“Her Own Skin” (EXCLUSIVE) Interview with Brian McDermott

-Who is Brian McDermott?

When I was five or six, I would lie in bed at night and ask myself why there is something rather than nothing at all. I think I did this every night for a while, or until I became scared by the question. So I guess at heart I am a philosopher – as I later majored in philosophy in college and found out that’s a question many philosophers grapple with at some point in their lives. Later, after I saw The Matrix, I realized I could take all the philosophical thoughts I was having and make movies out of them! I eventually pursued an MFA in Film and Media Arts, made some fiction films, and also started a documentary film production company. Now, I teach filmmaking, and also enjoy making films with my students.

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

Well, I remember the first moment I was so shocked by a film that I had nightmares. My parents used to take me – along with my brother and sister – to see every film that came to the theaters where we lived. I grew up in the 70s, and the one film that altered my mind was the 1978 remake of Invasion of the Body Snatchers. Donald Sutherland was in that film, and there’s a moment where he’s fallen asleep outside and a pod person (spoiler alert if you haven’t seen it) suddenly starts getting birthed by a pod, and Sutherland wakes up and takes a shovel and chops his own fetal, webbed-faced, pod head in half. That image and that film gave me nightmares for 20 years. I think I had just turned eight when it came out. Still to this day, I believe I owe my interest in film, sci-fi, and in becoming a filmmaker to that film, and also to the less traumatic coming-of-age bicycling film, Breaking Away, which has stayed in my subconscious for many years. 

-Tell us about your project “Her Own Skin”.

The idea for Her Own Skin came to me from a past experience where I noticed just how controlling men can be. I observed a very controlling relationship where the man was acting as if he owned his girlfriend, and years later I thought, what if he actually did? What would that look like? And how would she regain her freedom? I then realized he could own her if she was an android. Luckily, I found a great actor (Giovanna Baccini) to play the role of the android. She has that ability to magically transform into any character right in front of your eyes.

Even though there are other sci-fi films about androids out there, I knew this was going to be different because it wasn’t about showing the audience how an android is being developed, or that it’s possible to create one some day in the future, etc., but rather my focus was on the couple’s already existing relationship, and that neither Gia (the android) nor the audience know that she’s not human. That last piece became a hook, and also made me more excited to write the story back in 2022. 

-Which Director inspires you the most?

Wow, there are so many amazing directors out there. I saw Coralie Fargeat’s The Substance a few months ago and was blown away. I thought the directing in the first hour of that film was incredible. The second hour brought me back to the days where my nightmares come from – so it was harder for me to process it, and I couldn’t sleep after seeing it. 

In terms of sci-fi film inspiration, I rewatch a number films each year: Tarkovsky’s Solaris, Close Encounters, Alien, Inception, Truman Show, Contact, District 9, Children of Men and the list goes on!

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

This is a big question, and I have approached it through the documentaries I make – which focus on climate change, Indigenous Peoples’ rights, and overall, by challenging oppression through creating awareness.

-How do you imagine cinema in 100 years?

It’s hard to imagine beyond the next ten years. I’m worried about AI taking over everyone’s jobs in the film industry, and there being completely AI-produced films watched by mindless humans. Hopefully, AI will be ethically incorporated into the filmmaking process (though there’s the question if even using it is environmentally ethical and also doesn’t constitute some form of copyright infringement). 

-What is your impression of WILD FILMMAKER?

I think it’s great. I remember when I graduated film school in 2005, film festivals prided themselves in stating that they were “independent festivals” made for independent filmmakers. Nowadays, after you receive a rejection from a festival that used to be considered “independent,” you see all these famous Hollywood folks populating the festival. Not everyone has a few million dollars to put into making their films, but that doesn’t mean the world shouldn’t know about all the great art that’s being made by indie filmmakers!

WINNERS World Writers Guild Awards 2025

Cassandra Venice

BEST DIRECTOR, BEST INDIE PRODUCER (Category: Experimental Film) & BEST EUROPEAN EXPERIMENTAL FILM

Walking In Memphis

BEST PILOT TV 2025 & BEST AMERICAN SCREENWRITER (Category: Television Script)

The Taste Of Rain

BEST INTERNATIONAL ARTHOUSE SCREENWRITER

Nossos Caminhos

BEST INTERNATIONAL INDIE FEATURE SCRIPT

Routine

BEST PRODUCER, BEST ORIGINAL IDEA & BEST NARRATIVE SHORT 2025

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

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

A Fable Before Apocalypse

BES INTERNATIONAL YOUNG FILMMAKER

Marabu’

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Stalker Hair Twirl

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In a Whole New Way

BEST INTERNATIONAL EDUCATIONAL FILM, BEST INDIE PRODUCER & BEST ORIGINAL EDITING

Revisited – Life is Short

BEST DIRECTOR (Category; International Music Video) & BEST ARTHOUSE MUSIC VIDEO OF THE YEAR

The Victims of Sundarbans

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The Musgrave Ritual

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On My Special Day

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Aunt Tilly’s Last Hurrah

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Dragul and Forbes

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Attack Of The Snowbirds

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Mind Network

BEST ORIGINAL SCREENPLAY 2025

Pantaneiro

BEST INTERNATIONAL DOCUMENTARY FEATURE 2025

The Days of Knight: Chapter 1

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Lido Cimber

BEST EUROPEAN SHORT SCRIPT

Urban Eats MTL

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Wacko

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Homeless Street Artist

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2 Million Bro

BEST EUROPEAN COMEDY OF THE YEAR

Into LA Art Show

BEST EDITING


Shout It Out

BEST DIRECTOR & BEST EDITING (Category: International Music Video)

Not a thing

BEST INTERNATIONAL FIRST TIME DIRECTOR

Cock Robin

BEST FILMMAKER, BEST EDITING & BEST SCREENPLAY (Category: Indie Comedy 2025)

The Priory of Sion and the treasure of Abbey Sauniere of Rennes the Castle France

BEST EUROPEAN SCREENWRITER 2025

Etnoragù

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Omnipotent Resolution

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2020: life and death of a virus

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Walking With God

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Virulence

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Ambrogio The First Vampire

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Phoebe’s Echo

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All My Tomorrows

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YOU ARE HERE – a dylan brody project

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Because We Are Too Many

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Artists & Aliens

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Soularis

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Medea

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GODFORSAKEN: A Story Of Three Marys

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PAULA’S DAD and the right button in his head

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Seasoning of the Soul

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Chateau De Tarot

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Colombano & La 21Esima Fetta

BEST EUROPEAN NARRATIVE FEATURE & BEST ARTHOUSE DIRECTOR         

A Fable Before Apocalypse

BEST FILMMAKER & BEST ORIGINAL EDITING (Category: Short Film)

Thankful

BEST ARTHOUSE FEATURE SCRIPT 2025 & BEST INTERNATIONAL INDIE SCREENWRITER    

Bitter Brownies

BEST INDIE MOVIEMAKER (Category: International Narrative Short)

Prodigio

BEST INDIE MUSIC VIDEO & BEST ORIGINAL SINGER

Fortezza

BEST SONG WRITER 2025 & BEST EUROPEAN SPIRITUAL SONG

Monument to Love

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

Katabasis

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

Black Wolf

BEST ORIGINAL INDIE SHORT FILM & BEST ORIGINAL MOVIEMAKER

The way of Mizoguchi

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

The Rorschach Test

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

Not Without Gloves

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NeverWere: a Lycan Love Story

BEST INTERNATIONAL FEATURE SCRIPT & BEST ORIGINAL IDEA

Out Of Control

BEST EXPERIMENTAL ANIMATED SHORT FILM

Riding on Duke’s Train

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Sheldon Mashugana gets Stooged

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Mind over Matter

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The Dead Ringer

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L’Amour est temps de reflets

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The Duchess

BEST DRAMA 2025, DIRECTOR, BEST ACTOR, BEST ACTRESS, BEST CASTING DIRECTOR & BEST SCEENPLAY (Category: International Arthouse Drama)

Lambada The Dance of Fate

BEST ARTHOUSE SCREENWRITER OF THE YEAR & BEST INTERNATIONAL BIOGRAPHICAL SCRIPT

Eye of the Storm

BEST DIRECTOR, BEST EDITING (Category: Documentary) BEST BIOGRAPHICAL DOCUMENTARY & BEST ARARTHOUSE PRODUCER

The Arcangel Of Death

BEST ACTING & BEST EUROPEAN YOUNG DIRECTOR

Alta California

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

Ghost Town, N.M.

BEST ORIGINAL SCREENWRITER

Only in Malibu

BEST INTERNATIONAL SCREENWRITER (Category: International Indie Feature Script)

Gold Glory & Nobility

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Malibu Madam

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The Hallmark Couple

BEST AMERICAN SCREENWRITER 2025

The Insomnia Experiment

BEST INTERNATIONAL SHORT SCRIPT 2025

Something ain’t right

BEST INTERNATIONAL DOCUMENTARY OF THE YEAR & BEST ORIGINAL INDIE FILMMAKER

Planetary Rebellion

BEST PRODUCER & BEST DIRECTOR (Category: Music Video)

Am I a painter?/Czy jestem malarzem?

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

The Stones of Rome

BEST EXPERIMENTAL ACTOR & BEST INDIE PRODUCER 2025

The Pathos of Hamlet

BEST INSPIRATIONAL SHORT FILM, BEST EXPERIMENTAL EDITING & BEST POETRY SHORT FILM

Antiquarius

BEST EUROPEAN NARRATIVE SHORT 2025, BEST ARTHOUSE CINEMATOGRAPHER, BEST INDIE FILMMAKER, BEST INDIE CASTING DIRECTOR & BEST EUROPEAN ORIGINAL SCREENPLAY SHORT

Belles paroles

BEST HUMAN RIGHTS INDIE PROJECT

Room Available

BEST ARTHOUSE FILMMAKER (Category: Short Film)

In a Whole New Way

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

Hiding in Holland: A Resistance Memoir By Max Rothschild and Dr. Shulamit Reinharz

BEST ORIGINAL INDIE BOOK

A Taco

BEST INDIE SUPER SHORT FILM & BEST EDITING

After a film with Tim Roth and a selection at the Berlin International Film Festival, Iazua Larios now stars in Louis Nero’s new film MILAREPA (EXCLUSIVE) Interview

-Who is Iazua Larios?

I suppose I am a collage of experiences, like everyone. So I’ll tell you some: I grew up by the sea, skipping class to go to the beach close by the school with my bicycle. At the time I was living on a small island with no television at home, so I was doing my own story tales playing with nature, books, and toys . To go to the closest cinema we had to take a ferry to cross the ocean to the big city. There, I watched for the first time the big screen that left me breathless and full of emotions. Maybe that´s the beginning of this. And maybe the theater group who was rehearsing at my living room  with my parents was an influence too. Today I am a mother and an artist.

-You’ve worked with great actors. Let’s start with the cast of Milarepa — what was it like working with Oscar winner Murray Abraham and Harvey Keitel?

With Mr. Keitel I had 2 or 3 scenes and it was a dream come true working with him,  I have been a huge fan of his work since I was a teenager. I liked his way of working, he has a special mood to deliver words and emotions, I basically  learn from him. 

And Mr. Murray, well, he is my father in the movie and I found him to be such an amazing actor, very focused on the work, his presence was a lot already. His energy was something incredible to play with during the scenes, with an energy like that you can definitely be creative in the present moment playing with characters. I was obviously a little nervous to work with two incredible actors like them.

-How did you meet Louis Nero?

I didn’t know him. He ask me for a casting (a very long one in fact haha)

I was on vacation in Italy (Elba Island) and a request for a casting arrived, I made a selftape. I normally do a lot of castings (like every actor), But this one was special, I loved the texts, those words made my imagination fly. I was really hoping to get the character because I was already enchanted with the story I knew only from the extracts of the casting, and fortunately I did get it.  And then I met him in a video call before the shooting of the movie.

-What was it like working with Tim Roth?

Tim Roth has been an incredible colleague from whom I learn so much.

His humanity while working has left a mark on me forever. He is fun, and down to earth. I have seen that true artists are very down to earth. He has worked with every director I admire in films, so his conversations about work were delightful.


-What would you change about the world?

Right now the world is going crazy. Bombs, hunger, injustice, are horrible. Nothing of that comes from a good place, you can watch that with my character in Milarepa, Daka is sick of sadness, hate and revenge. From those feelings is where racism and wars come from. I would change so many things.  But I can only start with myself and the people who surround me, live with peace and conscience. Be aware of what’s happening in the world and not in a little bubble of privilege, and do something about it at least with little steps, films can be one of those little steps.

-How do you imagine cinema 100 years from now?

Good question, to be honest i Have never thought about that. I won’t be here for sure.

The other day I watched a chapter of a TV series where an actor was going inside an old movie with the help of technology, so the actor was living for real inside that old movie interacting with the old actors and the fictional reality. It made me think.

Or maybe movies will be projected in strange places, like the clouds, and you fly in aerostatic balloons to watch. Who knows.

-What’s your impression of WILD FILMMAKER?

It is an important platform to connect visions in the language of cinema, to share creative experiences. To give space for independent voices coming from every corner of the process of doing a film. I am happy to do this interview in such a cool magazine, thanks for the space. 

Winners Molière Cinema Prize 2025

Joanna’s Kitchen

BEST INDIE FEATURE SCRIPT

Lobby Card Pilot: Some Fabulous

BEST ORIGINAL TELEVISION SCRIPT 2025 & BEST SCREENWRITER (Category: Pilot TV/Television Script)

Because We Are Too Many

BEST INTERNATIONAL DRAMA 2025

Doctor Hypotheses 2 – The Breakdown

BEST NEW FEATURE SCRIPT 2025

Medea

BEST DIRECTOR, BEST SOUNDTRACK & BEST EDITING (Category: International Narrative Short)

Man in a Can

BEST INTERNATIONAL ANIMATION

Elevation to the Depths II & III

BEST INTERNATIONAL SCREENWRITER (Category: Original Feature Script)

The Arcangel Of Death

BEST INTERNATIONAL ACTOR

Planetary Rebellion

BEST EUROPEAN DIRECTOR & BEST EDITING (Category: Music Video)

Omnipotent Resolution

BEST CHOREOGRAPHY, BEST INTERNATIONAL SINGER & BEST ARTHOUSE MUSIC VIDEO

Mind Over Matter

BEST INTERNATIONAL SUPER SHORT FILM

Atlas of Uncertainty

BEST SOUND DESIGN

Darker Realities

BEST SCREENWRITER 2025 (Category: Arthouse Feature Script)

Not Without Gloves

BEST POETRY SHORT FILM, BEST BLACK & WHITE CINEMATOGRAPHY, BEST DIRECTOR & BEST PRODUCER (Category: Experimental Film)

Brothers of Babylon

BEST AMERICAN SCREENPLAY 2025

Remnant

BEST INTERNATIONAL DIRECTOR (Category: Narrative Feature), BEST ARTHOUSE NARRATIVE FEATURE, BEST SCREENWRITER & BEST ORIGINAL SCRIPT

Gold, Gloves & Glory

BEST AMERICAN INDIE FEATURE SCRIPT

Hummel

BEST INTERNATIONAL SHORT SCRIPT

The Hallmark Couple

BEST INDIE SCREENWRITER OF THE YEAR

Malibu Madam

BEST ARTHOUSE FEATURE SCRIPT

Lucky in Long Island

BEST ORIGINAL SCRIPT

The Stones of Rome

BEST HISTORICAL SHORT FILM, BEST INTERNATIONAL INDIE ACTOR & BEST AMERICAN NARRATIVE SHORT

The Pathos of Hamlet

BEST ACTING (Category: Narrative Short) & BEST ARTHOUSE PRODUCER

The Duchess

BEST INTERNATIONAL DRAMA, BEST ACTOR/ACTRESS & BEST CINEMATOGRAPHY

RETHINK – a Philosophical Web Series

BEST INTERNATIONAL WEB SERIES & BEST ORIGINAL EDITING

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

BEST AMERICAN NARRATIVE SHORT 2025, BEST SCREENPLAY SHORT, BEST CAST & BEST ARTHOUSE FILMMAKER

Routine

BEST INDIE PRODUCER, BEST INDIE SHORT FILM & BEST SOUND DESIGN

The Great Animal Escape by Linda Harkey and illustrated by Jeff Yesh

BEST INTERNATIONAL BOOK 2025

Katabasis

BEST PICTURE, BEST CAST, BEST ORIGINAL SCREENPLAY & BEST DIRECTOR (Category: Narrative Feature)

The Priory of Sion

BEST EUROPEAN FEATURE SCRIPT 2025 & BEST HISTORICAL SCRIPT

Can’t Figure It Out

BEST ARTHOUSE DIRECTOR, BEST CINEMATOGRAPHY & BEST EDITING (Category: International

Experimental Film)

Déjà Vu On The Ledge

BEST EXPERIMENTAL FILM 2025

Lambada The Dance Of Fate

BEST BIOGRAPHICAL SCRIPT & BEST INTERNATIONAL ORIGINAL SCREENWRITER

Monument to Love

BEST DIRECTOR & BEST PRODUCTION COMPANY 2025 (Category: Documentary Feature)

Alta California

BEST AMERICAN FEATURE SCRIPT 2025 & BEST ARTHOUSE SCREENWRITER

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

BEST ORIGINAL TELEVISION SCRIPT 2025

Fortezza

BEST ARTHOUSE SONG WRITER

Lacrime di Vento

BEST DIRECTOR, BEST CINEMATOGRAPHY & BEST ORIGINAL IDEA (Category: Educational Film)

Min

BEST DIRECTOR & BEST CINEMATOGRAPHY (Category: Super Short Film)

The Quest for Camelot

BEST INTERNATIONAL INDIE FILMMAKER

Corn Bread Dressing

BEST FEATURE SCRIPT & BEST AMERICAN ORIGINAL SCREENWRITER

Walking In Memphis

BEST INTERNATIONAL PILOT/TV SCRIPT

The Days of Knight: Chapter 3

BEST INTERNATIONAL FILMMAKER, BEST SCREENPLAY SHORT, BEST TRAILER & BEST INDIE PRODUCTION COMPANY

Colombano & La 21esima Fetta

BEST EUROPEAN INDIE FILM 2025

NeverWere: a Lycan Love Story

BEST ARTHOUSE SCREEWNWRITER OF THE YEAR & BEST ORIGINAL FEATURE SCRIPT

Mashuga Wedding and Sheldon’s Jewish Christmas

BEST DIRECTOR, BEST SCREENPLAY & BEST ORIGINAL SCORE (Category: International Comedy)

Thankful

BEST INDIE FEATURE SCRIPT 2025

French Broad

BEST INTERNATIONAL PILOTV TV & BEST WRITER (Category: Television Script)

Am I a painter?Czy jestem malarzem?

BEST CINEMATOGRAPHER, BEST ARTHOUSE PRODUCER & BEST INTERNATIONAL FILMMAKER (Category: International Animated Short Film)

The way of Mizoguchi

BEST ORIGINAL DOCUMENTARY FEATURE & BEST CAMERA OPERATOR

Nossos Caminhos (Our Paths)

BEST INTERNATIONAL INDIE FEATURE SCRIPT

Eye of the Storm

BEST BIOGRAPHICAL DOCUMENTARY & BEST ORIGINAL DIRECTOR

The Dead Ringer

BEST INTERNATIONAL ARTHOUSE FEATURE SCRIPT

Innovation in Connecticut

BEST INDIE EDUCATIONAL FILM

The Hallmark Couple

BEST ORIGINAL FEATURE SCRIPT

Iriso

BEST ARTHOUSE FILMMAKER & BEST EDITING (Category: International Drama)

The Woman and the Cross

BEST INTERNATIONAL INDIE DIRECTOR & BEST INDIE CINEMATOGRAPHER

Gold, Glory & Nobility

BEST INTERNATIONAL SCREENWRITER (Category: Indie Feature Script)

The Esteemed Priority

BEST ARTHOUSE ANIMATED SHORT FILM & BEST POETRY SHORT FILM

La sposa nel vento

BEST EUROPEAN EDUCATIONAL FILM

“Queen: Checkmate for the King” (EXCLUSIVE) Interview with Luca De Giorgi

Who is Luca De Giorgi?

“I see myself as a very ordinary person, full of dreams, desires, and a deep inspiration derived from everyday life. I have a strong inclination to convey my feelings and observations, hoping to illuminate the inherent beauty in life. Simultaneously, I recognize the importance of personal growth and feel a profound sense of responsibility to support those who have been affected by misfortune and illness.

Since 2006, my passion for social support has materialized in my role as President of Associazione Vita, an Italian non-profit organization committed to offering comprehensive solutions for the health, social, and psychological needs of individuals. Professionally, I work in a bank, where I focus on understanding and addressing the needs of both individuals and companies, primarily in the area of credit solutions. I’ve found that the soft skills I’ve developed in both my professional and voluntary roles have uniquely positioned me to undertake ambitious projects such as producing a movie.”

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

“As for the moment I fell in love with cinema, I remember dreaming of owning a video camera from a young age. That dream became a reality when I purchased my first one at nineteen, using my very first paycheck. Since then, I’ve continuously used cameras for both video and photos. For ‘Queen: Checkmate for the King,’ my focus was initially on production, and I really delved into the film during the editing phase. This was because we used freelance cameramen, and all the recording was done live, without the possibility of replays. This methodology made the editing process a crucial and intimate engagement with the material.”

Tell us about your project “Queen: Checkmate for the King.”

“The title ‘Queen: Checkmate for the King’ is inspired by the chess game, where the queen puts the king in check, switching from defense to attack. This metaphor extends to life, and the project truly began as a vision following the theatrical event in Palermo in May 2023. While editing the recordings of the show, I was struck by the raw emotion and profound depth of the experience, realizing its potential as a film. Furthermore, I had made a promise to one of the individuals I interviewed, a lady whose story deeply moved me, to share her narrative. It was this commitment, combined with the original vision, that gave birth to the movie.

I am very proud of the movie, not so much for the awards received, but for having believed that it was possible, for having reached a dream even if some others told me it was impossible and would be embarrassing. It’s a testament to just trusting in yourself and your dreams.”

Which Director inspires you the most?

“Well, to tell the truth, I had no idea how to edit the movie. I didn’t consciously think about any particular director, but simply followed the emotion and what I felt watching the files. I followed the speeches and kept the message’s core meaning in mind, imagining the viewer in the cinema. I recognized the need to approach this project unconventionally to truly capture the public’s attention. I wanted to create something dynamic that would demonstrate how extraordinary moments can be found within the fabric of ordinary life.”

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

“I’ve had the opportunity to travel around the world – not extensively, but enough to observe and hear what people say and do. I believe there are many people who truly have a global, holistic vision for the world. They care about environmental justice, social equality, and work to evolve, feeling a responsibility to leave a better Earth for their children than the one they inherited. Then there are others who are more insular, who believe money is the ultimate path to success and satisfaction in life. But there’s more to it; there’s a humanity and happiness in every day we live in, and I would want people to know that if everyone did their best for their communities, everyone could live better. We should stop building walls and open doors; stop closing our fists and open our hands towards the next person. It would be enough to encourage everyone to do their best.”

How do you imagine cinema in 100 years?

“I like both old movies and modern action films, and I hope that in future productions, care will still be taken with dialogue. I think that AI will be a part of movies more than it is now, but I hope that the human element remains the core of the film, as the storytelling.”

What is your impression of WILD FILMMAKER?

“I’m deeply impressed by WILD FILMMAKER and its mission. I believe initiatives like this are crucial for giving a voice to unique and authentic stories that might otherwise go unheard. I particularly appreciate their commitment to diverse narratives and their role in fostering a community for independent filmmakers.

I value their focus on innovation and their ability to connect audiences with thought-provoking content; its dedication to showcasing high-quality, impactful cinema is evident, and I admire their ability to catalyze change and inspiration within the filmmaking community. They truly represent a beacon for films that explore new perspectives.

WINNERS NAPLES FILM AWARDS 2025

Fractures In Time

By Lesley Ann Albiston

BEST WRITING STYLE & BEST AMERICAN SCREENWRITER OF THE YEAR

The Art of Documentary Filmmaking: A Comprehensive Guide

By Ioannis Koutroubis

BEST INTERNATIONAL BOOK 2025 & BEST WRITER (Category: Book/Manuscript)

Fear not, my child

By Michaela Kuti

BEST ORIGINAL SONG 2025 & BEST SOUND DESIGNER

Sheldon Mashugana gets Stooged

By Dean Morgan

BEST FILMMAKER, BEST ACTOR, BEST AMERICAN PRODUCER & BEST ORIGINAL IDEA (Category: International Comedy)

Josh’s Employment Agency of Brooklyn/the Hereafter

By Nancy Kimmel

BEST ARTHOUSE FEATURE SCRIPT 2025

Eye of the Storm

By Brooke Wolff

BEST DIRECTOR, BEST EDITING & BEST CAMERA OPERATOR (Category: Indie Documentary Feature)

The Duchess

By Arnold Curry

BEST SCREENWRITER, BEST ACTING & BEST INTERNATIONAL DIRECTOR (Category: Drama)

Fortezza

By Don Pasquale Ferone

BEST SOCIAL SONG & BEST EUROPEAN MUSIC VIDEO 2025

Alta California

By Lynn Elliott

BEST INTERNATIONAL FEATURE SCRIPT

The Arcangel Of Death

By Vincenzo Amoruso

BEST EUROPEAN ACTOR 2025 & BEST BREAKTHROUGH ACTOR

Katabasis

By Samantha Casella

BEST ARTHOUSE SCREENPLAY & BEST ORIGINAL DIRECTOR 2025

Gold Glory & Nobility

By Phoebe von Satis

BEST ORIGINAL FEATURE SCRIPT 2025 & BEST ORIGINAL IDEA

The Hallmark Couple

By Phoebe von Satis

BEST INDIE SCREENWRITER OF THE YEAR

Malibu Madam

By Phoebe von Satis

BEST ARTHOUSE FEATURE SCRIPT

Only in Malibu

By Phoebe von Satis

BEST INTERNATIONAL SCREENPLAY 2025

Hummel

By Phoebe von Satis

BEST WRITER (Category: Short Script)

K Bender (The Bloody Benders)

By Phoebe von Satis

BEST INTERNATIONAL SHORT SCRIPT

The Mint

By Phoebe von Satis

BEST AMERICAN SHORT SCRIPT 2025

Heat and Love

By Michał Kucharski

BEST ARTHOUSE MUSIC VIDEO, BEST EDITING & BEST DIRECTOR (Category: Music Video)

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

By Russell Emanuel

BEST INTERNATINAL DIRECTOR, BEST AMERICAN SHORT FILM, BEST ORIGINAL EDITING & BEST SCREENWRITER (Category: Indie Narrative Short)

Routine

By Russell Emanuel

BEST CINEMATOGRAPHY, BEST INTERNATIONAL INDIE NARRATIVE SHORT, BEST CASTING DIRECTOR & BEST AMERICAN FILMMAKER OF THE YEAR

Darker Realities

By Pamela PerryGoulardt

BEST INTERNATIONAL SCREENWRITER 2025 & BEST ORIGINAL IDEA

The Taste Of Rain

By Larry Gene Fortin

BEST INTERNATIONAL ARTHOUSE SCREENWRITER

Omnipotent Resolution

By Uniqueness Heiress & Azia

BEST INDIE MUSIC VIDEO, BEST DIRECTOR & BEST CAMERA OPERATOR (Category: Music Video) & BEST INTRENATIONAL POETRY FILM

The Rorschach Test

By Lena Mattsson

BEST CINEMATOGRAPHER, BEST INTERNATIONAL DIRECTOR (Category: Spiritual Film) & BEST EXPERIMENTAL EDITING

Not Without Gloves

By Lena Mattsson

BEST POETRY FILM SHORT & BEST EUROPEAN INDIE DIRECTOR

The Days of Knight: Chapter 1

By John Martinez

BEST NARRATIVE SHORT 2025, BEST CAST, BEST CINEMATOGRAPHER & BEST ORIGINAL IDEA

Doctor Hyphoteses

By Vicentini Gomez

BEST INDIE COMEDY 2025 & BEST INTERNATIONAL ACTOR

The Queen of Camelot

By Roger Paradiso

BEST PRODUCER, BEST MOVIEMAKER & BEST EDITING

Cataclysm Down Under – Hero

By Akal Demir

BEST ARTHOUSE SONG & BEST PRODUCER (Category: Song)

“Green Thumb Weed Killer” (EXCLUSIVE) Interview with Carter Cox

-Who is Carter Cox?

Carter Cox is a goofy, tall, handsome (at least in my grandma’s eyes) who’s passion in life is to entertain and use his gifts to serve his community and God. 

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

Honestly, I’ve loved movies for as long as I could remember, but I believe I really got serious about cinema was when I watched “They Live” for the first time. That film showed me how much of an impact film could really have on the world. The cultural significance and the messages, and also just the absolute badassness of that movie truly inspired me!

-Tell us about your project “Green Thumb Weed Killer”.

Green Thumb Weed Killer is a found footage/analog horror film that pokes fun at old infomercials but with a massive fun twist! I got inspired to do this from the Adult Swim Infomercials where they would trick their viewers into thinking they were watching a real infomercial. Also, with the current craze of analog horror that has been sweeping online lately it felt like the perfect time! The project has been a massive undertaking but I believe it will be possibly my best film to date! 

-Which Director inspires you the most?

The director that inspires me the most is definitely Sylvester Stallone. I admire him because of his insane work ethic and grit when making films. His rise to stardom from his humble beginnings is one of the most inspirational stories of all time. When he makes a movie he stars, directs, writes, he even does his own stunts, and that’s something I can relate to being a small independent filmmaker!

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

Honestly what I dislike most about the world is the evil that exists in it. Thats probably the most vanilla answer ever but its the truth. Evil is everywhere and it has many faces, from actions to words to thoughts. But, god gives us the power to fight against the evil of this world and its up to us to fight against it. I plan on changing the world by using my skills in film and philanthropy to give back to those in need. I feel like through the magic of film you could really change the world in more ways than one!

-How do you imagine cinema in 100 years?

With AI on the rise the future of Authentic cinema looks murky. Ai is already making massive changes in the industry and its not going away anytime soon. Honestly in 100 years I think authentic film will be sought after like gold. Will all of the sludge coming out of mainstream Hollywood these days, indie productions seem to be on the rise and I believe that we are witnessing a massive shift in film coming back into the hands of small creators.

-What is your impression of WILD FILMMAKER?

Wild Filmmaker seems like a great place for small creators to get dip their toe into the film industry and hopefully get their work noticed

WINNERS EUROPA CINEMA LAB, Independent Outlook Prize, Brussels, Belgium

The G-Files

By John Johnson

BEST ORIGINAL DOCUMENTARY FEATURE, BEST DIRECTOR, BEST PRODUCER & BEST CINEMATOGRAPHY (Category: International Documentary Feature)

Fractures In Time

By Lesley Ann Albiston

BEST INTERNATIONAL ORIGINAL SCREENWRITER & BEST AMERICAN ARTHOUSE FEATURE SCRIPT

Dancing with Spies @Goddess novel manuscript

By Francis Billingsley

BEST INTERNATIONAL WRITER & BEST INDIE BOOK/MANUSCRIPT 2025

Asherah’s Colors

By Gary Mazeffa

BEST INTERNATIONAL NARRATIVE SHORT 2025, BEST INDIE DIRECTOR, BEST CAST & BEST CINEMATOGRAPHY

Omnipotent Resolution

By Uniqueness Heiress & Azia

BEST SPIRITUAL NARRATIVE SHORT, BEST DANCE SHORT FILM, BEST FILMMAKER (Category: International Indie Music Video), BEST PRODUCER & BEST EDITING (Category: International Musical)

Wacko

By Matthew Roch

BEST INDIE NARRATIVE FEATURE, BEST ORIGINAL SCREENPLAY, BEST AMERICAN INDIE PRODUCTION COMPANY & BEST EDITING (Category: Narrative Feature)

Katie May

By Rudy Strukoff

BEST ARTHOUSE MUSIC VIDEO 2025 & BEST INDIE PRODUCTION COMPANY (Category: Music Video)

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

By Russell Emanuel

BEST DIRECTOR, BEST SCREENWRITER, BEST CAST & BEST CINEMATOGRAPHER (Category: Indie Narrative Short)

Routine

By Russell Emanuel

BEST WRITING STYLE (Category: International Screenplay Short), BEST ARTHOUSE NARRATIVE SHORT 2025, BEST LOCATION & BEST ORIGINAL MOVIEMAKER

Fear not, my child

By Michaela Kuti

BEST SONG 2025, BEST SOUND DESIGN & BEST INDIE SINGER

La Sposa Nel Vento

By Giovanni Coda

BEST EUROPEAN EXPERIMENTAL DIRECTOR OF THE YEAR

The Taste Of Rain

By Larry Gene Fortin

BEST ARTHOUSE ORIGINAL SCREENWRITER & BEST INTERNATIONAL INDIE SCREENPLAY

Cassandra Venice

By Hugo Teugels

BEST EUOPEAN EXPERIMENTAL DIRECTOR 2025

Something ain’t right

By Susan Downs

BEST INTERNATIONAL INDIE DOCUMENTARY FEATURE 2025, BEST CINEMATOGRAPHY, BEST INDIE PRODUCER & BEST ORIGINAL DIRECTOR

Katabasis

By Samantha Casella

BEST INTERNATIONAL FILM, BEST EUROPEAN SCREENPLAY OF THE YEAR, BEST MAKE-UP & BEST CASTING DIRECTOR

The Dead Ringer

By Suzanne Lutas

BEST INDIE SCREENWRITER & BEST ORIGINAL STORY

TALITA l’abbandono

By Damiano Rossi

BEST EUROPEAN ARHOUSE FILMMAKER, BEST ORIGINAL EDITING & BEST INDIE EXPERIMENTAL FILM

The Lost Village

By Roger Paradiso

BEST DIRECTOR, BEST AMERICAN CAST & BEST EXECUTIVE PRODUCER

Nossos Caminhos (Our Paths)

By Carla Di Bonito

BEST INTERNATIONAL INDIE SCREENPLAY, BEST WRITING STYLE & BEST ORIGINAL IDEA

Eye of the Storm

By Brooke Wolff

BEST MOVIEMAKER, BEST EDITING & BEST PRODUCER (Category: International Documentary Feature)

The Arcangel Of Death

By Vincenzo Amoruso

BEST ORIGINAL ACTING, BEST EUROPEAN ACTOR & BEST INSPIRATIONAL SHORT FILM

Roll The dice

By Federica De Stasio

BEST ORIGINAL EXPERIMENTAL FILMMAKER OF THE YEAR

Heat and Love

By Michał Kucharski

BEST DIRECTOR (Category: Music Video), BEST SOUND DESIGNER, BEST INDIE MUSIC VIDEO & BEST INDIE PRODUCER

Hot Afternoons Have Been in Montana

By Ken Kimmelman

BEST ORIGINAL FILMMAKER 2025, BEST CINEMATOGRAPHY & BEST CAMERA OPERATOR

Fortezza

By Don Pasquale Ferone

BEST ORIGINAL WRITING STYLE (Category: Music Video), BEST EUROPEAN SONG 2025 & BEST SPIRITUAL SINGER

Sheldon Mashugana gets Stooged

By Dean Morgan

BEST AMERICAN ACTOR, BEST INTERNATIONAL COMEDY & BEST SCREENPLAY 2025 (Category: Comedy)

Malibu Madam

By Phoebe von Satis

BEST WRITING STYLE (Category: Feature Script), BEST AMERICAN SCREENWRITER & BEST INTERNATIONAL SCREENPLAY

Gold Glory & Nobility

By Phoebe von Satis

BEST INTERNATIONAL FEATURE SCRIPT & BEST ORIGINAL IDEA (Category: Indie Screenplay 2025)

Only in Malibu

By Phoebe von Satis

BEST WRITER 2025

The Hallmark Couple

By Phoebe von Satis

BEST ARTHOUSE FEATURE SCRIPT

The Days of Knight: Chapter 1

By John Martinez

BEST CINEMATOGRAPHER, BEST MOVIEMAKER, BEST SCREENPLAY SHORT, BEST PRODUCER & BEST ORIGINAL IDEA (Category: International Narrative Short)

Doctor Hyphoteses

By Vicentini Gomez

BEST ORIGINAL ACTING 2025 & BEST ARTHOUSE ACTOR

Alta California

By Lynn Elliott

BEST AMERICAN WRITER 2025 & BEST HISTORICAL FEATURE SCRIPT

The Stones of Rome

By Sean Gregory Tansey

BEST HISTORICAL SHORT FILM & BEST INTERNATIONAL ARTHOUSE ACTOR

The Pathos of Hamlet

By Sean Tansey

BEST SPIRTUAL SHORT FILM & BEST ACTING

The Rorschach Test

By Lena Mattsson

BEST SPIRITUAL SHORT FILM, BEST POETRY FILM & BEST INTERNATIONAL ARTHOUSE DIRECTOR

Stranded In Time And Space

By Akal Demir

BEST ARTHOUSE FILMMAKER 2025

Medea

By Andronica Marquis

BEST INDIE SHORT FILM, BEST FILMMAKER, BEST EDITING & BEST ORIGINAL IDEA (Category: Narrative Short)

Water

By Gary Beeber

BEST INDIE DIRECTOR, BEST INDIE DOCUMENTARY FEATURE & BEST EDITING

“TIC TAC” (EXCLUSIVE) Interview with Emilio Mercanti

-Who is Emilio Mercanti?

Emilio Mercanti is a young filmmaker born and raised on the coast of the Marche region, in a family of artisans and fishermen. He began studying directing and multimedia audiovisual language in high school, then earned his degree at the Academy of Fine Arts with a specialization in theories and techniques of audiovisual media. He started working at a very young age on commercial and film sets as an assistant director and backstage videographer, eventually becoming assistant director on one of the most successful Italian independent films, Neve. In 2020, he directed his first short film Believe In You, an experimental and silent piece that won various awards across Europe both as Best First Work and Best Short Film. In 2024, he completed TIC TAC, his first narrative short film.

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

I remember precisely the moment I fell in love with cinema and I also remember how I nurtured that passion. My very first time at the movies was terrifying. I was five years old and had to leave the screening because I was too scared; that enormous screen had overwhelmed me. A month later, I went back, and during the cave scene in Batman Begins, still frightened, I told my mother she could hold my hand if she was scared (even though I was the one afraid, but I didn’t want to admit it). In that moment, I overcame my fear of the screen and understood that cinema could be a pure form of emotional communication both positive and negative. I was fascinated by the possibility of learning to control that language. During my childhood, every weekend my family and I rented two DVDs, and I spent those years watching every type of film I could get my hands on, trying to absorb as much as possible until I finally started studying film in high school. It’s a passion I’ve had for as long as I can remember, and one I’ve never lost.

-Tell us about your project “TIC TAC”.

TIC TAC is an experimental short film that deals with various themes first and foremost, the breakdown of communication within a couple, and ultimately, the fear of parenthood. I believe this is a subject that deeply concerns younger generations around the world, especially in what Bauman would call our “liquid society.”
Synopsis: Trapped in a daily life that repeats like a jammed mechanism, Phil a methodical and solitary office worker discovers he is caught in a time loop where every choice seems to lead to the same destiny. Each ticking of the clock brings him closer to a secret, a repressed truth, a pain never resolved.
Throughout this endless cycle, Phil must face the experience alongside Mary (his partner) an ethereal and contradictory figure, both a saving presence and an elusive one, and the Daemon, the embodiment of his darkest conscience. In this space suspended between reality and hallucination, between life and dream, Phil must confront himself in order to break the hypnotic rhythm of time.

-Which Director inspires you the most?

The two directors who have influenced me the most are Christopher Nolan and Fritz Lang. Nolan, because the first film I ever watched was one of his, and it shaped my understanding of audiovisual language and how it can be used to communicate both in themes and style. The second is Fritz Lang, for his visionary outlook and his desire to speak both about the masses and to the masses, treating the audience as an integral part of the cinematic experience. His work, especially Metropolis, deals with complex, forward-thinking themes that still resonate deeply today.

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

What I dislike most is the indifference and lack of empathy that often define human interactions. I would change our approach toward others, promoting a culture of listening and understanding where people are willing to give something up for themselves if it benefits someone else. I believe cinema can be a powerful tool to raise awareness and inspire real, positive change.

-How do you imagine cinema in 100 years?

I envision cinema becoming increasingly immersive, where technology will allow for fully sensory experiences. However, I hope that despite all the technological evolution, the heart of cinema will remain rooted in storytelling and in the exploration of the human soul—through personal and innovative ideas.

-What is your impression of WILD FILMMAKER?

WILD FILMMAKER is an innovative platform that celebrates creativity and independence in the world of cinema. I appreciate their commitment to giving voice to emerging directors and for promoting a vision of cinema that goes beyond traditional conventions through a more real and honest communication toward independent filmmakers, truly giving them the chance to be seen and to emerge.

“Wheels of a Giant” (EXCLUSIVE) Interview with Catarina Accioly

-Who is Catarina Accioly?

I am a multidisciplinary artist who started out as an actress and specialised in screenwriting, directing and producing. My focus is on content that addresses challenging stories, sensitive issues and inspiring characters, both in documentary and fiction.

I believe that art has the power to impact and transform. If one day I am no longer here, the works I have created will say a lot about what I believe in. I am an artist who seeks, through poetic art, to question and stimulate a more just and equal world. Stories that leave good seeds motivate me.

My work explores the connection between the individual and the collective, using art to address social and emotional issues. Each project is an opportunity to investigate new languages, always aiming to touch the audience and generate a positive impact.

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

My relationship with cinema developed gradually through a series of coincidences: a family that liked going to the movies, access to good films when I was young and living in Brasilia, the capital of Brazil, where I still live today. In the 1980s, there were many movie theaters showing ‘art films’. It was my favourite thing to do. I fell in love with cinema before I fell in love with acting. I am a spectator and a film buff.

But when I was almost 30, after having acted in several films, studied screenwriting and logically identified the similarities and connections with my theatre training, I was overcome by the desire to tell my own stories. I dedicated myself to creating, writing and directing with great determination. When I realised this in my first short film as a director in 2005, I identified the overwhelming desire for audiovisual work as my profession. And here I am today, 20 years after my first short film as a director.

-Tell us about your project ‘Wheels of a Giant’.

I had a spark of curiosity to dive into the life of Hugo Rodas, the protagonist of the documentary Wheels of a Giant, since I met him at the age of 19 at the University of Brasília as my professor. His last name ‘Rodas’ means ‘Wheels’. He was my theatre director for over 10 years in two theatre companies. He became my friend. He was a very original artist and a unique human being. When he was 79, after almost 30 years of daily friendship, with an established career in cinema, I started filming him in the midst of his theatrical activities. Months later, he discovered he had an illness. I decided to tell this story. Without knowing, I filmed the last four years of this charismatic man’s life in Brasília, Brazil, following him to Juan Lacaze and Montevideo, Uruguay. And so the documentary came about, with a universal conflict that arose: the imminence of death. The film premiered in Brasília in December 2023 and, since then, has been shown at more than 70 festivals, receiving more than 30 awards, as honourable mentions and other recognitions. This makes us believe in this story of an old soul of the theatre facing death through art and his eccentric relationships.

-Which director inspires you the most?

I would highlight female directors who inspire female directors and screenwriters. I would highlight Sofia Coppola for the personality and skill of her narratives; she is certainly an international reference. In Brazil, Anna Muylaert has a very expressive and important cinematography due to her approach to original stories that carry social importance. She inspires me with how she directs and handles scenes and stories, as well as being a great screenwriter.

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

There is a lack of tolerance, right? The various wars, oppression, the extermination of peoples, supremacy at any level, it’s horrific. I wonder where we will end up with all this. The world is collapsing, thousands of people are dying, nature is screaming, there is war, hunger, oppression, devastation, new technologies are being manipulated for greed, money and power. It’s sad, isn’t it? I would change it to a world with collective ideals so that we don’t all die soon without leaving any possibility of continuity for future generations.

A world of respect for differences and generosity in the deepest sense of both words would be an incredible place to live, don’t you agree?

-How do you imagine cinema in 100 years?

I believe that nothing can replace the immersive experience of cinema. I hope that authorship will be increasingly valued. But these are just wishes. Perhaps I prefer to imagine films that are possible to make. I can’t transport myself to a future where I won’t be. It’s better to think about what I can tell and achieve today, in the present.

-What is your impression of a WILD FILMMAKER?

I consider Wild Filmmaker an excellent opportunity both for film distribution and for promoting filmmakers and their independent, auteur works. I appreciate the opportunity to talk with you and tell you a little about the cinema made in Brazil’s capital city.