Author: Dreamate Demo

For the Love of Horses

BEST INTERNATIONAL ARTHOUSE DOCUMENTARY SHORT

Roses are Blind

BEST INTERNATIONAL THRILLER

Medea

BEST ARTHOUSE SHORT FILM, BEST EDITOR & BEST ORIGINAL FILMMAKER

Michelangelo and Me + Da Vinci and Me opener

BEST INDIE WRITER & BEST ORIGINAL FEATURE SCRIPT

Tututango

BEST VIDEO POETRY & BEST ARTHOUSE CINEMATOGRAPHY

The Liminal Space

BEST ORIGINAL EXPERIMENTAL PROJECT

Apples, Oranges, Lemons & Limes

BEST AMERICAN NARRATIVE SHORT, BEST ORIGINAL INDIE DIRECTOR & BEST CAST

Space table Symphony

BEST ARTHOUSE MUSIC VIDEO

Lights, Camera, Action!

BEST PICTURE & BEST INDIE NARRATIVE FEATURE

Now

BEST EXPERIMENTAL SHORT FILM

Americans in Japan

BEST ORIGINAL DOCUMENTARY SHORT

An impossible secret

BEST NARRATIVE SHORT & BEST INDIE CINEMATOGRAPHER

Halloween (Rabbit Well Episode 6)

BEST ORIGINAL ANIMATED PROJECT & BEST ARTHOUSE FILMMAKER

SOUL

BEST EXPERIMENTAL CINEMATOGRAPHY & BEST INDIE NARRATIVE SHORT

The Divers

BEST ORIGINAL WRITER

Omnipotent Resolution

BEST SONG, BEST AMERICAN MUSIC VIDEO, BEST SINGER & BEST DANCE SHORT FILM

Mourning Coffee

BEST FIRST TIME DIRECTOR

My Life as a Piece of Space Debris

BEST DOCUMENTARY SHORT

Hot Afternoons Have Been in Montana

BEST INTERNATIONAL VIDEOPOETRY

The Face of the Faceless

BEST INTERNATIONAL FILM, BEST SCREENPLAY & BEST CINEMATOGRAPHER

Peace Prayer (Extended Version)

BEST ORIGINAL MUSIC VIDEO

Precious the Baby Dragon

BEST INTERNATIONAL BOOK

0 = 45 version V and version VI

BEST ORIGINAL DANCE MOVIE & BEST CHOREOGRAPHY

Atlas of Uncertainty

BEST SOUND DESIGN & BEST EUROPEAN ORIGINAL PROJECT

Lifes Mapped Out

BEST INDIE DIRECTOR

Catalysm Down Under ( trailer)

BEST TRAILER

Thankful

BEST INTERNATIONAL FEATURE SCRIPT

La Rixe

BEST INTERNATIONAL DRAMA

The Mori

BEST NARRATIVE SHORT, BEST SCREENWRITER & BEST INDIE DIRECTOR

Last Dance in Mariupol

BEST HUMAN RIGHTS NARRATIVE SHORT & BEST ARTHOUSE PRODUCER

Lifes Mapped Out

BEST INDIE DIRECTOR

The Girl Who Faded Away

BEST INTERNATIONAL MUSIC VIDEO & BEST INDIE PRODUCER (Category: Music Video)

Bat Sheva (The Daughter of 7even)

BEST ORIGINAL SCORE

What Kind of Day

BEST INTERNATIONAL DRAMA

Aneyshia

BEST ORIGINAL MUSIC VIDEO

Balkan Jazz

BEST DOCUMENTARY FEATURE & BEST INTERNATIONAL FILMMAKER (Category Documentary)

Monument to Love

BEST SOCIAL DOCUMENTARY & BEST PRODUCER

BLIND FAITH: Moments of Missed Understanding

BEST EXPERIMENTAL FILM & BEST INSPIRATIONAL DIRECTOR

Déjà Vu On the Ledge

BEST ARTHOUSE SHORT FILM

The Victims of Sundarbans

BEST INDIE SHORT FILM & BEST EDITING

The Priory of Sion

BEST EUROPEAN FEATURE SCRIPT & BEST ARTHOUSE SCREENWRITER

The Forest Of The Honey Bees

BEST INTERNATIONAL ANIMATED SHORT FILM

Luzinete

BEST INTERNATIONAL INDIE NARRATIVE SHORT

Sky Walker

BEST ORIGINAL FEATURE SCRIPT

Dojo

BEST THRILLER SHORT, BEST ACTING, BEST ACTION MOVIE & BEST INDIE PRODUCTION COMPANY

The Quest for Camelot

BEST DIRECTOR

“Only You Can Save Her,” pilot teleplay of series THE BOY WHO EARNED HIS MAGIC

BEST PILOT TV & BEST AMERICAN WRITER

The Dead Ringer

BEST INTERNATIONAL SCREENWRITER & BEST ORIGINAL IDEA

Remnant

BEST INDIE NARRATIVE FEATURE, BEST CAST, BEST DIRECTOR (Category: Narrative Feature) & BEST ORIGINAL SCREENPLAY

Not Without Gloves

BEST EUROPEAN DIRECTOR & BEST POETIC CINEMATOGRAPHY

Anything You Lose

BEST ARTHOUSE DOCUMENTARY & BEST INDIE FILMMAKER

L’amour est temps de reflets

BEST EUROPEAN SHORT FILM

Eye of the Storm

BEST BIOGRAPHICAL FILM

Final Fire

BEST FEATURE SCRIPT

Flames of Love

BEST TELEVISION SCRIPT

Routine

BEST AMERICAN NARRATIVE SHORT, BEST ORIGINAL DIRECTOR & BEST ORIGINAL IDEA

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

BEST INTERNATIONAL ARTHOUSE SHORT FILM, BEST SCREENPLAY SHORT, BEST INDIE FILMMAKER & BEST CINEMATOGRAPHY

Brothers of Babylon

BEST SCREENWRITER & BEST ORIGINAL FEATURE SCRIPT

The Pathos of Hamlet

BEST INDIE PRODUCER & BEST AMERICAN ACTOR

The Stones of Rome

BEST ARTHOUSE SHORT FILM

Risveglio Planetario

BEST INDIE MUSIC VIDEO

5 marzo 1955 Una Canzone per Carla

BEST SUPER SHORT FILM

Artists & Aliens

BEST SCI-FI

In a Whole New Way

BEST ARTHOUSE DOCUMENTARY SHORT

Sinestesìa

BEST EUROPEAN MUSIC VIDEO & BEST ORIGINAL DIRECTOR

Emergency Musical Response: Part 1 – Journey to Netherworld

BEST ARTHOUSE FIRST TIME DIRECTOR

Unsuitable Meeting

BEST ORIGINAL INDIE DIRECTOR

-What has been the greatest difficulty you faced in producing your project?

Definitely the novelty of it all. When we started Sitting in a Dream, we barely knew anything about filmmaking or producing music videos. Before this one came about, our experience was limited to a bunch of high school amateur shorts and fake trailers shot on a tiny Panasonic camcorder in our old Soviet panel housing backyards. This was our first real attempt at more or less professional filmmaking, and Sitting in a Dream was originally meant to be part of a series of promos for an arthouse Syd Barrett-inspired film we were planning but never ended up making (hence the title).

From the start our aim with it was festivals, which is why the production quality had to urgently get much less embarrassing. At last, we left behind our usual “Moscow Hollywood” setup—our affectionate term for the Soviet brick jungle where we had filmed everything up to that point—and drastically expanded our location scouting to ensure the material properly matched our vision. We upgraded to a 4K camera, invested in proper lighting, and expanded the crew by bringing on a gaffer, grips, and a makeup artist, all of whom had to learn on the job since hiring experienced professionals was way out of our budget. Needless to say, my job as a director had gotten a lot tougher, but the fact that we pulled it off speaks volumes about the fast learning and incredible talent of the people I had the privilege to work with.

-Do you think the film industry today has been damaged by political correctness?

Certainly, and quite severely in my opinion. What I have seen happen in the industry almost on every level is the utter politization of the art of filmmaking, to the point where every movie seems to try to make the same old political statement and pander to different minority groups rather than tell an actual story or God forbid entertain the audience. On the other hand, history has shown that such periods of censorship in the arts cannot last forever and, in the end, can only lead to one thing: an explosion of free artistic spirit fueled by a desire to break those chains and tell new, unique stories that inspire and entertain. I believe we might just be on the brink of such a “renaissance”, where filmmakers will once again be prioritizing artistry over agenda.

-What was the greatest source of inspiration for creating your project?

Quite simply, Syd Barrett. I firmly believe he is among the most important figures in music history with one of the most tragic and unusual, at times even magical personal stories that just begs for a biopic about his life. This was my first time working on a music video, so I looked to other music videos for inspiration, particularly Pink Floyd’s 1960s TV promos featuring Syd. The one that impressed me most was their 1967 promo for “Jugband Blues,” Syd’s last song with the band, and what was so interesting about it was how you could see that at that point due to his progressing mental illness he was completely and forever lost in his quiet senseless darkness never to return again. “Now there’s a look in your eyes, like black holes in the sky”, – as his bandmate, Roger Waters would later put it.

Fairy tales were another key inspiration for this music video. Syd Barrett was apparently just as fond of them as I am, which is why for “Golden Hair” he adapted the lyrics from a James Joyce poem that seems to hint at the story of Rapunzel, one of the most iconic fairy tales out there. With its imagery, we aimed to evoke a sort of magical-mythical feel in our music video by featuring fireflies, candles, mysterious masked men, and the Golden-Haired lady herself, all quietly surrounding our hero. The interplay between these elements was designed to transport the viewer into a dreamlike world that blurs the boundaries between reality and fantasy, a reflection of the mesmerizing quality of Barrett’s own work.

-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?

I would have definitely loved to talk to Andrei Tarkovsky (who, interestingly, comes from roughly the same region in Russia as my mother) about his filmmaking style and try to get him to explain his unique approach in very plain and practical terms, rather than the artistic and almost spiritual responses he typically gave in his interviews.

-What do you think of the Wild Filmmaker platform?

So far, I am quite fond of it! I think it offers a unique opportunity for us little indie people to participate in some of the biggest and most prestigious cinematic events all over the world, not to mention interview us and allow us to give our own unique perspective on what the art of filmmaking can be. It’s incredibly encouraging to see such platforms providing a voice to independent filmmakers, fostering creativity, and helping us reach wider audiences we might not have been able to access otherwise.

-Who is Robert Scott MacLeay?

I am a Canadian new media artist (photography and video) / composer / writer, who lived and worked in Paris for 30 years before moving to Florianópolis, Brazil in 2010. My formal education was in the social sciences and I have an Msc. in Economics from the London School of Economics and Political Science (LSE). I left my doctoral studies to pursue a career in photography in Vancouver, Canada in the mid-70s and decided to dedicate myself exclusively to my exhibition work when I moved to Paris in 1979. In the 80s, thanks to good gallery representation in New York and Paris and multiple participations in the biennial Paris Month of Photography (1980, 1982, 1988), I was able to exhibit my work widely in Europe, N. America and Japan. I left the analog photographic world in the late 80s to devote myself full time to composing music for video art, contemporary dance and my group Private Circus. I had always composed music on a part-time basis since moving to Paris, but my frustrations with the limitations of analog photography led me to explore the world of digital music on a full-time basis, an activity that enhanced my later interest in digital imagery, filmmaking and online technologies. When the quality of digital applications in the visual arts had begun to catch up to those in the audio universe in the period between 2003 and 2008, I began to apply many of the processes I had developed in my musical composition and sound designing work to digital image-making based on combinations of photography and the graphic arts.
By the time I arrived in Brazil, I was dividing my time between research and exploration in digital photography, video and music, all in the service of creating new media pieces. Over the past seven years I have grown increasingly interested in exploring and developing interactivity in both my online and video projects, devoting the majority of my time to experimental video work. Throughout my 45 years as an artist, my formation in the social sciences continued to be an important influence on the manner in which I develop and evolve the conceptual processes underlying my work.

-What inspired you to become a Filmmaker?

Upon arriving in Paris, I quickly realized that I needed to find a way in which to assure a relatively steady flow of income to finance my photographic exhibition work. I was offered the opportunity to create the Photography Department at the American Centre for Artists in Paris, an avant-garde independent cultural institution that was famous for introducing American video art to French audiences as well as for its work in the field of modern dance and music with its affiliations with the Merce Cunningham Dance Company and John Cage. The video activities at the American Center were initiated by Don Foresta who was Director of its Center for Media Art. Don regularly organized presentations, workshops and encounters with some of the most influential video artists of the day including Woody and Steina Vasulka, Nam June Paik and William Wegman as well as exciting newcomers like Bill Viola, Gary Hill and Joan Logue among others. I attended all the presentations and began to develop a deeper understanding of the power of video art and its relationship to experimental film. During my first year of teaching at the Center I was asked to participate in the first transatlantic transfer of an image over a telephone line via slow scan between the American Center in Paris and Center for Advanced Visual Studies at M.I.T. In 1981 this constituted a veritable technological adventure and I found the experience profoundly inspiring.
Anne Marie Stein succeeded Don Foresta as Director of the Center for Media Art and invited me to make my first experimental videos in 1983. When in 1984 she and her husband decided to move back to the USA, she recommended that I be named director of a new entity that would combine my now successful photography department with the center’s video activities. The Center for Media art and Photography (CMAP) was born. I remained Director of the CMAP until I left the Center in 1987 to begin pursuing my musical composition work full time, with a particular emphasis on music for video art works where I had the privilege of collaborating with many very talented French video artists.
My innumerable encounters with remarkable artists that characterized my life in the 1980s cemented my belief in the importance of video art as a means of expressing what we think and feel about more intangible subject matter as opposed to focusing on what we see in the world around us. I became passionately interested in non-linear narratives in both video and photography, a passion that continues today.

-Do you think the cinema can bring a change in the society?

Change is a very complex process and profound change requires a number of powerful ongoing influences operating simultaneously and in harmony over rather long stretches of time. So, if I am honest, I do not believe that cinema alone can bring a change to society, although it is very capable of inspiring reflection on a change in progress. I think that the invention of filmmaking and the development of cinemas in the early 20th century did bring about a certain change, not because of its content, but because the nature of the medium itself represented a societal change, just as television did in the 1960s. As Marshall McLuhan wrote with respect to television “the medium is the message”. Cinemas in the early 20th century represented a new form of social gathering, one in which individuals did not communicate with each other during the event – a strange new form of atomized social gathering, a form that has been taken to new heights with the invention of the cellphone where groups of people can be seen in social settings, each individual glued to their cellphone screen.
I do however believe that cinema, whether commercial or as a more abstract art form, does represent a powerful tool for raising questions and awareness about highly relevant questions and as such, is capable of making contributions to the groundwork necessary for profound change in many areas of society. Because commercial cinema has the potential to reach vast audiences worldwide, I think that perhaps it has the power in certain cases to incite a certain degree of reflection on a societal level. This is not true of the type of experimental work I create. My work is, by definition, more confidential. It is reserved for gallery and museum exhibitions and specialized festivals and as such, has significantly less power at a societal level. Instead, its power is that of touching a small number of individuals interested in more abstract philosophical topics. I make my work for myself, to express thoughts and feelings on topics such as doubt, ambiguity, chance and interpersonal messaging. I believe that much of my work is a mirror in which people can catch a glimpse of themselves in a different light, one that provokes reflection and often, a sense of discomfort. My work may not be able to change the world but I believe it has the power to change the way individuals see themselves, one by one. This, to me, already constitutes a relevant achievement.

-What would you change in the world?

The things I would like to change have to do with both individual and social relationships. For example, I would like to see an end to the ravages of world poverty and more emphasis placed on constructing genuine equality of opportunity and universal access to high quality public healthcare, education and local transportation worldwide. I would like to see an end to bigotry in all its forms. I would like to see a world in which children have the time to be children before we begin to pressure them into becoming what we adults think they ought to be in the future. I would like to see a world in which formal education devoted much more time to creative analytical thinking and culture and spent less time emphasizing memorization. Lastly, I would like to see countries place less emphasis on promoting nationalism and more on developing understanding and respect for the traditions and perspectives of other nations.
So, as you can see, the list is an ambitious one … but you asked.

-Where do you see the film industry going in the next 100 years?

That is an almost impossible question to answer. Imagine if you had asked that same question to a filmmaker in 1924? However, there are perhaps trends opening up that suggest pathways to future film industry characteristics.
Firstly, I believe there will be a strong push towards more independent filmmaking that involves both feature films as well as more experimental works. I believe that cinemas as we know them today will continue to have difficulties in drawing audiences if they cannot provide more technologically interesting experiences and do not strive to offer a more varied selection of types of work. I believe that this may be made possible by ongoing technological developments in the art of filmmaking that make the cinema experience a more immersive one capable of transporting the audience to entirely new environments. This may require rethinking of what constitutes a cinema. Will it continue to be a dark room with rows of seats or a more open concept with multiple projections and points of interest? In any case, I feel that in order to survive, the cinema experience will have to undergo changes that enable it to create and provide audio visual experiences very different from those which potential spectators can now enjoy daily in their own homes with their large screens and surround sound installations.
Lastly, on a more general level, I believe that the notion of interactivity will play an increasingly important role in the evolution of filmmaking of all types. If innovation was the concept driving progress in almost all areas during the 20th century, I believe that the concept of interactivity will play a similar role in the 21st century. This implies a more active role for the spectator when compared to their passive consumer profile of the 20th century. This may oblige the film industry to focus much more on the development of sophisticated home-based interactive streaming experiences not unlike perhaps those being developed in the gaming / RPG universe.
In any case, the transmedia aspect of the film industry which began developing 20 years ago will undoubtedly continue to evolve, exploiting new platforms and formats of communication, both online and off, designed to take the cinephile experience to new heights.

-Who is Andronica Marquis?

I’m an auteur filmmaker and storyteller simply because I perceive the world differently than the
majority, and I love movies. My love for everything that makes a movie is something I was born
with, but I never felt I could make a movie – it was too great a thing; so I decided I was an
actress. With a drama degree, I went to L.A., but could never embrace or fit into the system; I
met some people who wanted to make a short film, I wrote it for them; they suggested I be in
it, then direct it and I eventually produced it. Producing was the most intense thing I ever
experienced and it made me feel alive. Shaping a personal perspective into a cinematic story is
the most interesting challenge to me.

-What inspired you to become a Filmmaker?

I grew up in San Francisco, raised by public school teachers. My mother would take me to The
Castro – a grand arthouse theater – where we would watch classic movies, because I was the
only one out of her four daughters who was interested. I would walk out of Katherine Hepburn
movies unable to capture the fabulousness of the cinematic experience. The romance of Fred
Astaire and Ginger Rogers movies – the costumes, sets, music, dance – the world they created
to harbor a love affair between unlikely lovers…it was overwhelming to me; In college I worked
at a movie theater and stand in the back watching the movies over and over, simultaneously
getting lost in the story, but subconsciously being able to breakdown and appreciate all the
components that created it and dissect what I felt were the weaknesses or strengths. My love
of everything that makes a movie runs deep in me.

-Do you think the cinema can bring a change in the society?

Cinema is art and art changes the world. People are challenged by other’s stories and
understanding of life. They’re inspired and moved. They are forced to compare and contrast
their understanding with that of others. Movies inspire people to think and feel. The world can’t
help but be a better place because of it.

-What would you change in the world?

My feeling is that people are inherently good. I work to expose that notion, so that people for
whom being good is a challenge can discover the good in themselves and share it, potentially
changing the lives of others who are struggling.

-Where do you see the film industry going in the next 100 years?

I’ve heard people talking about films disappearing and I don’t see that ever happening.
Television has become really amazing story-telling, but it’s not a movie. Cinema is a special
kind of story-telling. I feel like the large studios have really lost their way and are financially
suffering from it. People will spend money for amazing movies and they won’t spend money for
films that have no story. I see women film-makers changing the industry overall in the next 100
years, because they are breaking through with a more inclusive, sensible and ultimately
productive way of making films. They run the set with schedules that allow the cast and crew
to sleep; they listen to actors when they need something – rather than the “deal with it and get
it done” attitude, inspiring better performances; and the tension that is produced by sexual
predatory practices and intimidation can become a thing of the past. Movie-making and the
movies produced from it should become an even richer experience for everyone as this
process develops over time.

A Love Like This

BEST INTERNATIONAL SINGER

Pirandello’s Wife

BEST AMERICAN WRITER

Ye Ole Glorya

BEST ORIGINAL COMEDY

Rodeo

BEST INTERNATIONAL FEATURE SCRIPT

Final Fire

BEST ORIGINAL WRITER

The Lost Village

BEST ORIGINAL DIRECTOR

DOJO

BEST ACTOR, BEST ORIGINAL NARRATIVE SHORT, BEST ACTION SHORT FILM & BEST CINEMATOGRAPHY

Kim Kahana The Man who changed Hollywood

BEST ORIGINAL DOCUMENTARY FEATURE

NOI CRUSADERS – 30 years of American football in Sardinia

BEST INTERNATIONAL SPORT FILM

The Stones of Rome

BEST ARTHOUSE FILMMAKER

The Pathos of Hamlet

BEST INDIE NARRATIVE SHORT

Les Autres

BEST ARTHOUSE SHORT FILM

The Addends

BEST EUROPEAN PROJECT

Blooming Sisters

BEST INTERNATIONAL FILM

But I Want to Leave the Party

BEST SHORT FILM & BEST ORIGINAL CINEMATOGRAPHER

Union

BEST INTERNATIONAL FILM & BEST ORIGINAL SCREENPLAY

Water

BEST INDIE DOCUMENTARY FEATURE

New Borning: A Bronx Tale

BEST DIRECTOR (Category: Documentary)

Disabled Artist Showcase: Creating Our Spaces

BEST ARTHOUSE DOCUMENTARY SHORT

Derek Kong, Private Detective: The Crimson Lipstick Bytes

BEST INTERNATIONAL SCREENWRITER

Figures

BEST DOCUMENTARY

So Hip Hop

BEST AMERICAN MUSIC VIDEO

Run, Chad Run

BEST SCI-FI

Disabled Artist Showcase: Creating Our Spaces

BEST ORIGINAL SONG

The Empire Sky

BEST ORIGINAL FEATURE SCRIPT

Giulietta e Romeo?

BEST ARTHOUSE PRODUCER & BEST EUROPEAN NARRATIVE SHORT

Magic Moment

BEST INDIE MUSIC VIDEO

Medea

BEST DIRECTOR, BEST SHORT FILM & BEST ARTHOUSE CINEMATOGRAPHY

Manifestation

BEST NARRATIVE SHORT FILM, BEST INDIE PRODUCTION COMPANY & BEST ORIGINAL DIRECTOR

Brushstrokes

BEST ANIMATED SHORT FILM

The Devil Wind

BEST NARRATIVE FEATURE

Bat Sheva (The Daughter of 7even)

BEST ORIGINAL SCORE

Jersey Fresh Film Institute

BEST ARTHOUSE FILMMAKER & BEST INDIE SHORT FILM

Anything You Lose

BEST ARTHOUSE DOCUMENTARY FEATURE & BEST EDITING

I Waited for You

BEST EXPERIMENTAL CINEMATOGRAPHY & BEST ARTHOUSE FILMMAKER

The Invitation (Die Einladung)

BEST INTERNATIONAL HORROR

Tell Me

BEST MUSIC VIDEO

Agita

BEST ORIGINAL DRAMEDY

Nuclear Ninjas: The China, Pakistan, and North Korea Nexus

BEST INTERNATIONAL DOCUMENTARY FEATURE

Sand in the Crack

BEST ORIGINAL COMEDY

Greta Gar Bitch: A True Story Of Life Loss Light And Love

BEST ORIGINAL WRITER OF THE YEAR & BEST INTERNATIONAL BOOK

The Pageturner

BEST FIRST TIME DIRECTOR

Star Dance

BEST INDIE SINGER

Brave Steps

BEST DANCE FILM

An impossible secret

BEST INDIE DIRECTOR

A Pilgrimage Into Tibet

BEST ARTHOUSE SHORT DOCUMENTARY & BEST HUMAN RIGHTS PROJECT

Shadow Fist 3″The Final Chapter “

BEST ACTION MOVIE

Virulence

BEST INTERNATIONAL WRITER

Fluxus

BEST INTERNATIONAL EXPERIMENTAL SHORT FILM

Ye Ole Glorya

BEST INTERNATIONAL COMEDY

Hate Can Kill

BEST DOCUMENTARY SHORT

Us.Togetjer.Alone

BEST ORIGINAL NARRATIVE SHORT

Luzinete

BEST ARTHOUSE INTERNATIONAL FILMMAKER, BEST INDIE SHORT FILM & BEST SUPPORTING ACTRESS

THE BLANKET – Die schwarze Decke

BEST ARTHOUSE FILMMAKER & BEST SUPER SHORT FILM

Not Without Gloves

BEST EXPERIMENTAL DIRECTOR

Risveglio Planetario

BEST ORIGINAL MUSIC VIDEO

5 marzo 1955 una canzone per Carla

BEST EUROPEAN INDIE DIRECTOR

Darker Realities

BEST INTERNATIONAL FEATURE SCRIPT

Omnipotent Resolution

BEST ORIGINAL SONG, BEST ARTHOUSE MUSIC VIDEO & BEST INTERNATIONAL SINGER

Hitched

BEST TELEVISION SCRIPT

Downriver

BEST INTERNATIONAL DANCE FILM

What’s it like to be a nude model, Wonderhussy?

BEST INTERNATIONAL DOCUMENTARY & BEST PRODUCER

 Halloween (Rabbit Well Episode 6)

BEST ORIGINAL ARTIST

Soul

BEST ORIGINAL IDEA

In a Whole New Way

BEST ARTHOUSE DOCUMENTARY SHORT

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

BEST INTERNATIONAL NARRATIVE SHORT & BEST ORIGINAL EDITING

Routine

BEST FILMMAKER & BEST INDIE PRODUCER

What a Match

BEST ANIMATED PROJECT

The Dancing Spies @Goddess

BEST WRITER & BEST MANUSCRIPT

Steak

BEST EUROPEAN COMEDY

BLIND FAITH: Moments of Missed Understanding

BEST INSPIRATIONAL FILM

Can’t Figure It Out

BEST EXPERIMENTAL PROJECT

Remnant

BEST ORIGINAL PROJECT & BEST INTERNATIONAL ARTIST

Birds of a Feather

BEST ANIMATION

The Girl Who Faded Away

BEST ARTHOUSE MUSIC VIDEO

Is He Cheating?

BEST LGBTQ+ FILM

Thankful

BEST ORIGINAL WRITER & BEST ARTHOUSE FEATURE SCRIPT

The Call Center

BEST AMERICAN WRITER

Ye Ole Glorya

BEST ORIGINAL COMEDY

Legends of the LORD – The 18 Missing Years

BEST INTERNATIONAL PILOT TV/TELEVISION SCRIPT

BLIND FAITH: Moments of Missed Understanding

BEST INSPIRATIONAL FILM

Can’t Figure It Out

BEST EXPERIMENTAL PROJECT

Remnant

BEST ORIGINAL PROJECT & BEST INTERNATIONAL ARTIST

Birds of a Feather

BEST ANIMATION

The Girl Who Faded Away

BEST ARTHOUSE MUSIC VIDEO

Thankful

BEST ORIGINAL WRITER & BEST ARTHOUSE FEATURE SCRIPT

The Call Center

BEST AMERICAN WRITER

Kim Kahana The Man who changed Hollywood

BEST ORIGINAL DOCUMENTARY FEATURE

NOI CRUSADERS – 30 years of American football in Sardinia

BEST INTERNATIONAL SPORT FILM

Ye Ole Glorya

BEST ORIGINAL COMEDY

Legends of the LORD – The 18 Missing Years

BEST INTERNATIONAL PILOT TV/TELEVISION SCRIPT

Is He Cheating?

BEST LGBTQ+ FILM

The Stones of Rome

BEST ARTHOUSE FILMMAKER

The Pathos of Hamlet

BEST INDIE NARRATIVE SHORT

Les Autres

BEST ARTHOUSE SHORT FILM

The Addends

BEST EUROPEAN PROJECT

Blooming Sisters

BEST INTERNATIONAL FILM

But I Want to Leave the Party

BEST SHORT FILM & BEST ORIGINAL CINEMATOGRAPHER

Union

BEST INTERNATIONAL FILM & BEST ORIGINAL SCREENPLAY

Water

BEST INDIE DOCUMENTARY FEATURE

New Borning: A Bronx Tale

BEST DIRECTOR (Category: Documentary)

Disabled Artist Showcase: Creating Our Spaces

BEST ARTHOUSE DOCUMENTARY SHORT

Derek Kong, Private Detective: The Crimson Lipstick Bytes

BEST INTERNATIONAL SCREENWRITER

Figures

BEST DOCUMENTARY

So Hip Hop

BEST AMERICAN MUSIC VIDEO

Run, Chad Run

BEST SCI-FI

Disabled Artist Showcase: Creating Our Spaces

BEST ORIGINAL SONG

The Empire Sky

BEST ORIGINAL FEATURE SCRIPT

Giulietta e Romeo?

BEST ARTHOUSE PRODUCER & BEST EUROPEAN NARRATIVE SHORT

Magic Moment

BEST INDIE MUSIC VIDEO

Medea

BEST DIRECTOR, BEST SHORT FILM & BEST ARTHOUSE CINEMATOGRAPHY

Manifestation

BEST NARRATIVE SHORT FILM, BEST INDIE PRODUCTION COMPANY & BEST ORIGINAL DIRECTOR

Brushstrokes

BEST ANIMATED SHORT FILM

The Devil Wind

BEST NARRATIVE FEATURE

Bat Sheva (The Daughter of 7even)

BEST ORIGINAL SCORE

Jersey Fresh Film Institute

BEST ARTHOUSE FILMMAKER & BEST INDIE SHORT FILM

Anything You Lose

BEST ARTHOUSE DOCUMENTARY FEATURE & BEST EDITING

I Waited for You

BEST EXPERIMENTAL CINEMATOGRAPHY & BEST ARTHOUSE FILMMAKER

The Invitation (Die Einladung)

BEST INTERNATIONAL HORROR

Tell Me

BEST MUSIC VIDEO

Agita

BEST ORIGINAL DRAMEDY

Nuclear Ninjas: The China, Pakistan, and North Korea Nexus

BEST INTERNATIONAL DOCUMENTARY FEATURE

Sand in the Crack

BEST ORIGINAL COMEDY

Greta Gar Bitch: A True Story Of Life Loss Light And Love

BEST ORIGINAL WRITER OF THE YEAR & BEST INTERNATIONAL BOOK

The Pageturner

BEST FIRST TIME DIRECTOR

Star Dance

BEST SINGER

Brave Steps

BEST DANCE FILM

An impossible secret

BEST INTERNATIONAL CAST

A Pilgrimage Into Tibet

BEST ARTHOUSE SHORT DOCUMENTARY & BEST HUMAN RIGHTS PROJECT

Shadow Fist 3″The Final Chapter “

BEST ACTION MOVIE

Virulence

BEST INTERNATIONAL WRITER

Fluxus

BEST INTERNATIONAL EXPERIMENTAL SHORT FILM

Ye Ole Glorya

BEST INTERNATIONAL COMEDY

Hate Can Kill

BEST DOCUMENTARY SHORT

Apples, Oranges, Lemons & Limes

BEST AMERICAN INDIE FILMMAKER & BEST ORIGINAL SCREENPLAY SHORT

Us.Togetjer.Alone

BEST ORIGINAL NARRATIVE SHORT

Luzinete

BEST INDIE SHORT FILM

THE BLANKET – Die schwarze Decke

BEST ARTHOUSE FILMMAKER & BEST SUPER SHORT FILM

Not Without Gloves

BEST EXPERIMENTAL DIRECTOR

Risveglio Planetario

BEST ORIGINAL MUSIC VIDEO

5 marzo 1955 una canzone per Carla

BEST EUROPEAN INDIE DIRECTOR

Darker Realities

BEST INTERNATIONAL FEATURE SCRIPT

Omnipotent Resolution

BEST ORIGINAL SONG, BEST ARTHOUSE MUSIC VIDEO & BEST INTERNATIONAL SINGER

The Lost Village

BEST ORIGINAL DIRECTOR

DOJO

BEST ACTOR, BEST SPORT FILM & BEST CINEMATOGRAPHY

Hitched

BEST TELEVISION SCRIPT

Downriver

BEST INTERNATIONAL DANCE FILM

What’s it like to be a nude model, Wonderhussy?

BEST INTERNATIONAL DOCUMENTARY & BEST PRODUCER

 Halloween (Rabbit Well Episode 6)

BEST ORIGINAL ARTIST

Soul

BEST ORIGINAL IDEA

In a Whole New Way

BEST ARTHOUSE DOCUMENTARY SHORT

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

BEST INTERNATIONAL NARRATIVE SHORT & BEST ORIGINAL EDITING

Routine

BEST FILMMAKER & BEST INDIE PRODUCER

What a Match

BEST ANIMATED PROJECT

The Dancing Spies @Goddess

BEST WRITER & BEST MANUSCRIPT

Steak

BEST EUROPEAN COMEDY

After appreciating the excellent quality of the experimental project “Breathing Dandelion Flowers,” we discovered “We Are Rivers,” which has been repeatedly viewed by the two international juries of WILD FILMMAKER.

We all agreed in defining the documentary directed by Argentine director Graciela Cassel as “an original experiment that takes the viewer on a journey into the yet-to-be-revealed secrets of cinema.” “We Are Rivers” confirms how important it is for film criticism to pay attention to independent cinema, as only films produced outside the major industries allow for complete expressive freedom. Graciela Cassel is a director with great maturity in the realization of her works, and with a simple and effective style, she manages to speak to the viewer’s heart in just a few minutes.

We are truly very happy that the “WILD FILMMAKER” platform revealed “We Are Rivers” to us, as it is an incredibly original project that we would never have seen without the distribution by “WILD FILMMAKER.” We wish Graciela Cassel to always have the same creativity, as independent cinema needs intelligent artists like her.

– Who is Don Pasquale Ferone?

Don Pasquale is a priest from the province of Naples who loves music and composes Christian-inspired songs available on all digital platforms. From a young age, he began attending church with his family. At 15, he learned to play the guitar and led various charismatic prayer celebrations and meetings in his parish. After receiving the ‘Baptism in the Spirit’ at age 10 with a Catholic Charismatic Renewal group, he began to develop the decision to enter the seminary and became a priest in 1998. As a priest, he continued to nurture his passion for the guitar and, since 2017, has started composing Christian-inspired music. The singer-songwriter has since become a parish priest in the outskirts of Naples. His albums include: Certezza, Confidenza, Come roccia, Il dono della Vita, and Fedeltà. Don Pasquale has also released singles such as Fiducia, Guarda il Cielo, Gioia immensa sarà, among others (a total of 47 tracks to date); all are songs of evangelization and praise, and, along with the albums, are available on digital and streaming platforms. To stay updated on all the latest news about Don Pasquale’s music, it is recommended to periodically follow his YouTube channel, Facebook page, and other active social media channels.

– Can Art save the world?

I believe that art is a valuable tool for helping many people reflect on the need to work for the good of the planet and the salvation of all; each of us should understand that art, in all its forms, can certainly provide valuable assistance for the salvation of the world and the well-being of people.

– Wild Filmmaker is the largest global community of independent artists, also created with the dream of conveying a message of peace among people of different cultures. Do you believe that music and cinema can be an effective way to remind each of us that we are all children of the same God?

Music and cinema have a significant responsibility in the process of reconciliation between different peoples, as they are also means of communication and can easily convey messages of great values, such as peace and love among people; they can, indeed must, remind everyone that we are creatures of one God and therefore brothers and sisters who should respect and love each other. It is clear that even Wild filmmakers have a noble mission to advance, contributing to the human, cultural, spiritual, and moral growth of all.

– Every true artist is a revolutionary in their own way, while the Church, like any other religious institution, is archaic and hierarchical. How do you reconcile the dual role of priest and artist?

On this point, with due respect, I must dissent, as I believe that, especially today, Religion is more open to understanding and welcoming people. There will surely still be religious individuals who have difficulty adapting to modern times, but this is part of their personal journey and character. I also think that openness to the world should not mean compromising but, on the contrary, affirming with strength and perseverance the primacy of God in everyone’s life. One could say that everything is relative, but certainly not God and His love for humanity. My being a priest and artist perfectly aligns with my priestly mission as I always seek to place the Lord God first in everything; and my songs are born from the prayers I always direct to Him: they are Christian-inspired tracks that help me evangelize through music. In conclusion, I feel the duty to invite everyone to live their lives in serenity while continually cultivating the pursuit of Peace and brotherhood among all peoples. May the Lord keep you all in His love.

-What has been the greatest difficulty you faced in producing your project?

The greatest challenge in creating the project was first of all to find a cameraman/woman who could implement the idea and image design straight away and bring the appropriate storyboard to life, as the film had to be very visual from the start. And the second challenge was to find a sound man/woman who would work for no budget. It is very difficult for independent filmmakers, especially women, to get funding if the film does not come from a state film university such as the Dffb here in Germany. There is therefore no fund for career changers. You only get financial support if you are part of a state institution.

-Do you think the film industry today has been damaged by political correctness?

I am a huge advocate of diversity and inclusion. And as long as you have respect and appreciation for those affected, things will change for the better in society. And every change needs clear rules first, until at some point it is seen as normal and it is no longer questioned.

-What was the greatest source of inspiration for creating your project?

Pink City Film was intended to be a homage to Twin Peaks. Since I grew up with the famous series, it had a big impact on me both visually and through the unusual way it tells the story. But since my neighbor was killed 3 months after I finished my script, in the same way as my protagonist in my script, who, according to the description, also looks like the fictional character from Twin Peaks (Laura Palmer), I ended up dedicating the film to my neighbor Melanie Rehberger.

-If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them?

That would be of course David Lynch, and I would like to know what difficulties he had before the successful career.

-What do you think of the Wild Filmmaker platform?

An excellent opportunity for independent filmmakers to gain visibility and to give an insight to what challenges filmmakers have to overcome.

But I Want to Leave the Party

BEST ORIGINAL SHORT, BEST DIRECTOR (Category: Indie Narrative Short), BEST ACTRESS & BEST INDIE PRODUCTION COMPANY

Blind Truth

BEST THRILLER SHORT

The Sicilians

BEST AMERICAN WRITER & BEST ORIGINAL FEATURE SCRIPT

Roses are Blind

BEST INTERNATIONAL THRILLER

Atlas of uncertainty

BEST SOUND DESIGN & BEST INSPIRATIONAL PROJECT

Monument to Love

BEST DIRECTOR (Category: Documentary Feature), BEST ORIGINAL EDITING & BEST PRODUCTION COMPANY

Anything You Losse

BEST DOCUMENTARY FEATURE

Risveglio Planetario

BEST INTERNATIONAL INDIE MUSIC VIDEO

Michelangelo and Me + Da Vinci and Me opener

BEST INTERNATIONAL FEATURE SCRIPT

Medea

BEST ARTHOUSE SHORT FILM, BEST INTERNATIONAL FILMMAKER & BEST PRODUCER

Trebbia’s last Hero

BEST ORIGINAL SHORT FILM

Out of State-A Gothic Romance

BEST PICTURE, BEST INTERNATIONAL NARRATIVE FEATURE & BEST DIRECTOR

Bat Sheva (The Daughter of 7even)

BEST ORIGINAL SCORE

Two Fridges

BEST INDIE NARRATIVE SHORT, BEST INTERNATIONAL FILMMAKER & BEST EDITING

The Maiden Tower

BEST ORIGINAL SCREENPLAY

Halloween (Rabbit Well Episode 6)

BEST ORIGINAL COMEDY, BEST ARTHOUSE NARRATIVE SHORT & BEST ANIMATED PROJECT

Soul

BEST INTERNATIONAL DIRECTOR & BEST INDIE PRODUCTION COMPANY

Routine

BEST ORIGINAL NARRATIVE SHORT, BEST CINEMATOGRAPHER & BEST ARTHOUSE DIRECTOR

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

BEST INTERNATIONAL INDIE PRODUCER & BEST AMERICAN FILMMAKER

Tony N’ Tina’s Wedding

BEST AMERICAN PRODUCER & BEST DIRECTOR

Traveling Putz

BEST COMEDY

Virulence

BEST ARTHOUSE FEATURE SCRIPT

An impossible secret

BEST CAST, BEST SCREENWRITER & BEST ORIGINAL IDEA

The Quisling

BEST FEATURE SCRIPT

Be Prepared for What?

BEST TELEVISION SCRIPT & BEST WRITER

THE BLANKET – Die schwarze Decke

BEST SUPER SHORT FILM & BEST ORIGINAL CINEMATOGRAPHY

Corelli – Trio Sonata, op.3 no.5 (v. 2)

BEST EXPERIMENTAL FILM

Luzinete

BEST DRAMA, BEST INTERNATIONAL INDIE DIRECTOR & BEST PRODUCER

Song from the Children’s Musical, “Cate and the Garden Bandits” Based on the Children’s Book Cate and the Garden Bandits

BEST INTERNATIONAL SONG

Cate and the Garden Bandits

BEST ORIGINAL BOOK

The Pathos of Hamlet

BEST INTERNATIONAL ACTOR

The Stones of Rome

BEST ORIGINAL FILMMAKER

Hearing Voices

BEST INTERNATIONAL HORROR

Salem Aftermath

BEST ARTHOUSE SCREENPLAY & BEST INTERNATIONAL INDIE WRITER

Not Without Gloves

BEST EXPERIMENTAL DIRECTOR & BEST ARTHOUSE CINEMATOGRAPHY

Whitenight

BEST INSPIRATIONAL FILM

TutuTango

BEST INTERNATIONAL VIDEO POETRY

Say My Name

BEST ARTHOUSE NARRATIVE SHORT & BEST INDIE DIRECTOR

Wave Man

BEST EUROPEAN WRITER

Winner Takes All

BEST ANIMATED SHORT FILM

The Dead Ringer

BEST INTERNATIONAL WRITER

The Prirory of Sion

BEST INTERNATIONAL SCREENPLAY

Thinking

BEST EUROPEAN NARRATIVE SHORT FILM