Month: May 2026

– Who is Anna Blackblum?

I’m Anna Blackblum, a Portuguese screenwriter currently based in Singapore. After years of keeping my stories to myself, I finally decided to bring them to life.

I naturally gravitated toward psychological and supernatural horror because I’ve always been fascinated by mystery, the occult, and what lies beyond what we can explain. My studies in criminology heavily influence my writing, allowing me to explore trauma, human behavior, and morality with a deeper edge. Today, I focus on creating atmospheric, emotionally driven thrillers and horror stories that connect ancient folklore with real human struggles.

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

I don’t think there was one exact moment, but I vividly remember becoming completely obsessed with Carrie as a child (I must have watched it more than twenty times, usually when my parents weren’t home).

Also, my grandfather deeply loved cinema, and we used to go to the 3 p.m. matinees together whenever we could. Those moments felt magical, and I was fascinated by the entire experience, the darkness of the room, the silence before the screen lights up, and the feeling of entering another world. Around that same time, I also watched Audrey Rose starring Anthony Hopkins, who remains my favorite actor of all time. Together, those films truly shaped my imagination and deeply influenced the spiritual, emotional horror I am drawn to today.

– Tell us about your project “THE SHADOW VERSE”.

The Shadow Verse is a psychological supernatural horror screenplay inspired by the legends surrounding the Book of Saint Cyprian.

The story follows Catherine Thorne, a woman whose life is collapsing when she inherits a mysterious occult book connected to her bloodline. Desperate to change her fate, she begins performing rituals from the book until she breaks its only forbidden rule, unleashing an ancestral entity tied to her family for generations.

What makes the project unique is that it explores horror through Spiritist doctrine (Allan Kardec) and the folklore surrounding Saint Cyprian, themes that are still rarely explored in international horror cinema.

The story draws inspiration from European and Brazilian spiritual folklore rather than traditional demonology.

– Which Directors inspire you the most?

My favorite director is James Wan because his films completely capture your attention; they are filled with emotion, tension, and an atmosphere that keeps you tethered to the screen from beginning to end.

Another filmmaker who deeply inspires me is Mike Flanagan, because of the way he crafts mystery and suspense while keeping his stories profoundly emotional and human.

I am also inspired by Christopher Nolan for his psychological depth and complex storytelling structures. Films like Inception completely changed the way I look at dreams, imagination, and narrative form itself.

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

What troubles me most about the world is inequality, violence, corruption, war, and the lack of opportunities that many people face simply because of where they were born. Many of my stories explore these themes because I’m fascinated by the contrast between chaos and order, and by how different society could be if more countries genuinely invested in education, safety, and human potential. Living in Singapore also changed my perspective. Seeing how a country transformed itself into one of the safest and most developed societies in the world made me reflect on the incredible outcomes that are possible when there is long-term vision and investment in people.

– How do you imagine cinema in 100 years?

I think cinema will become far more immersive and technologically advanced, likely combining artificial intelligence, virtual reality, and interactive storytelling in ways we can barely conceive today. But despite all technological evolution, I believe the essence of cinema will remain the same: human emotion. People will always search for stories that make them feel fear, hope, grief, love, or wonder. Technology may change the way we experience cinema, but emotion will always remain its soul.

– What is your impression of WILD FILMMAKER?

What draws me most to Wild Filmmaker is your dedication to the post-cinematographic era and your mission to champion independent, raw voices. In a landscape often dominated by mainstream commercial tropes, having a platform focused on true auteur cinema is invaluable.

Who is Lucy De Crescenzo?

I am an independent producer and distributor. I have always experienced cinema as an act of freedom, even before considering it a profession. I am drawn to stories that have the courage to move people or leave an open wound. I believe in a human kind of cinema, social in the deepest sense of the word, capable of creating genuine connections between people. My journey stems from an absolute passion for European auteur cinema and from the desire to build an independent space where films can exist without compromise.

How did the Europictures project come about?

Europictures was born from the desire to create a bridge between international auteur cinema and Italian audiences. At a time when the market was becoming increasingly homogenized, I felt the need to support films that may not have had major marketing campaigns, but possessed a strong and necessary identity. Europictures came to life this way: as an act of cultural resistance, but also as a gesture of love for independent European cinema and for discovering and supporting young talents.

What assessment can you make of your 79th Cannes Film Festival 2026?

It was a very strong Cannes, full of true cinema. I felt the return of courageous filmmakers and political films, works that were less designed to please and more necessary to make. For me, Cannes remains the place where independent cinema can still feel alive.
For us, it was also an important edition because “Butterfly Jam”, which opened the Quinzaine, was received very warmly by both critics and audiences. It is always moving to see such a powerful film manage to reach viewers on a visceral level.
“Garance”, the film we have in competition starring Adèle Exarchopoulos, also struck me deeply because it portrays a woman who is fragile yet at the same time incredibly strong, full of contradictions and truth. I believe she is one of the most beautiful female characters seen at Cannes this year.
And I was also very happy with the reception of “Roma Elastica” by Bertrand Mandico (Official Selection 79th Cannes Film Festival), which in some way recalls the very best of our cinema, the kind that is freer, melancholic, and poetic.

WILD FILMMAKER is a global community of Arthouse film producers, a movement inspired by the Nouvelle Vague but on a worldwide scale. Do you think it is still possible today for an independent movement to prevail over the distribution power of the major companies?

Yes, but only by remaining radically independent. The major companies have economic power, but independent cinema still possesses the power of vision. The Nouvelle Vague did not change cinema through money, but through artistic urgency and the desire to break the rules. I believe that today audiences are tired of homogenization and are in need of authenticity. An independent movement can still influence world cinema, but it must have courage, identity, and above all, freedom.

How do you choose a film to distribute? What qualities does it need to have?

I always choose instinctively. A film has to leave something with me, even unsettle me, if necessary. I’m not interested in perfection; I’m interested in truth, in emotion. Whenever I watch a film, I always ask myself: “Does this film truly need to be seen?” If the answer is yes, then for me it’s worth fighting to distribute it.

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

I don’t like the superficiality with which people experience everything today. We live in an extremely fast-paced era, where people are afraid of depth, silence, and complexity. I would change the cynicism. And in cinema, I would change this obsession with algorithms and numbers. Art cannot be born solely from statistics. It needs risk, intuition, fragility, and freedom.

Who is María Valeria Pazos?

A human being who believes in the capacity of art to transform the way we relate to others and to our surroundings. I work through philosophy, sensory theatre, poetry, and visual universes, with the intention of creating atmospheres, dialogues, and reflections that open new imaginaries, question our forms of life, and reconnect us with tenderness, play, wonder, and
sensibility.

Tell us about your projects.

I am currently developing my doctoral research in philosophy of imagination, exploring the connections between imagination and the body — how the imaginaries we inhabit can be transformed, and how aesthetic pedagogies might allow us to imagine better futures. I am passionate about cinema and increasingly drawn to experimenting with AI as a means of storytelling. I am also about to self-publish a poetry book titled Jardín portátil (Portable Garden), developed over the past months in a workshop led by the artist and poet Rocío Cerón.

What do you like and what don’t you like about the world?

I love the circus, poetry, tenderness as a form of resistance, love, and compassion. I reject war, dictatorship, and the abuse of children.

Every artist has someone or something that inspired them. Where do you draw your creative drive from?

My deepest source of inspiration is dreams, along with the practice of categorizing atmospheres and observing the constant mixture between what I perceive, what I imagine, and what I remember. The other day, for instance, walking through my university, the way the stones were arranged in the space activated certain sensory memories of Japan, and suddenly my present
moment merged with Japan, generating a new and singular atmosphere. Everyday atmospheres inspire me in this way: what I have seen, smelled, or felt. I am also deeply inspired by artists such as the theatre director Daniele Finzi Pasca and the surrealists.

Many believe the actor’s profession risks being disrupted by new and revolutionary technologies like AI. What do you think about this?

I see AI less as a replacement for human creative practices and more as a poetic instrument capable of materializing images, atmospheres, and impossible visual relationships. Every technology throughout history has transformed artistic languages: photography transformed painting, cinema transformed storytelling, video transformed performance. AI opens another
threshold. What matters resides in intention, sensibility, symbolic depth, vision, ethics, and the human capacity to shape meaning. Presence, vulnerability, emotional resonance, embodied experience, intuition, and imagination continue to occupy a profound place within creation.

What impression do you have of WILD FILMMAKER?

I appreciate spaces that support independent voices, experimental visions, emerging cinematic languages, and personal forms of storytelling. Contemporary cinema grows through platforms like this one — spaces where experimentation, intimacy, risk, and singular perspectives continue to evolve.

-When you plan the realization of a film project, what are your objectives?

I always aim to explore social issues and convey meaningful messages without overwhelming the audience during the viewing experience. Regardless of the genre I work in — from comedy to drama — I believe classical storytelling should blend seamlessly with experimental elements.

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

Cinema has always been capable of reinventing itself, embracing technological evolution and making it part of its own language. In my view, artificial intelligence should primarily serve as a tool of support rather than replacing traditional cinema altogether. At the same time, in certain forms of storytelling, it can become an alternative to more classical techniques.

What remains essential, however, is the human element: without a deep understanding of cinematic rules and film language, it is impossible to create a meaningful AI-driven project from scratch. Human creativity, vision, and artistic sensitivity will therefore continue to be unique and fundamental in this new era of cinema.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

I aim to present this project to a company that is open to innovation, one that has moved beyond outdated frameworks and does not exclude the intelligent use of AI. I don’t have a specific company in mind yet, but I am particularly interested in international production or distribution companies. In the United States and Asia, AI is rapidly gaining ground and becoming increasingly influential in the industry.

-WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing.
Do you think we are doing a good job?

Throughout my career, I have taken part in several national and international festivals, as well as side events during the Venice Film Festival. I also participated in the Cannes 7 Art Awards 2025 section last year, with the award ceremony held at Marche Film during the Cannes Film Festival. Through these experiences, I have become familiar with various markets and international festival environments.

What Wild Filmmaker does is unique, as it offers a genuine exploration of the independent, experimental, and artistic landscape of both Italian and international cinema, presenting it in an accessible way with what is likely a distinctive style.

I’m not sure whether the right moment has come to move toward a more marketing-driven approach or to organize a physical event with marketing at its core. It is difficult to say. However, I don’t believe anything is impossible: if the same boldness used in this globally oriented, unconventional version were applied to a more traditional format, it could still make sense and remain original in its own right.

Who is Carol Dorn?

Carol Dorn is a filmmaker, writer, and director with a background in theatre and performance,
drawn to stories about identity, intimacy, memory, and transformation. My background began in
theatre and performance, which deeply shaped the way I approach cinema – deeply
actor-centered, emotionally precise, and visually expressive. I’m interested in what people hide
from the world and the quiet moments where truth slips through the cracks.
I’ve worked across many creative worlds over the years, but filmmaking became the place
where all of those disciplines finally converged into one language.

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

I think I fell in love with cinema long before I understood what directing was. Although I say that
and I watched my mom direct community theatre from as early as I can remember.
As a child, films didn’t simply entertain me—they transported me. I was fascinated by
atmosphere, by silence, by faces thinking. My mom was a huge influence because she would
take me to see films like “Blackboard Jungle” when I was 5 or “Barry Lyndon” when I was 13!
Later, European cinema especially affected me because it trusted the audience to feel rather
than be instructed.
At some point I realized film could function almost like music or memory. It could say things that
ordinary conversation cannot. That realization never left me. And I have to say my parents were
a big influence in that regard because we were raised with a much more European mindset.

Tell us about your project “Disclosure from a Cloakroom”.

Disclosure from a Cloakroom is a British feature film set between London and Sicily. At its heart,
it’s a story about grief, reinvention, longing, and the courage to become fully oneself later in life.
The film follows Rachel, a sophisticated restaurateur whose carefully controlled world begins to
unravel after an unexpected emotional connection forces her to confront buried truths about
identity, desire, and freedom.
Visually, I’ve often described the tone as “Helmut Newton in motion”, elegant, sensual,
restrained, but emotionally volcanic underneath the surface.
What matters most to me is that the film treats its characters with dignity and complexity. It is not
interested in clichés. It’s interested in humanity.

Which Director inspires you the most?

That’s almost impossible to answer with only one name.
Ingmar Bergman taught me emotional excavation.
Federico Fellini taught me cinematic courage and imagination.
Sally Potter taught me how to use “assumptions” and turn the story on its ear.
And directors like Jane Campion and Susanne Bier remind me that intimacy can be just as
powerful as spectacle.
I’m drawn to filmmakers who understand that cinema is not merely plot—it’s rhythm, psychology,
texture, silence, contradiction. And there are many brilliant filmmakers I know I’m unfairly leaving
out.

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

I think we are living in a time of increasing disconnection disguised as connection. People are
overstimulated but emotionally starving. I think that if we could get more audiences back to the
cinema for a shared experience that would be a powerful start. But that is only going to happen
if we make some big changes.
If I could change something, I would want more empathy in the world—real empathy, not
performance. More curiosity about one another. More art. More listening.
Art cannot solve everything, but it can remind people they are not alone. That matters
enormously.

How do you imagine cinema in 100 years?

Technology will change dramatically, of course. The tools will evolve in ways we can barely
imagine now.
But I believe the essential human need for storytelling will remain exactly the same. We will still
crave emotional truth, beauty, mystery, and connection.
Cinema may become more immersive, more interactive, perhaps even partially
experiential—but I suspect audiences will always return to stories that reveal something honest
about being human. I have some ideas about that and am developing them now.

What is your impression of WILD FILMMAKER?

I think WILD FILMMAKER represents something very important in contemporary cinema culture.
It champions independent voices and arthouse filmmaking at a time when originality can
sometimes feel endangered. I’m incredibly grateful for that.
I appreciate publications that still value personal vision and cinematic identity rather than simply
chasing trends. Independent cinema survives because communities like this continue to support
artists who take creative risks.

-Who is Reyson Grumelli?

Reyson Grumelli is first and foremost a human being, with all its flaws, his insecurities, his beliefs, his ideas. And after all of that he is an actor and a singer.

-Tell us about your projects.

I am currently filming a new series, an experimental project we could call it, it’s about the life of people that live in my world, actors, producers, managers and so on. I’m really curious to see whether people will like it or not.

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

I don’t like hypocrisy, I don’t like lack of values and I don’t like social media. I love nature and my dog.

-Every artist has someone or something that inspired them, where do you draw your creative drive from?

Everything has a possibility to inspire us, be it good or bad, I let music or other movies do most of the work for me. I love James Dean and I wouldn’t lie if I said that it’s been my main source of inspiration since I was a kid.

-Many believe the actor’s profession risks being disrupted by new and revolutionary technologies like AI. What do you think about this?

I am pretty scared by the thought of being replaced by an AI. But I even more at the thought that this AI might once become equal to us in the sense of how we feel emotions. I really hope art will find a way to live on in the next generations.

-What impression do you have of WILD FILMMAKER?

I love how it opened its pages to me, it gave me a way to express parts of my work that I rarely talk about and especially not in english. I think it’s a splendid magazine!

-When you plan the realization of a film project, what are your objectives?

My objective is to tell a personal story about a compelling story that will try to change the world a little bit, I hope.  I hope that I get an audience to view the book I made.  At the moment, I, and many others are not in charge of the distribution gods who use algorithms to decide whether our projects live or die. I would make an audio book also to deliver a dramatic reading of the book.  And I will sell book rights for the “film” that could be made from this arty and true book.

-With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

Yes, I spend a lot of time takling about this in my Greenwich Villlage newspaper and my socia media blogs. Several things happened to indie filmmakers.  We lost our film, the medium, for many years.  When we lost film we lost our theaters our stage for so many centuries.  We now live in a virtual, digital world where we stream out work but the pay is pitiful.  We have allowed these Tech giants to create a world where they have a deal with their billlions of subscribers. The deial is the streamers want to satisfy their subscribers with the cheapest subcription rates,  It is a streaming world where the currency is not really money.  The filmmakers use cash to make their films because the real world deals with cast still.  But what they give us is peanuts not a real wage we can live on.  The steamers deal with streaming which is an excellent and cheap way to transmit films.  Us indie filmmakers and can make a deal on this.  But the deal is not between us.  It is between the streamer Tech Giants and the subscribers. The Producers, Directors we are not in the club.  We are outside of this deal.  Films can come from around the world.  Most of them follow the alogrhthm which is action, sex, violence, prositution and drugs.  It is true that many filmmakers in other countries are left out because they, like we, are trying to make cinema.  The streamers want to make movies that are cheap for them to buy and now they make them also.  This is the game that we must fight.  We will never surrender Cinema.  We will always fight for the truth.  Art films are not suppossed to be boring and expensive.  But art films are cinema and they will never die.  They will live on like jazz and the blues. We travel the same roads.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

I wrote a book called My Hollywood Circus.  It is a memoir and chronicle of my life making Studio films and Independent Films.  It is funny and it is sad.  It is what cinema should be.  I think there will be an audience who will want to see the behind the scenes.  And to see the roads traveled by a filmmaker.

It will be released like a film this September.  I propose the very world art film distributors should be behind this celebration of film which died in 2004 when my friend at the great Technicolor in New York told me he only did 3 films in 2003.  And he said film is over.  It’s all digital now.  So distributors with a passion for film and a passion to see how this filmmaker keeps it alive. By writing a book. Then an audio book to bring actors to the reading of a book. And then we should make a deal to turn the book into a film. This is the new cinema.  It is alive. 

-WILD FILMMAKER can now “sit at the table with the big players”alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?

Michele and your Wild Filmmakers are doing a great job fighting to keep cinema alive in any way they can.  I would propose nothing short of a revolution in the art world so that todays subversives will take over the mainstream again,  Just like we did in the 60s.

–When you plan the realization of a film project, what are your objectives?

As I usually produce my own film projects, my objectives are to ensure that:

• I develop a unique idea and script, refining it so it fully matches my creative vision.
• I apply for funding and reach out to my network to explore financing opportunities.
• I recruit a talented cast and crew who understand the vision and believe in the project.
• I find suitable filming locations that meet the script’s requirements and enhance the film’s aesthetic.
• The music score aligns with the mood and style of the film, as this is particularly important to me.

–With Artificial Intelligence, cinema is undergoing a phase of transformation even more radical than the one that occurred in the 1920s with the transition from silent films to sound. What is your opinion on this?

There is no denying that artificial intelligence is here to stay, and we have already seen how it is beginning to impact the film industry. For example, we are now seeing the emergence of AI-generated actors and films. However, I believe that AI will never be able to fully replace human intelligence, creativity, and emotional depth. While AI can be a powerful tool for filmmakers—helping with aspects such as editing, visual effects, or even script development—it cannot replicate the unique perspective and personal storytelling that each filmmaker brings to their work. Cinema is already evolving and looks very different from how it did 5–10 years ago due to advancements in AI. Nevertheless, at its core, filmmaking remains a deeply human art form. AI can support and enhance the creative process, but it cannot replace human creativity or the authenticity of human experience.

-To which production or distribution company would you like to propose your new project? Give us a profile, including some examples.

I would like to propose my new projects, The Fatal Dilemma and The Other Side of the Lens, to production and distribution companies that have a strong appreciation for distinctive visual storytelling and vintage-inspired cinema.

In particular, companies such as A24, Searchlight Pictures, and StudioCanal would be ideal, as they are known for supporting filmmaker-driven projects with unique styles and strong artistic identities. For example, A24 has backed visually distinctive and unconventional films, while Searchlight Pictures has a history of producing and distributing character-driven, stylistically rich cinema.

I would also consider organisations like the BFI (British Film Institute) and Film4, which actively support independent filmmakers and projects that explore cinematic heritage and innovation. These companies often invest in films that combine creative storytelling with strong artistic vision.

My projects are inspired by vintage film styles and aim to revive classic cinematic aesthetics for modern audiences. Therefore, I am particularly interested in working with companies that are passionate about bringing timeless storytelling techniques to new generations, while maintaining a high level of artistic integrity.

–WILD FILMMAKER can now “sit at the table with the big players” alongside The Hollywood Reporter and Variety during the Cannes Film Festival, but we have chosen to continue being a Global Cultural Movement with an ethical mission: to bring democracy into cinema, placing the Work of Art at the center of our project rather than Marketing. Do you think we are doing a good job?

You are doing an excellent job in giving independent filmmakers a unique opportunity to showcase their projects and share them with audiences worldwide. It is extremely important to support and give a voice to independent cinema, as it operates with greater creative freedom, free from many of the constraints often imposed by major studios.

Independent cinema has the power to explore diverse ideas, perspectives, and ideologies, and can influence the way audiences think about life and important social topics. It brings fresh perspectives, original storytelling, and experimentation with style, cinematography, and narrative techniques—elements that may not always find space within traditional studio systems. By prioritising the work of art over marketing, you are helping to preserve the true essence of filmmaking and encouraging innovation and authenticity within the industry.

-Who is Marion Le Corroller?

I’m a young French film-maker in love with body-horror. I first studied Finance for five years before turning to cinema and directing. My first feature film “Sanguine” (Species – international title) is premiering this year in Cannes at the Midnight screening, in the Official Competition.  

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

Yes, when I saw Titanic for the first time, as a kid. It was during my summer holidays at my grandparents’ countryside home. They had recorded the film on television. I watched it a hundred times. I knew the dialogues by heart. I knew at this exact moment that I wanted to do this job for the rest of my life. 

-Tell us about your project “SPECIES (SANGUINE)”.

It’s a body-horror film about young people having troubles adapting to the work market. It tells the story of a young resident, working at a hospital who starts developing unknown symptoms on her own body….

-Which Director inspires you the most?

Ari Aster. He is my master, I’m such a huge fan of his work. I don’t know any other director as brillant as him. “Beau is afraid” blew my mind, it’s a masterpiece. According to me, he’s the new king of horror. 

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

The fact that people have stopped thinking, or that everybody thinks the same because everybody thinks the way chat GPT thinks… I would encourage people whom dare thinking out of the box and fighting for their ideas, even if they are radical. 

-How do you imagine cinema in 100 years?

I think it will probably be the last room where we’ll be able to defend non conventional ideas and point of views. The last room of freedom in a very asepticized world. 

-What is your impression of WILD FILMMAKER?

So great to discover new filmmakers from all over the world !