Like Waves

June 08, 2022 by Carmela Baranowska

Seeking answers, a young woman meets her biological mother who gave her up as a child.

Interview with Director Miles Berkley-Smith

Watch Like Waves here:

Congratulations! Why did you make your film?

Of course, anything we create is personal in it's own way and while Like Waves isn't immediately biographical, there are many elements which are personal and that I must have wanted to externalise somehow. I've always been inspired by the regional dramas of film-makers like Shane Meadows and I wanted to show the people and places I knew growing up on the South Coast, that I often feel aren't shown on screen. Showing how people who haven't had an easy life carry on, without sensationalising and stereotyping working class people as film and TV often do.

I also wanted to challenge myself to ground the majority of the drama in one location and lean heavily on performances and dialogue, drama at it's rawest, so as to allow the characters and their personal dramas to be the main focus rather then the filmmaking. During the casting, the Producer and I noticed just how few working class actresses are in the industry and this really drove us to seek authenticity in the casting process, and to avoid casting someone in a way that felt like they were playing down.

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

I think the film tells a really engaging and heartfelt story which unfolds throughout the course of the film. The performances are amazingly raw and nuanced.

How do personal and universal themes work in your film?

The experience of Kaye and Jess, of a parent and child reuniting, whilst more common then we might think, is still not something most people have personally experienced. That said, the films universal themes are about family, loss, grief and the hard choice to start on the road to forgiveness and having to bury years of resentment and bitterness to do so. Things I think most people can relate to.

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

The script developed in much the way they often do. I wrote something with quite a clear idea of the overall arc and setting, of the characters and the dynamic between them. I had a strong sense of the character of Kaye having known many women like her growing up, but rarely seeing a character like that on screen. Feedback from the Producer and a few close friends, both part of the film industry and not, helped refine certain elements further. In particular the casting of Johanna and Indianna were vital to the development of the film. They immediately had a fantastic chemistry and took ownership of the characters in a delightful way bringing so much of themselves to the role. The same can be said for every member of crew who brought their own creativity and passion to the project, each one leaving a unique mark on the productions.

What type of feedback have you received so far?

We've had really great feedback mainly with people connecting with the characters. Broadly people responded well to the style of filmmaking and enjoyed the unfolding drama.

Has the feedback surprised or challenged your point of view?

I was really pleased with how people have responded to the film. I was worried that people would be overly judgemental of Kaye, but overall people have really connected with her story. It's not a flashy film and I was worried this might put people off, but so far it hasn't.

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

We're looking for greater exposure for the film and the work of the crew. In particular Johanna and Indianna gave incredible performances and it'd be great to give them the spotlight they deserve. I'd worked with most of the crew before and they all did an astounding job.

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

film festival directors, journalists, distributors

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

My main goal was really just to engage an audience and I'd like the film to do that and reach as broader audience as possible. I'd love to see how the film plays to a more international audience and how people from outside the UK might relate to the characters and ideas in the film.
I think the film shows a part of the UK we don't often see. We shot on location in St. Leonards on Sea, a place that's rapidly changing since I was a kid, and I think it's good that the film industry is shooting more stories outside of London. I hope Like Waves is a part of that movement.

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

How are working class people represented on screen. Are they often three dimensional characters?

Would you like to add anything else?

Just to thank all the cast and crew for all the energy and passion they brought to the film.

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

Miles is currently writing his next short, and has just finished editing a short for Film4.

Interview: June 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

Like Waves

Length:
13:00

Writer/Director

Like Waves is Miles Berkley-Smith’s directorial debut, working with a talented crew of people with whom he's collaborated with over the years as an Editor on various project.

Producer

Ben Hector is an established independent short film maker with a successful track record at festivals with his own short films. Stepping into the role of Producer on Like Waves was a chance to help facilitate someone else's creative vision and share the years of experience he's garnered making his own films.

Key cast:

Indianna Ryan (Jess), Johanna Allitt (Kaye)

Looking for:

distributors, film festival directors, journalists

Social media:

https://www.facebook.com/miles.berkleysmith

https://www.instagram.com/milesberkleysmith/

Hashtags used:

#shortfilm #drama #regional #realism #filmshortageshortshorts #indiefilm #stleonardsonsea

Where can I watch it now?

Film Shortage: Daily Picks/Online - 20220531

I'm A Writer

June 07, 2022 by Carmela Baranowska

Screenwriting student Walter works on finishing his feature film
script as his final year of study draws to a close.

Interview with Editor/Writer/Director Ruby Walker

Watch I'm A Writer here:

Congratulations! Why did you make your film?

I made this film whilst locked down in Melbourne, at the height of Covid-19. Being stuck in my own house forced me to look directly around me for inspiration. I think I'm just really lucky to be surrounded by interesting people. I made this specific portrait documentary because I, over the course of said lockdown, had gotten to know Walter more intimately and I wanted others to experience the entertainment that comes from merely being in the same room as him. His story moves me and as a character, I can't help the urge to point a camera in his direction.

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

The great thing about portrait documentaries is that they tend to appeal to anyone who has an interest in other humans and their lives. What this film can promise to deliver is humour and intimacy. This is a film about the underdog, and I made this film because I'm rooting for him, and, I expect after seeing this film, the audience will be too.

How do personal and universal themes work in your film?

I would say that this film is both a specific, local, individual story, and also a universal one, that of the struggling artist, the broke student, the disillusioned youth, and that overarching idea of having a purpose or a vocation.

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

The film idea started as a photo journalism essay, following Walter and his struggle with dyslexia. Soon after, I planned to make the film in the same style as the essay, which was minimalist, observational, and involved fragmented conversations around the house. As I interviewed Walter, and began shooting, I found myself moved by Walter as he opened up more and more, and the film because much more emotionally charged, rather than the neutral tone it had started with. Now, the project is still evolving. I hope to continue following Walter intermittently over the years to come.

What type of feedback have you received so far?

Reception to the film has been lovely from friends and loved ones, but which doesn't tell me much about the quality of the piece. I have also been told it needs tightening up, cutting down, and finessing to create a really polished short film.

Has the feedback surprised or challenged your point of view?

I think every filmmaker who is invested in what they do can overvalue pieces within their projects. I love certain parts of this film that others would tell me to cut. Yet, having been on the other side of such constructive criticism, I know those moments will likely need to go. It comes back down to that phrase "kill your darlings".

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

I hope that by being visible on wearemovingstories.com, I can get the film seen, and start creating more of a brand for myself. I also want to be part of this community of student filmmakers, and in order to do that, I feel I need to put myself out there.

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

Anybody and everybody, I am the sole creative behind this project. Specifically, I need producers, film festival directors, and journalists.

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

I would like this film to be a representation of young creatives, something that others can see themselves in. I want non creatives to root for us. It's also important to me that Walter, the star of this project, gets to see himself as someone to root for.

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

How important is storytelling? I think storytelling is an ingrained part of human life, culture, growth. I want people to consider how their country, their state, their community, treats storytellers. What grants are available, and where are the gaps? The arts are important, and support for the arts has to be important too.

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

Walter Smithers has finished his feature screenplay, as well as two pilots, one for a drama series and one for a children's television series. He is now currently in pre-production for his short film "The Outside Dunny", which is set to begin filming this June. You can find Walter at his website https://www.wsmithersproductions.com

Interview: June 2022

I'm A Writer

Length:

5:52

Writer/Director/Producer

RUBY WALKER is a young creative based in Melbourne Australia. She is currently completing a Bachelor of Media at RMIT University, and has completed short courses at VCA and AFTRS. Ruby primarily concentrates on documentary films, though is passionate about storytelling in all its forms.

Key cast:

#writer #student #queercreatives #melbournecreative #independentfilm #shortfilm #documentary #dyslexia

Looking for:

film festival directors, journalists, producers

Hashtags used:

#writer #student #queercreatives #melbournecreative #independentfilm #shortfilm #documentary #dyslexia

Where can I watch it now?
Currently on ruby's website www.rubywalker.org

Chicks

May 28, 2022 by Carmela Baranowska

A girly, cotton-candy colored slumber party unravels when a shy teen becomes the center of a bizarre nighttime ritual.

Interview with Writer/Director Geena Marie Hernandez

Congratulations! Why did you make your film?

Thank you! Honestly, this movie was a direct response to being stuck at home all of 2020. There’s deeper reasons I wanted to tell this specific story, but at its core making this movie was a total excuse to reunite with my best friends and make a movie again! This was our first short after graduating film school together, and I wanted to make something really fun, stylistic, and ambitious. Looking back, I think we pushed ourselves extra hard partly because we had been cooped up so long.

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

You can think of Chicks as a bizarre lovechild of cult classics like Mean Girls, Midsommar, and Sorry to Bother You. If you like girly teen comedies, Chicks has that. If you like bizarre feminist horror, Chicks has that. And if you like fun, stylistic “WTF” movies where you’re not sure where it’s heading but you’re totally down for the ride, Chicks definitely has that. Making a movie that would have an engaging audience experience was a big part of the writing process.

How do personal and universal themes work in your film?

I was really shy and self-conscious growing up. I’d never be caught dead wearing pink and was ashamed to like girly things. Now pink is half my wardrobe. Teen girls, especially “girly girls” in media are often pigeonholed and stereotyped. They’re dumb, promiscuous, evil queen bees, usually serving as the villain to the main character who’s “not like other girls.” Why is femininity demonized? Why can't a female-identifying character unapologetically enjoy glittery nail polish and be taken as seriously as the ones who don’t?

Chicks is a deconstruction of how female friendships are portrayed. We borrow the aesthetic and genre conventions from chick-flicks and horrors to set up a world that you think you know how it’s going to end, flipping the script on you until the very end. It was also important to me to have a main character that was from a first-generation immigrant family. As bizarre as the movie gets, I just wanted to tell a universal story about someone finding a community and feeling empowered to blossom and come into their own as a result of that.

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

I write with a maximalist mindset, putting all my ideas into a first draft no matter how outrageously ambitious they might be. The key is to not get attached unless they’re absolutely integral to making the story/vision work, because once we get into pre-pro we’ll inevitably discover that we won’t be able to do some of them… but some fun stuff gets to stay! Or even better, if you have an amazing team of collaborators as passionate about the project as you are (my Producer Chayse Banks and DoP Chris Violette) they help brainstorm how to reinvent these ideas into something feasible that actually turns out WAY better!

I think for Chicks we actually ended up keeping a lot of elements that were pretty ambitious for only 3.5 days of shooting and limited budget. But that’s 100% because of how insanely talented this crew was. Our Production Designer Sky Theis and Art Director Summer Schantz were absolute animals on this movie and their team did unbelievably fast and beautiful work on things we were fully expecting to cut. I’m still blown away.

What type of feedback have you received so far?

We had a packed theatre at the NFFTY film festival and it was surreal to hear the audience gasp and laugh at all the right moments. I’m just overjoyed that we set out to make a movie that engages the audience and we were able to pull it off!

Has the feedback surprised or challenged your point of view?

By the time you finish post, you’ve watched your movie a trillion times and can’t really tell if it makes sense anymore… so I was very relieved that people seem to get it! It’s funny cause the reactions range from people saying the message was super clear and even drawing deep analyses to details that weren’t totally intentional, and then there’s other people that are left confused and wanting answers. There’s something kinda fun about making a movie that straps you in for a ride and doesn’t really care to answer your questions about why these increasingly absurd things are happening — you just kind of have to be down for it and see where it takes you. I've never made anything like that before and I'm eager to try it again.

On the other hand, I do think an understanding of the tropes of American teen movies and chick-flicks plays a great part in an audience member’s understanding. Some people might want more context about who Polly (the main character) is, and others can immediately recognize the difference between her and these ultra-feminine popular girls and create a ton of assumptions in their head.

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

Really talented young filmmakers and cast members put a lot of heart and hard work into this passion project movie. If someone who otherwise wouldn’t have seen their work gets the chance to recognize their brilliance and potential, then I’m happy.

This is my first short film besides from my work in school, so this was a huge leap into understanding my voice, learning and growing as an artist, and discovering the stories I want to tell. I hope people get a chance to watch this weird little movie and see the potential of what we can do next.

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

Come one, come all! We’re hoping to find anyone that can help share and promote the film in any capacity. We’ve just started our festival run as of April 2022 and are about to premiere at the Chinese Theatre in LA as a part of Dances with Films. We’re really excited and hoping to do a festival run the rest of 2022 to be able to meet new people, travel to new cities, and hopefully find people that connect with the movie and our message in some way.

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

I annoy my friends with how much I rant and rave about everything directed by the Daniels, especially Swiss Army Man. I’d never seen a movie so beautifully original, WTF, and unapologetically itself. It completely inspired me to forget about “the rules” and what people might think, and push myself creatively to ask: what would a movie that’s fun, unhinged, and totally “me” look like? And it turned out to be this absurd, girly, hot pink fever dream filled with cult-y chicken and dinosaur imagery.

That’s all to say, my biggest dream would be for someone to watch Chicks and feel the same things I felt about those type of movies. Make something only you could come up with.

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

What do dinosaurs have anything to do with this?

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

We’re all breaking into the industry and working in different departments on TV shows/movies across the country. In our free-time, we’re developing some more shorts to shoot soon and working on a feature screenplay of Chicks for down the road, filled with even more feathery fun and girly goodness.

Interview: May 2022

Chicks

Length:
12:22

Writer/Director

GEENA MARIE HERNANDEZ is a 23-year old Latina writer/director originally from South Florida. She loves to tell bold, femme-driven stories that defy genre and mix humanity with hilarity. Her shorts have screened at festivals like Florida Film Festival, NFFTY, Outfest Fusion, NY Latino Film Festival, and more. She was a WAVE Grant recipient for her newest short "Chicks" and has worked as the Producer's assistant on The Walking Dead (AMC) and Atlanta (FX).

Producer

With the personality of light-up electronic piano, CHAYSE BANKS is a young female filmmaker from South Florida. Her interests range from calculus, CG modeling, to building miniature lego cities. She is an alum of FSU's College of Motion Picture Arts and hopes to use her voice (and budgeting skills) to produce other people's stories and strengthen women’s voices in film. She’s currently based in Atlanta, where she's worked in accounting for Lionsgate on STARZ’s P-Valley.

Key cast:

Nicole Marquez-Davis (Polly), Jena Brooks (Lizzie), Maddie Moore (Kelly), Lilliana Simms (Jazz)

Looking for:

sales agents, journalists, distributors, festival directors

Twitter:

https://twitter.com/chicks_movie

Instagram:

https://www.instagram.com/chicksmovie/

Hashtags used:

#chicksmovie

Where can I watch it?

Dances with Films/Los Angeles, CA - 6.11.22

Pragma

May 27, 2022 by Carmela Baranowska

"Here we teach you to stand in love, rather than fall in it"

When Willow attends a Post Graduate Partnering Programme she faces the ultimate decision, should she trust science or her heart (or let's be honest...her burning loins)?

Interview with Lucy Heath, Eleanor Heydon, Phil Dunster

Congratulations! Why did you make your film?

Lucy: Well the inception of Pragma was somewhat of a tragic tale, I had recently left an 8 year long relationship at the same time as my parent's marriage came to a sticky end, so after many tear stained coffees with my friend Phil Dunster (co-star & producer) philosophising over love and romance, Esther Perel’ing one another, I became fascinated by the concept of finding an algorithm for ‘secure love’. Phil and I had always wanted to work together and so we decided to make a film on the very subject that we were obsessing over. Then I created Pragma, a ‘school for love’ that I (and virtually all of my friends) so wished existed.

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

Ellie: This film is for anyone who is, or ever has been single. It is a funny, warm look at how the fresh hell we’re supposed to approach dating in this day and age, with some actually quite solid relationship psychology thrown in so you should watch this film in order to have a laugh, learn something, and hopefully not feel so alone in the wild ‘love landscape’.

How do personal and universal themes work in your film?

Phil: With the universal theme being love, in this case our desire to understand what makes sustainable love and how to give and receive it, alongside the day to day difficulties that arise when dating or even being in a long term relationship.

The personal being Willow’s own tussle between her need for Eros (the fiery love) and Pragma (the practical, sensible love).

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

Lucy: Initially the script presented more like a dystopic drama with Black Mirror-esque qualities, however after bringing Ellie Heydon on board we all agreed that a more light hearted/comedic take on a somewhat futuristic notion, would create a much more original narrative.

What type of feedback have you received so far?

Phil: Mostly from people saying that they wished Pragma exists irl because it would make dating much easier and they wouldn’t spend so much time on dates with people they’re not sure if they like or not…

Has the feedback surprised or challenged your point of view?

Ellie: What has been most interesting is how divided our audiences have been about who Willow should end up with. We thought that everybody would want her to follow her heart and leave PRAGMA with the sexy Jack, but actually about half of our audience were left pining for what could have been with Tom. This was so exciting for us as filmmakers and a real indicator of what people are looking for romantically now. We have loved being part of audiences watching the film, because everybody always wants to really talk about the world and what would happen if PRAGMA really existed, which always proves to be a fascinating conversation.

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

Phil: It’s really important to spread the word about Pragma because we’re so proud of our filming being Academy Award applicable after having been accepted into TriBeCa Film Festival and we want as many people to see the film either online or in person.

We also just want to talk about how proud we are of our incredible team of creators that helped bring Pragma to life. In particular our HODs that were made up of 90% female identifying creators.

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

For the short film itself we would love to connect with buyers and distributors as we feel that the story has such relevance to anyone who is interested in how to love and to be loved and feel that the film would be enjoyed on short film platforms.

Ellie and Lucy are in the process of pitching the series to SVOD platforms and will be doing just that at the Creators Market at TriBeCa.

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

Lucy The film is meant as a love letter to my generation of ‘self improvers’, we can get wrapped up in getting things ‘right’ that we need to remind ourselves our fallibility is our greatest strength. I would love people to look at someone in a 50 year long marriage with equal curiosity as someone on their 7th divorce, who are we to say which is a more fulfilled life.

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

Do you think there is a superior kind of love?

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

Ellie and Lucy are developing PRAGMA into a Television Series. Ellie is currently in pre-production for her first TV show, lead directing new comedy for Merman and Sky. Lucy has her latest film, The Painter and The Poet, in post production and is writing her first feature film. Phil continues filming on Ted Lasso!

Interview: May 2022

Pragma

Length:

19:00

Writer

LUCY HEATH is a multi-award winning writer and actress. LUCY'S last film BETTER, directed by BAFTA Award Winner Michael J Ferns, won the prestigious Iris Prize, and featured on Channel 4 and Apple TV. BETTER received 5 stars from Indie Shorts. LUCY has already received a Best Screenwriter nomination for PRAGMA (Executively Produced by Jason Sudeikis) and she is currently in development as lead writer on PRAGMA the series with Monumental Television.

Director

ELLIE HEYDON is a Director/Creator and has been directing for screen since 2017. Her latest short, PRAGMA, was Executively Produced by Emmy Winner Jason Sudeikis. PRAGMA premiered at Underwire Festival in the UK, and will make it's International premiere at TriBeCa in June 2022, and serves as a proof of concept for a TV series that she is now co-developing with Monumental Television.

ELLIE is currently in pre-production for her first TV Directing role, working as Lead Director for Merman and Sky, on a brand new Comedy.

Producer

PRAGMA was PHIL DUNSTER's producing debut, his previous acting work includes Ted Lasso, The Devil's Hour, Strike Back, All Is True and Catastrophe. FAY MOHAMED 's producing credits include, Foundation, Ted Lasso, Top Boy and Hanna.

Key cast:

Lucy Heath (Willow), Phil Dunster (Jack) Nick Mohammed (Professor Frances), Amanda Hale (Professor Josephs), Sid Sagar (Tom), James Dryden (Taylor), Ryan Hutton (Fred), Karl Queensborough (Juanjo), Sky Lang (Oscar), Orla O'Sullivan (Brooke)

Looking for:

sales agents, distributors, journalists, film festival directors

Twitter:

https://twitter.com/a_pragma

Instagram:

https://instagram.com/pragmashortfilm

More info:
silverroseprod.com

Screens:

TRIBECA film festival/New York - 10th & 15th of June.

Where We're From: The Elements Documentary

May 26, 2022 by Carmela Baranowska

Where We're From: The Elements Documentary is a 90-minute exploration of the emergence of L.A.'s underground Hip Hop culture of the late 1990's-eary 2000's, recounted firsthand by some of its architects - the creators of Club Elements.

Interview with Director/Producer Dj Breeze

Watch Where We're From: The Elements Documentary on Prime Video and iTunes

Congratulations! Why did you make your film?

We really felt that there was Hip Hop history here in Los Angeles that had not been talked about. And we felt that our story needed to be told as well as bringing light to other important key people in our Hip Hop community.

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

People should watch this film because these stories have not been told or exposed. Whenever you hear about West Coast Hip Hop, you only hear the stories about gangsta rap. Yes, that is part of our culture but it's not all we are about. There is entire world of hip hop that has influenced, not only LA, but the rest of the world. We were part of that community and we really felt that we were being overlooked and almost forgotten. Now, thanks to this film, those people and community finally have a voice.

Where We're From: The Elements Documentary

How do personal and universal themes work in your film?

Where We're From is not only a story of Hip Hop in Los Angeles, buts it's also a story of friendship and triumph. Two friends who grew up together, and later became Los Angeles's top promoters. Only to have their friendship ripped apart from the politics and drama during one of the most important times in LA Hip Hop history.

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

Originally, the film was going to talk about just Club Elements. However, as we started formulating the story, we realized that we couldn't just talk about us without bringing up certain past events and people that helped influence Club Elements. Place like Club UNITY, Water The Bush, as well as individuals like Bigga B, Rob One, Dj Dusk and so on.

What type of feedback have you received so far?

The feedback has been nothing but positive all around. We actually hit number one on the iTunes music documentary chart in the first few day, which was amazig. We have many people stopping us on the street or sending us dm messages saying, not only that they love the film, but they also are thanking us for telling their story as well. It's been an amazing feeling.

Has the feedback surprised or challenged your point of view?

I was a little surprised by some of the reactions. When Dj Bonds and myself finished the film, we knew that we had something special. However, sometimes you just don't know how the public is going to perceive it. You could be ahead of your time and the public might not be ready for it. Or sometimes, you're too late and the public is kinda over it. It really felt like the public was ready for this film, which is also why I feel it's being received so well.

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

We are looking to bring more light and attention to a significant Hip Hop movement that has influenced the world but never got a chance to hear their story.

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, distributors especially international, film festival journalists.

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

To let this LA Hip Hop community know that what they did back then mattered and had a huge impact, not only culture, but people's lives. To let LA's underground hip hop scene know that they aren't forgotten.

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

Is there other Hip Hop besides gangsta rap in the West Coast?

Would you like to add anything else?

Yes, go out and see this film. If you are a Hip Hop fan, this is surely one of the most important films that you can watch. And if you are not a Hip Hop fan, this is still a very enjoyable movie with stories of friendships, triumphs, racial inequality, and just another side to Los Angeles that you never get to see.

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

Elements Media is involved with several projects right now, but we can't disclose anymore until the time is right. Follow us on Instagram @elementsdoc @djbonds007 @djbreeze to stay up to date.

Interview: May 2022

Where We're From: The Elements Documentary

Length:

1:29:27

Director

DJ BONDS is a dj, promoter out of Los Angeles best known for co founding Club Elements and Djing for Mystic.
DJ BREEZE is a producer, dj out of Los Angeles best known for co founding Club Elements and Djing for KPFK's Divine Forces Radio

Producer

Dj Breeze, Dj Bonds, Rod Gee

Key cast:

Dj Bonds (DJ), Dj Breeze (DJ), Maseo (DJ), Rakaa Iriescience (MC), Evidence (MC), Planet Asia (MC), Cut Chemist (DJ), Del the Funkee Homosapian (MC)

Twitter:

https://twitter.com/elementsdoc

Facebook:

https://www.facebook.com/elementsdoc

Instagram:

https://instagram.com/elementsdoc

Hashtags used:

#ElementsDoc #ElementsDocumentary #ClubElements #DjBreezeLA #DjBonds #DirectedbyBondsAndBreeze

More info:

Hip Hop Cinefest/Rome Italy May 9th - May 22nd
Golden Sneakers International Hip Hop Film Fest June 2022

FRAUD

May 25, 2022 by Carmela Baranowska

A trans rocker girl, getting by on petty credit card theft, is forced to question who she wants to be when her latest target surprises her with an unforeseen proposition.

Interview with Writer Dana Aliya Levinson and Director Zen Pace

Congratulations! Why did you make your film?

DAL: Thank you! So, this short film is based on a pilot I wrote of the same name which was listed on this year's GLAAD List, in association with The Black List, as one of the top eight unmade LGBTQ pilots of 2022. The pilot script was borne out of a personal experience in which I had to give away money that I had been saving up to get my adult life started to help out my family. I was working at a bar at the time, and a customer came in and her credit card wouldn't swipe. I did manual entry, and had the fleeting thought, 'it would be so easy to steal her credit card right now.' I didn't! But the next thought was 'who's that character?' And so, Shira Rose Loewenstein was born. She's become an alter-ego of sorts.

On top of the personal experiences that underpin this story, as a trans artist, I had also grown tired of didactic trans storytelling that turns trans identity into a plot, whether by way of coming out, transitioning, or open discrimination. While these stories are also important, as a writer, I have always wanted to push us past this, toward trans characters whose trans identities inform how they navigate the story without being the story. I felt that Shira provided exactly this opportunity.

ZP: Shira is a character that I deeply relate to. She represents someone whose scared of the truth, which is something that is inherently dramatic, especially when it’s about our identity. We live in a world where the masks we put on in order to survive become etched into us, leaving many of us confused as the years go by about who we really are. So to really look at ourselves and be seen by others, is something terrifying but exhilarating. I feel like I’m not the only one who feels these things, so it was important in this film to direct it in a way that the audience would also feel this.

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

DAL: This film combines the crime drama elements of "Breaking Bad" with the beautiful romantic elements of "Normal People" or even "Heartstopper". I always joke that my goal for the film is for audiences to walk away rooting for Shira and André to "go do crime" together.

While we're in peak scammer TV and film, these stories are often framed salaciously; failing to acknowledge the systemic failures that make scamming attractive. The fact is, when billionaires have more wealth than 60% of the planet combined, who’s the criminal? The one trying to survive, or the one profiting off labor exploitation? Shira and André are two marginalized and disenfranchised people who find each other in this late stage-capitalist world. The love between them is palpable and real, and there is some really fun wish-fulfillment in seeing them build on that connection through their mutual drive to beat the system.

I firmly believe that there's catharsis in this story. It shows those who are financially struggling that someone understands that it isn’t a moral failure. It’s a systemic one, and they’re not alone.

How do personal and universal themes work in your film?

DAL: I've always been a big believer that the more specific and more personal a story is, paradoxically, the more universal it is. What audiences relate to are not necessarily situations or plot points, its characters and emotions. Therefore, while few people could relate to being a part of a criminal enterprise, and many may not relate to being trans, or an immigrant, they do relate to loneliness, isolation, the desire to find your place in the world, and the desire to find love and partnership.

ZP: Because we need more trans-narrative driven films that don’t focus on the before and after story. And that don’t fall into the tropes that are common in queer cinema. To see a trans character simply exist and navigate the complexities of being human outside of their transness, is something deeply important.I want us to keep making films like this because I wanna, selfishly, direct a majorly queer Star Wars film.

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

DAL: I have to say, Zen had a lot to do with this. I had written the pilot first, which is a 63 page one hour drama. I think the first draft of this short was something like 27 pages long, which I knew was still far too long but didn't know how to whittle down even further. Zen really helped me to identify what the heart of the story was, and to create an arc out of the core relationship of the pilot that was satisfying and full in only 10 pages. I very much did not want to write something that functioned as a proof of concept. I wanted to write something that functioned as a short film all on its own with its own complete beginning, middle, and end. Zen really helped me to find that.

Another challenge was the pandemic. We were originally supposed to film in April of 2020. Needless to say, that didn't happen. Luckily, we retained our cast and most of our crew when we finally filmed a year and a half later. But the space gave me time to take a harder look at the script and make some changes to clarify the story, and also to better take care of the character of André, who I started to feel was a bit lost in translation from pilot script to short film. It also gave me an opportunity to find some creative ways to show Shira's external pressures in a way that wasn't present in the original script that we were going to shoot in 2020. In the end, I'm glad we shot this version and not that version.

ZP: Long! Dana knows I’m a hopeful romantic so when I read the script I was most drawn to Shira and Andres relationship. There were a lot of other elements that are great in the pilot, but for a short film, I thought it was important to really focus on one thing that would carry a universal message that plays with the pilot script. Dana is an amazing writer and it came to honing in on the identity and love aspect that shines through these characters, which was important to me. Economical storytelling like this is delicious.

What type of feedback have you received so far?

DAL: So far, the feedback has been quite positive. People have been pretty impressed with the filmmaking and pretty taken with the story which has been really exciting to see. When a story and characters have lived in your head for so long, sometimes it can be hard to know whether the outside world will be as taken with them as you are. But so far, they seem to be. Knock on wood they continue to be!

ZP: Overall very positive. I love that when we show this to the queer community they really resonate with it and understand that it’s doing something different. That excites people.

Has the feedback surprised or challenged your point of view?

DAL: Honestly, what's surprised me is how much people 'get' the film. I feel like it's a bit of proof of what I was saying, that the more specific your story and characters are, the more universal it is. Most of all, I'm surprised at how taken cisgender audiences have been with it, and how much they've related to Shira. That also lets me know that when this film, and eventually TV show, reach wider audiences, that relating to and empathy with a trans lead will have positive ripple effects as far as shifting cisgender minds around trans people.

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

DAL: I think that not only will it help us get the film out into the world, but it also provides a unique opportunity as filmmakers to, in effect, pitch it to audiences to amplify and uplift. I love how filmmaker forward you are. And we're grateful to have the opportunity to let people know that trans writers and directors are out here making films and getting into to top tier festivals! Listen up!

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

DAL: Honestly, I jokingly say that we are a little big trans film that could. I know that it is an important film that deserves a wide audience. This means getting the attention of other film festival directors and programmers so that we can get programmed in more festivals beyond Tribeca. It also means getting the attention of journalists so that we can build a narrative around the film and help our story reach as big an audience as possible. Lastly, while we're not at the distribution phase yet, getting distributors and sales agents on board so that once we've completed our festival run, we can have a good wide online release is also super important.

ZP: People who resonate with the film and understand the message. This piece will find it’s home with those who love it as much as we do. I’m also intrested in Dana and I forming more connections with people who want to tell more stories like this. We are working on a feature and would love to set up meetings with producers.

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

DAL: I hope that we can show people that trans storytelling can be way more interesting and creative than coming out stories or transition narratives. I hope that we can also show people that when we're given the opportunity to tell our own stories, we create art that's nuanced, lived in, and deeply human.

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

DAL: I always say that the main question that "FRAUD" asks is, 'are our identities passed down to us from our families, or are they something we get to create?' In the film, this is represented by the world Shira comes from and is trying to escape, which we see briefly when she's with her father after her rock show, vs the promise of 'together we can be whoever we want to be' that André offers her at the end of the film. Without spoiling the ending, we know what Shira believes and chooses. But is she right?

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

DAL: Right now, Zen and I are working on a feature together called "Jude", which we'll also be doing some work looking for some producers and investment for while at the festival. Taking place over the course of the Jewish holiday of Yom Kippur, "Jude" is a surrealist psychological thriller about grief, atonement, and the lies we tell ourselves to survive. We're super excited about it!

ZP: And, I’m working on two campaings that will shine a light on different aspects of the queer community. I can’t say much, but I’m hoping they resonate with people.

Interview: May 2022

FRAUD

Length:

13:14

Writer

DANA ALIYA LEVINSON (they/she) is an actor ("American Gods", "The Good Fight", "Adam"), and television writer. She was a Dramatists Guild Fellow and her theatrical work has been performed from California to Paris. Her pilot script, "FRAUD", which this short is based on, was named one of the top eight unmade LGBTQ+ pilot scripts of 2022 by The GLAAD List in association with The Black List.

Director

Nonbinary Director ZEN ZADIH PACE’s work has been featured in top film festivals such as the Palm Springs; HollyShorts; and Rhode Island Film Festivals. Their work has appeared in PAPER, Huffington Post, Film Shortage, and more. Zen was labeled ‘Fresh Talent’ by the Shiny Awards for their short doc "A Love Beyond" about a man with down syndrome finding home after losing his parents to the pandemic.

Producer

K. Dawn-Dumas, Erikx DiSantis, Gretchen Wylder, Amanda Mesaikos, Katie Rosin

Key cast:

Dana Aliya Levinson ("American Gods", "The Good Fight", "Adam"), Babak Tafti ("Super Pumped", "Succession", "Ramy")

Looking for:

journalists, film festival directors, sales agents,, distributors

Instagram:

www.instagram.com/fraudthefilm

Hashtags used:

#fraudthefilm #godocrime

Screens

Tribeca Film Festival/New York City - June 10th and 15th

GIRLS NIGHT IN

May 24, 2022 by Carmela Baranowska

Girls Night In is a satirical horror short that was created based on the Bechdel test. The test examines works of fiction to see whether there are interactions between female characters that don't involve discussing a man. Which of course begs the question, where is the most ridiculous place these two women could be fighting over some dude?

Interview with Writer Landon LaRue and Director Alison Roberto

Congratulations! Why did you make your film?

I’ve had “Girls Night In” written for years but it sat in a drawer. I came up with the idea when I was on the dating apps and my first question was “are you a serial killer” in conversations but realized it may have not been a complete deal breaker. It was a dark time in my dating life.
Ali and I were offered a fully-funded feature (she would direct and I would do a rewrite) but the financiers and we had radically different ideas about how women were represented in the script so we decided to make a movie we could feel proud to show.

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

If you like dark humor and genre-bending, this is a fun ride that pokes fun of the stereotypical movie tropes.

How do personal and universal themes work in your film?

I learned about the Bechdel Test when I first became interested in film as a pre-teen and bought a film textbook from a secondhand bookstore. Ever since then, it became a reflex to gauge a show or movie I was watching and I realized I really liked horror films because they usually passed the Bechdel Test. Of course, no one is really talking about their love lives when they are fleeing from danger so I thought it would be funny if that happened.

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

Since this script was years ago, some of the jokes needed a slight upgrade and after casting, I did a small rewrite to better fit the actors' voices and mannerisms.

What type of feedback have you received so far?

So far, it's been great! Being accepted into Tribeca Film Festival has been the ultimate compliment for us.

Has the feedback surprised or challenged your point of view?

The feedback honestly surprised us as this was self-funded and shot in one night; we did this as a passion project and not for recognition.

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

I'm really hoping to get more people to watch this short and then be able to view other films with a more critical eye towards gender roles?

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

The goal would be to garner interest in investing in a feature version of this short.

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

Definitely a positive one!

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

A key question that could spark a lively conversation is how can we make fun of the tropes without falling into the trap of playing it out. Some could argue that "Girls Night In" is anti-feminist by showing two women fighting over a man but we wanted to show how ridiculous it would be.

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

I am currently working on a script for the feature version of Girls Night In as well as penning a young adult novel.

Interview: May 2022

GIRLS NIGHT IN

Length:

9:46

Writer

LANDON LARUE attended New York University's Tisch School of the Arts with a focus on screenwriting while working at the Directors Guild of America. She's received a Gold Clio for her work on Darren Aronofsky’s mother! – her win led to her being recruited at Annapurna Pictures. Currently, she’s a global director for theatrical digital marketing creating short form content and activations at Warner Bros. Pictures and recently received a Grand Clio for Theatrical: Innovation for The Matrix: Resurrections.

Director

ALISON ROBERTO focuses on original short form content, social campaigns, commercials, music videos and narrative work. Like her recent work for Netflix’s Glow, which won multiple Promax & Clio awards (including the GOLD for ‘Best Comedy’) and The Chilling Adventures of Sabrina which received 2.5B interactions on TiK ToK in the first week of release.

Producer

Landon LaRue and Alison Roberto

Key cast:

Jess Adams (Becca), Skylar Benton (Delaney), Dark Figure (Brian Henderson), 911 Operator (Tolliver)

Looking for:

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

Twitter

Landon LaRue

https://twitter.com/landonlarue

Instagram:

Landon LaRue

https://instagram.com/landonlarue

Alison Roberto

https://instagram.com/aliroberto
Screens:

Tribeca

The Letter Men

May 21, 2022 by Carmela Baranowska

Based on the largest collection of queer love letters from WWII, The Letter Men is a window into the untold true story of two gay men desperately in love but torn apart by war.

Interview with Director Andy Vallentine

Congratulations! Why did you make your film?

THE LETTER MEN is based on the real love letters written by Gordon Bowsher to his sweetheart, Gilbert Bradley. Their love letters were exchanged between the years of 1938 and 1941 but uncovered in 2017. I first learned about this incredible story when I stumbled across a BBC article about the letters and knew this was a story I had to tell. The fact that Gordon’s letters survived is a gift to all of us and there is so much within them about their relationship, queer culture, the tragedies they both experienced form the war, and the unconditional love they had for each other. I made this film with the hope of sharing this incredible story with a wider audience and honoring Gilbert and Gordon and the many others like them.

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

The fact that these words exist is a small miracle. Very few written records of this kind exist in the world because it was common for queer people to burn their letters so they could not be caught and charged with a crime. So getting to hear the words from their actual letters and see their life represented on film is an incredibly powerful experience.

How do personal and universal themes work in your film?

So many of my projects are informed by my experience as an outsider. Growing up I was diagnosed with dyslexia and it had a profound impact on me as a kid. I felt and was often treated differently. I also grew up in a very small town in Michigan as a gay kid, so I absolutely spent a lot of time looking from the outside in and learning to appreciate that I wasn’t like everyone else.

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

Ultimately I would love to tell this story in a feature film or as a mini-series. So initially I was working on how to tell this in a compelling way within a longer, more complete narrative. But last year the opportunity arose to make a short film and since I had spent so much time thinking about and developing this story, I thought it would be a perfect opportunity to adapt the letters for to a short film format.

What type of feedback have you received so far?

Because these letters have been in my life for a few years now, it has been so rewarding to finally be able to show the people in my life exactly what I have been dreaming of. The response has been overwhelmingly positive. We will have our world premiere at the 2022 Tribeca Film Festival. It’s truly a dream come true to have that sort of validation and platform to share this story.

Has the feedback surprised or challenged your point of view?

One of the decisions I made early on when I was adapting my original ideas into a short film format was to utilize the real words from the letters. It was a huge risk, and people were honest with me that it may not work as a compelling narrative short. But the letters themselves are so special, and in many cases, beautifully written. Hearing the words as they were written, describing how they met and the pain of being in love and apart from one another evokes something essential that I wasn’t sure could be replicated in a more traditional short form. I wanted this to be an emotional film that could stand on its own, but I also wanted it to be an introduction to the two men and their story—a sort of preamble to a more expansive story that is still waiting to be told.

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

I hope to bring this story to a wider audience and also inspire other filmmakers to stick to the stories they feel passionate about. I am a firm believer that passion can be contagious.

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

This short was made by calling in every possible favor. It was truly a labor of love and I already feel so eternally indebted to the many people who believed in this film enough to make it happen. Thinking about the future, having the film premiere at the 2022 Tribeca Film Festival is a huge step forward in exposing this to a larger audience. I would love to take advantage of that larger platform to meet with anyone who could help me bring this story to an even wider audience, and hopefully someday tell this story in a feature or mini-series format.

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

Although this is a historical film about people who are no longer alive, the story continues to have relevance to people’s lives. When the letters were first discovered, Mark, the man who found the letters, held an event at the museum where they invited people to write love letters to be ceremoniously burned. There was an overwhelming response from people who related to the idea of forbidden love, even today. I hope this film speaks to people who feel different or feel the need to hide parts of themselves. I hope they can feel inspired by the power of Gilbert and Gordon’s impossible love.

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

I’m actually wrapping up post-production on my first feature film, The Mattachine Family! The film is a beautiful LGBTQ+ indie feature about one man’s journey to find his chosen family. The film was written by my creative partner and husband Danny Vallentine drawing on our own personal journey to becoming fathers. This film is being produced by Zach Braff (Garden State) and Scot Boland (The Hobbit: An Unexpected Journey, Flight). The film stars Nico Tortorella (Younger, The Walking Dead: World Beyond) and Juan Pablo Di Pace (Mamma Mia!, Fuller House). You can look for it to hit the festival scene in late 2022, or early 2023.

Interview: May 2022

The Letter Men

Length:

9:00

Writer

Danny Vallentine has always been a writer at heart. He started writing his first screenplay when he was just ten years old and has since learned a thing or two about telling a compelling story from some tremendous mentors. Danny worked for Barry Mendel at Apatow Productions where he was involved in the development of screenplays such as Trainwreck, The Big Sick, and Juliet, Naked. He also is currently collaborating on a script with Zach Braff called THE MATTACHINE FAMILY. His passion is telling stories that have not yet been told.

Director

Andy Vallentine is considered one of the premier up-and-coming directors in Los Angeles. He draws his creative inspiration from the forged-in-fire experience of being a dyslexic gay kid in small-town Michigan. What was once his shame he now considers his greatest strength.
He is currently in pre-production for his film THE MATTACHINE FAMILY, written by creative partner and husband Danny Vallentine. This film is being produced by Zach Braff, Scot Boland, and Mike Diaz and is set to go into production in October 2021.
Andy has developed content with Amy Baer at Gidden Media, Tyra Banks with Bankable, and most recently has been hard at work developing a WWII series based on the newly discovered real love letters sent between two gay British soldiers in the 1940s. He is working to bring this remarkable true story to life with Brian Volk-Weiss at the Nacelle Company.
He has worked with recording artists like Charlie Puth and Tritonal and popular media personalities like Patrick Starrr and Joey Graceffa. He has created commercial and branded content for Mercedes-Benz, MAC Cosmetics, Sephora, The Department of Veterans Affairs, The Ad Council, Goodwill, and Major League Baseball. Andy’s combined content has been viewed over 1 Billion times.

Producer

Mike Diaz, Andy Vallentine, Danny Vallentine, Garrett Clayton, Cameron Hutchison, Matthew Postlethwaite Siddharth Ganji

Key cast:

Garrett Clayton (Gilbert Bradley), Matthew Postlethwaite (Gordon Bowsher)

Looking for:

film festival directors, journalists

Instagram:

https://www.instagram.com/andyvallentine/

Hashtags used:
LGBTQ+, GAY, LOVE LETTERS, HISTORY, WWII,

Where can I watch it now?

THE LETTER MEN will screen at Tribeca on Friday, June 10th at 9:15 pm and Wednesday, June 15th at 9 pm.

Baby

May 19, 2022 by Carmela Baranowska

A young Black father must learn to navigate parenthood after his girlfriend mysteriously abandons him and their five-year-old daughter.

Interview with Writer/Director Cole Swanson

Watch Baby here:

Congratulations! Why did you make your film?

Thank you! There are a few reasons I made the film. For starters, back in March of 2020, my university sent us all home as covid broke out. I remember getting back home to LA from NYC and thinking, "I wonder what will happen next." When I quickly learned that we would all be staying home and not returning to school, I acted swiftly and made some calls. I did not want to be sitting around all Spring, Summer, and Fall without some creative project on my mind.

In terms of the creative reasons as to why I wrote and made BABY... I wanted to capture the relationship between a father and daughter in a vulnerable and intimate way that we rarely see represented on screen. Loosely inspired by the illustrations by Kadir Nelson in the children's book "Please Baby Please" by Spike and Tonya Lewis Lee, I reimagined the story of a young girl whose name we never learn and a father who she loves. I wanted to go even further and subvert audience expectations by having the mother out of the picture as opposed to the Black father. Black masculinity, vulnerability, sensibility, and mental health were all thematic elements I had in mind and explored when writing and shooting this project.

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

For so many reasons and more. It's immersive, visually stunning, confronting, uncomfortable, beautiful, and full of heart. It takes you on an intimate journey that follows a hurting family in search of healing. If you seek out cinema that moves you, this is a film to add to your list. It also features an all-Black cast and was created with a crew predominantly run by women. Additionally, my entire crew ranged in age from 18 to 22. Shoutout to my amazing crew! Finally, the music. There is an original score created by Magic Candy that will pull you into the film and breathe life next to these characters.

How do personal and universal themes work in your film?

I tend to write a lot of what I know. I filter in experiences, conversations, and situations from my own life into my work by way of fictional and dramatized characters and scenes. Growing out of adolescence and being faced with maturity and reality is something I tend to explore... Along with love, loss, vulnerability, femininity, and masculinity. The sub-genre called Coming of Age rarely explores Black people's narratives. With that being said, I strive to pioneer that movement and continue to push out Black stories that generally depict young people.

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

The original script did not explore the mother's side of the story. After having several conversations with the women in my life, that began to evolve. As a director and a writer, I feel it is my responsibility to seek truth through understanding. There are two sides to every coin. I wanted to validate and dimensionalize the character of Jay so that the audience understands her reasons for her actions and does not deem her a villain. During production, we essentially shot everything we intended to with the exception of a couple of scenes omitted on the day. During post-production, we moved some scenes around for a more effective story. I do recall watching the film and feeling that something was STILL missing with Jay's character.

That's when I wrote a monologue, or rather, a letter that she would give to Mike her boyfriend and father of their five-year-old daughter. I won't spoil it but that was a quick scene we added and picked up well after we wrapped the initial production. I'm incredibly grateful that we were able to grab that shot and hear that voiceover. And a special shoutout to the very talented singer and songwriter Syd who was able to help us out with those reshoots last minute.

What type of feedback have you received so far?

People have loved this film (so they tell me lol). I have spoken to single mothers, single fathers, or even family members who know of people in similar situations as Mike and Jay. They've all made it extremely clear to me how important the story was to them and for that, I am so humbled and happy. Our team won Best Short Film at the Harlem International Film Festival and we also picked up an HBO Short Film Award nomination at the Academy qualifying Martha's Vineyard African American Film Festival.

Has the feedback surprised or challenged your point of view?

Every conversation I have is different yet so informative. I've had several discussions and even questions asked about the film that certainly offers a new perspective to the story... But of course, that's the beauty of feedback. I don't necessarily care whether people love my film or hate it. I know I've done my job when people are compelled to stimulate a dialogue surrounding my work. That's my goal as an artist: to create conversation.

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

Distribution for BABY is never out of the question. I would certainly be grateful for the film to reach an even larger audience. I will say though, that I am ready for my next project. I have an exciting feature film in development but in the meantime, I would love to collaborate with others. Whether they be music videos, commercial work, or short/feature narrative work. I have been taking a lot of time for myself personally to focus on my own work in private; however, I am eager to hear other artists and writers' stories that may fit my line of expertise and skill as a storyteller.

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

Distributors! Agents! Let's talk :)

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

This film has a lot of heart. It is also a beautifully crafted film from a filmmaker's point of view. With every project I do, I try to establish my style. I hope people can recognize the beauty in the visual storytelling while also soaking in the beauty of the story itself.

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

Is Jay in the wrong? Was Jay ever really there? Is the ending a happy one or a hopeful one? Did the film lean more towards realism or surrealism? What is the significance of the bird/necklace?

Would you like to add anything else?

Watch BABY on the biggest screen possible! The cinematographer, producers, and I intentionally shot on anamorphic lenses allowing for the best possible viewing experience preferably on the largest screen possible. I also encourage viewers to watch in the evening or at night, with headphones or surround sound speakers and stay until the end of the credits to hear the beautiful original music written, composed, and arranged by Magic Candy. The BABY soundtrack by Magic Candy is also available on Spotify, Apple Music, Tidal, etc. Go check it out!

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

I just wrapped a short film project in England called BLAME which will be coming out very soon. It stars Adam Strawford and Aletha Shepherd. Go check out the short film I created for Converse either on my website or Instagram page. Other than that, be patient, this summer will be full of very fun surprises.

Interview: May 2022

Baby

Length:

0:20

Writer/Director

Cole Swanson is an award-winning independent filmmaker and creative director/founder of the fashion and art publication, Black Swan Magazine. Born and raised in Los Angeles, Cole was exposed to the world of visual storytelling at an early age through his parents who are celebrated filmmakers.

Cole has been recognized both nationally and internationally with numerous awards for his satirical short film, Black Don't Crack (2018), and has also had his work screened and taught at Atlanta's historically Black liberal arts school, Spelman College. Cole's latest Award Winning project Baby (2021) starring Elijah Rashad Reed and 8x NAACP Image Award Nominee Vanessa Bell Calloway, won Best Short at Harlem International Film Festival, has screened at the Pan African Film Festival, BlackHarvest Film Festival, LA Shorts International, and was nominated for an HBO Short Film Award at the OSCAR Qualifying Martha's Vineyard African American Film Festival.

Aside from his narrative work, Cole has worked with creative teams like Converse both in front of and behind the camera. Cole also works intimately with Universal Music Group and °1824 creating content for artists such as James Blake, Selena Gomez, Big Sean, Lana del Rey, and more.

Cole studied Film & Television Production at New York University's Tisch School of the Arts and England's very own National Film and Television School with a focus on writing and directing.

Producer

Justin Aaron Sirkin, Mary Christine Antonovich

Key cast:

Vanessa Bell Calloway, Elijah Rashad Reed, Ariana Simone Clay, Cinai Leonard

Looking for:

distributors, buyers

Instagram:

instagram.com/coleswanson_

Hashtags used:

#thebabyfilm

More info:

www.coleswansonart.com

grist

May 18, 2022 by Carmela Baranowska

Hannah ends a three-year on-again, off-again "situationship" with Roman due to irreconcilable world views that have potentially serious ramifications. But it wasn’t “all a wash.”

Interview with Writer/Actor/Director/Producer Shannon Harris

Congratulations! Why did you make your film?

"grist" is the second in a planned three-part series of shorts based on idioms. (My first short "THREE birds" is the first!) I wrote the third script in the fall of 2019 with the intent of shooting it by the fall of 2020. When the pandemic closed down the film industry in early 2020, I shelved the third script (title withheld for now) because it is at least twice the scale of my both of my first shorts. As the fall of 2020 approached and with uncertainty about the entertainment industry as a whole, I chose to write a 3-2-1 (three pages, two actors, one location) script that would be COVID-friendly to shoot.

I had notes scribbled for a film based on the idiom "grist for the mill;" and I drew from personal experience as well as known experiences of family and friends and my knowledge of prominent themes in the film like sex positivity and intimate partner violence to write the script. The seven-member team, one day, net 10-hour shoot for "grist" took place at my apartment in December 2020.

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

First and foremost, as with my first short, you want to see it because it is a well-executed, compelling and concise story.

Beyond that, you'll want to see it because it centers a free black woman making a tough (in some ways) decision for her overall best interest. Many women who've seen the film told me that they relate to the protagonist and the situation (pun intended) that she's in.

How do personal and universal themes work in your film?

Prominent personal and universal themes in the film include women empowerment, feminism, hookup culture, "situationships," sex positivity, and intimate partner violence.

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

(I address this in the earlier question "Why did you make your film?")

What type of feedback have you received so far?

For the most part, the feedback has been positive. Many women relate to the protagonist and the situation (pun intended) that she's in.

Has the feedback surprised or challenged your point of view?

I expected more pushback that I received. I know that the issues raised in the film are touchy, and I figured that my POV might ruffle some feathers. I only had one person respond to me strongly in an adverse way - a male family member with whom I had a lengthy and "lively" conversation after an early screening.

I would not be surprised if the film got more responses like that from bigger and/or broader audiences. Some people's responses have not been as wholly enthusiastic as the many women who have responded favorably. Likewise, I wouldn't be surprised if some people hold back regarding objections they have about the film, particularly when speaking to me directly - even though I intentionally and sincerely request candid feedback.

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

As with "THREE birds:" As an emerging filmmaker, one of the main goals of being profiled on a platform like WeAreMovingStories.com is exposure. I want to get as many eyes on my work as possible. As an artist, that is first and foremost - I want to share my work with the world.

The exposure ideally facilitates me having a reputation for doing good work. Ideally, that exposure will translate into concrete distribution and sales opportunities for my completed work and fundraising support for my future work. In particular, I will likely be crowdfunding for the first time to produce the third film in the planned three-part idiom series of which "THREE birds" and "grist" are the first and second.

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

Multiple people who watched "grist" recommended it as an advocacy / teaching tool and resource for prominent themes in the film, especially intimate partner violence. I am interested in both general distribution opportunities and targeted opportunities in the education / advocacy space. Along with and/or beyond that, I’m open to a conversation(s) about selling it.

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

As an artist, first and foremost, I want the film to be appreciated for its intrinsic value as a work of art.

That said, the film has an intentional strong POV around women empowerment - how we as women (represented by the black woman protagonist in the film) unapologetically have power and agency in our lives. Based on responses that I've received, especially from many women who've seen the film, that theme resonates. I hope it, likewise, inspires, affirms, and empowers anyone who needs to know and/or be reminded of their power and agency not just in relationships but in life at large.

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

When I shared early cuts of the film with them, one of my friends relayed to me what I already knew: that "grist" would be a "conversation piece." I look forward to more space(s) where the film will be screened for an audience(s) that doesn't skew heavily towards Hannah's (the protagonist) POV, which seems to be the case to date. I would like to hear from more people who are ambivalent or who don't agree with her and observe and/or take part in robust and ultimately productive discussion about the issues raised.

That said, questions that might be good jumping off points are:
"How important (or not) are shared values in a 'situationship?'"
"What about in (committed/bonafide) relationships?"
"How should red flags be handled?"

Would you like to add anything else?

"grist" won Best Cast in the 2022 NYWIFT Online Shorts Festival and Best Narrative and Best Actor (Stephen Cofield, Jr.) in the 2021 Mott Haven Film Festival. The film has also screened in nine other festivals: 2021 Hip Hop Film Festival (World & NYC Premiere); 2022 Pan African Film Festival (LA & West Coast US Premiere); 2021 CineOdyssey FF; 2021 Imagine This Women’s IFF; 2021 Afrikana Independent FF; 2021 Coney Island FF; New Faces New Voices Fall 2021; 2021 Newark Short Film Awards; and 2021 MVAAFF Virtual.

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

"grist" remains active on the festival circuit. The third film (title withheld for now) is written, and I'm aiming to shoot principal photography this fall (2022).

As an actor, when I'm not working or prepping for my next gig, I'm auditioning. The key creatives in both of my films are all working professionals in front of and/or behind the camera. Their names are listed on the film's poster. You can find us on social media to stay abreast of what we're up to!

Interview: May 2022

grist

Length:

5:00

Writer/Director/Producer

SHANNON HARRIS is an award-winning actor and independent filmmaker. She founded Tricoastal Productions in January 2019 to produce her first film, narrative short "THREE birds," which she also wrote, directed, and in which she leads the diverse cast.

Shannon’s two award-winning films “THREE birds” and “grist,” the first and second in a planned three-part series of shorts based on idioms, have been official selections at over 15 local and national film festivals.

Key cast:

Shannon Harris (Hannah), Stephen Cofield, Jr. (Roman)

Twitter:

https://twitter.com/tricoastalprod

Facebook:

https://www.facebook.com/tricoastalprod

Instagram:

https://www.instagram.com/tricoastalprod/

Hashtags used:

#gristfilm #intimatepartnerviolence #feminism #blackfeminism #womanism #casualsex #hookup #hookupculture #ghosting #blackwomen #relationships #situationship #dating #datingviolence #domesticviolence #ZoraNealeHurston #TheirEyesWereWatchingGod #sex #sexpositivity #idiom #gristforthemill

More info:
"grist" is currently available until May 22nd to watch in MiniShorts Block 1 & 2 on 30th Anniversary PAFF Virtual Festival (https://watch.eventive.org/paff2/play/6276a5343d8d9800527d4062/6274e75b63983e00372a682b)

Aniksha

May 17, 2022 by Carmela Baranowska

Aniksha is a young woman from the Indo-Mauritian diaspora. After her arranged marriage, she finds a job at a call center, a booming industry in Mauritius. There she encounters her enigmatic supervisor and discovers a world of possibilities. This new worldview places Aniksha between the choice of tradition or of a modern lifestyle.

Interview with Writer/Director/Producer Vincent Toi

Congratulations! Why did you make your film?

Aniksha embodies a new generation of Mauritian youth who has benefited from the economic growth of the 80's. What was once considered, least developed country, has now become one of the most developed countries in Africa. Although the economic system has embraced globalization, Mauritians are still living in a conservative society.

Aniksha’s conflict is found in a desire to find the space beyond the traditional conservative and beyond the modern Mauritius. I wanted to make this film to explore the multiple face of post-colonialism, as the two worlds that Aniksha inhabits are both rooted in colonialism.

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

I think that the audience will discover a new world while watching this film. A world that exists in parallel with the western world.

How do personal and universal themes work in your film?

I immigrated from Mauritius to Canada in 2001, and the search for identity that Aniksha embarks on echoes my search for a better understanding of who I am. Aniksha's identity has been shaped through years of living under post-colonial powers in Mauritius. She has the desire to go beyond this tamed, colonized mindset. To do so, she will have to break the rules that regulate her world to see what lies beyond this frontier. This desire exists in many young Mauritians. This phenomenon leads to a massive brain drain as anyone who can leave the island, will take the opportunity, thus creating an important Mauritian global diaspora in which I am part of. Aniksha did not have the chance to leave the island and tackles seeing beyond these frontiers in her new job at the call centre.

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

The original script was about the tourism industry. The idea was that Aniksha would work in a high-end hotel. After a series of iterations, it later shifted to a call center as I thought it would be interesting that the only interaction Aniksha has with the west was through phone calls only.

What type of feedback have you received so far?

The film has received great feedback. The film went to over thirty festivals around the world, among them the Toronto International film festival, the Aspen film festival, and the LA short film festival where it received the price for the best foreign film.

Has the feedback surprised or challenged your point of view?

The short film format allows for a lot of creative ways of telling a story. One of the challenges of the short format is to tell a story from a little-known place. I am always asked a lot of questions about Mauritius, and a few people have heard of this place.

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

Since the film was released at the onset of the Pandemic, I think having it on as many platforms as possible would be the best way to share this film.

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

Film festival directors, journalists, and buyers.

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

The film has many layers, and I am always pleasantly surprised when the audience talks about each one of those themes, such themes as colonialism, patriarchy, modernity and traditions, globalization. If the film spark a thought towards one of those ideas, this would be a success to me.

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

The question that would spark a debate is what would be next for Aniksha?

After having rejected traditions and modernity, how will she build something new and find a new way of being?

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

I am working on a music documentary. This documentary traces the history of the musical genre from the Indian Ocean. I am also working on a short film on migrant workers in Quebec.

Interview: May 2022

Aniksha

Length:

0:20

Writer/Director/Producer

Born in Mauritius, Vincent Toi is an award-winning filmmaker and designer. His work as a filmmaker revolves around the power structure that governs colonized communities. His films have been screened at festivals such as the Berlinale, Toronto International Film Festival, and Hot Docs. Vincent has also worked with the Artist Institute in direct partnership with communities in Haiti to create pathways out of poverty by expanding access to education and providing training in creative industries.

Producer

Guillaume Collin is a director and producer. He has directed the short films Everything Will Be Alright, Just You and Me and the indie films Soft Gun and Me Without You. His films deal with the theme of intimacy in love relationships and families.
He is a Berlinale Talents alumni. His newest film Babatoura (2021) won the Best International Short Film Award at the Torino Film Festival.
He is also the co-founder of Arpent Films and has produced many independent films.

Key cast:

Neeshi Beeharry, Laurent Lucas, Kris Mootien

Looking for:

journalists, film festival directors, buyers

Twitter:

https://twitter.com/vincent_toi

Facebook:

https://www.facebook.com/anikshafilm

Instagram:

https://www.instagram.com/v_toi

Hashtags used:

#Anikshafilm

Screened at:

Pan African Film Festival

THREE birds

May 13, 2022 by Carmela Baranowska

Stella visits her college library with two tasks in mind. A third awaits.

Interview with Actor/Writer/Director/Producer Shannon Harris

Congratulations! Why did you make your film?

Thank you! Growing up, though we did not (yet) call it such, I figured that, along with being an actor, I'd become a "content creator" someday in order to create opportunities for myself and other underrepresented artists.

In the fall of 2018, I had the resources and a story, based on a similarly comical and philosophically eventful trip to the bookstore, to fashion into my first film. In January 2019, I founded my production company Tricoastal Productions, "TCP" for short, in order to produce "THREE birds." TCP's broader mission is to amplify the voices and stories of underrepresented artists - starting with my own.

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

The main reason that you should watch "THREE birds" is because it is a compelling, funny, and concise story to which many people relate. Beyond that, it is a great way to support a diverse team of talented artists in front of and behind the camera. Also, it is the first in a planned three-part series of shorts based on idioms. You want to watch to see how the films are connected (and/or not connected).

How do personal and universal themes work in your film?

The importance of kindness and thoughtfulness, being present and mindful, community, and giving back are some of the prominent personal and universal themes in the film.

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

With "THREE birds" being my first film, without formal or comprehensive film school education, I was not sure how it would turn out. When I was casting the film, a fellow filmmaker explained that there's the film you write, the film you shoot, and the final cut. I'm extremely encouraged that the final cut of "THREE birds" is very close to the script that I wrote. The final cut is at least 85-90% of what I envisioned, which I think is great, especially for a (then) first-time filmmaker with my background and experience at the time.

What type of feedback have you received so far?

The film is very well-received. What has been especially gratifying is when audience members pinpoint how specific choices that I made as a director land exactly how I intended.

Has the feedback surprised or challenged your point of view?

The feedback that I have received to date has not surprised or challenged my point of view for the most part. Depending on one's perspective and taste, the comedy in the film is (a bit) edgy. I had one friend say that something that happened early in the film bothered her; but it was resolved by the end.

A big part of what I'm doing with the film as a director is playing with the audience's perceptions and expectations; so that kind of response did not surprise or challenge me. I anticipated - and welcome! - it from some audience members.

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

As an emerging filmmaker, one of the main goals of being profiled on a platform like WeAreMovingStories.com is exposure. I want to get as many eyes on my work as possible. As an artist, that is first and foremost - I want to share my work with the world.

The exposure ideally facilitates me having a reputation for doing good work. Ideally, that exposure will translate into concrete distribution and sales opportunities for my completed work and fundraising support for my future work. In particular, I will likely be crowdfunding for the first time to produce the third film in the planned three-part idiom series of which "THREE birds" is the first and "grist," my second complete film, is the second short.

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

"THREE birds" is currently streaming on Reel Women's Network (https://watch.reelwomensnetwork.com/three-birds). It is also available on GenreTV and URBN-TV on Roku. I'm open to additional non-exclusive distribution opportunities. Beyond that, I'm open to a conversation(s) about selling it.

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

The film is having the impact and reception that I sought in terms of audience response to what I intended to be a well-executed, good story. Beyond that, I hope that I inspire (especially) similarly-situated folk to create their own work as well.

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

To quote one of the characters in the film: "What's the rush?"

Would you like to add anything else?

"THREE birds," which won Best Comedy in the 2022 NYWIFT Online Shorts Festival, has been an official selection at six local and national film festivals. Along with NYWIFT, it has screened at 2019 Big Apple Film Festival (World & NYC Premiere); 2021 Afrikana Independent Film Festival; 2021 Newark Short Film Awards; 2020 Reel Sisters of the Disapora Film Festival and Lecture Series; and 2020 NewFilmmakers NY.

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

"grist," the second film in my planned three-part series of shorts based on idioms, was completed in June 2021. The award-winning film is currently on the festival circuit, where it has screened at 11 local and national film festivals ... and counting. The third film (title withheld for now) is written, and I'm aiming to shoot principal photography this fall (2022).

As an actor, when I'm not working or prepping for my next gig, I'm auditioning. The key creatives in both of my films are all working professionals in front of and/or behind the camera. Their names are listed on the film's poster. You can find us on social media to stay abreast of what we're up to!

Interview: May 2022

THREE birds

Length:

6:27

Writer/Director/Producer

Key cast:

Shannon Harris (Stella), Carolyn Kang (Library Clerk), Jerome Martin Schwartz (Elderly Man), Michael Flood (Library Visitor)

Twitter:

https://twitter.com/tricoastalprod

Facebook:

https://www.facebook.com/tricoastalprod

Instagram:

https://www.instagram.com/tricoastalprod/

Hashtags used:

#Actor, #Actress, #ActorTraining, #ActingCareer, #actorslife, #Blackactor, #Blacktress, #Theatre, #Film, #TV, #Library, #CollegeLibrary, #College, #CollegeStudent, #TheatreMajor, #Elderly, #Errands, #MagicalRealism, #Idiom, #Community, #Kindness, #Support, #Mentor, #Mentorship, #WomeninFilm, #blackwomeninfilm, #POC, #WOC, #FemaleFilmmaker, #BlackWomanFilmmaker, #Alumna, #CollegeAlumna, #RepresentationMatters, #TheFutureisIntersectional, #TheFutureisNow

More info:

TheShannonHarris.com

"THREE birds" is currently streaming on Reel Women's Network (https://watch.reelwomensnetwork.com/three-birds). It can also be found on GenreTV and URBN-TV on Roku.

Pickney

May 12, 2022 by Carmela Baranowska

Leon wakes from an unsettling dream with the sense that something isn’t right. The feeling of unease grows as Leon sees the figure from his dream appear and vanish mysteriously. Somehow this stranger holds the key.

Interview with Writer/Director Michael Jenkins

Congratulations! Why did you make your film?

I made the film, as a way of getting this story out and i wanted to see these characters on screen especially the Papa Legba character who helps Leon find his way.

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

You should watch the film to get a glimpse into the life and issues a young mixed race black British person may face.

How do personal and universal themes work in your film?

Leon longs for a family connection, he previously only had that with his nan so he must now go on a journey of self discovery and find his family.

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

Working with the BFI Network and my producer we managed to get work with a script editor to really hone the story to the themes and they main thing i wanted to say. Script development was key for me and something i had never done before but Im so happy i went through that process.

What type of feedback have you received so far?

It won an audience award at the american black film festival last year.

Has the feedback surprised or challenged your point of view?

NO but the response form the USA has definitely surprised me. Didn't really get picked up much in the UK but it has been in multiple places in the US and Caribbean.

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

Just to get more exposure on the film and to hopefully get some reviews form people on it's IMDB page - https://www.imdb.com/title/tt13158760/

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 great to speak with journalists and distributors and film festival programmers.

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

I would hope more people would want to show the film and get more people to experience this story. hopefully they can relate.

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

What is your identity?

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

Interview: May 2022

Pickney

Length:

16:00

Writer/Director

Michael Jenkins

I am a writer/director of film and TV. I am extremely motivated to bring well-told and untold stories to as wide an audience as possible and I believe passionately in the role of film as an engine for change and understanding. I was recently voted among the 100 most influential people in Bristol in the BME power list 2018.

I have won Best Short film for ‘Check the Label’ at The Royal Television Society Awards West 2018, Best Documentary The Royal Television Society Awards West 2021 for Monumental, two BBC Local Radio Gillard Awards for the Diversity and Community, and other awards.

I have recently launched the only Black owned and run production company in the Bristol - Blak Wave Productions

I recently directed my first short for CBBC called Topknot or not. Part of the BAFTA/BFI Network Crew 2020/2021 as well as a TV Collective FutureBreakthrough Leader. A short film I have written and directed – Pickney - funded by the BFI, won an audience award at the American Black FilmFestival in 2021. I am also a Greison DocLab Alumni.

Producer

Bex Rose produces films across a variety of mediums including drama, documentary, dance and spoken word. Bex works as Watershed's Digital Content Editor for Rife Magazine and Producer for the BFI Film Academy at Watershed. Often working with new and emerging filmmakers she supports them in developing their creativity and digital skills, helping them tell their stories and find pathways into the creative industries. Bex has been a producer mentor for Random Acts South West and BBC New Creatives and has also worked on the BFI Film Academy at the Bristol Old Vic Theatre School. Bex produced the BFI Network short films Pickney and The Piss Witch and the short BBC drama To Topknot or Not.

Key cast:

Ajani Cabey, Craig Lewis, Shaun Clarke

Looking for:

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

Twitter

https://twitter.com/MichealDJenkins

Facebook:

https://www.facebook.com/bymichaeljenkins

Instagram:

https://www.instagram.com/bymichaeljenkins

Hashtags used:

#pickney #blakwave #blakwavepro #magical #realism

More info:
PAFF online platform from May 6-22, 2022.

Joy's Garden

May 07, 2022 by Carmela Baranowska

When she arrives at her estranged father’s bachelor pad, a little girl sets out to recreate her old garden; wrecking his comfortable life.

Interview with Writer/Director/Producer Ngwatilo Mawiyoo

Congratulations! Why did you make your film?

"Joy's Garden" brings to life a moment where an absent father encounters himself as his child's last hope. I had a great dad, but as I've grown into a woman and possible mother, I've become more aware of how common absent and unavailable fathers have become in my communities. It's yet another way we make a leap of faith in choosing to mother; to hope that we will not be alone, and that our children will be okay even if the worst happened. Loss and grief are recurring themes in my work: I'm always working out ways to respond to them. So I made this film to conjure the vision I needed, of the most typical of such men, stepping up.

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

"Joy's Garden" finds magic in the ordinary, in grief. Joy is a girl is out to create the world she needs. Audiences will also find Edwin's ineptitude relatable, hopefully in a way that will spark on a knowing smile. The themes carry a certain weight some will feel keenly, but the focus of "Joy's Garden" is hope.

How do personal and universal themes work in your film?

Father-daughter relationships are a core theme. How we deal with grief is also a theme that's specific to our characters, but familiar for many of us who have had to find a way to understand it, to survive it and heal. Early drafts of Joy's Garden were written in the last years of my father's life, and shot after he'd passed, and was, like Joy's mother, absent. The idea and meaning of the garden in "Joy's Garden" is also an homage to him. More broadly, I was also thinking about the rise of high rise apartments in Nairobi that leave no space for children and children's play. I was interested in bringing this to light in our production design and create an opportunity to reflect the physical edifices we are building back to our audience.

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

The script started out with a lot more elements, more characters. So much of the development process was about cutting the fat, really getting away from unnecessary drama to just focus on this single relationship. The film really has stayed faithful to that final vision though.

What type of feedback have you received so far?

So far the feedback has been generous. People recognise and identify with the father figure, and his struggles, and at the same time connect with Joy and her want.

Has the feedback surprised or challenged your point of view?

I've been surprised to realise how many different audiences and communities resonate with the themes - where I might have thought of it as having a very particular audiences. But beyond that, I actually can't say that my view on the issues themselves so much has been challenged. I've loved the process. Especially getting to watch the film with an audience and observe the rhythms of how they react and respond and compare that with my expectations. The challenge has been more to me as a director, an invitation to fine-tune my process and aesthetic, but also be generous with the work, and the very real accomplishments of my cast and crew.

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

Wearemovingstories.com has curated a room full of amazing company, so I'm honoured to be on the same platform. I'd hope for more visibility, and perhaps a connection or two either to extend the life of the film, or for new collaborations.

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 be especially connect with sales agents, buyers, distributors and journalists, to amplify "Joy's Garden" and get it out to more people who need this story, and would resonate with it.

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

I'd love for this film to spark conversations about what fatherhood looks like today, and also the physical environment we raise our kids in. I'd love to spark conversations and advocacy about what adequate facilities look like to allow for children's play, and access to the natural world, even in our most urban neighbourhoods, from an architectural and/or urban planning perspective.

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

Can a deadbeat dad learn to show up and do right by their child(ren)

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

Writer/director Ngwatilo Mawiyoo wrote a second short, a magical realism drama currently in post-production under director Barbara Minishi. "Joy's Garden" lead actor Melvin Alusa starred in the action feature "Mission To Rescue", for which he won Best Actor at Zanzibar International Film Festival.. Editor Franki Ashiruka stays busy, she had both "Joy's Garden" at Pan African Film Festival as well as "Sungura" also a short. DOP Andrew "Dru" Mungai also worked on "Country Queen" - a TV series currently in post-production, expected to show on Netflix.

Interview: May 2022

Joy's Garden

Length:

13:29

Writer/Director

“Joy’s Garden” marks NGWATILO MAWIYOO’s debut as a writer/director. The film received five nominations at Kenya’s Kalasha Awards, including best original screenplay and best short film. Her second short, a magical realism drama, is in post-production.

NGWATILO is a multi-award nominated poet and the author of two poetry collections. A graduate of The University of British Columbia’s MFA in Creative Writing program, she started as an actor, starring in Ekwa Msangi’s “Soko Sonko,” and elsewhere.

Producer

MUNGAI KIROGA is a scriptwriter, producer, camera operator, editor, and director.

So far he's written for five Kenyan TV shows and wrote the screenplay for "Something Necessary", a feature film co-produced by Tom Tykver. MUNGAI is currently In-house Producer at Docubox East Africa Film Fund, where he has produced several shorts. He's also worked as a content producer on various reality shows, commercials and documentaries.

Key cast:

Melvin Alusa (Edu), Torah Nato (Joy)

Looking for:

sales agents, distributors, journalists, buyers

Twitter

http://twitter.com/ngwatilo

Facebook:
http://www.facebook.com/ngwatilo/

Instagram:

http://instagram.com/ngwatilo

Screens:

20th Annual Women of African Descent Film Festival, Facebook Live & Filmocracy (Virtual Event) - June 11th 2022

Across The Mountains

May 06, 2022 by Carmela Baranowska

Across the Mountains highlights the importance of local health solutions through the compelling story of a mother who is in danger of losing her new-born baby in Somaliland. The film follows frontline health workers in Borama in the northwest of the country, who have huge mountains to climb - both literally and figuratively - to save their patients. A powerful, uncensored insight into the everyday life in local hospitals, the film reveals some of the many layers of complexities facing healthworkers, both medical and cultural.

Interview with Director Harrison Thane and Producer Camila Turner

Congratulations! Why did you make your film?

The film initially could have been a general Donor film because it is funded by big Donors but as creative filmmakers we wanted to give a bit more life to telling important character driven stories in a country that is rarely documented and very inaccessible.

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

Our film gives the audience an option to delve into the lives of a few heroic female characters. We see a remote health worker we see a female surgeon saving many many women’s lives we see ladies not be able to consent for themselves if they want a Caesarean sections. This film gives voice and show gives voice to women and should be watched by four women and men so that we realise how lucky we are in the west when it comes to health care.

How do personal and universal themes work in your film?

On a universal level our film brings to light the injustices women face in countries like Somaliland. Women are there to serve their husbands and to have babies they have little choice around this even when it comes to the universal shared experience of childbirth. Even to this extent women have little choice and it is the men who dictate whether they are allowed to have a Caesarian section or not. I’m on a personal level as a female direct to filming all of these women and these characters it’s awe-inspiring to say the least how much strength and power encourage all of these women’s face in that have in face with Besty and and in the face of all the struggles they have around them the injustices do you obviously feel as a woman and you realise how lucky we are West when it comes to being a woman comes to having babies when it comes to freedom of choice.

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

The film was not scripted, although we set up interviews and did all the ground work first so that we could wait around for an emergency to happen and follow their story as it happened.

What type of feedback have you received so far?

We’ve had great feedback from various audiences people have been amazed and astounded by what they see in one Somaliland the film has picked up several awards in age few festivals which we are very proud of.

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

We are hoping to give voice to issues that are rarely documented. As filmmakers this is our role to bring to life stories and issues that need to be heard and seen.

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

Everyone possible.

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

Key question asked in this film is actually a question that is asked at the end of the film is what would the world be like without aid? is it sustainable? can we have a world without systemic aid? We feel like there is no right answer to this but a great conversation can be sparked and eventually we hope that leads to deep change.

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

Camilla has moved back to the UK to raise her 3 children, Harrison Lives on a remote island in Kenya where he is working on a film about Female Octopus Fisherwoman.

Interview: May 2022

Across The Mountains

Length:

0:25

Director

HARRISON THANE is an award winning Film Director for the last 10 years he has worked across Africa, The Middle East and Asia. His films have been nominated for various international awards at film festivals.

Producer

In 2005 CAMILA moved to Kenya and has worked as a freelance filmmaker, producer and editor - making films on a diverse range of subjects from refugees, migration, LGTB, women's rights, conflict, education and the environment.

Her films have been nominated for various international awards at film festivals, including Oxford film festival, Women's International Film & Arts Festival, IDFA, Rory Peck Awards & a Digital Emmy for a short film about Shujazz.

Looking for:

distributors, buyers, film festival directors, sales agents

Instagram:

https://www.instagram.com/harrison.thane/

While Mortals Sleep

May 04, 2022 by Carmela Baranowska

When a cold case novelist's career implodes, she seeks refuge in her friend's remote vacation home. Upon arrival, she encounters a strange couple who claim to be the caretakers. As tensions build, a dark secret begins to emerge.

Interview with Writer/Director Alex Fofonoff

Congratulations! Why did you make your film?

I made this film because I've been slowly falling in love with horror over the past decade, but had yet to make something that really leaned hard into the genre.

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

Watching Atmospheric Horror is such a special cinematic experience. The uncomfortable but engrossing feeling of watching something unknown and eerie circle a character is so much fun, and it allows the viewer to really lose themself into the movie.

How do personal and universal themes work in your film?

I wanted to explore themes of accountability and action, and people can twist reality in order for the means to justify the end. Personally, I always love stories that explore family or community, and all the different shapes and sizes it can take.

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

It's changed so many times through rewrites as I tried to ignore the urge to write a bigger story. I had to commit to this truly being a short film, and it was good practice to have to check myself and show restraint.

What type of feedback have you received so far?

The reception so far has been great! People really respond to the dread-filled tone of the film, and the baby puppet (we call him Baby Gary) really surprises people! And they can't get enough of him!

Has the feedback surprised or challenged your point of view?

It's always funny to read reviews of something you've made where it feels like the person just didn't understand where you were coming from or the point you were trying to make. But it's also good because it can allow you to question yourself in a healthy. Did what I was trying to do really work? Where did I fall short? How can I improve on creating the narrative experience I want to convey?

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

I'm just so thankful for the opportunity to tell more people about this movie and get out the names of everyone that worked so hard on it.

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

I am currently working on finding financing for the feature version while trying to make sure the short has as strong a festival run as possible. So anyone interested in helping bring the feature to life or any other festival directors that would like to program this beautiful wacky weird short, don't hesitate to contact me!

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

I hope to help continue and build on this arthouse horror renaissance we're experiencing. Filmmakers like Jordan Peele, Ari Aster and Julia Ducournau, we're seeing a growing desire for movies like this, that rely on atmosphere and character to create a feeling of terror.

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

What is the cost of avoiding accountability and embracing an echo chamber?

Is the cost reality itself?

Would you like to add anything else?

I just want to say again that so many talented and amazing people were a part of this movie's success. And I am so thankful to all of them. Collaboration and teamwork always make a movie better. As a filmmaker, never be afraid to say, "I don't know. What do you think?"

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

Like I said, I am working on getting the feature film on its legs. I also have another short film in the works I hope to have ready for the 2023 festival season!

Interview: May 2022

While Mortals Sleep

Length:

14:10

Director

ALEX FOFONOFF is a L.A.-based filmmaker who’s always been captivated by the feeling of dread. Despite the risk of nightmares, as a kid he’d watch monster movies late into the night. His voice in filmmaking, inspired by the New Hollywood movement, subverts genres and twists reality.

Producer

MATTHEW JAMES REILLY Yearning to see more unique visions come to life in filmmaking, Matthew James Reilly founded his production company Video Horse Films, after his debut film, Abigail, premiered at the Cannes Film Festival. With an eye and a passion for blending hyperrealistic filmmaking with surreal undertones, he aims to surround himself with innovative creators and artists who inspire him.
Key cast:

Carie Kawa, Will Brill, Grace Morrison, Ron Binion

Instagram:

https://www.instagram.com/la_foaf/

Hashtags used:
#whilemortalssleep

More info:

www.wmsfilm.com

Screens:

Atlanta Film Festival

Bury Your Fish

May 03, 2022 by Carmela Baranowska

A young woman, desperate to rediscover purpose in life, takes guidance from a flashing light a block away.

Interview with Writer/Director Emma Josephson

Congratulations! Why did you make your film?

I developed this concept after a few late nights at my writing desk that faces the west hills. I noticed one of the houses I look out towards has a porch light that would flash and it had me question "what if it was trying to tell me something?"

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

Bury Your Fish is for anyone who has grieved, dealt with depression, or started processing emotions they've neglected for too long. Like most people, I've struggled with my mental health more than ever in this past year.

How do personal and universal themes work in your film?

Bury Your Fish is a culmination of a year full of anxieties, fears, and inability to move forward in the same ways we've used to. As a recent graduate entering the world in this pandemic, things have felt pretty bleak and I've looked in any direction to find a way to plan for the future or find a "sign" of what to do... Why not look to the flashing light outside my window?

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

The story stayed pretty much the same since I first wrote it all down. There were some minor changes we made to the structure as we got into post-production.

What type of feedback have you received so far?

We haven't received that much feedback so far since it was just our first fest a few days ago. I'd love to hear any feedback though!

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

I'm excited for the story to reach a larger audience and be platformed on a website that uplifts women filmmakers.

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

I think it would be awesome to find a home for this film online! I also am writing a feature based on this same short film concept and I would love to talk to any producers if thats an opportunity.

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

I hope its able to screen at more festivals in the near future an as people watch it in theaters, I just hope they see it as a chance to escape into a different reality for a few minutes.

Interview: May 2022

Bury Your Fish

Length:

15:27

Writer/Director

Emma Josephson is an emerging screenwriter and director based in Portland Oregon. Much of her inspiration comes from flipping the mundane and sometimes difficult parts of reality on its head. Before putting pencil to paper, she asks a lot of "what if" questions. Emma likes to focus on the strange, bold, and inspiring parts of people and the unique worlds they navigate.

Emma began her career making award-winning student films. Since then, she’s gained experience working on independent productions and commercials, and music videos. Her screenwriting has been nominated for a Student Emmy and she has received awards and scholarships for being an “Outstanding Filmmaker” at Portland State. Emma’s films have received support through Boyish Media, OMPA, Regional Arts & Culture Council (RACC), and Koerner Camera. She is currently working on a variety of passion projects while freelancing as a video editor for creative agencies.

Producer

Chelsea unsbee

Key cast:

Arkira Chantaratananond, Cassandra Moselle

Looking for:

distributors, film festival directors

Instagram:

https://www.instagram.com/buryyourfishfilm/

Hashtags used:

#Womeninfilm ##oregonfilm #pdxfilm #moviemaker #filmfestival #genrefilm #moviemaking #indiefilm #shortfilm #indiefilmmaker #drama #thriller #scifi #surreal

More info:

buryyourfish.com

Screens:

Atlanta Film Festival

Juwaa

April 29, 2022 by Carmela Baranowska

Years after a traumatic night, a son and a mother are finally reunited. But the long suppressed trauma of that tragic night must be unwrapped, exposing layers of guilt, anger and abandonment but ultimately redefining what mother and son mean to each other. Shot in Belgium and in Congo, a subtlety powerful drama based on African characters rarely seen on screens.

Interview with Actor/Writer/Director Nganji Mutiri

Congratulations! Why did you make your film?

To watch and feel the different characters layers in a narrative that I was longing for and to introduce them to the largest audience possible.

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

The film Juwaa is a refreshing family drama, so if you are part of any family, you should watch it.

How do personal and universal themes work in your film?

Amongst many other things, I wanted to explore how some deeply personal experiences/perspectives and collective traumas intertwine to affect our connections (or lack of connections) as human beings.

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

The script of Juwaa evolved a lot between rewriting sessions, mainly because I regularly had inspiring feedback from professional and non-professional film lovers. The long biographies I wrote of the characters and the different intimate conversations I had with people around me added interesting layers to the story I was trying to tell.

Because of the small budget (under 300 000 Eur), the need to shoot on two different continents and the pandemic, we had an intense schedule of production (less than 30 days of shooting between October 2019 and December 2019) and then a longer than expected post-production process which was also financially very challenging. Postproduction of Juwaa was completed in October 2021.

What type of feedback have you received so far?

Even though it seems as if in Belgium some distributors don't know what to make of a film with African characters that are very far from the usual clichés, the feedback from the local audience has been very positive humanly and artistically. Note that, so far, the film Juwaa has been screened only twice in Belgium ( March 2022) and once in Burkina Faso (October 2021).

Has the feedback surprised or challenged your point of view?

The encouraging and at times moving feedback challenged me to change my mind about filmmaking. Before the world première of my film Juwaa in october 2021 at FESPACO (in Burkina Faso), I swore that Juwaa would be my first and last feature film. Now I am already working on other narratives to be produced with other refreshing characters.

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

Get in touch with more inspiring voices and platforms.

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, sales agents, international film festival directors, journalists and of course more international audience members.

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

Beside experiencing a beautiful and subtle cinema moment with the film Juwaa, I would like to encourage people to talk more about their very own traumas and inspire them to create at home a healing process that will open doors to more love and joy.

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

Silenced traumas are intimate ticking bombs, don't you think ?

Would you like to add anything else?

Thank you for sharing your platform with us.

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

My second feature film, a photographic exhibition and a poetry collection.

Interview: April 2022

Juwaa

Length:

1:25

Writer/Director

NGANJI MUTIRI is an award-winning artist born in Bukavu (D.R. Congo), working in Brussels (Belgium) and in Kinshasa (D.R. Congo). Storytelling through photography, poetry, filmmaking and acting is his favorite way of searching links and perspectives between the singular and the universal.

Producer

Dancing Dog Productions (Contact person : Antoine Sanchez)

Key cast:

Edson Anibal (Amani), Babetida Sadjo (Riziki), Claudio Dos Santos (Raphaël), Francisco Luzemo (Giga), Ady Batista (Raïna), Senso Nzuzi (Alino), Mireille Mbayoko-Yaba (Linda), Benjamin Boutboul (Ben), Marc-Anthony Bokuma (Amani as a child), Nganji Mutiri (Paul), David Scarpuzza (Greg).

Looking for:

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

Facebook:

https://www.facebook.com/nganji.laeh

Instagram:

https://www.instagram.com/nganjilaeh/

Hashtags used:

#Film #JUWAA #Juwaa #NganjiMutiri #EdsonAnibal #BabetidaSadjo #FilmJuwaa

More info:
www.filmjuwaa.com

She Keeps Me

April 28, 2022 by Carmela Baranowska

The strained relationship between two sisters reaches a dangerous climax in this exploration of family ties, mental illness, and self sacrifice.

Interview with Writer/Director Erica Orofino

Congratulations! Why did you make your film?

Thank you! I made this film because the story was something I had churning around inside me for a really long time. Like, years. I am someone who has stuggled with mental illness, and I also have family and people very close to me who struggle with it. I wanted to tell a story that shows both sides -- the experience of being a caretaker but also the person struggling, and how each of those roles have their own unique tensions. I wanted to make a film that asks a question and there is no right or wrong answer.

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

To better understand mental illness or better understand what it's like to relate to someone that's struggling. To see beyond someone's actions and into their humanity. Our film also depicts a very real, relatable sibling dynamic. We think She Keeps Me is a movie that connects people.

How do personal and universal themes work in your film?

She Keeps Me is a film that tackles quite a few themes. I think a big one is how a family functions (often dysfunctionally) when we'd rather turn a blind eye to what's really going on. We see Alessandra and Lena's mother, Maria, a conservative Italian woman, try to justify her daughter's behavior by saying it's "just the way she is" and dismisses Alessandra's plea to get her sister the mental and emotional support she truly needs.
We also see the different ways mental illness is perceived. There's a moment in the film where one of Alessandra's friends says "at least I don't need a pill to function every day," and refers to a woman having a psychotic break as "a demon." It's super dehumanizing language and minimizes the struggles one goes through when experiencing these things that often feel so out of our control.

We also explore the universal feeling of responsibility for someone you love. There's a huge theme of codependence in this film. Alessandra and Lena really take on the other's emotions, and each are severely affected by the other's choices, to an unhealthy degree. I think this is very common in close relationships, whether between a parent and a child, friendships, but also romantic partnerships. At a certain point, you find yourself abandoning self in an effort to preserve the other person's mental wellness. But in the end, who are you really helping? And is there ever a time that self-abandonment is acceptable or a positive thing? There are a lot of questions this film forces you to ask yourself.

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

The main thing we tried to keep in balance was making both main characters feel fully fleshed out, and that you don't only 'side' with one character. For instance, it was so important to us that Lena (the sister with bipolar) isn't hated throughout the film. Because she does do things that hurt other people. And it's easy to stick her into a box and say "that was wrong, so she's bad," but we wanted to make sure we could give the audience a taste for just how hard she struggles. I think this is why audience members are able to connect with her. The script evolved to reflect this. We had earlier drafts where we never show the full scene ouside, where Lena has a psychotic break and Alessandra takes her home. But that scene became the key to Lena's humanity in the film. We needed to make sure the audience ultimately had an understanding as to why she behaves the way she does.

The drowning scene is what evolved the most. We originally had written that all the friends in the pool take part in plunging Lena underwater, but that felt a bit gratuitious and not true to the story we wanted to tell. It was way more fitting that Alessandra does this alone, and that everyone witnessing this is just as taken aback by the action as Alessandra is. That moment in the film actually kept evolving up until the moment we shot it. Katarina (who plays Lena) and Mariel my producer both felt like this moment needed to be more intimate, between them, and so we shot it that way and the film is so much stronger for that.

What type of feedback have you received so far?

We've received really positive feedback so far. We won Best Canadian Film at the Pendance Film Festival in Toronto. We've had people reaching out to us and letting us know the film has resonated with them, maybe they've gone through something similar with a sibling or a parent, had to take on that caretaker role, or they were the one relying on a family member. It's been a really gratifying and humbling experience. The best thing you can hear as a filmmaker is that your work is connecting with other people, validating people's experiences. When someone comes up to me and says they see themselves in Lena or Alessandra, I automatically feel more connected to humanity. It's super grounding and inspiring and exciting.

Has the feedback surprised or challenged your point of view?

I think the most challenging piece of feedback is how audience members feel about the ending. Alessandra makes a choice, and some people don't agree or understand her choice. I don't think you can please everyone, and that's part of the beauty of making a film with a definitive ending as opposed to leaving it open-ended or open to interpretation. I love hearing people's feelings about what the characters choose to do, and I think the film also challenges you as an audience member to think about why you feel these ways.

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

We just want people to watch our film! The more exposure, the better. We're independent filmmakers and we would love to get the word out.

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'd get journalists and film festival directors' attention. We'd love to meet with you and chat with you!

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

We hope our film sparks a conversation about mental illness, the stigmatization, the different perceptions of this especially in a European family. We want to evoke empathy for people struggling, but also those who are supporting loved ones.

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

If you were Alessandra, what would you do? Would you stay home to take care of your sister, or would you leave to pursue your dreams? Why would you choose this? Does family come before all else? Should people be held accountable for their behavior if we know that behavior comes from illness? At what point is it excusable (if ever) to abandon self in support of a loved one?

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

I (writer/director) have two films in post-production at the moment. I'm also developing another short drama about a little girl who forms a relationship with an anonymous internet friend in a chat room. And lastly I'm working on a feature script about the lives of a group of preteen girls living in the Canadian suburbs in the 90s.

Interview: April 2022

She Keeps Me

Length:

0:16

Writer/Director

ERICA OROFINO is an award-winning, queer writer/director based in Toronto, ON. Her work focuses on the female perspective, sexuality, complex familial relationships and mental illness. Erica’s latest dramatic short She Keeps Me won Best Canadian Short (2022) at the Pendance film festival in Toronto. It is currently making the rounds in the festival circuit, and is currently screening at the Atlanta Film Festival. As a filmmaker Erica is passionate about stories by underrepresented voices, and her work is fueled by the desire to bring people together to make social change.

Producer

MARIEL SHARP is a producer based in Montréal, QC. Mariel has produced 8 critically acclaimed short films as well as Bleed With Me, a psychological thriller feature now available on SHUDDER. Mariel's work has been supported by the Telefilm Talent to Watch program, the SODEC Jeunes Createurs Development program, WIFTV's Genre Accelerator program, and the Diversity of Voices initiative at the BANFF World Media Festival. As a producer, Mariel believes in the unique potential of cinema as a vehicle for social change.

Key cast:

Rachel Dagenais (Alessandra), Katarina Keca (Lena), Katie Messina (Maria), Julia DeMola (Simone), Andrew Pimento (Seb), Natalie Liconti (Isa)

Looking for:

film festival directors, distributors, journalists, buyers

Twitter

https://twitter.com/ericaorofino

Facebook:

https://www.facebook.com/eriorofino/

Instagram:

https://www.instagram.com/eriorofino/

More info:

https://www.ericaorofino.com/

Where can I watch it?

Atlanta Film Festival / Atlanta Georgia - April 22 - May 1 2022
Pendance Film Festival / Toronto, Ontario - June 2022 (exacts dates TBD)
Oakville Film Festival / Oakville, Ontario - June 22-28th, 2022

Chiqui

April 27, 2022 by Carmela Baranowska

It's 1987. Chiqui and Carlos immigrate from Colombia to New Jersey to find a better life for themselves and their unborn son. Upon their arrival, they quickly realize that the American dream is not as easy to achieve as they thought.

Interview with Writer/Director Carlos Cardona

Congratulations! Why did you make your film?

"Chiqui" is based off the true life story of my parents coming from Colombia to the United States in 1987 so it is a very personal story for me.

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

People should watch this film because it portrays Latin American immigrants, specifically Colombia immigrants, in a three dimensional way contrary to what is typically seen in popular media. "Chiqui" aims to shift the perception on how Latin American immigrants are viewed and to show a side that is not predicated on the circumstances surrounding why they left their country but rather their struggles with the English language, assimilation and the concept of the "American Dream"

How do personal and universal themes work in your film?

"Chiqui" relates to not only children of Latino immigrants but immigrants and people from all walks off life and anyone who has ever tried to find their place in the complicated fabric of American society.

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

As the saying goes, there is the film your write, the film you shoot and the film you edit. Every stage of the process was difficult but had its illuminating moments that brought something unexpected to the project

What type of feedback have you received so far?

So far the feedback from second generation Latino immigrant children has been overwhelmingly positive as they can relate so much to the characters and the circumstances that they find themselves in. People who are not Latino have also reacted very positively and have taken a liking to the main character because of her non traditional rendition as an anti-hero.

Has the feedback surprised or challenged your point of view?

The feedback has surprised me with how positive it has been since this is such a personal story and very specific to a particular time and place.

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

I am looking to get as much exposure as possible for our pilot "Chiqui"

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

We would really love to have producers, particularly LatinX producers involved that can bring us to a production company that can help us incubate our project and get it ready for series. We would also like to have journalists come on board that can get us to platforms that champion LatinX and diverse voices.

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

I would like "Chiqui" to make an impression on children of Latino immigrants like myself but also to have non Latino people understand that Latinos, specifically Colombians are much more than the stereotypes and cliches seen in popular television, film and media.

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

Conversations surrounding the anti-hero female characters and cliches that have historically made up the image of Latinos in media are the main points of conversation that I would like "Chiqui" to create.

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

Aside from developing "Chiqui" into a television series, I am currently working on a few feature film scripts that deal in the vein of autofiction similar to "Chiqui".

Interview: April 2022

Chiqui

Length:

30:00

Writer

CARLOS CARDONA is an award-winning Colombian American director and cinematographer from Southampton, New York. He has worked in narrative and documentary for over a decade. He has directed two feature films currently streaming on Amazon Prime: his first feature, Second Chance, a crime thriller set in New York City, and his second feature, Scenes From a Breakup, a Neo-mumblecore apartment drama and a work of autofiction. He is particularly interested in stories that deal with identity, race, and class and how they intersect with American culture. Carlos wrote and directed, Chiqui, which had it’s world premiere in the indie episodic program at the 2022 Sundance Film Festival

SOPHIA DE BAUN is a filmmaker with a background in writing and gender theory. She wrote, directed, produced, and edited her first short film, Sisters, in 2015, which premiered at the Art of Brooklyn Film Festival. In 2017, she wrote and produced her first feature, Scenes From a Breakup, which screened at Anthology Film Archives as part of NewFilmmakers NY, and can now be streamed on Amazon. Her latest directorial work, Out There, a comedy web series received a NYFA grant from the Women's Fund for Media, Music and Theatre in 2020. Sophia edited and co-wrote the short, Don’t Come Close which screened at Rooftop Films, LALIFF, and HBO NY Latino Film Festival. She also wrote, directed, produced, and starred in her latest short film, Filling Holes, funded by the City Artist Corps Grant in 2021.

Director

Producer

DANIEL FERMíN PFEFFER is an award winning Mexican-American filmmaker. He earned a BFA from NYU's Tisch School and an MFA for Screenwriting and Directing from Columbia University. His short film, While I Was Gone screened at various festivals and won the Denver Film Festival Domestic Student Award. His first feature, I'll See You Around, premiered in 2019 at the Los Angeles Latino International Film Festival. I'll See You Around has since been picked up for distribution by Breaking Glass Pictures.

SOPHIA DE BAUN is a filmmaker with a background in writing and gender theory. She wrote, directed, produced, and edited her first short film, Sisters, in 2015, which premiered at the Art of Brooklyn Film Festival. In 2017, she wrote and produced her first feature, Scenes From a Breakup, which screened at Anthology Film Archives as part of NewFilmmakers NY, and can now be streamed on Amazon. Her latest directorial work, Out There, a comedy web series received a NYFA grant from the Women's Fund for Media, Music and Theatre in 2020. Sophia edited and co-wrote the short, Don’t Come Close which screened at Rooftop Films, LALIFF, and HBO NY Latino Film Festival. She also wrote, directed, produced, and starred in her latest short film, Filling Holes, funded by the City Artist Corps Grant in 2021.

Key cast:

Brigitte Silva, Sebastian Beltran, Catherine French, Gregg Prosser

Looking for:

producers, journalists

Where can I watch it?

05/05/2022 SERIES FEST/ Sie Film Center 2:45pm
05/06/2022 SERIES FEST/ Sie Film Center 3:30pm
06/05/2022 LALIFF/ TCL Chinese 6 Theaters 4:00pm