Month: April 2025

Omnipotent Resolution

By Uniqueness Heiress & Azia

BEST INTERNATIONAL MUSICAL SHORT FILM, BEST ORIGINAL CHOREOGRAPHY, BEST ARTHOUSE FILMMAKER & BEST PRODUCER

Something ain’t right

By Susan Downs

BEST ARTHOUSE DOCUMENTARY OF THE YEAR & BEST ORIGINAL INDIE FILMMAKER

Homeless Street Artist

By Tysen Knight

BEST ARTHOUSE DIRECTOR, BEST CAMERA OPERATOR & BEST PRODUCTION COMPANY (Category: Documentary Short)

Déjà Vu On The Ledge

By R. Scott MacLeay

BEST ARTHOUSE EXPERIMENTAL FILM, BEST ORIGINAL FILMMAKER & BEST PRODUCER (Category: Experimental Film)

Downriver

By Andrea Boll

BEST DIRECTOR, BEST CHOREOGRAPHER, BEST DANCE MOVIE, BEST SOUND DESIGN & BEST CINEMATOGRAPHY (Category: International Dance Movie)

Can’t Figure It Out

By R. Scott MacLeay

BEST EXPERIMENTAL EDITING, BEST CINEMATOGRAPHY & BEST EXPERIMENTAL SCREENPLAY

Virulence

By Christopher Pennington

BEST ARTHOUSE FEATURE SCRIPT & BEST INTERNATIONAL ORIGINAL INDIE SCREENWRITER

Sundown In Beaver Creek

By Larry Gene Fortin

BEST INTERNATIONAL TELEVISION SCRIPT & BEST AMERICAN INDIE SCREENPLAY

Toddler’s Tears

By Shamil Aliyev

BEST INTERNATIONAL DOCUMENTARY SHORT OF THE YEAR & BEST INDIE FILMMAKER ( Category: Documentary Short)

Lambada The Dance of Fate

By Kai Fischer

BEST ARTHOUSE SCREENWRITER OF THE YEAR & BEST INTERNATIONAL BIOGRAPHICAL SCRIPT

Appointment With The Plague Doctor, Lester Haywood

By L. S. Strange

BEST INTERNATIONAL HORROR OF THE YEAR

Boxed In

By Steve Hunyi

BEST INDIE DIRECTOR, BEST PRODUCER & BEST CHARACTERS (Category: International Narrative Short Film)

Caesar

By Reine Johansson

BEST INTERNATIONAL ARTHOUSE NARRATIVE SHORT, BEST ORIGINAL DIRECTOR, BEST ORIGINAL EDITING & BEST SOUNDTRACK

The Arcangel Of Death

By Vincenzo Amoruso

BEST ARTHOUSE ACTOR 2025

The Dead Ringer

By Suzanne Lutas

BEST WRITER & BEST INTERNATIONAL ARTHOUSE FEATURE SCRIPT

Ye Ole Glorya

By Jeffrey Kazanjian

BEST DIRECTOR, BEST CAST & BEST EDITING (Category: Arthouse Comedy)

Big Momma Earth

By Jeffrey Kazanjian

BEST INDIE COMEDY OF THE YEAR & BEST SCREENPLAY

Planetary Rebellion

By Fabrizio Fuochi

BEST INTERNATIONAL DIRECTOR (Category: International Music Video) & BEST SOUND DESIGNER

Katabasis

By Samantha Casella

BEST EUROPEAN FILM OF THE YEAR, BEST SCREENPLAY (Category: Narrative Feature), BEST ACTRESS, BEST LOCATION & BEST DIRECTOR (Category: International Film)

The Broken Road

By Tommy Anderson

BEST SCREENWRITER 2025 (Category: FEATURE SCRIPT)

Thankful

By Earnest Diaz

BEST ARTHOUSE FEATURE SCRIPT 2025 & BEST INTERNATIONAL INDIE SCREENWRITER

Doctor Hyphoteses

By Vicentini Gomez

BEST INDIE FILMMAKER & BEST ORIGINAL ACTING

I Waited for You

By Jennifer Glee

BEST INDIE FILMMAKER, BEST ORIGINAL EDITING & BEST PRODUCER (Category: Arthouse Experimental Film)

Secrets of Montmartre 3

By Michelle Lynn

BEST AMERICAN FEATURE SCRIPT OF THE YEAR

Forevermore

By Danilo Del Tufo

BEST ARTHOUSE ANIMATED SHORT FILM & BEST ORIGINAL EDITING

The way of Mizoguchi

By Danilo Del Tufo

BEST DIRECTOR, BEST CAMERA OPERATOR & BEST PRODUCTION COMPANY (Category: Documentary Feature)

Alta California

By Lynn Elliott

BEST AMERICAN FEATURE SCRIPT & BEST HUMAN RIGHTS SCRIPT OF THE YEAR

Ghost Town, N.M.

By Lynn Elliott

BEST ORIGINAL SCREENWRITER

NeverWere: a Lycan Love Story

By Chris Ross Leong

BEST WRITING STYLE & BEST INTERNATIONAL FEATURE SCRIPT

Revisited – Life is Short

By TerryLee WHETSTONe

BEST DIRECTOR, BEST EDITING, BEST INDIE SONG & BEST CINEMATOGRAPHER (Category: International Music Video)

Monument to Love

By Jacob Comforty

BEST ORIGINAL FILMMAKER 2025, BEST CINEMATOGRAPHER & BEST ARTHOUSE EDITING (Category: Documentary Feature)

Hot Afternoons Have Been in Montana

By Ken Kimmelman

BEST INTERNATIONAL VIDEO POETRY, BEST FILMMAKER, BEST ARTHOUSE CINEMATOGRAPHER & BEST SOUND DESIGN (Category: Video Poetry)

The Days of Knight: Chapter 3

By John Martinez

BEST ORIGINAL NARRATIVE SHORT, BEST DIRECTOR, BEST SOUND DESIGN, BEST CASTING DIRECTOR & BEST ORIGINAL SCREENPLAY SHORT (Category: International Short Film)

Precious the Baby Dragon

By Dr Dawn Menge

BEST BOOK/MANUSCRIPT, BEST CHARACTERS & BEST INDIE WRITER OF THE YEAR

Prodigio

By Don Pasquale Ferone

BEST SONG WRITER, BEST INTERNATIONAL SINGER & BEST SPIRITUAL SONG OF THE YEAR

The Stones of Rome

By Sean Tansey

BEST INSPIRATIONAL SHORT FILM & BEST ACTOR OF THE YEAR (Category: Experimental Film)

The Pathos of Hamlet

By Sean Tansey

BEST PERFORMANCE IN THEATRE/CINEMA

Am I a painter?/Czy jestem malarzem?

By Michał Kucharski

BEST ORIGINAL ANIMATION, BEST POETRY SHORT FILM & BEST NARRATIVE SHORT OF THE YEAR (Category: Animation)

Only in Malibu

By Phoebe von Satis

BEST INTERNATIONAL SCREENWRITER (Category: International Indie Feature Script)

Gold Glory & Nobility

By Phoebe von Satis

BEST ORIGINAL FEATURE SCRIPT

Malibu Madam

By Phoebe von Satis

BEST CONTEXTUAL DESCRIPTION (Category: International Feature Script)

The Insomnia Experiment

By Phoebe von Satis

BEST INTERNATIONAL SHORT SCRIPT 2025

Colombano & La 21Esima Fetta

By Paolo Pier Luigi Guglielmetti

BEST EUROPEAN INDIE FILM, BEST DIRECTOR, BEST SCREENPLAY & BEST ORIGINAL SCORE (Category: Arthouse European Narrative Feature)

The Duchess

By C. Arnold Curry

BEST DIRECTOR, BEST CAST, BEST CASTING DIRECTOR & BEST SCEENPLAY (Category: International Arthouse Drama)

The Assassin’s Apprentice 2: Silbadores of the Canary Islands

By Russell Emanuel

BEST ORIGINAL SHORT FILM, BEST DIRECTOR, BEST SCREENPLAY SHORT & BEST ACTING (Category: International Indie Narrative Short Film)

Routine

By Russell Emanuel

BEST PRODUCER, BEST ORIGINAL IDEA & BEST NARRATIVE SHORT 2025

Shout It Out

By Hayden Billingy

BEST ARTHOUSE MUSIC VIDEO, BEST SOUND DESIGN & BEST ORIGINAL FILMMAKER (Category: International Music Video)

Mind over Matter

By Pamela PerryGoulardt

BEST FILMMAKER, BEST ORIGINAL CINEMATOGRAPHY & BEST ARTHOUSE PRODUCER (Category: Super Short Film)

Il Fuoco di Santa Lucia

By Eduardo Cocciardo

BEST EUROPEAN DOCUMENTARY OF THE YEAR, BEST DIRECTOR & BEST BIOGRAPHICAL FILM 2025

In a Whole New Way

By Jonathan Fisher

BEST SOCIAL FILM, BEST INTERNATIONAL EDUCATIONAL FILM, BEST ARTHOUSE FILMMAKER, BEST EDITING & BEST CINEMATOGRAPHY (Category: Educational Film)

Sheldon Mashugana gets Stooged

By Dean Morgan

BEST ARTHOUSE COMEDY, BEST SCREENPLAY & BEST CAST (Category: International Comedy)

Sinestesìa

By Gianni Salamone

BEST ARTHOUSE FILMMAKER, BEST PRODUCER, BEST EUROPEAN SONG 2025 & BEST CINEMATOGRAPHY (Category: International Music Video)

Not Without Gloves

By Lena Mattsson

BEST EXPERIMENTAL FILM OF THE YEAR

The Rorschach Test

By Lena Mattsson

BEST DIRECTOR & BEST CINEMATOGRAPHY (Category: International Experimental Film)

The Oracle

By Anaya Music Kunst

BEST INTERNATIONAL VOICE OF THE YEAR

Tony N’ Tina’s Wedding

By Roger Paradiso

BEST NARRATIVE FEATURE & BEST DIRECTOR (Category: International Comedy)

Medea

By Andronica Marquis

BEST THEATRICAL NARRATIVE SHORT 2025, BEST CAST, BEST ORIGINAL DIRECTOR & BEST PLAYWRITING

 

Nossos Caminhos

By Carla Di Bonito

BEST SOCIAL FEATURE SCRIPT

-Who is Monte Albers de Leon?

Ideally, a storyteller, trying to give a little hope, to a whole lot of people.

-Do you remember the exact moment you fell in love with cinema?

Age 5.  In the back of my parents Chrysler K Car station wagon, a grocery bag full of home-popped popcorn in my hand, at the drive-in movie theater in California, about to see ET for the first time.

-Tell us about your project “Mecca”.

It is the second installment of The Parables Anthology and prequel to the origin story “Good.”  It takes place in New York City shortly after 9/11, and follows a gay young professional who arrives in Manhattan to begin working at a top financial firm and almost immediately accidentally kills his boss.  No one sees the accident, however, which is mistakenly construed as an attempted sexual assault gone wrong, and rather than endure a scandal and possible liability, the firm does not implicate the young professional but rather promotes him several tiers above what his experience would garner.  The movie then shows the audience where the secret knowledge and inner turmoil of the young professional’s burden of thinking his life has been elevated exponentially for killing his superior takes him.

-Which Director inspires you the most?

I have always been a fan of Aaron Sorkin, and The West Wing and American President stand out as inspirations.

-What do you dislike about the world and what would you change?

The increasing preciousness of authenticity.  It is due for a comeback.

-How do you imagine cinema in 100 years?

More dazzling and less original.

-What is your impression of WILD FILMMAKER?

A refreshing safe harbor of excellence in an ocean of disappointment.

-Who is Ty Brueilly?

Similar to some, identical to none. An Asheboro, North Carolina native with family roots in Pennsylvania and New York. Appalachian State University Graduate. Former expatriate of five years in China. A Husband, a Father and an artist. A lifelong Journalist. A Teacher of seven years. Visual and audio art of all sorts. A poet. A fashion designer. A photographer. A world traveler. I’ve released over 50 film titles, mostly short films and music videos. I have released 8 solo studio albums and the founder of Mightier Than The Sword Records, which turned 20 years old this year. 

I have passion, compassion, determination and drive. My experience is extensive, and I am just now realizing the impact that can have to the communities I represent and how I can use that to help build my city up, in what many have called an “artistic revolution”. Right Now, in a Small City in North Carolina, an Artistic Revolution is Happening –

-Do you remember the exact moment you fell in love with cinema?
When it comes to being a consumer of cinema, It wasn’t all at once. There wasn’t a definable moment, it was just always there and a major part of me. I fell in love with the cinema going experience first. The rare activity that my parents and I were equally as excited about engaging in, we would have a lot of fun together, and the only real time I felt an authentic connection with them. My parents were always present and still are present in my life, but going to the theatre was a pure connection that I’ve never really felt with them since. Watching E.T. at the drive-in was a very specific moment that my parents noticed I was completely hypnotized by what was on the screen. 

When it comes to creating cinematic pieces, there is certainly a defining moment, and that was day one of shooting my first film, ‘Shucks’ seeing my visions play out on the playback screen was the most incredible high, I remember everything from that day, the smells, the weather, the breeze, the teamwork of our small cast. My wife and I were newlyweds at the time, and it was such an amazing feeling to connect with her on a working relationship level.  A top five feeling when it comes to my career, and honestly I still get that feeling anytime I film anything for my ongoing ‘Shucks’ cinematic world. When I knew I wanted to evolve that love for cinema into an actual marriage with cinema was the first time I saw my work on the big screen in Hollywood at the TCL Chinese Theatre back in 2023. ‘A Night In Charlotte With Sweeney Ty’ was the first of my films to play at that cinema, which is an incredible honor, and I knew then, I had to put a ring on it, symbolically of course. Since then, I have had a dozen of my films played there, the most recent being the long awaited ‘Shucks’ Hollywood premiere in February 2025. 

-Tell us about your project “Shucks”.

Essentially the script, the characters and the lore were all created as a coping mechanism for a close family member who passed away from an overdose. It was a very small cast and crew, a family affair for sure. I was uncertain if we would be able to complete the story and the filming, because I didn’t know how emotional we would get, or if the people involved would tap out or stay in the ring, but we got into a good groove and stayed the course to get it completed. 

Aside from the inspiration spawning from my total intrigue of Dante’s Divine Comedy, in particular the Inferno segment, there’s an extensive background story for ‘Shucks’ that hasn’t been publicized…yet. That’s on purpose, because ‘Shucks’ is a silent, but scored black and white 50 minute film, which I scored with my musical background spanning over 20 years. I personally wanted it to be filled with symbolism and a slow burning wave that is up for interpretation, I actually never let the actors or cast ever see the script because I didn’t want them to know, so that they would go with their natural flow more than from the story and I could just direct and not rely heavy on a roadmap as it were. As I add titles, (currently ten released titles) I reveal a little more, but at this point in the evolution I want to hear from other people how the film speaks to them and what it makes them feel like. 

– Which Director inspires you the most?

Rob Zombie. His unique and gritty approach for most of his films is an incredible inspiration to me. Also, his extensive appreciation and respect he has for the horror genre has always made me more attracted to his work. And as a musician myself, I have firsthand experience with how difficult of a transition it is from music to filmmaking, especially for the fans and demographic of either. It’s like a lot of times when you transition or evolve from music to something else, you lose respect from some and then never really get it for that thing you are evolving into, but once you can master it, film and music go hand and hand, you can’t have one with the other, it’s a symbiotic relationship that if you can get traction from both can give you some unstoppable momentum, unfortunately with Rob Zombie, he’s been at what seems like a standstill after his rendition of ‘The Munsters’ which way too many people bashed and hated, but me, I absolutely loved it and enjoyed a more bright and vivid approach from him. It was a treat to be able to watch a Rob Zombie film with my son without worrying about exposing him too early to Zombie’s other films.

Nonetheless he is my top tier inspiration, with a close second being Richard Elfman, who also has that musician, director killer combination, his unconventional execution of ‘Forbidden Zone’ alone has him in a whole other level of filmmaking and that kind of determination to make sure his vision is executed the way it should be is admirable and something I strive to do. I also appreciate the fact that he also incorporates live pre-show performances for most of his screenings, with an instrumental ensemble and a bloody burlesque show with his wife Anastasia Elfman who is ‘Bloody Bridget’ from his most recent directing effort. I have been fortunate enough to call them friends in the past two years and learning from them has really fortified my trajectory in filmmaking, where I would also like to use some live performances with some of my screenings in the future, of course paying homage to their approach. 
I also pull inspiration from Kubrick, Lynch, and up and coming director Sean Haitz from ‘Cannibal Comedian’.

-What do you dislike about the world and what would you change?

The stigma that comes with addiction and those who are addicted to various substances. I really wish that hatred towards them was longer an option. It’s a luxury to be sober, I mean really, you have to look at it like that, most people don’t have the intricate support system and the love that helps nurture and recover an addicted person, it’s almost like you have to approach those situations like you are a brand new parent and the addicted person is a newborn baby, they need everything that comes with that experience and many people don’t have the endurance to do that over and over again. However, I know there are places, such as one in my hometown of Asheboro that are fully committed and fully active in doing just that, Susan E. Hunt & Chip Womick at Keaton’s Place, my hope is that many many many more establishments like this become a mainstay in cities all across the world.

‘Cause look, I’ve been on all sides of that, I’ve been severely addicted, I’ve gone cold turkey, I’ve stopped for months, just to attempt to make up for the time I didn’t in a weekend, I’ve had some of the people I love the most fall victim to the vicious cycle and pay the ultimate price, I’ve been crass and hateful to people I love who are in the clutches of the addiction, I’ve ignored it, I’ve tried to help, I’ve loved, I’ve fought them, I’ve fought for them, I’ve empathized, I’ve sympathized, I was embarassed, I was proud of who they were and could be and not once through all those have I felt like I’ve done the right thing, it’s such a delicate situation . As cliche and overused as this phrase is, in the blink of an eye your life can change, and oftentimes it’s not through any fault of your own, and even when it is, I mean, who doesn’t want to feel good? We are all searching for the highs we got when we were kids growing up, a substance is something that is actually accessible and quick. 

-How do you imagine cinema in 100 years?

It’s scary what can happen. I’m pretty nervous about it, but equally as excited. A.I is both a threat and a tool, and within 100 years it will be an undeniable force in the creative process of filmmaking. I worry when it’s time to “compete” with the machines, and how that will play out. I also worry about when everyone associated with certain films are dead and gone and the rights become someone else’s, what can happen with those, like who can add and take away from it, it’s happened a lot already, but will that continue?

 I feel that the cinema going experience will remain in high demand, because of the very reasons I mentioned before about why I fell in love with it. Screens will get bigger, higher definition and we will see more virtual reality type films come into play, with some that kind of let you choose your own story as it progresses, like those books from the 1980s I read as a kid. I think arthouse survives and thrives. Drive-In has an opportunity to flourish if people give it a chance again. Unfortunately, I feel like in the next 1-10 years we will all face different levels of censorship, especially in the USA, but that won’t last. Art is revolutionary in nature, and is resilient, because there are few people who can actually take the world’s imagination and put it on a screen, that’s what has always made cinema magical and always will. 

-What is your impression of WILD FILMMAKER?

I first heard about WILD FILMMAKER a few years ago when I had a positive experience with 8 & Halfilm Award in Cannes, and was pleased to hear from Michele Diomà last week. I am still learning about WILD FILMMAKER, but what I see so far has been something that aligns with my goal set, I love the tendencies to use black and white and also that it’s on an International scale. There are a lot of filmmaking communities that are 100% transactional, while others help those filmmakers who commit and/or financially support to these communities on different levels. I’ve been a part of both, and I hope to actually grow with WILD FILMMAKER and not just have a one and done relationship. I’d also love to see WILD FILMMAKER have a presence at our next Mightier Than The Sword Awards at Sunset Film Festival in 2026!

-Who is Alberto Martín-Aragón?

I don’t know exactly. I think Alberto Martín-Aragón is a defeated and melancholic man who makes surreal and dreamlike short films to alleviate the loneliness of his shipwreck.

-Do you remember the exact moment you fell in love with cinema?

When I saw Barbara Stanwyck weep desperately in the final scene of “Meet John Doe,” a 1941 film directed by Frank Capra. I was twelve years old, and it was the first time I thought cinema could be more beautiful and truer than life.

-Which director inspires you the most?

Many directors inspire me. I’ll name four of them: Béla Tarr, Luis Buñuel, Pier Paolo Pasolini, and David Lynch.

-What don’t you like about the world and what would you change?

I don’t like people who are obsessed with always winning. Many of these people tend to dedicate themselves to politics, which has become an undignified and despicable activity carried out by charlatans and ruffians.

-How do you imagine cinema in 100 years?

I think that in 100 years there will be no humanity, nor will there be cinema. I hope I’m wrong.

-What is your impression of WILD FILMMAKER?

WILD FILMMAKER is an indispensable and providential community because it gives visibility to many bold and visionary filmmakers who often lack the financial support necessary to bring their work to large audiences.