The contemporary film industry is undergoing an irreversible transformation, with independent producers at the forefront. It’s no coincidence that at the latest edition of the Oscars, one of the most awarded films was Anora by Sean Baker. Today, the technical means to express oneself through audio-visual media is no longer a privilege reserved for a few.
In this context, we are very proud that WILD FILMMAKER has become the largest global community of its kind. Our philosophy is to continue spreading independent cinema with passion and humility—but we cannot hide the fact that certain milestones fill us with joy.
The idea of bringing together artists from all over the world has allowed us to reach the most important film events. In the coming months, we’ll be in Toronto, New York, and at the American Film Market, which in its next edition returns to Los Angeles after the Las Vegas experiment.
In addition, in just a few days, WILD FILMMAKER will arrive in Silicon Valley, home to the world’s most innovative communication and entertainment companies. Perhaps we can even say that the New Hollywood is now in Silicon Valley.
These and many other projects are only possible thanks to a community that has now grown to over 70,000 artists. It’s obviously impossible to mention everyone, but in this Press Release dedicated to our latest event in Venice, we include the artists from the WILD FILMMAKER Community who chose to be part of it. To those not mentioned, we still want to embrace and thank you for believing in a dream that has now become a successful project.
Long live free cinema—today and forever!
Brooke Harris Wolff, Robin Williams & Howard Storm
I write scripts. I don’t just write words on a page, I search for the treasure in people’s stories. Especially survivor stories! When you have been through some stuff, (and we’ve ALL been through some stuff) sometimes our brains locks that pain away in a vault we never touch. But a good screenwriter knows how to open that vault. Screenwriting for me isn’t just about entertainment. It’s about taking human experience and translating it, so others can feel it too. When I help survivors tell their stories, I say, “Your pain matters, but more importantly, your resilience matters!” Sometimes we forget we have resilience and we are walking around acting like we can’t handle anything, when our ancestors survived everything. I want to remind everyone of that strength in their DNA through story. I believe in transforming pain into art and pain into triumph.
Do you remember the exact moment you fell in love with cinema?
Yeah. I was 8 years old watching Star Wars. Just sitting there, my first time in a movie theater with no concept of what filmmaking even was, and suddenly there’s this whole universe happening in front of me. But then I fell in love with cinema all over again in college, taking these film appreciation classes. It’s like being in a relationship with someone for years and then one day they tell you this deep thing about their childhood or you discover their hidden talent and you go, “Oh wow, I’m falling for you all over again but deeper now.” It’s a renewed appreciation and respect. I learned film history, which is basically watching how humans figured out how to tell stories with this technology. Silent films, man… they had to tell the whole story with just images. No dialogue to bail them out. Buster Keaton could make you laugh and break your heart without saying a word. That’s pure cinema. The bad thing about falling in love with cinema is it ruins you for normal viewing. You can’t just watch a movie anymore. You’re seeing all the choices, all the invisible work. It’s like being a chef and tasting a sauce and going, “Oh, they used tarragon in this.” Regular people just enjoy the sauce. You’re cursed with film knowledge.
Tell us about your project “The Evolution of Low Joe”.
“The Evolution of Low Joe.” This script is a what I call a backwards hero’s journey. In your typical hero’s journey, the protagonist starts in the ordinary world, gets a call to adventure, faces trials, and returns transformed. But Low Joe? He started at the top. He’s already a successful rapper with money, fame and he can have anything or anyone he wants. His journey is about falling DOWN before he can truly rise up. Low Joe has to lose everything he thinks matters to find what really matters. He hits rock bottom before he can look up and see the light. This is the point, sometimes we have to lose our false identity before we can find our true self. Low Joe was a walking wound and that caused him to hurt the people he loved and even those he didn’t love. His open wound was bleeding on everyone. This is what unhealed trauma does to people. Enter Alma. She understands love and redemption and she believes in Joe. The script should call us to ask ourselves…What’s real power? Is it controlling others through fear like Low Joe did at first? Or is it having the courage to be vulnerable, to face your demons, and to choose love even when it’s hard? That’s the evolution from Low Joe to WHOLE Joe.
Which Director inspires you the most?
Sofia Coppola stands out to me because she understands life in a way that few filmmakers get. She knows that life is more than an action movie with things exploding. It’s closer to real life to be sitting in a room, having complicated emotions that are hard to express. The explosion for Sofia is showcasing the human experience. Sofia realized that women in film existed to serve the narrative of male protagonists. So, women in Sofia’s films take center stage to tell their own stories without needing to be a wife or girlfriend or a male fantasy. The stories she tells are naturally small and quiet because that is where life’s best drama unfolds, in these small moments. The industry demands filmmakers to produce obvious and loud content because it seems to believe audiences are like lab rats who need their stimulation increased again and again. But Sofia shows courage by concentrating on the small moments that make up life beyond the fleeting dopamine hits. Like, the glance between people that reveals a complete relationship through its silent exchange. The moment of silence follows when someone speaks words they can’t take back. That’s why she’s so good with actors. She doesn’t need them to explain their psychology through dialogue. She just puts the camera on their face and lets us watch them think. That’s harder than it sounds. Most directors would panic and add a voiceover. Sofia’s doesn’t need the voiceover, her directing is solid.
What do you dislike about the world and what would you change?
We’ve created this weird thing in society where we’re obsessed with our differences and ignore our similarities. It’s like we’re all drowning, and instead of helping each other, we’re arguing about who has the better swimming technique. We’re the only species that does this. You don’t see a bunch of squirrels forming groups based on tail fluffiness. “Oh, you have a less fluffy tail? Stay on your side of the tree. You are inferior. You don’t deserve to exist .” It’s ridiculous when you think about it. We need to start treating each other better. What sounds simple as that is actually the hardest thing in the world. Because treating people better means you have to see them as complex as you see yourself. That’s terrifying for too many people. I wish people would stop hating so much and love more. We need to acknowledge the importance of healing trauma. That’s the thing about humans…we’re all just walking collections of unprocessed experiences pretending we’re fine. “Oh yeah, I watched this horrible thing once when I was seven and never talked about it, but I’m totally fine!” No, you’re not. None of us are. We all have trauma and if we don’t process those feelings, they will come out in a toxic way. And we stigmatize mental health like it’s some luxury problem. “Oh, you’re sad? Have you tried just… not being sad?” Meanwhile, we’ll spend ten hours researching the best phone case but won’t spend ten minutes figuring out why we keep sabotaging our relationships. If I could change anything, I’d make us all a little more honest about how broken and similar we all are. Because once you realize everyone else is also terrified and confused, it’s harder to hate them. It’s like being mad at someone for also being caught in the same rainstorm as you. But we are humans…we’re terrible at accepting simple truths. We’d rather build elaborate systems of denial than just admit we’re all scared animals, pretending we’re fine and trying our best not to die alone.
How do you imagine cinema in 100 years?
There’s probably going to be these virtual reality glasses that we all wear, and the experience will be so immersive that you’ll feel like you’re actually there. I see diversity in film where all perspectives are given equal time, because right now, we basically get the same seven stories told by the same twelve people. And we pretend that’s the human experience. I see different opinions respected. Which is funny because we can’t even do that now with low stakes things. People lose their minds over whether a superhero movie is good. Imagine actual challenging content. The weird thing about cinema in 100 years is that it’ll probably be both more advanced and exactly the same. Because no matter how fancy the technology gets, we’re still telling the same ol’ Hero’s Journey stories about love and death and why we’re here. We’ve been doing that since we were painting buffalos on cave walls. So yeah, we’ll have the amazing technology, but we’ll still be using it to process the fact that we’re conscious animals who know we’re all here on earth for a limited time. That’s the thing about humans…our tools evolve faster than our hearts.
– Who is Jean-François Rodrigues? I suppose you could say I’ve always been searching for a path that gives my life true purpose. Over the years, I’ve been a trained engineer, a professional pastry chef, a journalist, and most recently, a government intelligence officer. But everything changed when I was diagnosed with an incurable chronic pain condition, which abruptly ended my government career.
It was during that difficult time that I discovered a new sense of purpose through independent filmmaking. It gave me a powerful way to explore and address issues I felt deeply mattered in society.
– Do you remember the exact moment you fell in love with cinema? To be honest, my introduction to cinema wasn’t love at first sight—it was born out of one of the saddest chapters of my life. After a tragic misdiagnosis, my mother was diagnosed with cancer and passed away within a week of hospitalization. Despite being 53 at the time, I found myself completely unprepared to navigate palliative and end-of-life care. I felt lost.
I realized how many others might feel the same way during such a vulnerable time, and I wanted to help change that. So I made a documentary about palliative and end-of-life care, which was screened in 28 locations across the UK and used to educate healthcare professionals. It helped me reclaim a sense of purpose after losing my previous career, and it marked the beginning of my journey into filmmaking.
– Tell us about your project Letters to Mother Earth. Letters to Mother Earth is my third film project, and it represents a shift in both subject and style. Climate change has become my raison d’être, and I wanted to approach it in a more creative and experimental way. Rather than creating another traditional documentary, I chose to explore how music—one of the most universal and timeless forms of expression—can communicate urgent messages.
Historically, music transcends borders, cultures, and generations, so I curated three original tracks around the theme of climate change: a hip-hop piece, a Christian worship song, and a classical piano composition. Each artist shared their personal reflections on the topic, giving the project a unique and emotional resonance. It has been well-received on the festival circuit so far, which is incredibly encouraging.
– Which director inspires you the most? As someone still new to filmmaking, my list of influences isn’t long, but one director who’s had a profound impact on me is Dallas Jenkins, the creator of The Chosen. In a world growing increasingly secular, his series about the life of Jesus is not only bold but beautifully executed. His vision is now defying expectations and, in many ways, feels like a cinematic Christian revival.
– What do you dislike about the world, and what would you change? I wish my generation—the older generation—would take more responsibility for the world we’re leaving behind. Too often, we focus only on the short-term impacts on our lives and forget the bigger picture.
Climate change is a real and urgent issue that will deeply affect future generations. Governments need to take more honest, focused, and bold action. I want to leave my children and grandchild a world that’s still filled with beauty, mystery, and, above all, more love—for our planet and all the life it sustains.
– How do you imagine cinema in 100 years? Given the pace of technological advancement—especially in film—I can imagine a future where you input a script into an AI and it generates a full holographic film ready for distribution. It might sound far-fetched, but it’s not outside the realm of possibility.
Even so, I believe there will always be a human yearning for the authentic. Just like how analog photography has made a nostalgic comeback, perhaps cinema will also experience a revival that values human emotion, storytelling, and imperfection.
– What is your impression of WILD FILMMAKER? I see WILD FILMMAKER as an essential platform—giving a voice to small, independent filmmakers who can so easily get lost in today’s oversaturated industry. It’s incredibly important to have a space where emerging voices can be heard and seen.
There’s so much talent out there, and it would be a true shame if that creativity remained unnoticed. Your platform helps elevate those voices, and for that, I’m truly grateful.
Dani Gondim is a daughter, a sister, a wife, an actress. I would say I am absolutely everyone I love, with an extra touch of boldness and maybe a little bit of madness. If I had to describe myself in one word, it would be “artist.” And for me, being an artist is not simply what I do; it’s what exists within me. Everything I do, everything I live, and the way I feel reflects this artistic essence.
-Do you remember the exact moment you fell in love with cinema?
I don’t remember a specific moment when I fell in love with cinema. I think cinema and the arts have always been present in my life – both as entertainment and as a source of learning. Since I was a child, art, theater, painting, reading, and writing have saved me from the frustration of not feeling understood by the “real world,” by traditional school. Cinema was one of the places where I found myself and understood my ability to be and to create. So, maybe it wasn’t a moment of “falling in love,” but rather an understanding that art saved my existence.
-Which actor inspires you the most?
The actress who inspires me the most is Marjorie Estiano. I find her brilliant, strong, and powerful. Every time she’s acting, I can feel her soul pulsing, just like the character’s. She lives the moment so truthfully that I deeply connect with her performance. If one day I could be just a strand of her hair, it would already be incredible.
–What do you dislike about the world and what would you change?
What bothers me the most about the world – or, more specifically, our Western system – is the idea that everything is buyable or payable. This leads to so many wonderful things going unseen or unheard simply because there aren’t financial resources to produce or promote them. If I could change something, I would love for all beings in the world to be free and happy. There’s a phrase in meditation practice that says “Namah Samastha Sukhino Bhavantu,” which means may all beings in the world be free and happy. When basic needs are not met, people can’t be truly free. And if I could, I would change that.
-How do you imagine cinema in 100 years?
Wow, I’d never thought about that before! I think that while artificial intelligence – which has a lot of “artificial” and little “intelligence” – is taking over many spaces and markets, I also see so much good, visceral art with soul and body being created and recognized. I imagine that in 100 years we’ll see this duality: an explosion of magnificent films, with editing becoming more accessible and effects that were once unimaginable, but also a return to a more raw, stripped- down, “roots” style of cinema, as a counterbalance to all this technology. I think this coexistence will be fascinating.
-What is your impression of WILD FILMMAKER?
I see WILD FILMMAKER and Michele Diomà as disruptive forces. To me, they represent a fight with the system, but from the inside out – embracing the system while also questioning and resisting it. It’s a way to keep independent cinema alive, with space, voice, and strength. And that’s exactly what I want to be part of.
First of all honored and grateful for this recognition to Planetary Rebellion thanks to 8 & Halfilm Awards and all the Staff and the Cannes 2025 Special Event jury. I take this opportunity to write this love letter for my project. Why did I decide to create this project? A strong intuition, for my eyes and for my heart, this historical period represents a crucial passage for the entire planet and for all humanity. I wanted to consecrate this intuition with a work that could represent the strength of this vision. How much of my soul….? This work has its own soul that has used me to reach its ever-expanding form. With whom I wish… With the greatest number of souls who recognize this frequency, with the greatest number of souls willing to welcome who enter into resonance with these frequencies. This project is dedicated to all forms of life visible and invisible.
It is of great importance to critically examine and question contemporary norms surrounding what is considered ‘normal.’ How do we construct our understanding of individuals with psychiatric diagnoses, and what values shape these perceptions? The inspiration for the film was drawn from the Rorschach test, which, through its symbolism, opens a pathway into the subconscious. Perhaps the answer lies not in the image itself, but in the viewer’s interpretation? I am stirred by an unrelenting call to unravel the threads of what society deems “normal.” How do we truly see those whose minds carry the silent weight of a diagnosis? The Rorschach test, with its kaleidoscopic inkblots, is both a canvas and a cipher—a psychological mirror that unveils the unseen contours of the soul. It inspired this film, a vessel to probe the shadowed depths of the subconscious, where truths flicker like half- remembered dreams. Perhaps the answers lie not in the ink, but in the beholder’s gaze, forever shaping the formless?
How much of my soul is in this project?
My soul is a pilgrim in the realm of humanistic inquiry, enthralled by the intricate patterns of human thought and emotion. The Rorschach test, an artistry of ambiguity, weaves its enigmatic forms into my very being. To explore humanity’s myriad hues—its joys, shadows, and silent rhythms—is a hymn that echoes ceaselessly within the chambers of my heart.
Who do I wish to share this project with?
Every soul, in my eyes, is a star of equal brilliance. This film, born from the Rorschach’s elusive dance of ink, seeks to dissolve the boundaries of “normal” and invite a deeper seeing. I call to those with the courage to face its shifting forms, hoping they will behold a more radiant, prismatic vision of humanity—a tapestry woven from empathy, wonder, and the artistry of the human spirit.
To whom do I dedicate this project?
The Rorschach Test is a poem etched in ink and shadow, a psychological voyage and an artistic reverie. Its fluid forms, both haunting and beautiful, serve as a symbolic key to the subconscious—a realm where dreams, fears, and unspoken truths entwine. To gaze into the Rorschach is to confront the self in its rawest form, to dance with the mysteries of the mind’s uncharted wilderness. This film is dedicated to all who dare to embrace this journey, to those who seek the sublime artistry and hidden wisdom within the labyrinth of the human psyche.
Not Without Gloves by Lena Mattsson
Why did I decide to create this project?
During the COVID-19 pandemic, I was engaged in an extensive curatorial project exploring the artistic landscape of the 1990s, which was abruptly halted due to global circumstances. This film emerged from a state of ennui and a profound longing for the landscapes of my youth—those austere, windswept terrains that have indelibly shaped my identity as both an individual and an artist. The film Not Without Gloves illuminates the collective identity forged through our shared experiences and memories of the landscapes from which we originate, which, in this instance, resonate deeply with my own personal history. The film problematizes the romanticized perception of nature through a series of distortions, reinterpretations, and critical reflections on the authenticity of place. Rather than offering a straightforward depiction, it invites viewers into an enchanted, otherworldly space. Through a poetic lens, the work engages with the socio-historical context of the COVID-19 pandemic and the pressing environmental transformations of our era.
How much of my soul is in this project?
The entirety of my innermost being and creative essence has informed the aesthetic and metaphorical framework of the film. Raised by the sea, amidst islands of red granite, I have always held this magical environment in reverence, even as I have resided in an urban setting for many years. This coastal landscape, a recurring motif in my oeuvre, serves as the backdrop for many of my most recognized works.
Who do I wish to share this project with?
To all who dare to gaze with open hearts, embracing the beauty of the unfamiliar, the courage of the different.
To whom do I dedicate this project?
To the departed, whose whispers linger in the wind. To the living, whose breath weaves life’s eternal dance To the fearless, who fling wide the gates to the uncharted, and step into its mystery.
The Priory of Sion and the treasure of Abbey Sauniere of Rennes the Castle in France published by Edilivre Editions of Florence Cazebon-Taveau .
Why did I decide to create this Project ? I thought that I had nothing more to say after six historical books and one mediumistic book about the mystery of treasure of Rennes the Castle . And then I wanted all my historical research and discoveries to come to life in a grand scenario under the fingers of my feminine pen by penetrating the souls of my characters through my medium ship. To penetrate also the soul of the tormented Abbey Sauniere who asked me to absolve him or the will of Christ that Mary Magdalene be the first female apostle .
How much of my soul is in this project ? Amplify of this life , of this music from heaven in universal symphony on my subject and my project . Surrender to Christ in this reading of heaven and the eternity, of infinity that pours down in extreme unction on my person, my roots and my screenplay. To take me to other shores, the faces of the whole world, of the cosmos full of the abundance of signs and divine parables in this vein of infinity where the creator has left his mark all possible and multiple choices of this freedom to the sweet accents of love and consent . It is eternity that opens before me to infinity on other doors , those of the sun, those of paradise filled with this prescience who is God. OH! Grail! OH! My greatness, my sublime flame ! When in my script about the treasure of Abbey Sauniere, I make you meet the Menorah on the tomb of Mary Magdalene , I dare to believe in this seventh Plan , God’s plan in the presence of this cup and in the menorah long before our own origins.
Who do I wish to share this project with ? To Ridley Scott for his movie” Kingdom of Heaven “ because in my script Templars occupy an important place . They are the ones who bring the Grail back from Jerusalem . Templars in the pure white light of the moon , lovers of mystery , of the wheel of change , of destiny finally revealed and of this faith in Christ by the singing and exuberant voice of Mary Magdalene that they venerate.
To whom do I dedicate this project ? To Mary Magdalene of course ! You are a pillar Mary, a pillar of the foundation of the New Jerusalem, so I name Rennes the Castle in this way. A pillar of the Temple, a friend, a spiritual path where humility becomes wisdom and depth. I touch your soul Mary Magdalene. Sacred waters of heaven, I awaken in you. She is the wind, this powerful of God, guide in the message of life. New blood for a new deal !
