unearthing solutions for addiction and substance abuse, and detoxifying the toxic male. His most recent film, "You’re Now Beyond Hope", Arizona won grand jury prizes among their respective categories at Gasparilla International Film Festival and Garden State Film Festival.

Nick is currently shooting commercials and short-form content while his feature film, "Yosemite Red", is in its development and financing stages.

Producer

Ethan Lazar

Key cast:

Lucca De Oliveira, Elyse Mirto, Geordie Kieffer

Looking for:

distributors, film festival directors, journalists, buyers

Instagram:

https://instagram.com/nick_dugan_?utm_medium=copy_link

Hashtags used:

#beyondhopefilm #sobriety #mentalhealthawareness #neowestern

More info:
You can find "You're Now Beyond Hope, Arizona" playing this month at Phoenix Film Festival, Julien Dubuque International Film Festival, and Arizona International Film Festival.

Devour

April 07, 2022 by Carmela Baranowska

Erin is closing up her restaurant for the night, when an old flame and now successful actress, Renee, shows up out of the blue, and asks Erin to cook up her favorite meal.

Interview with Writer/Director Victoria Diana

Congratulations! Why did you make your film?

One reason I made Devour, is because I wanted to challenge myself with a dialogue heavy script. The short film I made before Devour was with one actor, in a car, with zero dialogue, and was a challenge in itself, but I was ready for a new one. I was drawn to making a film that had two actors, in a room, talking, where I could really play with blocking and cinematic language to exemplify how they were feeling, or who had the upper hand in the conversation at any given time. Also with everything in our culture lately being driven by nostalgia, such as remaking popular films and TV shows, I wanted to explore themes of nostalgia, and how trying to recreate a moment from your memory never ends up how you hoped it would be. And then I was lucky enough to be one of four winners of the 2020 CNY Short Film Competition, and was awarded $40,000 to make Devour, which we filmed in Syracuse, NY.

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

I don't know, man, you have free will and all, but I hope you watch this film. I do believe that there is at least a little kernel of something in Devour that everyone can relate to. Whether you worked (and dated) in the service industry, worked as an actor, confronted an ex for closure, or hung out with someone from your past that made you both revert back to your old selves, there are themes in Devour that everyone can relate at least partially too. And if you don't relate to ANY OF THAT, but are a lover of grilled cheese and tomato soup, you can get something out of it too.

How do personal and universal themes work in your film?

There are a few themes I really wanted to explore in Devour. One being what I mentioned earlier -- nostalgia, and how trying to recreate a moment from your memory never ends up how you hoped. Another theme I wanted to explore was relationship advice I heard in a podcast. John Mulaney was on Pete Holmes' You Made it Weird podcast, and was sharing some marriage advice, ironically before he got a divorce, but the advice still stuck with me. He said that to make a relationship work, you have to be OK with the fact that your partner is going to change. You can't be like, "What do you mean you like mushrooms now, you always hated mushrooms?!" (I don't remember the exact example he used). Erin and Renee are very much not OK with the fact that the other has changed in some way, and isn't an exact replica of the version they've kept in their memories of the other, and this leads to much of the conflict. Reality sours the memories they have of each other, and the grilled cheese just doesn't taste the same way it used to. I also wanted to show how, together, they tend to bring out the toxic traits in the other. Erin starts drinking again, Renee starts smoking. Renee is wearing red, the same color as the liquor bottles at the bar, and Erin is wearing green, the same color as the cigarettes she offers Renee. They are quite literally bad for each other.

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

Oh yeah. The story began with my friends, fellow actors/writers/directors, Kristin Noriega and Kevin Miner developing the story, and then moved to me writing it, and putting my own personal experiences into it, and then moved to collaborating with the producers, the cinematographer, production designer, actors, etc, where everyone adds their own essence to the story, and it turns into something that has a little bit of all of us in it.

What type of feedback have you received so far?

I have received a lot of good feedback so far. A lot of people have told me that they like how Devour is about an LGBTQ+ couple, but the main conflict is not about them being gay, or society keeping them a part. Also, that they are flawed, imperfect characters. Other feedback I received was that they loved the acting, thanks to actors Andrea Morales, Kelli Barrett, and Roger Yeh, and they loved the cinematography, thanks to DP Jim Powers! I feel lucky to have collaborated with such talented people.

Has the feedback surprised or challenged your point of view?

I'm especially happy that people from the LGBTQ+ community have related to this film, and enjoyed it! I'm also happy that people who work in the service industry have related to the film as well. I was very thoughtful when creating shot choices with DP Jim Powers, so it's been fulfilling, as well, when people say they really liked some of the choices we made.

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

I would love to get this film into more festivals! Also any waiver codes or discounted submission fees would be a huge help, as it has been difficult to afford festival submissions.

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 Film Festival Directors to come on board! Distribution would, of course, be amazing too, down the road, but definitely at this point in the process, I would love for Devour to be included in more festivals. And journalists to amplify the film, and get it more press would also be nice!

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

Anytime I make a film, the best part is sitting in a theatre at a film festival, and hearing people react to the film. I wish I could see their reactions, but it's usually pretty dark. I'm also a stand-up comic, another medium in which you hope the audience reacts to your work, and is entertained by it. Whether it's a laugh at a funny part, a gasp at a shocking part, or just overall being moved by the story, I hope the audience feels something, and reacts in some way when watching the film. There's a part in the film that oozes tension, and you don't know whether or not the characters are going to kiss (I won't spoil it), that moment always gets some sharp inhales, which we love to hear.

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

Is nostalgia poisonous?

Would you like to add anything else?

I would like to mention the Innovation Group of CNY Arts, who awarded me the money and opportunity to make Devour, and to mention APB Film Collective, who helped produce the film. Definitely check them out, and the other awesome short films they have made. And thanks to We are Moving Stories for featuring Devour!

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

I'm working on developing an animated comedy pilot called the Adventures of Burning Man and Frigid Bitch, which follows two super humans with unfortunate powers, the ability to shoot fire and ice, respectively, out of their nether regions. After Burning Man, a wannabe superhero, is arrested, he escapes the high security prison with Frigid Bitch, an aspiring supervillain, and decides to infiltrate her scrappy group of villains, to expose them, and clear his name.

Producer John W. Yost is currently in pre-production on his short dark comedy film Quincy, which follows two victorian era aristocrats from Mars, who try to understand reincarnation to Earth through the torture of their servants.

Producer Micah Khan is currently developing and raising funds for his next short comedy film Dawn of Man, which I co-wrote, and follows an actor on the set of a Bollywood version of 2001: A Space Odyssey, who refuses to break character as one of the Apes, in order to avoid his problems.

Story Creator Kristin Noriega just wrapped on and starred in her directorial debut short horror film When You're Gone, which follows a lapsed writer turned party girl, in the midst of heartbreak and self implosion, who must learn what it truly means to face her pain when she's hunted by a subterranean mother and its brood.

Interview: April 2022

Devour

Length:

21:51

Writer/Director

VICTORIA DIANA is a writer, director and comedian from Schenectady, NY. She is winner of the 2020 CNY Short Film Competition, and was a 2020 Second Rounder at Austin Film Festival, with her comedy pilot 'The Adventures of Burning Man and Frigid Bitch.' When she's not writing, directing or performing stand-up, she spends most her time and money on food and iced coffee, much to the horror of her father, who does her taxes.

Producer

JOHN W. YOST has worked in tandem as an educator and commercial producer; creating and directing broadcasts, commercials, music videos, short films, and features. He is the founder of commercial production company, Fifth Column Features and the co-founder of a film collective known as The APB. His produced films have been played at festivals like Slamdance, Sarasota Film Festival, and Maryland Film Festival.

Key cast:

Kelli Barrett (Erin), Andrea Morales (Renee)

Looking for:

film festival directors, journalists

Facebook:

https://www.facebook.com/victoria.n.diana/

Instagram:

https://www.instagram.com/_victoriadiana/

Hashtags used:

#DevourShortFilm

More info:

https://apbfilm.com/devour-promotional

Screens at:

Garden State Film Festival / Virtual - 3/28-4/2/222
Albany Film Festival / Albany, NY - 4/2/22

Far West

April 06, 2022 by Carmela Baranowska

Two men, Jack and Russell, head out to the desert in search of a mysterious briefcase that they hope will change their lives for the better, only to discover their motives may change the journey for the worse.

Interview with Writer/Director/Producer Emily Potter, Grace Potter

Congratulations! Why did you make your film?

I met a really incredible actor (Russell Harvard) on a film in New Orleans and I wanted to make something with him. Russell is deaf and as I was figuring out the story I wanted to tell I felt strongly about not wanting the story we were telling to hinge around him being deaf.

Its important to tell stories about all communities but true expansion of representation means casting individuals from those communities in roles that go beyond their collective experiences.

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

Audiences should watch this film because it is a beautiful crime, noir, thriller set against the breath taking backdrop of West Texas. The story and its characters are compelling and will leave the audience wanting more.

How do personal and universal themes work in your film?

Far West deals with the ubiquitous themes of friendship, hope, betrayal and greed.

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

The script went through many different stages in our development. The first draft that was written was a completely different story about one person in the snow succumbing to the elements. We realized we were not going to be able to shoot it before the snow melted and switched our location to the desert- still with a man fighting for his life against the elements.

What type of feedback have you received so far?

We have received really positive feedback! I think people really connect to the thematic language we created. Another point of conversation is our on screen representation. Both of our actors are deaf but this is not a story about disability I think people are recognizing that and responding positively to our choice of casting two incredible actors.

Has the feedback surprised or challenged your point of view?

The feedback has been really encouraging. I was surprised by the amount of people that have connected to the story and inquired about the past lives of our characters. There were a few moments we included that left room for viewers to wonder and its been exciting to see which scenes people gravitate towards.

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

My hope is that people watch Far West and it sits with them emotionally and makes them digest the characters and the situation they were in and how it relates to peoples own integrity and choices especially when faced at moments of desperation.

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

We need buyers, distributors, film festivals and journalists. We feel like this is a film people should see and talk about. We hope that it lives with everyone for awhile.

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

What do the next steps of representation on screen look like and how do we continue creating stories that have a bigger scope?

Would you like to add anything else?

Russell Harvard and Julian Moiwoi are truly incredible actors and put their heart and soul into their performances. People should cast them for all types of roles because they are spectacular. Emily and I can’t wait to work with them again.

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

We are currently working on the feature script for Far West. We also have a sweet Austin love story we would really like to make in the summer.

Interview: April 2022

Far West

Length:

9:00

Writer

GRACE POTTER was a writers assistant on the CBS show Strange Angel, she makes her writing debut with Far West. C. BAILEY WERNER has written feature scripts, pilots, and shorts and is best known for A Perfect Host and The One You’re With.

Director

Grace & Emily Potter are a sibling directing duo from Austin Texas. Far West is their debut narrative short film.

Producer

C. BAILEY WERNER is an Austin based indie producer known for his films A Perfect Host and The One You’re With. He is currently the show runner on Van Go, a reality van building show currently on the Magnolia Network. GRACE POTTER helped produce an upcoming A24 Feature starring Jennifer Lawrence. EMILY POTTER produced the short documentary The Archer Hadley Story which showed at SXSW and The White House Student Film Festival.
Key cast:

Russell Harvard (Russell), Julian S Moiwai (Jack)

Looking for:

journalists, film festival directors, buyers

Instagram:

https://www.instagram.com/farwestshort/

Hashtags used:

#farwestshort #pottersisters

More info:

https://www.farwestshort.com/

Screeened at SXSW 2022

Underdogs

April 02, 2022 by Carmela Baranowska

At the California Men’s Colony in Central California, a special connection forms between dogs and their inmate handlers who train them to become fully operational service animals.

Interview with Writer/Director/Producer Alex Astrella

Congratulations! Why did you make your film?

I made this film to show how the intimate bond that inmate dog handlers have with their service animals allows them to feel connected to the outside world; it gives them a purpose to keep going.

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

These men are more than just "inmates"; they are humans just like you and me. Sure, they have made their mistakes in life. But connecting with the dogs in the same way a parent connects and cares for a child allows them to feel a sense of worth. Knowing that they are helping veterans and first responders with PTSD means they can give back to the community they once wronged. This alone makes them strive to be better individuals, even on the inside.

How do personal and universal themes work in your film?

I think the theme of compassion and resilience are big themes in my film. It's something I didn't really anticipate going into the prison, but once I was there those emotions and attitudes were definitely on display.

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

I knew there was something special when I was at the prison in person, but after watching the candid interactions of the inmates and their dogs in the editing loft, I realized that the rapport these guys developed with their animals was pretty amazing. As I kind of mentioned before, they care for the dogs the way a parent cares for a child. That's why I truly believe every single one of them is deserving of a second chance.

What type of feedback have you received so far?

It's been humbling. I am so grateful to both the men who shared their stories of resilience with me in addition to the audiences who have personally identified and connected with the film

Has the feedback surprised or challenged your point of view?

Again, it's been very rewarding and sincere. The best part of Underdogs screening at festivals is when people in the audience come up to me after the film and share a personal story of how they relate to a certain part or a certain character. That, to me, is beyond cool

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

I think just by it being more visible will allow it to hopefully make an impact in more people who watch it. I also hope it changes their perception on inmates, who the media typically depicts as thugs and guys who should be far removed from the rest of American society.

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

Distributors, buyers, more press coverage would be amazing

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

If Underdogs is able to make a notable impact in anyone's life, that's all I could really ask for.

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

While I think it's great that social media is being used to promote injustice and wrongdoings across the globe, I think the community of those incarcerated is still widely neglected. I hope that by highlighting programs like the New Life K9 program in Underdogs and how it benefits the guys on the inside, people will use their social media presence to advocate for better rehabilitative programs for those in prison in the same way they vehemently demand for change in other areas of American life.

Would you like to add anything else?

Just a sincere thank you to anyone who has taken the time to watch the film. I don't think words can really express how awesome it is that something I created could make a lasting impression on somebody.

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

I am currently working on a film about my family friend who is an orthopedic surgeon living with polio. Being an immigrant from Taiwan, her family brought her to the United States with the intent to get her better treatment for her polio. Now, with the help of crutches, she is able to perform surgeries and is one of the most esteemed orthopedic surgeons in Southern California.

Interview: March 2022

Underdogs

Length:

15:44

Writer/Director/Producer

ALEX ASTRELLA is a writer and director hailing from Orange County California. With his documentaries, he hopes to give a voice to those relegated to the background in mainstream American society.

Facebook:

https://www.facebook.com/alex.astrella.3/

Instagram:

https://www.instagram.com/astrellatop4/

More info:

alexastrella.com

Where can I watch it?

Kanab Film Film and Food Frenzy/ Kanab UT-April 21st, San Luis Obispo International Film Festival/ San Luis Obispo, CA-April 27th, Arizona International Film Festival/Tucson, AZ-April 24th, Fort Myers Beach International Film Festival, Kansas City Film Fest-April 27th.

Sheer Qorma

April 01, 2022 by Carmela Baranowska

Sheer Qorma is a story of belonging and acceptance, identity and family, and how it comes together under one roof, as resilient, queer Muslim women and non-binary characters of colour, choose to embrace love that exists beyond their personal beliefs and social moralities.

Interview with Writer/Director Faraz Arif Ansari

Congratulations! Why did you make your film?

I grew up in the 90's in India. I had zero queer representation in media, television or films while growing up. Whatever representation did exist was extremely regressive and problematic that only lead to bullying and harassment. One of the reasons I wanted to be a filmmaker was to change this by bringing forward progressive queer representation so that we can open a larger dialogue on inclusion and acceptance. My latest film, Sheer Qorma, was born out of that dire need for representation.

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

Sheer Qorma champions narratives of queer Muslim women and non-binary folks of colour. It champions a narrative of acceptance and love in a universal story that will leave audiences feeling that warmth of love. Sheer Qorma is a film that makes you rethink gender, the idea of sexuality, the understanding of family and the power of love.

How do personal and universal themes work in your film?

Sheer Qorma has been born out of a personal desire to be loved, embraced and accepted --- something that most queer folks struggle to have in their lives. What makes the film universal is the story of the mother and her child and how they both long to love one another but struggle with their beliefs, their faith and their identities. I believe when the story is so deeply personal, it becomes universal. Honest, real emotions always find a way to connect with audiences across the globe, irrespective of one's nationality, sexuality, race or religion.

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

Evolution is natural in cinema. Usually, a story evolves from the time it is written to the time it is filmed. The energies of the crew, the actors, the location --- everything adds up to what one ends up capturing. With Sheer Qorma, there was a gentle evolution --- the actors added their own nuances to the performances, some dialogues evolved during the filming through personal experiences and anecdotes of members of the crew and there was a constant sense of keeping the storytelling sublime and subtle that resonated through every department.

What type of feedback have you received so far?

Its all been very overwhelming. Since our world premiere at FRAMELINE in June 2021, Sheer Qorma has won 55 International Awards at some of the most celebrated, BAFTA and Academy qualifying film festivals. Other than the immensely successful festival run, the audiences reactions have been beyond words --- My team and I are flooded with messages across social media.

Has the feedback surprised or challenged your point of view?

The feedback has made me realise that there will always be a place for honest, sensitive, sublime storytelling narratives that champions healing and love, no matter where we are.

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

I want more people to watch the film! I want us to travel across the world with Sheer Qorma. I want to have dialogues on acceptance and love with more and more audiences. The message of this film is so powerful and it has must get all the sunshine for it truly deserves it.

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

We need everyone to come forward to amplify the message of Sheer Qorma. Producers, Sales Agents, Talent Agents, Buyers, Distributors, Journalists, Diversity and Inclusion Heads of Corporations, Heads of Schools, Colleges and Universities and even individuals who would want to sponsor screening for their community and friends --- we need all the love and support.

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

I want Sheer Qorma to continue to open conversations on acceptance, love and healing --- not just for queer folks and their families but for all families, irrespective of your sexuality or gender identity.

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

Sheer Qorma, although a film about love and acceptance, is a deeply political film. It brings forward narratives not just about sexuality and gender identities but also about nationalities, womanhood, the idea of family and one's faith. People are always so apprehensive to talk about sexuality and faith in the same sentence. Sheer Qorma urges one to do so and without offending anyone but making one see beyond our own prejudices.

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

I am currently working on very exciting projects --- a science fiction meets fantasy, a queer mainstream musical film and a drama thriller horror in the slice-of-life space.

Interview: March 2022

Sheer Qorma

Length:

30:00

Writer/Director

FARAZ ARIF ANSARI is an international award winning filmmaker. Faraz's cinematic journey is to mainstream universal narratives that champion stories of the underrepresented and to use cinema as a tool for healing and championing love, kindness and acceptance for all. Faraz identifies as non-binary, queer and a Sufi.

Producer

Marijke deSouza

Key cast:

Shabana Azmi, Divya Dutta, Swara Bhakser

Looking for:

sales agents, distributors, journalists, producers, buyers

Facebook:

https://www.facebook.com/farazarifansari/

Instagram:

https://www.instagram.com/farazarifansari

Hashtags used:

#SheerQorma #LoveIsNotASin #LoveWins #LoveisLove #LGBT

More info:

Wicked Queer:The Boston LGBT Film Festival, Boston, 9th April, 2022

SQUIRREL WARS

March 31, 2022 by Carmela Baranowska

A New York artist's obsession makes her the leader of a squirrel war on Facebook. The pressure cooker of quarantine mixed with the polarization of politics intensifies the ire of squirrel lovers everywhere.

Interview with Writer/Editor/Director/Producer Jill Morley

Watch Squirrel Wars here:

Congratulations! Why did you make your film?

I have an eccentric friend who lives in New York City who has been obsessed with squirrels and politics, but never in the same breath...until this happened. She told me how she had trained squirrels to come in through her window, walk through her apartment and go out her garden door. She fed squirrels in the park, watched YouTube videos of squirrels and eventually joined the biggest Squirrel Page on Facebook. During the pandemic, everything intensified while we were indoors on our social media. One day a civil war broke out and it was led by my friend! I knew I had to tell the story.

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

This is a microcosm of 2020 told through a squirrel lens.

How do personal and universal themes work in your film?

Personal themes and universal themes blend together. Even a group of squirrel lovers can be brought to an ugly social media brawl.

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

The doc evolved as I was editing it. I found ways to cut the film that not only was funny, but squirrelly.

What type of feedback have you received so far?

The film won "Best Short Documentary" at the Hamilton Film Festival and has played to audiences around the world. People seem to love it. First of all, there are a lot of squirrel lovers out there - more than you know. Second, people in both aisles seem to enjoy the absurdity of the film.

Has the feedback surprised or challenged your point of view?

No.

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

I would just like to get more eyes on this story. I directed it from Los Angeles by FaceTime on an iPad. My DP lived near my friend so he walked over and they shot it outside so they would be safe. Then he mailed me the footage, I edited it, and boom. Squirrel Wars

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 the film to get more exposure as it was a quirky microcosm of 2020.

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

I want people to enjoy the humor and irony of squirrels being used to fight political battles. Instead of fighting on social media, perhaps we can have a conversation

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

Is this film left leaning? Why are Republicans depicted badly?

Would you like to add anything else?

My intention was to bring some lightness and humor after so much darkness. I'm fortunate to have such an eccentric friend who is amazing on camera! This film is not meant to be liberal or conservative. IT's just a funny story that really happened.

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

Jill is working on finishing a horror/comedy called "Bloody Burlesque." She was also hired to adapt a book into a screenplay about a woman who was committed to a mental hospital by her husband and his mistress. She consulted, produced and will be appearing in an episode of the series "Never Seen Again" on Paramount Plus in the Spring/Summer.

Interview: March 2022

SQUIRREL WARS

Length:

8:27

Writer/Director

Jill Morley is a writer and filmmaker living in Los Angeles. Besides being a Writer's Lab Finalist, a Middlebury Screenwriting Felllow, and Semi-Finalist for Final Draft's Big Break Competition, she is also a National Golden Gloves champion in the Masters Division. Her screenplay, "See Jane Fight" is in the top 3% on Coverfly.

Producer

Angel Cheng

Key cast:

Billie Madley

Looking for:

journalists, film festival directors, buyers

Twitter:

https://twitter.com/jillmorley

Hashtags used:

#squirrelwars

More info:

www.jillmorley.com

Where can I watch it?

The American Documentary Film Festival/Palm Springs - April 8, Cleveland Film Festival

Let Me Assist You

March 30, 2022 by Carmela Baranowska

After an absolutely devastating breakup, a man’s AI virtual assistant tries to take over as his fitness and wellness coach.

Interview with Editor/Writer/Director Noam Argov

Watch Let Me Assist You here:

Congratulations! Why did you make your film?

In my early 20s, I was going through a break-up and living alone in a studio apartment in San Francisco. In my sadness there were a few days I didn’t leave my apartment at all (not good, I know), and since I didn’t have a dog, I found myself talking to Siri (A LOT) about my ex. I found she was a very good listener and I was surprised by how comforting this was in my hour of need. Little did I know that our little friendship would soon become a universal pattern for many in the last few years of the pandemic. With quarantine and the boom in home virtual assistants, many of us spent many hours locked in our homes with our Siris, Google Homes, Alexas and whoever else.

They became members of the family, allies, enemies, annoying siblings, confidants. I even remember a TikTok video of a small child crying because Google Home didn’t know her name. So the fascination and the inkling for this movie has been growing within me, and perhaps within all of us, for quite some time now. As I started imagining "what if," I knew the only way to go down the rabbit hole was to write a script and see where it would take me.

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

To me, the film is a fun little mirror to our relationship with the technology we've created. It's fun to personify that relationship into some of the things that make human relationships hard: independence vs interdependency, for example. I often think the best laughter comes when we can laugh at ourselves, and I love poking fun at the health-tech craze and all of these apps we now have to make us the best and healthiest humans. It's especially fun to watch a flawed character (who messed up) go through this journey because he's such a fun specimen for the ideals of tech utopianism. At the end of the day, I just hope the film makes you laugh and feel something.

How do personal and universal themes work in your film?

Having worked in tech in Silicon Valley, I'm fascinated by how tech entrepreneurs build technology in their own image and specifically shape it around their own values: optimization, efficiency, endless joy to the humans. AI is here to assist and improve us. But what happens when this self optimization bumps up against the awkwardness that makes us human? In this film I wanted to look at the sheer messiness, rawness and “inefficiency” of being a person: being sad, going through a breakup, messing up in a big way. And I wanted to hold that up against the way AI is programmed to make us happier, faster, better. I started seeing a funny push and pull on both sides - a person struggling to meet the values AI tells him are aspirational and AI struggling to bridge the uncanny valley and relate to him. What I ultimately found is the most hilarious, beautiful, twisted, toxic love story of our generation: Humans and our technology. Or perhaps I should say, “technology and its humans.”

Let Me Assist You BTS with Wriiter/Director Noam Argov and DP Ella Gibney

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

The idea for the film was something I had been sitting on for a while during 2020. However, the biggest push to make it came when the Covid safety guidelines for set became more strict and I was trying to think of a film I could safely make during surges in the pandemic. I thought a breakup, AI movie would be perfect. No one would ever have to be too close. The script came out of me pretty quickly one evening and stayed close to its original form throughout the process, which I admit is rare. The hardest thing to land was making sure Athena (the AI) was relentless but also convincing in equal measure. A lot of that came from getting really specific about who the characters are. My actors were invaluable with that in the rehearsal process and a lot of that character subjectivity was something we found together.

What type of feedback have you received so far?

People laugh! Which is great. Comedy is lovely that way because you instantly know what the audience thinks and if something is working. Otherwise, most people have said they look at their virtual assistants differently after watching the film. Which is also lovely to hear. I also often hear people say they feel bad for Jason in spite of themselves.

Has the feedback surprised or challenged your point of view?

I always hoped Athena would haunt people after the film is over and it's fun to hear that this is really happening! In terms of surprising feedback, I wasn't expecting people to have this love-hate relationship with Jason and I've loved to hear people say how they feel a tenderness for him in the end (even if they didn't want to). It's very fulfilling to be able to create a character like that, and it's something I will keep striving for in my work. I love stories about flawed characters who are navigating these emotionally confusing situations, and it's exciting to hear that audiences are responding to that too.

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

I hope more people watch the film and get something out of it! That's why we do what we do.

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 now looking for distribution and our online home. Of course screening at more fests would also be lovely.

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

I hope people have as much fun watching it as we had making it. And I do hope it makes people have new thoughts about their devices and go into that "what if" place next time they interact with their virtual assistants. For all of our desires to use technology to be "better humans," I hope this film shows that sometimes being human is just messy and that's fine too.

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

What does it look like to be a "good human" and how is AI bringing us closer or farther away from that?

More specifically to the film (SPOILER ALERT): Is Jason entering a new co-dependent toxic relationship with Athena or has she helped him grow (or both)?

Would you like to add anything else?

I really loved working with my actors in this process. Shout out to Dan Shaked, Ana Maria Jomolca and Montana Lampert Hoover. It was a blast to work with each of them and I would recommend them a million times over.

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

Right now I am in post on something very different. This is another narrative short that I wrote and directed. It is a family drama centered on the love-hate relationship between a first-generation, immigrant, teenage girl and her mother, who speaks no english. We'll release it in 2023. I love experimenting with different genres and styles in my work and I'm excited to do a drama.

Interview: March 2022

Let Me Assist You

Length:

8:30

Writer/Director

NOAM ARGOV is an Israeli-American filmmaker, National Geographic Explorer, and MFA Directing student in the Graduate Film Program at NYU Tisch. Growing up between the Middle East and Orlando, Florida, Noam spent much of her childhood walking around barefoot and dreaming up strange stories. More recently, Noam spent the last few years directing and producing documentaries, and is now writing, directing and shooting narrative projects at Tisch. She is active in organizations that elevate womxn in film.

Producer

Zach Busch & Noam Argov
Key cast:

Dan Shaked, Ana Maria Jomolca, Montana Lampert Hoover

Looking for:

distributors, film festivals

Facebook:

https://www.facebook.com/noam.argov.7

Instagram:

instagram.com/noamargov12

Hashtags used:

#letmeassistyou

More info:

https://noamargov.com/let-me-assist-you

Where can I watch it?

Cinemafemme Film Festival - Filmocracy.com - April 2022
New York City Independent Film Festival - New York, NY - June 2022
Austin Comedy Film Festival - Austin, TX - July 2022

Trill

March 29, 2022 by Carmela Baranowska

A young college student flubs an audition, but finds solace in her solitude.

Interview with Writer/Director/Producer Christy Anna Wu

Congratulations! Why did you make your film?

Trill is a sophomore effort that leans into the dramatic slice-of-life category. It's based off a true story about growing up in an emotionally unsupportive environment, which could be relatable across different cultures and demographics. The main character, Anna, also faces her lack of self-confidence, which feeds into her stage fright and anxiety. I wanted the film to be a bittersweet reminder of the challenges that underdogs often go through.

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

It's a short, but densely emotional piece, with glimmers of hope at the end. It's an allegory to searching for acceptance, which I think is simultaneously subtle, yet forward.

How do personal and universal themes work in your film?

Symbolism that derives from life experiences typically appear in the films I like to create. With Trill, it's no different. A sort of naivete appears in this one, whether it's through the character or through the viewer. I say this because we have the option to learn from the movie as the character learns about herself. Rhetorically, what kind of biases do we have as we glimpse into her life?

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

The script is quite short, so there were only a few revisions necessary. And because it's quite linear, the telling of it was methodical, as was the production process. The only big element that changed was the piece of music Anna chose to sing. Originally, I was planning on showcasing a well-known tune (Phantom of the Opera's "Think of Me"), but I felt like that was too on the nose, and there were concerns about licensing. In the end, being a songwriter myself, I decided to write the music.

What type of feedback have you received so far?

So far, the feedback has been meaningful. Viewers who identify with the main character feel a sense of that trauma, so in a way, it's validating to see it in this medium. Others who may not be as close to the character still empathize and sympathize strongly for her.

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

I'm hoping that we'll gain more viewership, especially for cinema that showcases an Asian-American lead. I want to emphasize that this story is an American story, and that there have been unconscious biases around this piece.

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

We're just starting our festival run for the year, but I can't predict how well we'll do based on the story length and subject matter. In general, I would love to share this film through all channels.

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

The type of impact I'd like to nurture is more empathy. People come from all backgrounds and experiences, and they all have various hopes and dreams. Resilience is necessary, but so is support. Pull each other up.

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

How do you pronounce the last name, "Huynh"? :)

Interview: March 2022

Trill

Length:

5:30

Writer/Director/Producer

Christy Anna Wu is a writer, director, and producer based in Seattle, WA. With a diverse background in design, art, and engineering, she's traversed many career paths. Her art tends to be emotive, rife with harsh experiences and social commentary. As she continues her career in the industry, she hopes to inspire other filmmakers with her artistry.

Key cast:

Emily Bang, Evon Crighton, Karen Wetterhahn, Adara Toop,Lionel Flynn, Thomas Allen

Looking for:

Twitter:

https://twitter.com/cluumein

Instagram:

https://www.instagram.com/cluumein/

Hashtags used:

#trill #trillmovie

Where can I watch it?

Garden State Film Festival / Asbury Park, NJ
DisOrient Film Festival / Eugene, OR

I'm A Vampire

March 27, 2022 by Carmela Baranowska

In the confusion created by the pandemic lockdown, 8 year-old Jackie believes she is turning into a vampire. As her suspicion is reinforced by her parents’ bewildering behavior, the imaginative girl creates her own plan to survive the confinement.

Interview with Director/Producer/Editor Sofia Garza-Barba

Congratulations! Why did you make your film?

This film was written during lockdown and chaos, so I wanted to create that explosion of mixed feelings and genres that 2020 and 2021 sparked in us. It was such a strange period in time, that making a film about it, and finding a unique perspective was something I wanted to do so I can look back one day and remember that's what I got out of those years...

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

I believe it will make you smile, laugh, but also relate to the rollercoaster ride we all had the past two years. You should watch it because it's not what you expect, and that's always fun!

How do personal and universal themes work in your film?

Universal themes makes everyone around the world relate. Even if a film is in another language, the language of feelings is universal. So creative a feeling from a universal theme, or a universal "connection" was key in this film. We all felt scared, silly, and confused at the beginning of the pandemic when no one knew what was going on. The pandemic affected people all over the world, including kids. I wanted to make a film from a kids perspective. If the adults didn't know exactly how to handle lockdown, imagine what kids went through.

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

I wrote the script during lockdown, and kept adding scenes throughout the first couple months. When I heard my friends and family discussing about lack of toilet paper, food, and even how they all messed up their childrens hair cause they had to cut it themselves. I felt it was necessary to do all this through the eyes of innocence. I thought it was funny how everything was adding up. Then, I decided to shoot in October 2020, cause I felt it had to be made the year lockdown was lived.

What type of feedback have you received so far?

So far, I love that both adults and kids love it! That makes it even more special. Also horror fans have shown a big interest, which is amazing. They have mentioned how unique and fresh the idea was, and how fun it felt even on a difficult subject.

Has the feedback surprised or challenged your point of view?

No. I am just so grateful and happy to see different types of people from all over the world, connect to a film that is in spanish, but found a connection to the story and enjoyed it. This is what filmmaking is about.

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

I want people to get to know the stories I tell, and hopefully find future collaborators!

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 find distributors for this film. I want to try and get it into a platform like HBOmax or Amazon. I feel it would be well received by viewers.

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

I would love for children to watch it, and relate with how difficult the pandemic was for them, but also get a laugh from such a difficult moment in their lives.

Would you like to add anything else?

thank you for this!

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

Right now I am working on PECCADILLO, a coming of age fantasy drama film that got the green light via seed & sparks campaign! so excited for this film.

Interview: March 2021

I'm A Vampire

Length:
14:36

Writer/Director

SOFIA GARZA-BARBA is a multidisciplinary writer and director based in LA, currently working on commercials, music videos and film. Her genre-bending work is often described as fantastic, whimsical, and highly art driven. She’s collaborated with clients like Sony Music, Crypt TV, Nickelodeon and Universal. Her films have been presented in reputable festivals like SITGES, Cinequest and GIFF. She’s been selected for programs like Half Initiative, CDDP, HBO’s Tomorrow’s Filmmakers Today and AWD Directing the actor.

Producer

Elisa Garza T (Jackie), Lucy Vico (Mother Ofelia), David Angulo (Father Lazaro)

Looking for:

distributors

Facebook:

https://www.facebook.com/SoyUnVampiroFilm

Instagram:

https://www.instagram.com/soyunvampiro_film/

Twitter:

https://twitter.com/sofilala

Hashtags used:

#soyunvampirofilm #Imavampirefilm

More info:

https://sofiagarzabarba.com/soy-un-vampiro

Where can I watch it now?

Right now it's playing at Garden State Film Festival

someone I used to know

March 26, 2022 by Carmela Baranowska

A blend of cityscapes, art and culture weave through a poetic breakup story. Told through real-life memories, someone I used to know is an empowering take on lost love and parallel existences.

Interview with Director/Producer/Editor Cris Romento

Congratulations! Why did you make your film?

Thank you so much! I am so stoked to be on Moving Stories! My film came from a very universal experience: thinking of “the one that got away.” I had been in that phase of reflecting when we met, almost a decade ago. Through drinking a lot of wine and really torturous playlists, this story started writing itself. I truly thought when I first had the idea, it was to believe our memories existed.

In the end, I realized it’s a love letter to who many women are in their 20s; figuring things out with a naively beautiful intensity. That’s the cathartic nature of making a film. You go in one person; you come out another.

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

The resounding thing I hear is it makes people remember their first love. Our actors, Coco and Joshua, bring this wholesome vulnerability that makes you feel you’re reliving your story. I’ve seen this movie more than anyone else on this planet, and their acting still breaks my heart.

The thing this little film does is something I rarely see in romantic films; it lets you be ok with being alone. It’s an empowering breakup story. It lets you know don’t need to run into the arms of someone else to feel whole again. It doesn’t follow the normal tropes you see women go through, and that’s refreshing to watch. We should celebrate a goodbye as much as we celebrate people putting a ring on it, but we don’t.

How do personal and universal themes work in your film?

I wanted it to be soft, relatable and divinely authentic to how we feel our way through a breakup. I wanted this film to feel like a choice everyone could see themselves in. It’s based on the memory, and that can be so nebulous. With memory, it’s not so much what was said, but the edges around it. How someone’s eyes felt, how the light was. These vignettes of our life that don’t have a sense of time.

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

How long do you have? Just kidding. This was emotionally cathartic, but the film also forced me to grow the fuck up as a director. Before filming, I had a lot of confidence in directing, but had never done a narrative before. It’s horrifying to think of now. I share it because if I can prevent anyone from my mistake, I will! I’ve always heard "getting in the scene late and leaving early,” but I couldn’t figure this out until the hell pit of editing my own breakup while still seething from it.

I thought I would film a bunch of emo memories that meant something to me, and it would matter. But getting people to give a fuck—that’s the art of editing. I had to resolve in order to get better, I had to start by doing things badly. Editing something so personal deeply humbled me.

What type of feedback have you received so far?

heard someone in a theater whisper, “I need a whole hour to process this.”

My longtime friend of almost 20 years had been telling me about someone she had to let go. The colors of her breakup felt so similar to mine. I thought of her as my only audience; the single person I wanted to reach. I refined my edit thinking of her and my shared pain. I thought, if I could see her reaction, I would know. When I finally did show her two years later, she cried so profusely it scared me. We hugged and wept; holding space for each other as only two women can. It poured into me every feeling I ever had about wanting to be a filmmaker.

I also got to show the person who inspired it one scene. It’s a special scene at a bar cut from real life….our outfits, where we sat, the flow of how we truly just got to know each other. This is a person I’ve known the very depths of, and had never seen cry. I can’t begin to explain what that experience meant to me.

Has the feedback surprised or challenged your point of view?

Well, the most surprising thing—and all I wanted—was to have someone other than my mom get to watch it. I mean, I made this film for the 26 year old me! So when I see men tearing up, young and old humans of all backgrounds— I mean, wow.

The most surprising thing is, even people fully coupled and happily married have told me it reminded me when they were first in love and felt joy.

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

To share in the female collective and universal resilience of experiencing a breakup.

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 film festivals to get on board with playing more silent film narrative, and also hopefully journalists who want to start talking about female narratives with love in a different way.

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

Number one, I want people to feel less alone when they see it. I made this film so people can feel whole by themselves.

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

How does courage look after a breakup?

Would you like to add anything else?

This is the most intensely personal thing I've made. It's my story, but it's also a story I wasn't seeing about love. And more importantly, empowering and honoring that the past can’t be any different. The enigma of love is that we are never fully prepared. The romantic tropes in film tell us to move on to someone else to feel whole again. This is not that kind of narrative.

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

I’m working on 2 documentaries. One about the meaning of aloha and how it's the answer to world peace. The other is about plant-based vegans of color revolutionizing the food world.

Kayla, our wildly talented cinematographer has several films on their festival run, and is busting doors in the DP world. Our lead actress Coco has a new album out on Spotify, and Joshua is kicking ass as a film director.

Interview: March 2022

someone I used to know

Length:

4:08

Writer/Director/Producer

Cris Romento is a filmmaker illuminating the human experience of love, celebrating BIPOC stories and Hawaiian culture. Her first film, someone I used to know (2021) premiered at Local Sightings in Seattle and Phoenix Film Festival. Credits also include: documentaries NOT YOUR VEGAN (2022) and the aloha film (2022).

Prior to features, Cris worked in the Middle East profiling startups and innovative science. She's also spent 15 years editing and producing commercials and entertainment TV in America.

Key cast:

Coco Osowski (Lead Actor), Joshua Smith (Lead Actor)

Looking for:

journalists, film festival directors

Hashtags:

#ladydirectors #femalefilmmakersrock #bipocfilms #lovestories #womenfilmmaker #shotinAZ #shotonred #bipocstories #younglove #azfilms

Instagram:

http://instagram.com/siutkfilm

More info:

Phoenix Film Festival/Phoenix, AZ:
Saturday, April 2, 2022
Tuesday, April 5, 2022
Sunday, April 10, 2022

https://www.bigalohapictures.com

Grandes Horitzontales

March 25, 2022 by Carmela Baranowska

Sex, Decadence and the Second Empire

Interview with Director Leslie Zemeckis

Congratulations! Why did you make your film?

Because I felt these women, courtesans, were vastly unknown, stigmatized and previously examined by male historians. I knew they were the superstars of their day, popular and written positively about, yet history has relegated them to labels "prostitutes" which they were not.

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

It is an eye-opening fascinating delve into the women that were muses to artists and writers such as Degas, Manet, Baudelaier, Balzac, Courbet, Toulouse-Latrec and dozens of others.

How do personal and universal themes work in your film?

The women we marginalize and label were women, with a past, history of how they came to be the notorious creatures they were. They do not need to be condemned for their choices, but understand what they accomplished in a man's world. The theme of overcoming and prevailing is universal.

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

Both the script and the film peeled back layers of what we previously thought of these muses, to understand they were complicated, charming, members of society.

What type of feedback have you received so far?

With all the awards and enthusiasm and word of mouth, the film has been positively received and recommended.

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

More eyes, and opportunities for 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?

Distributors.

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

A positive one.

Grandes Horitzontales - Actors Minxie Mimeux and Michelle L’Amour with director Leslie Zemeckis and DP CLay Westervelt.

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

Were these women prostitutes?

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

Another book, and a web series.

Interview: March 2022.

Grandes Horitzontales

Writer

Award-winning documentarian and best selling author LESLIE ZEMECKIS introduces her mutli-award winning documentary on the courtesans of the Second Empire, France. ZEMECKIS is about to receive the Ellis Island Medal of Honor for her work highlighting marginalized women.

Director

LESLIE ZEMECKIS is an award-winning documentarian. Her first film premiered on ShowTime, Behind the Burly Q to rave reviews. Her second film Bound by Flesh debuted on Netflix at number 5. Her other film Mabel, Mabel, Tiger Trainer won multiple awards.

Producer

ROBERT ZEMECKIS is an Oscar winning director and producer known for Back to the Future, Forrest Gump and Castaway amongst dozens of other hits.

Key cast:

Dianna Miranda, Michelle L'Amour, Mosh, Minxie Mimieu

Looking for:

distributors

Social media:

http://lfacebook.com/lesliezemeckis

http://instagram.com/lesliezemeckis

http://twitter.com/Lesliezemeckis

Hashtags used:

#documentary #grandeshorizontales #zemeckis

More info:

http://lesliezemeckis.com

Where can I watch it?

American Documentary and Animation Film Festival/Palm Springs/ April 10 at 5 pm.

Preggers

March 24, 2022 by Carmela Baranowska

Isabella's life is flipped upside down after a chance meeting with a bruja.

Interview with Director/Producer/Editor Sylvia Ray

Congratulations! Why did you make your film?

Preggers was presented to me at the very beginning of the pandemic and when I was highly focused on developing feature films. Marco Parra, the writer, showed lots of enthusiasm for the story and how I'd be a good fit to direct it. I was a bit apprehensive at first because, not only was it a short film and I was trying to shift my efforts to features, but it was about abortion and written by a man.

After reading, I realized that I was a good choice for the film because it married drama and comedy and has a playful outlook on a topic that is important to me personally. I also was thrilled at the aspect of practicing my craft and doing what I love to do, which is to direct.

After seeing the potential of the script and as my brain was flooded with visual ideas, I knew I had to direct this film. And, as a women, this was my way to express my point of view on this highly debatable topic

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

PREGGERS uses satire and dark comedy to try and offer perspective on one of this country's most hot button issues. My hope is that it will not only entertain, but will also spark conversations about different challenges pregnancy presents to women and how men can be more empathetic to that reality.

While in post, I wanted to focus heavily on the journey of the audience. For women, I wanted them to have a cathartic experience. To see our character Carlos, be put through the ringer and get a taste of his own medicine, was actually therapeutic for me to direct and that was my focus for the women in my audience.

And for the men, I wanted them to cringe, stress, laugh, and then ultimately think and question what they would do in the same situation.

I hope that audiences ultimately feel like they were taken on an interesting ride by the end of the film.

How do personal and universal themes work in your film?

As an ambitious woman with children and responsibilities, I understand the pressures and stress that pregnancy can cause. Empathy towards women that face this tough decision was a key theme that I wanted to weave throughout the film. Women's empowerment is another theme I focus on personally and feel like should reverberate throughout the world. Women are extremely powerful and I often gravitate to tell stories about how women overcome their feelings of one worthiness and step into their power.

Women's health and women's right to choose is obviously a huge topic of the film as well. Through the rewriting phase, we focused a lot on weaving this point of view in without feeling like a broken record and showing a perspective that has already been seen.

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

Marco and I worked heavily together in the development stage. He took my notes so graciously and really valued my perspective and thoughts on the script. Together, we grounded the comedy and we zeroed in on Isabella, our protagonist, and her journey in the story. Although Carlos is the one that goes through a major transformation, it's ultimately her that is being heard in the end.

Post was also a time when the script evolved immensely. I decided to take a non-linear approach to the edit because it quickened the pacing a lot and brought a sort of mystery and anticipation for our audience. which helped in the storytelling.

What type of feedback have you received so far?

I workshopped the edit a lot with my team and with the WIPS (works in progress) program through Alliance of Women Directors. Not only, did I get lots of helpful notes but I also got validation that this film is relevant now more than ever.

Has the feedback surprised or challenged your point of view?

I was actually surprised to see the difference in notes between the men and the women. Because of the content of Preggers, the impact was different for both. I love this about our film and it really goes to show that we all have different journeys and take away different lessons from art.

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

Preggers is at the beginning of its festival run and I hope to be able to show it to as many people as possible.

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

It would be awesome to get Preggers in front of more film festival directors, journalists and potentially buyers. Empathy for women is the main goal!

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

I'd like to get people talking about the topic of abortion and really get people to think about women's right to choose.

Another incredibly impactful aspect to our film is the truly diverse and inclusive team in front of, and behind the camera. With so much talk about the lack of Latine voices and women directors in the film industry we are happy to be showcasing both. With this film, we can show audiences and the industry that we not only belong BUT that we have plenty of things to say!

I'd also be incredibly happy to see the cast and crew to be acknowledged for their incredible work on this film and to skyrocket into bigger and better roles.

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

The big question this film asks is, what if men can get pregnant and how would that change the makeup of this country?

Would you like to add anything else?

Here is a link to our EPK that may be helpful - https://drive.google.com/file/d/1iwR8JeHnVa6o4MVer8azFtHw6bsXzaw0/view?usp=sharing

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

I'm currently working on an anthology feature film with 6 other women directors called Through The Blinds. Our stories take place in one house through the decades. My decade is the 90s and is about Venice, a lonely 8-year-old girl, who strikes a life-changing friendship with her neighbor Hannah, who comes from a very religious family.

We explore the concept of women's fears and connections within a home. The ecosystem of our group is supportive and equally collaborative. As we all face the barriers of making a feature film, we are combining forces and doing it together.

You can check it out here : https://www.throughtheblindsanthology.com/

Interview: March 2022

Preggers

Length:

8:52

Writer

Marco Parra is an Actor/Filmmaker, born and raised in Nogales Arizona. Marco's acting credits include network shows such as: Showtimes critically acclaimed series SHAMELESS, John Singleton’s FX crime-drama SNOWFALL, Hulu/Freeform’s new PARTY OF FIVE and most recently THE SHRINK NEXT DOOR working alongside Will Farell and Paul Rudd.

Started his career acting in over 10 national commercials and as a regular sketch performer on Jimmy Kimmel Live. Other credits also include, writer and producer of multiple festival selected short films.

Director

Born and raised in Barstow, CA, Sylvia Ray is a filmmaker based in Los Angeles. With a Korean mother and a Chicano dad, Sylvia draws inspiration from her desert-town upbringing, travels abroad, her fashion background, and motherhood. Her focus is to tell stories that highlight women and people of color while bridging cultural and economic gaps in a truthful and entertaining way.

She is a fellow of HBO’s Tomorrow’s Filmmakers Today Program for Hola Mexico Film Festival in both 2019 and 2020’s Alumni Edition. Sylvia has directed several award-winning short films, music videos/commercials and web series episodes. Her short film LEN(N)Y was streamed to audiences on Pantaya and DISH Latino and her short film A Period Piece is licensed with and will stream on GenreTV.

Producer

Destinee Stewart is a filmmaker and actress known for WELL SPOKEN (a Vimeo Staff Pick), THE TRUTH OF US, and COFFEE SHOP NAMES (Tribeca '21).

Through her work, she creates a space for BIPOC and LGBTQ+ female artists that fosters connection and expression. Her breadth of work includes experience in directing, writing, acting, and producing. Influenced by her parents’ nonstop playing of gospel music and career as a nanny, her art comes from a place of spirituality and play. She lives by the quote "We were made from creation; therefore we were made to create."

Key cast:

Gabriela Ortega (Isabella), Marco Parra (Carlos), Itziar Martinez (Graciana)

Looking for:

buyers

Social media:

https://www.facebook.com/sylbialin

https://twitter.com/sylbialin

https://www.instagram.com/sylbialin/

Hashtags used:

#preggersfilm

More info:

sylviaraydirects.com

Film festivals:

30th Arizona International Film Festival (April 20-30, 2022)