Author: Dreamate Demo

LAMBADA THE DANCE OF FATE

33 Awards & Selections

Winner, BEST ORIGINAL IDEA (Category: International Feature Script) & BEST EUROPEAN WRITER 2025
LAMBADA THE DANCE OF FATE
Santa Monica, LA Indie Critics’ Choice Awards 2025
Santa Monica, LA California 2025

Honorable Mention in the category FIRST TIME SCREENWRITER
LAMBADA THE DANCE OF FATE
Hollywood Stage Script Film Competition
Los Angeles, USA 2025

Winner, BEST ARTHOUSE SCREENWRITER OF THE YEAR & BEST INTERNATIONAL BIOGRAPHICAL
SCRIPT
LAMBADA THE DANCE OF FATE
Cinematic Tony Awards of Broadway
Broadway, New York 2025

Winner, SPECIAL AWARD “YOUNG CRITICS” BEST AMERICAN BIOGRAPHICAL SCRIPT & BEST
ORIGINAL FEATURE SCRIPT OF THE YEAR
LAMBADA THE DANCE OF FATE
New Wave Cinema Festival – Hollywood/Paris
Hollywood, Paris 2025

Winner, BEST ARTHOUSE SCREENWRITER OF THE YEAR & BEST INTERNATIONAL BIOGRAPHICAL
SCRIPT
LAMBADA THE DANCE OF FATE
Cinematic Tony Awards
Broadway, New York 2025

Featured in the List of the Greatest Indie Film Directors of All Time
LAMBADA THE DANCE OF FATE
Boulder Film Association
Colorado, United States 2025

Winner, BEST BIOGRAPHICAL SCRIPT, BEST INTERNATIONAL ARTHOUSE SCRIPT & BEST ORIGINAL
SCREENWRITER
LAMBADA THE DANCE OF FATE
Film Emmy Awards
New York, United States of America 2025

Winner, most awarded artist of the 2024/25 season
LAMBADA THE DANCE OF FATE
The Beverly Hills Film Forum
Beverly Hills, Los Angeles 2025

Winner, BEST BIOGRAPHICAL SCRIPT & BEST INTERNATIONAL INDIE WRITER
LAMBADA THE DANCE OF FATE
THE ALICE FILM FESTIVAL 2025
Berlin, Germany 2025

Winner, BEST INTERNATIONAL WRITER
LAMBADA THE DANCE OF FATE
The 2025 International Indie Cinematheque Awards
Italy 2025

Winner, BEST BIOGRAPHICAL SCRIPT & BEST INTERNATIONAL INDIE WRITER
LAMBADA THE DANCE OF FATE
The Taormina Film Meeting Awards 2025
Sicily, Italy 2025

Winner, BEST INTERNATIONAL WRITER, BEST ORIGINAL IDEA & BEST ARTHOUSE BIOGRAPHICAL
PROJECT
LAMBADA THE DANCE OF FATE
The AMDb Arthouse Movie Database Critics’ Choice Awards 2025
United States 2025

Winner, Best Screenwriter of the Year
LAMBADA THE DANCE OF FATE
CANNES SCREENWRITER AWARDS 2025
Cannes 2025

Winner, BEST BIOGRAPHICAL SCRIPT & BEST INTERNATIONAL INDIE WRITER
LAMBADA THE DANCE OF FATE
The INDIE OSCAR AWARDS
Los Angeles 2025

Winner, BEST INTERNATIONAL INDIE WRITER & BEST BIOGRAPHICAL SCRIPT
LAMBADA THE DANCE OF FATE
The 54th International Film Festival Rotterdam
Rotterdam, Netherlands 2025

Winner, BEST ORIGINAL SCREENWRITER, BEST INTERNATIONAL IDEA & BEST BIOGRAPHICAL
SCRIPT OF THE YEAR
LAMBADA THE DANCE OF FATE
Canadian International Indie Film Critics Awards 2025
Canada 2025

Winner, BEST BIOGRAPHICAL SCRIPT & BEST INTERNATIONAL INDIE WRITER
LAMBADA THE DANCE OF FATE
75th Berlin International Film Festival
Berlin 2025

Winner, Best First Time Screenwriter
LAMBADA THE DANCE OF FATE
Best Hollywood Day Short Film Festival 2025
Los Angeles 2025

Winner, BEST BIOGRAPHICAL SCRIPT & BEST INTERNATIONAL INDIE WRITER
LAMBADA THE DANCE OF FATE
The Independent Special Event at Sundance
Sundance, USA 2025

Winner, in the categories BEST ARTHOUSE WRITER 2025 & BEST BIOGRAPHICAL SCREENPLAY
LAMBADA THE DANCE OF FATE
The Siena International Film Showcase
Siena, Italy 2025

Winner, in the catecory Best Biographical Script
LAMBADA THE DANCE OF FATE
The Clown International Film Festival
Paris 2025

Winner, Best Biographical Script
LAMBADA THE DANCE OF FATE
London Indie Film Festival
London 2025

Winner, Best International Original Screenwriter & Best Biographical Script
LAMBADA THE DANCE OF FATE
Oklahoma New Directors / New Films 2025
Oklahoma USA 2025

Winner, Best International Indie Writer & Best Biographical Script
LAMBADA THE DANCE OF FATE
INDIE GOLDEN GOLBE 2025

WINNER, Best International Writer & Best Biographical Script
LAMBADA THE DANCE OF FATE
Bellagio New Cinema From The World Film Festival 2025
Bellagio, Lago di Como 2025

Most Awarded Indie Author
LAMBADA THE DANCE OF FATE
Arthouse Movie Database Critics´ Choise Awards 2025
Los Angeles – New York – Rome – Cannes – Dubai 2025

Winner, Best Indie Writer Of The Year & Best Biographical Script
LAMBADA THE DANCE OF FATE
Hollywood Indie Film Critics Awards 2024
Los Angeles 2024

Winner, Best Biographical Script
LAMBADA THE DANCE OF FATE
New York International Film Awards
New York 2024

WINNER, Best Biographical Script, Best International Screenwriter
LAMBADA THE DANCE OF FATE
8 & HALFILM AWARDS
Italy 2024

WINNER, Best Biographical Script
LAMBADA THE DANCE OF FATE
Cannes World Film Festival
Cannes 2024

SEMI-FINALIST, Best Drama Screenplay
LAMBADA THE DANCE OF FATE
Los Angeles International Screenplay Awards
Los Angeles 2024

HONORABLE MENTION TOP 3
LAMBADA THE DANCE OF FATE
Athens International Monthly Art Film Festival
Athens 2024

FINALIST, Best International Feature Films
LAMBADA THE DANCE OF FATE
Mallorca Evolution International Film Festival
Palma de Mallorca

• Gabriel Garcia Marquez Prize – 2024
  “The Girl Made of Earth and Water”
  Best Super Short Film
• The Iceberg Cinema and Literature Awards – 2024
  “Darker Realities “
  Best Arthouse Writer
• Cinematic Tony Awards – 2025
  “Mind Over Matter”
  Best Filmmaker, Best Arthouse Producer, Best Original Cinematography.
• Indie Oscar Awards – 2025
  “Mind Over Matter “
  Best Int’l Super Short Film, Best Director, Best Original Editing.
• Film Emmy Awards, American Film Critics – 2025
  “The Girl Made of Earth and Water “
  Best Original Super Short Film
• Indie Golden Globes – 2025
  “Mind Over Matter “
  Best Arthouse Super Short Film
• Indie Hall Of Fame Awards -2025
  “The Girl Made Of Earth and Water”
  Super Short Film
• Arthouse Movie Data Base Critics Choice Awards -2025
  “The Girl Made of Earth and Water”
  Best Int’l Super Short Film, Best Director, Best Screenplay, Best Producer
  “ Mind Over Matter “

Cerficate of ACHIEVEMENT Proudly Presented to Danilo Del Tufo, for winning the Indie Oscar
Awards 2025 with his project “The Way of Mizoguchi” – Best Arthouse Filmmaker, Best European
Producer & Best Original Documentary (2025)
Dubai International Film Festival, Certificate of Excellence, excelled in the category Animated Films,
Winner for the outstanding animation on Forevermore
Medusa Film Festival Best Short Animation Forevermore (2025)
Leading Figure in Contemporary Cinema, UNIVERSAL EXPOSITION OF INDEPENDENT SEVENTH ART
(2025)
Winner Cinematic TONY Awards
Filmmaker Featured in the International List The Greatest Indie film Directors of All Time
Winner Special Jury Award – Beverly Hills Film Forum (2025)
Winner Award of Recognition Best Shorts Competition (2025)
Nomination BEST PRODUCER OF THE YEAR (2025)
WINNER ALICE Film Festival 2025, in Berlin.
Triloka International Filmfare Awards – Best Screenwriter Documentary Film D.W. Griffith The
Silent Era.
Triloka International Filmfare Awards Winner in the category BEST DOCUMENTARY FILM D.W.
GRIFFITH The Silent Era (2025)
Special Mention Award TRILOKA INTERNATIONAL FILMFARE AWARDS (2025)
Best International Author of the Year Washington, DC (2024)
Cult Movies International Film Festival Best Feature Documentary Presented to Danilo Del Tufo
The way of Mizoguchi (2025)
Best Filmmaker 2024 SoHo New York Co-production FF
Best International Filmmaker/Screenwriter OSAKA film Awards (2024)
Breakthrough Filmmaker Oxford Film Network Awards (2024)
Best International Artist LOS ANGELES Arthouse Film Critic Awards LA Arthouse FCA (2024)
Highly Commended Hollywood Film Critics Awards (2024)
Best Original Artist Charlie Chaplin Young Filmmaker Awards (2024)
Finalist Bestlov Film Festival (2024)
Winner Best Screenwriter of the Year (2024)
Winner 8 & Halfilm Awards (2024)
Associated Artist Hollywood Filmmakers Club
Official Member of the GOLDENLIST The Heart of the Indie Film Industry Indie Oscar Qualifying
(2025)
Nomination Director’s Guild of the World (DGW) Awards Cannes (2025)
Official International Member ABAFTA Arthouse British Academy of Film and Television Arts
Winner 2024 WASHINGTON, DC International Film Awards
Winner Tribeca Christmas Film Awards (2024)
Winner SoHo New York Co-production FF
Winner Shakespeare Film Awards 2025 in Verona
WINNER Oxford Film Network Awards (2025)
Winner OSAKA FILM AWARDS (2025)
Nominee NOCTURNA Online Brooklin Film Festival Best Feature Documentary
Winner MIAMI Film Awards (2024)
Winner WILD FILMMAKER Awards Independent Special Event at Sundance (2025)
Winner Hollywood Indie Film Critics Awards (2024)
WINNER Greek Film Critics Awards 2024 Cannes 2025 Qualified
Nominee CLIMAX Festival Internacional De Cinema Independiente Best Film Essay (2024)
Nominee CLIMAX Festival Internacional De Cinema Independiente BEST ACHIEVEMENT IN
DIRECTING (2024)
WINNER AEFF America Europe Film Festival 2025
Official Member WORLDWIDE Film Promotion on EFM 2025
Most Awarded Artist of the Year The Heart of the Indie Film Industry Indie Oscar qualifying
2025
Winner Special Event at the 75th BERLIN International Film Festival 2025
Resident Artist POP Film Archive Of SEATTLE
TRILOKA International FILMFARE AWARDS Best Documentary Film Homage to Aleksandr
Sokurov (2022)
TRILOKA International FILMFARE AWARDS Best Documentary Film The Way of Mizoguchi (2022)

(Photo by @ogata_photo)

-Who is Jacopo Rampini?

I am an Italian-American actor and writer with a passion for storytelling across cultures, languages, and mediums. Born in Rome to Italian parents, I grew up immersed in a world of books, art, and travel, living in Paris, Milan, San Francisco, and New York. This rich, multicultural upbringing deeply shaped my identity and creative path, inspiring me to become a storyteller who moves between languages, cultures, and artistic disciplines.

Tell us about your artistic journey:

I’m an Italian-American actor and writer. I was born in Rome, but my childhood was marked by constant movement—Paris, Milan, San Francisco, and eventually New York—due to my parents’ international careers. My father is a writer and my mother a teacher, so I was raised in an environment that celebrated culture, language, and the arts. To this day, I define myself as multilingual and multicultural. That duality is the foundation of my artistic journey.

As a teenager, I wanted to become an actor. Then I fell in love with poetry and dreamed of being a French poet. I studied literature at the Sorbonne in Paris, captivated by the decadent movement and the beauty of language. When I moved to New York, I rediscovered acting and trained at the American Academy of Dramatic Arts. After three years of conservatory, I began working on stage—first at the Williamstown Theatre Festival and later off-Broadway.

Eventually, I gravitated toward film and television. Today, I aim to bring these two passions together. I’ve written a novel that I’m adapting into a screenplay, developing it as a television series. I see myself primarily as a storyteller—whether through performance or writing—and I hope to keep building bridges between these art forms and the cultures I belong to. My artistic journey is one of blending, crossing, and uniting worlds, and the stories I want to tell reflect that.

(Photo by Gianluca Vassallo)

Tell us about the time when Barack and Michelle Obama walked into the restaurant where you were working:

Like many artists in New York, I worked as a waiter to support myself while pursuing acting. One of those jobs was at Via Carota, a small Italian restaurant in the West Village known for its food and its clientele.
Like so many other experiences I had in New York, it started with someone taking a chance on me. The two chefs—one Italian, one American—hired me even though I had no prior experience. They taught me everything, from opening a bottle of wine to navigating a full dining room at high speed. It was a demanding place, but if you were willing to work hard, they gave you the opportunity to prove yourself. That’s something I’ve always admired about the U.S.—the belief that effort, curiosity, and resilience can still open doors.

After 3 years working at Via Carota, on March 10, 2017, I was assigned to a private table that, I was quietly told, would be for the Obamas. Barack, Michelle, and their daughter Malia arrived with their usual security detail, but once seated, they made it clear they just wanted a quiet evening together. I introduced myself simply: “Hi guys, my name is Jacopo, and I’ll be your waiter tonight.” Barack smiled—”That’s a cool name. Where are you from?” “Italy, sir.”
What struck me most about that night wasn’t the fame or the security protocols. It was the dynamic at the table. This wasn’t a former president and first lady out for a high-profile dinner—it was two parents doing their best to guide their daughter as she figured out what kind of person she wanted to become. Malia led the conversation; Michelle was warm and empathetic; Barack listened closely, offering clear and thoughtful advice.
For all the attention they drew, that evening was intimate and grounded. And I happened to be the Italian waiter quietly serving dinner while a family worked through the same questions I myself have often faced with my own parents.

You have an Italian film history in a New York context. What are the differences between the Italian and American film industries?

The differences are significant, but they’re also what make the idea of bridging the two so exciting. I trained and worked in the American film industry, particularly in New York. It’s a fast-paced, highly efficient system with vast global reach, thanks to the dominance of the English language and the cultural power of American entertainment. Big productions, big budgets, and star-driven content allow for incredible scale and influence.

Italy, on the other hand, has a more artisanal approach. Its productions are often smaller, more intimate, and driven by the unique vision of the director. There’s a long tradition of *cinema d’autore*, and many Italian films are deeply rooted in the country’s history, language, and culture. This can make them harder to export, but it also gives them a distinct soul.

I believe there’s great potential in making Italian stories more accessible to international audiences—without losing their authenticity. My goal is to help create that bridge, finding ways to connect the narrative depth of Italian cinema with the broader reach of international platforms.

What do you not like about the world, and what would you change?

I remember a time before cell phones and social media, when human connection felt more direct and less filtered. Technology is a powerful tool, but sometimes I worry it has diluted the richness of face-to-face interaction—especially in a craft like acting, which is so dependent on empathy and presence.

There’s no going back, and I don’t believe in nostalgia for its own sake. But perhaps the increasing presence of technology in our lives will eventually lead us to value what we’ve lost—to reconnect with the human dimension in a deeper way.

(Photo by Leonardo Bertuccelli)

How do you imagine cinema in 100 years?

Cinema is the youngest of the arts, and it’s evolving rapidly. In 100 years, it will likely be shaped by technologies we haven’t even conceived yet—augmented realities, neural storytelling, or something completely different. But I believe the emotional core of cinema will remain unchanged.

As we move forward, I think we’ll look back with even greater admiration at the pioneers—Fellini, Kubrick, Bergman—who created masterpieces with relatively limited tools. Their work will continue to inspire, reminding us that technology serves the story, not the other way around.

What is your impression of WILD FILMMAKER?

WILD FILMMAKER is doing something essential—amplifying international voices and making space for artists who want to be heard across borders. It’s creating a platform where diverse stories can find a global audience, and that’s something I deeply believe in. It’s building a bridge, just like I try to do in my own work. We’re on the same path, and I’m grateful to be part of that vision.

Who Is Lesley Ann Albiston?

I am a screenwriter, playwright, director, actor, artist, facilitator, and mother. Originally from Manchester, I moved to South Wales at age eight where my father worked in a design studio. I grew up surrounded by mountains, coalmines, dragons, and Dylan Thomas.

After studying art and drama, I worked as an actor. With a colleague at The Museum of The Moving Image in London, (sadly no longer there) I co-wrote, produced, and directed my first theatre production, “Seats In All Parts,” a musical set in a post-war local cinema. We utilized the BFI’s free resources; and gained extensive knowledge of the history of cinema, specifically of the effects of WW2 on British Cinema.

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

“The Day The Earth Stood Still,” released in 1951, is a science fiction film that combines entertainment with a message to humanity. The film’s themes remain relevant today. The black and white images of the humanoid alien, accompanied by a silver robot and spaceship, issuing a cautionary message to Earthlings, have left a significant impression on me. The movie, along with The Time Machine, sparked my imagination early on, followed by 1960s/70s TV shows like Star Trek and Lost in Space.

I fondly remember watching musicals like West Side Story, American in Paris, Singin’ in the Rain, and Mary Poppins with my post-war musical-loving parents and sisters. 

Tell us about your project “Fractures In Time and Visitors Book“.

After writing and directing the stage plays “A Slice Of Eel Pie”, a dark comedy about the Hippy Commune on Eel Pie Island, and “Chop Me Up Or Let Me Go”, a two-person comedy play about social media stalking of a celebrity for The London Fringe Theatre, I wrote a screenplay.

“Fractures In Time” explores the invention of time travel and its implications if everyone could freely move through time. The Swedish American actor Joel Kinnaman is my consideration for the role of Jovan Johannson, the trillionaire genius inventor of time travel. Upon successfully inventing time interception, he faces the decision of whether to utilize it for the benefit of humankind or for personal gain. Notably, a considerable amount of time travel occurs in both directions, which should meet the expectations of enthusiasts of the genre.

Writing about time travel is challenging and ironically lakes time. Much to my delight and surprise, the screenplay has won many Winner Awards at film festivals, with hopes it will become a major sci-fi blockbuster.

Following the widespread acclaim for “Fractures In Time,” I sought to determine if my success in screenwriting could be replicated. Consequently, I wrote “Visitors Book,” which delves into a completely different era and genre.

“Visitors Book” is a contemporary romantic comedy road movie with a Celtic theme. It follows Sienna, a Welsh-Italian art teacher from a school for the deaf, on her mission to return a personal journal left at an Airbnb in Wales. The journal belongs to a scatty Scottish photographer Theodore, working on a series of community and seascape photos for a commissioned book. The film explores the unlikely romance between two shy individuals. “Visitors Book” is winning film festival awards and could be a feel-good hit starring perhaps Scottish actor Jack Lowden. This film features characters working in service and hospitality along the Welsh and Scottish coasts, addressing themes of coincidence, destiny, soulmates, and the importance of kindness. The goal is for the film to be produced and shown in cinemas.

Which Director Inspires you the most?

Contemporary directors, Ben Stiller, Martin McDonagh, and Jesse Eisenberg are individuals whose work I greatly admire.

What issue in the world concerns you the most, and what would you address?

One might focus on addressing climate change, as addressed in “Fractures In Time.”

How do you imagine cinema in 100 years?

Predicting future advancements is challenging. Just as people 100 years ago could not foresee the cinema of 2025 or the development in technology for cars, electricity, and telephones 100 years before that, today’s rapidly evolving technology remains unpredictable for me.

What is your impression of WILD FILM MAKER?

Thank you, WILD FILMMAKER, for providing visibility and respect to filmmakers and writers. I’m grateful for the chance to share my work on your platform.

Who is Nancy Kimmel?

Daughter of Antal and Lydia Kimmel, Hungarian and Russian immigrants.  I was raised to believe that anything is possible. My father would tell me stories from the books he read and it would captivate me for hours.  Beethoven and Mozart would play in our house throughout the day.  

My parents would take us to see movies at least twice a week.  It didn’t matter how violent or guresome they were.  My brother and I always managed to get in.  We saw the best of them.

Wow!  Imagine seeing “Dirty Harry” at 12 years of age on the big screen and “In Cold Blood”.

I used to get into trouble at school for telling stories because it would scare the other children.  My book reports would be on the most recent movies I watched.  I never read the book.  Hammer horror films were my favorite.

When my boys were younger,  I would tell stories outside on the porch and all the neighborhood kids would come and sit around and listen.  Come to think of it, I would sometimes get in trouble with the parents for scaring them. Lol

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

That would be, when I first saw the “Dirty Harry” movies!

What a great story line!  The bad guys were really bad, and the good guys were really good, and had their own bad side.  It is never one sided is it?  A good hero should also have a dark side that others can relate to.  My dad took us to see Satyricon by Fellini.  I didn’t understand it, but for some reason, I also couldn’t stop watching it.  When I would play outside with the kids in the neighborhood, I tried to get them to play the parts of the movie.  That didn’t go well. 

Tell us about your project “Josh’s Employment Agency of Brooklyn/the
Hereafter”

It all came together after the guys who came to clean the windows at our building came running downstairs from cleaning the upstairs windows and said, “I’m not going up there again,  That place isn’t right!”  The guy was actually scared.  In fact, he never came back!  They just ran out the door.

That’s when it hit me!  I thought, Ok, so let’s say that there are ghosts upstairs, are they good or bad?  Who is the good/dark hero? Then, the thought crossed my mind, what if they were bored and wanted to do something good?  That’s when I came up with the storyline about 3 ghosts from different eras who were stuck upstairs and the only person who could see them was Josh.  Each had their own back story. There was Detective O’Shaughnessy from the 70’s, Jasmine, a troubled girl from the 80’s and The Magician, George from the 20’s.  With Josh’s help, they wanted to solve the kidnappings of the young girls in the area.  One of the missing girls was Jasmine’s cousin. Josh reluctantly agrees.  Death gets wind of their plan and wants to help, because he wants a change of pace.  Mary, Josh’s secretary, turns out that she can also see ghosts.  But Mary is special.  She has a different agenda. Spoilers!  

Josh runs a failing employment agency.  He owns the building, which is now being foreclosed.  Josh’s history is dark and it isn’t completely revealed in this first installment.  Yes, that’s right, part two is coming!

-Which Director inspires you the most?

That would be, Martin Charles Scorsese.  He is able to bring out people’s darkest sides.  Not necessarily in the horror, slasher psycho movie.  Rather he taps in the average guy on the street, whom you may just glance at in passing.  But this guy can have a job, be a family man and go to church, all the while torturing people for the mob.  That’s scary!  The guy really thinks he has a purpose, he chooses this as his purpose and works with an entire mob who celebrates his purpose.  Yikes!  Mr Scorsese takes the underbelly of society and puts it in our face to show us that we can be working side by side with these guys and not even know it.

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

That’s easy!  CGI!  Can we please get rid of it?  OK, we know that those with superpowers can do amazing things, but who are they really?  I would like to see movies with the psychological aspect pulling on our hearts and minds.  Sometimes, that which is unseen and instead brought out as a story or conversation can be more emotionally jarring that actually seeing it!  Some food for thought. lol

Actually, the world is cool!  People are cool!  Yes, there is a lot of bad, but there are real heros out there.  I believe that everyone of us can be that hero!  Of course, with the proverbial dark side.

How do you imagine cinema in 100 years?I think this question is above my pay grade!  lolIt may go backwards for the better!  I sure hope it doesn’t turn into AI actors.  I don’t want to be here if Claude or Siri win an Oscar!

What is your impression of WILD FILMMAKER?

Wildfilmmaker’s dedication to films and famous directors who blazed a path in cinema is genius.  Wildfilmmaker definitely filled a niche that has been empty for too long.

Keep up the amazing work!

-Who is Vivianne Rosenberg?

I came from Nabas, Aklan, in the Western Visayas Province of the Philippines, which is quite literally the
gateway to a paradise called Boracay Island. I immigrated with my family to San Francisco, California,
when I was eight. I am the third child of eight, six girls and two boys. Presently, I reside with my family
in Los Angeles, California. I have been married to a wonderful partner for 29 years, we have four adult
children, and I am a doting grandmother to Jude.
I’m a lifelong storyteller and adventurer. My humble beginnings and upbringing in a foreign country are
formative. Traveling from the Philippines to San Francisco as a young child, coupled with an immersion
in music, art, food and literature from the ’60s to the ’90s, fueled my imagination and shaped my
worldview. It’s also worth noting that my upbringing was non-traditional, even by immigrant family
standards. There were a lot of complexities within my family of origin that are deeply ingrained in who I
am. I became a dreamer, consumed by thoughts of my aspirations, the people I’d encounter, and the
places I’d visit. These experiences instilled in me a strong sense of self-expectation and ambition, coupled
with a natural desire for independence and freedom from a young age.

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

I fell in love with film/cinema before moving to America. We lived in Manila for a year while waiting for
our final Visa. My grandmother, Josefine, loved going to the cinema and I had the luck of asking her one
day if I could come along with my two older sisters. The experience was unlike anything we’d ever done
growing up in an oceanside province.
Walking closely with my grandmother and taking a seat, I smelled food, tobacco, candies, felt cold air,
which was the air conditioner filling the massive room. I was in bewilderment at the people sitting in
rows. Once the lights went out, I squeezed my grandmother’s hand, and soon I was captured by the big
screen showing a beautiful, dramatic woman crying. Although I could not understand the dialect, I
understood the plot, the romance between the two characters, and their hardship. It brought so many
emotions to my young, innocent heart. I still love going to the theatre and remembering the actress’s
name, Susan Roces.

–Tell us about your project, “The Connecting Betrayal”.

My screenplay, The Connecting Betrayal, is a psychological thriller and an epic story about a woman
experiencing a midlife crisis—the Connecting Betrayal came at a time when I was in the depths of
depression, vulnerability, and a serious series of doubts in my life.
I really wanted to highlight the often untold but largely universal experience of aging women- the grief
and loss of family and friends over time, but also the dreams, desires, and longings that both re emerge
and develop. The hormonal changes that women experience during menopause can lead to self-doubt and
a lack of confidence. For those of us who spent years raising families, the empty nest highlights a shift in
one’s purpose. I found myself looking at my life from a bird’s eye view, searching for the things I thought
I was missing in the wrong places.
Not unlike so many women, this time in life was very tumultuous for me. Who are we if we aren’t just mothers and homemakers? Where do I begin and end, separate from my family and my children and/or
grandchildren?
I was able to take my experiences and my ideas of self and others around this time and transform them
into Valerie’s story.

-Which Director inspires you the most?

I continue to be inspired by my legendary father-in-law, Stuart Rosenberg, who was most remembered for his Film Classics: Cool Hand Luke, Amityville Horror, The Pope Of The Greenwich Village. He was a
true visual storyteller and master of his art; He was the first to direct an actress to make car washing look
seductive with just soap and water. He also created the iconic scene of the prison guard on his horse
wearing sunglasses where the camera hones in and you see what is reflected onto the sunglasses: the
prisoners’ reflections on the ground. This ability to tell stories in ways that zone in on the details in a way
that is practical but poignant. You feel the sexiness and lewdness of the woman washing the car and you
feel the oppressive way the prison guard stands sentinel over the prisoners. Secondly, I admire Martin
Scorsese for his impressive accolades and ability to bring out the rawest and grittiest performances from
his actors. I loved the Raging Bull, Goodfellas, Killers of the Flower Moon, and The Wolf of Wall Street. –

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

I dislike the violence in the world, our communities, and the corruption in Politics. There are some
solutions, which include beginning at home. Teaching your children self-respect and for others, from
drugs to bullying, and learn to choose the right people to have as friends. In politics, we can vote for the
right reasons or for someone who can be positive and protect the country. It often feels like so much is out of our control, but I do think if I could change anything, it would be to provide others with the empathy and accountability to each do our part as agents for good. It would be a start.

-How do you imagine cinema in 100 years?

I imagine that cinema will have only AI and computer-generated creative visuals—I fear humans will be
less and less necessary and actors might not even be needed! My hope is that this isn’t the case and that
actors, writers, and creatives across the industry are still highly sought after for innovative thinking and
purpose.

-What is your impression of WILD FILMMAKER?

WILD FILMMAKER has created opportunities for individuals such as myself, who seek to bring ideas to
life through their art and creativity. In my case, this presents in the form of my script. It’s a platform that
celebrates the human side of film and cinema and I am humbled and grateful for this opportunity and for
being interviewed by WILD FILMMAKER. It’s incredible and it’s WILD.

Antiquarius

BEST ARTHOUSE NARRATIVE SHORT 2025, BEST INTERNATIONAL CINEMATOGRAPHER, BEST DIRECTOR. BEST ORIGINAL LOCATION (Category: International Indie Short Film)

Princess Zarabanda

BEST ANIMATION & BEST DIRECTOR (Category: International Animated Short Film)

Over Exposed

BEST INTERNATIONAL SHORT COMEDY, BEST DIRECTOR & BEST SCREENWRITER (Category: Comedy Short)

Big Momma Earth

BEST ORIGINAL COMEDY 2025

Ye Ole Glorya

BEST PRODUCER & BEST EDITING (Category: Comedy Short)

I Can’t Save You

BEST ORIGINAL SUPER SHORT FILM 2025 BEST INTERNATIONAL INDIE DIRECTOR, BEST SCREENPLAY SUPER SHORT & BEST EDITING (Category: International Super Short Film)

Precious the baby dragon

BEST INTERNATIONAL WRITER 2025, BEST ORIGINAL BOOK OF THE YEAR & BEST WRITING STYLE (Category: Book/Manuscript)

Omnipotent Resolution

BEST INTERNATIONAL MUSICAL SHORT FILM, BEST DANCE FILM, BEST ORIGINAL CHOREOGRAPHY, BEST ARTHOUSE MUSIC VIDEO & BEST PRODUCER

Chateau De Tarot

BEST ORIGINAL FEATURE SCRIPT 2025

You Are Here

BEST INDIE FEATURE FILM, BEST EDITIING & BEST MOVIEMAKER

The Duchess

BEST INTERNATIONAL INDIE DRAMA, BEST ACTRESS, BEST ACTOR & BEST ORIGINAL SCREENPLAY (Category: International Drama)

Malibu Sunset

BEST AMERICAN SCREENPLAY 2025

NeverWere: a Lycan Love Story

BEST INTERNATIONAL SCREENPLAY, BEST WRITER 2025 & BEST CHARACTERS (Category: Feature Script)

The Star Seller

BEST INTERNATIONAL YOUNG DIRECTOR, BEST EUROPEAN SHORT FILM, BEST ORIGINAL ARTHOUSE SCREENPLAY & BEST INTERNATIONAL CINEMATOGRAPHER (Category: Indie Short)

Fear not, my child

BEST INTERNATIONAL SONG & BEST SINGER 2025

Cassandra Venice

BEST INTERNATIONAL INDIE MOVIMAKER, BEST PRODUCTION COMPANY & BEST CINEMATOGRAPHER

K Bender (The Bloody Benders)

BEST INTERNATIONAL SHORT SCRIPT & BEST ORIGINAL SCREENWRITER

Malibu Madam

BEST WRITING STYLE (Category: International Feature Script)

The Hallmark Couple

BEST AMERICAN FEATURE SCRIPT OF THE YEAR

Amen-Amen-Amen: A Story of Our Time

BEST HUMAN RIGTHS DOCUMENTARY FEATURE, BEST PRODUCER & BEST EDITING

Lambada The Dance of Fate

BEST ORIGINAL IDEA (Category: International Feature Script) & BEST EUROPEAN WRITER 2025

Eye of the Storm

BEST PRODUCER OF THE YEAR, BEST ORIGINAL EDITING, BEST AMERICAN DIRECTOR & BEST INTERNATIONAL DOCUMENTARY FEATURE

The Arcangel Of Death

BEST POETRY SHORT FILM, BEST ACTING & BEST EXPERIMENTAL ACTOR 2025

Prodigio

BEST EUROPEAN MUSIC VIDEO, BEST GUITARIST & BEST SPIRITUAL SONG 2025

Monument to Love

BEST INDIE DOCUMENTARY FEATURE, BEST DIRECTOR, BEST CINEMATOGRAPHER & BEST SOCIAL FILM(Category: international Documentary)

Brothers of Babylon

BEST AMERICAN INDIE SCREENWRITER & BEST WRITING STYLE (Category: International Arthouse Feature Script)

Alta California

BEST AMERICAN FEATURE SCRIPT

Pirandello’s Wife

BEST DRAMA SCRIPT & BEST ORIGINAL SCREENWRITER

Katabasis

BEST INDIE FILM, BEST SCREENPLAY, BEST CASTING DIRECTOR & BEST ORIGINAL CINEMATOGRAPHER

Effata

BEST ARTHOUSE MUSIC VIDEO & BEST VOICE OF THE YEAR

Something Ain’t Right

BEST CAMERA OPERATOR & BEST INTERNATIONAL FILMMAKER (Category: Arthouse Documentary Feature)

Homeless Street Artist

BEST DOCUMENTARY SHORT, BEST PRODUCER, BEST DIRECTOR, BEST CINEMATOGRAPHY, BEST ORIGINAL IDEA & BEST EDITING (Category: International Documentary Short)

The Priory of Sion

BEST EUROPEAN FEATURE SCRIPT & BEST ARTHOUSE WRITER

Routine

BEST AMERICAN SHORT FILM, BEST MOVIEMAKER, BEST ORIGINAL CINEMATOGRAPHY & BEST INDIE CAST

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

BEST ARTHOUSE NARRATIVE SHORT FILM, BEST INTERNATIONAL INDIE DIRECTOR, BEST SCREENPLAY SHORT & BEST EDITING (Category: International Indie Narrative Short Film)

Nossos Caminhos

BEST INDIE SCREENWRITER & BEST ORIGINAL INDIE SCREENPLAY

Luzinete

BEST ORIGINAL SHORT DRAMA

Thankful

BEST FEATURE SCRIPT 2025, BEST WRITING STYLE & BEST INTERNATIONAL WRITER

Doctor Hyphoteses

BEST COMEDIAN & BEST ORIGINAL ACTING

The Days of Knight: Chapter 3

BEST NARRATIVE SHORT 2025, BEST ARTHOUSE DIRECTOR, BEST CINEMATOGRAPHER & BEST ORIGINAL SCREENPLAY SHORT (Category: International Narrative Short Film)

The Rorschach Test

BEST EXPERIMENTAL DIRECTOR 2025, BEST BLACK & WHITE CINEMATOGRAPHY, BEST MAKE-UP & BEST EXPERIMENTAL SCREENWRITER

The Stones of Rome

BEST INSPIRATIONAL SHORT FILM & BEST ARTHOUSE INTERNATIONAL ACTOR

The Pathos of Hamlet

BEST EXPERIMENTAL ACTING & BEST ORIGINAL WRITING STYLE (Category: Experimental Short)

Cataclysm Down Under – Hero

BEST IDIE FILMMAKER (Category: Arthouse Music Video)

Lifes Mapped Out

BEST ORIGINAL SCREENPLAY, BEST ARTHOUSE MOVIEMAKER & BEST INDIE PRODUCER (Category: Indie Short Film)

by Michele Diomà

I saw Amarcord when I was 10 years old. I didn’t know who Federico Fellini was—I had never even heard his name—but after watching that snow, that world of marvelous suburban misfits, and that circus-like music by Nino Rota, I realized that my life would one day have a deep connection with that thing.

Amarcord brought me home—spiritually, I mean. A door opened within me, one I stepped through, and that journey has led me here today, speaking to the world’s largest community of indie film producers.

WILD FILMMAKER exists because over 30 years ago, a child fell in love with Amarcord.

Over the years, I’ve explored every aspect of Federico Fellini’s filmography, and even now, the thought of his cinema brings me joy. I can now project Fellini’s films in my mind—I have a kind of movie theater inside me.

My heart is the projector, and my brain is the screen.

I’m sharing this story with you because today WILD FILMMAKER is interviewing Corrado Monina, a young director who is working on a film and a series dedicated to Gustavo Adolfo Rol—a man who deeply fascinated Federico Fellini.

Who is Rol? To me, he is someone who confirmed my belief in the multiplicity of dimensions.
I also deeply admire Rol’s ideal of one day creating the United States of the World.

–) Corrado, in your opinion, who was Gustavo Adolfo Rol?

Rol was a cultured man endowed with great sensitivity, who at a certain point experienced a powerful spiritual awakening. Some, due to lack of complete information, define him as a psychic or a medium; others, in bad faith, describe him as a magician. But in reality, his story aligns with the millennia-old tradition found in the history of Eastern religions.
In accordance with this tradition, we can also speak of Rol in the present tense, because a man who has reached such spiritual heights remains active on this plane of reality even after physical death.

–) How did the idea of making film projects about Rol come about?

I’ve been passionate about esotericism since high school. When I discovered Rol’s story, I immediately began to explore it in depth, and today synchronicity has led me to debut in film with a project about him.
The decisive factor was meeting Franco Rol, his main biographer, who collected hundreds of testimonies and classified and explained Gustavo’s “possibilities.” Franco’s extraordinary work inspired me to tell the story of this remarkable man—still largely unknown to the general public—who influenced 20th-century culture and politics.
Together with producer Alberto De Venezia, I decided to create both a docufilm and a TV series in order to include as much of the immense available material as possible. I’ve selected over twenty eyewitnesses who have never before appeared in any audiovisual format, thanks in part to the help of Loredana Roberti, a woman who, along with Franco, is dedicated to preserving these testimonies.

–) Rol was a source of inspiration and a spiritual father to Federico Fellini. Will your film and the series you’re preparing have any connection to the filmography of the Poet of Rimini?

Fellini is my most important point of reference as a filmmaker, and I consider him the greatest director of all time. His complete artistic freedom and his ability to turn cinema into a lucid dream are a huge inspiration to me.
Another point of connection is our shared passion for the invisible world and the desire to portray it in film. Inevitably, these projects—and my entire career—will be influenced by a giant like Fellini. But in this case, I particularly drew from his dreamlike fiction, especially in the sequences where I portray a young, never-before-seen Rol in his daily life with his mother, played by the young actress Adele Citro.
Fellini’s special bond with Rol is also an opportunity to reveal completely unpublished information about him, through eyewitness accounts and letters that Fellini and Rol exchanged regularly.
I still have to finish shooting in Turin and I can’t wait to show you the first edited images. A teaser trailer with original music by international composer Henoel Grech will be released soon.

–) Tell us specifically about the projects you’re currently working on.

I recently completed the screenplay for a medieval thriller with an esoteric background, also set in Turin. In September, I’ll be shooting a short film set on the Amalfi Coast.
I’m originally from Salerno, and the sea is a great source of inspiration for me—an irresistible call that also led me to write another feature film set in southern Italy. But for now, I want to focus on this exciting debut project, which is set to be released in 2026.

–) What’s your impression of WILD FILMMAKER?

I consider Wild Filmmaker one of the most important realities in international cinema—a unique space where emerging and established artists are treated with the same respect.
I’m honored to have shared my story in a platform with global resonance that supports cinema and fully represents the creative freedom that made me fall in love with it.

-Who is K Uwe Schwarzwaelder?

A human workhorse who puts mostly every free minute into film and arts, besides having a job in an office which supports my filmmaking financially. Under these circumstances, I have many hats on as I am involved in every step of the production which also makes my projects close to me and personal. Hopefully, I can step up and find ways to produce with bigger budgets with bigger ideas in the future. I regularly train my periormance skills as an actor, and as a writer, I have always ideas in my mind. I am located in Switzerland near Zurich, where I was also born, with German and Bulgarian roots, hence I like internationality.

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

There are a few – the very first film I saw in a theatre as a kid, something about dinosaurs in an unknown world, the 7. Continent or so. Then the first Superman with huge Brando which I didn’t know who he was at that time. And last but not least, when watching intensely many thought provoking and deeper films. The moments are all linked to being in the theatre and breath its air.

-Tell us about your project “The Spiritualization of Jeff Boyd”.

My first film, The Radicalization of Jeff Boyd, brought me to many film festivals, also in India. The experiences there inspired me to film there in addition to Bulgaria, where I spent lots of time as a child and wanted its culture in the story as well. The country I grew up in, Switzerland, has also a part in the film. So, it is a journey through very different cultures, within a dramatic and mysterious storyline. Shooting in India was challenging as we didn’t have a shooting permit where we wanted to shoot, then we moved to another location where it was possible, forced to adapt and improvise a little to make the story work. In Bulgaria on the first day, we were locked on the street for many hours because of an ambush attempt targeting an official, before we could start filming. Filming in Switzerland was like a Swiss watch, no issues.

-Which Director inspires you the most?

Elia Kazan whose films are masterpieces in all aspects, Orson Welles, Milos Forman, Stanley Kubrick…

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

The neverending wars which are results of intolerance, greed, and superiority complexes. This could be solved when talking common sense with intelligent analysis based on knowledge, and not on stupidity and self interest, by respecting each others situations and lives. At war, people die, and it seems, the responsible people forget about this.

-How do you imagine cinema in 100 years?

What Scorsese tried to say, times 100. I really hope it won’t be only about consuming entertainment without thought provocation and meaning in order to leave the theatre with richness, thoughts and beauty. I think, either way, cinema will never die.

-What is your impression of WILD FILMMAKER?

An organization of film enthusiasts who support indie filmmaking with a special approach and credibility.