Category: Senza categoria

Man in a Can

BEST INTERNATIONAL ANIMATION

Omnipotent Resolution

BEST MUSICAL 2025, 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)

Remnant

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

Gold, Gloves & Glory

BEST AMERICAN INDIE 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

Canta la gioia

BEST SPIRITUAL SONG, BEST EUROPEAN MUSIC VIDEO, BEST ARTHOUSE SONG WRITER & BEST HUMAN RIGHTS SONG

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

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

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)

Dojo

BEST ACTION MOVIE. BEST DIRECTOR, BEST SCREENPLAY & BEST EXECUTIVE PRODUCER (Category: International Thriller)

The Esteemed Priority

BEST ARTHOUSE ANIMATED SHORT FILM & BEST POETRY SHORT FILM

La sposa nel vento

BEST EUROPEAN EDUCATIONAL FILM

Nossos Caminhos (Our Paths)

BEST HUMAN RIGHTS FEATURE SCRIPT

Eye of the Storm

BEST BIOGRAPHICAL FILM

I’ve Fallen

BEST AMERICAN MUSIC VIDEO 2025

Antiquarius

BEST ORIGINAL CINEMATOGRAPHER & BEST EUROPEAN NARRATIVE SHORT 2025

Mind over Matter

BEST ARTHOUSE SUPER SHORT FILM 2025

Remnant

BEST DIRECOR, BEST SCREENPLAY, BEST SOUNDTRACK & BEST CINEMATOGRAPHY (Category: International Narrative Feature)

Walking With God

BEST ARTHOUSE NARRATIVE FEATURE 2025

The Duchess

BEST FILMMAKER (Category: International Drama), BEST DRAMA & BEST ARTHOUSE PROCUCTION COMPANY

Lambada The Dance Of Fate

BEST INTERNATIONAL INDIE WRITER & BEST BIOGRAPHICAL SCRIPT

Tony N’ Tina’s Wedding

BEST INTERNATIONAL INDIE DIRECTOR 2025

NeverWere: a Lycan Love Story

BEST ARTHOUSE INTERNATIONAL FEATURE SCRIPT 2025

Omnipotent Resolution

BEST INTERNATIONAL MUSICAL SHORT, BEST POETRY FILM, BEST ORIGINAL DANCE SHORT FILM & BEST ARTHOUSE ORIGINAL NARRATIVE SHORT

The Order

BEST FILMMAKER (Category: Indie Experimental Film)

Monument to Love

BEST ORIGINAL DOCUMENTARY FEATURE & BEST PRODUCER, BEST CAMERA OPERATOR & BEST DIRECTOR (Category: International Indie Documentary Feature)

Giulietta e Romeo?

BEST FIRST TIME DIRECTOR 2025 & BEST ARTHOUSE EUROPEAN NARRATIVE SHORT

Greta Gar Bitch A true story of loss light and love

BEST INTERNATIONAL BOOK 2025 & BEST ORIGINAL WRITER (Category: Book)

In a Whole New Way

BEST SOCIAL FILM & BEST INTERNATIONAL EDUCATIONAL FILM 2025

The Bag

BEST SUPER SHORT FILM, BEST FILMMAKER, BEST EDITING & BEST ARTHOUSE CINEMATOGRAPHY (Category: International Super Short Film)

Sheldon Mashugana gets stooged

BEST INDIE DIRECTOR 2025 & BEST SCREENWRITER (Category: Comedy)

Canta la gioia

BEST ORIGINAL MUSIC VIDEO, BEST ARTHOUSE INTERNATIONAL MUSICIAN & BEST SPIRITUAL SONG WRITER

Katabasis

BEST INTERNATIONAL INDE FILM, BEST CINEMATOGRAPHER, BEST ARTHOUSE DIRECTOR & BEST CAST (Category: Narrative Feature)

Whispers of Love

BEST AMERICAN FEATURE SCRIPT 2025 & BEST ROMANDE SCRIPT

An Ever After Drama

BEST ARTHOUSE ACTRESS

Secrets of Montmartre 2

BEST INTERNATIONAL SCRIPT

Doctor Hyphoteses

BEST ARTHOUSE ACTOR

Love Is My Gun

BEST AMERICAN ARTHOUSE MUSIC VIDEO

The Hallmark Couple

BEST ARTHOUSE FEATURE SCRIPT

Only in Malibu

BEST ORIGINAL INDIE SCREENWRITER

The Hallmark Couple

BEST INTERNATIONAL ORIGINAL SCREENPLAY

Not Without Gloves

BEST EUROPEAN FILMMAKER & BEST EXPERIMENTAL ARTHOUSE FILM

Wave Man

BEST EUROPEAN FEATURE SCRIPT 2025

Am I a painter?/Czy jestem malarzem?

BEST ANIMATED PROJECT & BEST PRODUCER & BEST INTERNATIONAL DIRECTOR (Category: Animated Short Film)

The Days of Knight: Chapter 3

BEST NARRATIVE SHORT, BEST FILMMAKER, BEST CAST, BEST SOUND DESIGNER & BEST CINEMATOGRAPHY (Category: Narrative Short)

Boxed In

BEST NARRATIVE MYSTERY SHORT & BEST ORIGINAL EDITING

The Demon

BEST INDIE ACTOR & BEST ORIGINAL & BEST INTERNATIONAL ORIGINAL ACTING

Moomtaz Khatoon: A Gender Fluid Queer Muslim

BEST CAMERA OPERATOR, BEST DIRECTOR, BEST PRODUCER & BEST EDITING (Category: Documentary Short)

Riddled Rubies

BEST PILOT/TV SCRIPT & BEST ORIGINAL IDEA

Sky Walker

BEST INDIE FEATURE SCRIPT

The White Chronicles: The Beginning?

BEST INTERNATIONAL BOOK/MANUSCRIPT

Drowning

BEST INTERNATIONAL SONG & BEST INDIE SINGER OF THE YEAR

BLIND FAITH: Moments of Missed Understanding

BEST INTERNATIONAL EXPERIMENTAL FILM & BEST POETRY SHORT FILM 2025

Super mashugee and freeky passover

BEST AMERICAN COMEDY 2025

Not Without Gloves

BEST EUROPEAN EXPERIMENTAL FILM, BEST ARTHOUSE BLACK & WHITE CINEMATOGRAPHY & BEST ORIGINAL EXPERIMENTAL DIRECTOR

Amen-Amen-Amen: A Story of Our Times

BEST DIRECTOR 2025 (Category: International Documentary Feature) & BEST INDIE DOCUMENTARY

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

BEST ORIGINAL TELEVISION SCRIPT

Rodeo

BEST AMERICAN FEATURE SCRIPT 2025

Alta California

BEST INTERNATIONAL ORIGINAL SCREENPLAY OF THE YEAR

Can’t Figure It Out

BEST CINEMATOGRAPHER, BEST DIRECTOR, BEST PRODUCER & BEST EDITING (Category: Experimental Film)

Thankful

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

Something Ain’t Right

BEST CAMERA OPERATOR & BEST EDITING (Category: Documentary)

Ye Ole Glorya

BEST DIRECTOR, BEST SCRIPT, BEST CAST & BEST ORIGINAL ACTING (Category: International Comedy)

Big Momma Earth

BEST ARTHOUSE COMEDY 2025

The Stones of Rome

BEST HISTORICAL NARRATIVE SHORT & BEST INTERNATIONAL EXPERIMENTAL ACTOR 2025

The Pathos of Hamlet

BEST DIRECTOR, BEST ORIGINAL ACTING, BEST SCREENPLAY (Category: Inspirational Narrative Short)

Belles Paroles

BEST INDIE HUMAN RIGHTS PROJECT

Routine

BEST INTERNATIONAL SHORT FILM, BEST CASTING DIRECTOR, BEST ORIGINAL SCREENPLAY SHORT & BEST CINEMATOGRAPHER

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

BEST ORIGINAL IDEA, BEST FILMMAKER, BEST ARTHOUSE EDITING & BEST LOCATION

Nossos Caminhos (Our Paths)

BEST ORIGINAL SCREENPLAY

Luzinete

BEST INDIE DRAMA SHORT & BEST INTERNATIONAL DRAMA SCRIPT

Dojo

BEST ACTION MOVIE, BEST FILMMAKER & BEST SOUND DESIGNER (Category: Indie Narrative Short)

Eye of the Storm

BEST INTERNATIONAL BIOGRAPHICAL DOCUMENTARY

Lifes Mapped Out

BEST ARTHOUSE FILMMAKER

Walk In My Shoes

BEST INDIE ACTOR

I am a God

BEST ISPIRATIONAL NARRATIVE SHORT 2025, BEST SCREENWRITER & BEST EDITING (Category: Narrative Short Film)

This is Our Time (duet)

BEST INDIE SONG

Boxed In

BEST ORIGINAL SHORT 2025

The Black Van

BEST INDIE FEATURE SCRIPT & BEST ORIGINAL SCREENWRITER

Emergency Musical Response: Part 1 – Journey to Netherworld

BEST INTERNATIONAL MUSICAL SHORT

A Month. A Day. A Year.

BEST ARTHOUSE DIRECTOR, BEST EDITING, BEST CINEMATOGRAPHY & BEST MAKE-UP (Category: Arthouse Narrative Short)

Cabaret Cuba

BEST DOCUMENTARY FEATURE 2025

The Days of Knight: Chapter 3

BEST PRODUCER, BEST FILMMAKER, & BEST SCREENPLAY (Category: International Narrative Short)

Omnipotent Resolution

BEST CHOREOGRAPHY, BEST ARTHOUSE MUSIC VIDEO & BEST INDIE SONG

Hot Afternoons Have Been in Montana

BEST INTERNATIONAL VIDEO POETRY

The Bag

BEST INDIE DIRECTOR, BEST SCREENPLAY SHORT & BEST CINEMATOGRAPHER (Category: Narrative Short)

Boombox (The God of THe Dance) – TV Series (pitch deck)

BEST EUROPEAN SHORT SCRIPT 2025

Remnant

BEST PICTURE, BEST INTERNATIONAL DIRECTOR & BEST PRODUCER (Category: Narrative Feature)

QUAGMIRA: Attack Of The Snowbirds

BEST INTERNATIONAL COMEDY SCRIPT

Under Tension / The Brawl

BEST EUROPEAN DIRECTOR, BEST DRAMA SHORT & BEST ORIGINAL SCREENPLAY (Category: Drama)

BLIND FAITH: Moments of Missed Understanding

BEST ARTHOUSE EXPERIMENTAL FILM

Can’t Figure It Out

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

Children of the Wind

BEST ORIGINAL POETRY ANIMATED FILM & BEST INTERNATIONAL ARTHOUSE FILMMAKER (Category: Animation)

The Priory of Sion

BEST HISTORICAL FEATURE SCRIPT

Déjà Vu On the Ledge

BEST PRODUCER & BEST ORIGINAL IDEA (Category: Experimental Film)

The Dead Ringer

BEST ARTHOUSE SCREENWRITER 2025

The Fatal Dilemma

BEST INTERNATIONAL SHORT SCRIPT

In a Whole New Way

BEST EDUCATIONAL FILM

Alta California

BEST ORIGINAL SCREENWRITER (Category: Feature Script)

The Script, A Celtic Horror Tale

BEST ARTHOUSE FEATURE SCRIPT & BEST HORROR SCRIPT

Rodeo

BEST AMERICAN FEATURE SCRIPT

Shadow Fist 3 The Final Chapter

BEST ACTION FILM

Thankful

BEST INTERNATIONAL FEATURE SCRIPT

Searching for Camelot

BEST DIRECTOR & BEST ARTHOUSE PRODUCER 2025

The Demon

BEST INTERNATIONAL ARTHOUSE ACTOR

Sequoia Spirits

BEST INDIE DANCE MOVIE & BEST SOUND DESIGNER

NeverWere: a Lycan Love Story

BEST ORIGINAL SCREENPLAY

Thinking

BEST INDIE NARRATIVE SHORT

Not Without Gloves

BEST EXPERIMENTAL SHORT FILM

Monument to Love

BEST DOCUMENTARY FEATURE

Fire Flies

BEST AMERICAN SCREENWRITER & BEST INDIE FEATURE SCRIPT

The Pathos of Hamlet

BEST INSPIRATIONAL SHORT FILM & BEST ORIGINAL FILMMAKER

The Stones of Rome

BEST INDI CINEMATOGRAPHY & BEST ORIGINAL PRODUCER

The Duchess

BEST ACTING, BEST SCREENPLAY, BEST CAST & BEST FILMMAKER (Category: Drama)

Am I a painter?/Czy jestem malarzem?

BEST ANIMATED SHORT FILM

Ye Ole Glorya

BEST ORIGINAL COMEDY & BEST INDIE PRODUCER

Big Momma Earth

BEST DIRECTOR, BEST SCREENPLAY & ORIGINAL EDITING (Category: Comedy)

Over Exposed

BEST INTERNATIONAL ARTHOUSE COMEDY

Routine

BEST INDIE DIRECTOR, BEST ORIGINAL SCREENPLAY & BEST ARTHOUSE EDITING

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

BEST ORIGINAL NARRATIVE SHORT, BEST AMERICAN FILMMAKER, BEST PRODUCTION COMPANY & BEST INDIE CAST

Katabasis

BEST ARTHOUSE NARRATIVE FEATURE, BEST ACTRESS, BEST CINEMATOGRAPHY & BEST EUROPEAN SCREENPLAY (Category: Narrative Feature)

Eye of the Storm

BEST BIOGRAPHICAL FILM & BEST ARTHOUSE DOCUMENTARY FEATURE

Effata

BEST ORIGINAL MUSIC VIDEO & BEST SINGER

Medea

BEST ORIGINAL INDIE SHORT & BEST ARTHOUSE SCREENPLAY

Liberation

BEST ARTHOUSE FILM & BEST CINEMATOGRAPHY (Category: International Narrative Feature)

Super Mashugee and Freeky Passover

BEST INDIE FILMMAKER & BEST PRODUCER (Category: Comedy)

Underwater Hazards

BEST ORIGINAL WRITER (Category: Feature Script)

The Women Who died stand

BEST INDIE DOCUMENTARY FEATURE

Cataclysm Down Under

BEST INDIE DIRECTOR

Life is Beautiful

BEST INTERNATIONAL SONG

Dojo

BEST INDIE THRILLER & BEST ACTION SCRIPT

Vision in Motion is a web agency founded in 2006, working on Brand Identity, Content Editing, Social Media Marketing and Advertising of professionals and companies to support them and succeed in their digital experience.

In almost twenty years of experience we have designed and created from catalogue mini-website to the most complex corporate commerce project, developing almost exclusively tailor-made solutions. To turn an idea into a successful marketing project we believe in three fundamental concepts: curiosity, creativity and collaboration.

Fig.1 – Vision in Motion payoff (tagline): “Curiosity, Creativity, Collaboration”

Unsurprisingly, these characteristics also qualify the production of an artistic project, a film, a video clip or a commercial! Differently from traditional advertising graphic agencies we set technically the website with maximum flexibility, analyzing for each need six key factors:

● The Technical Performance of the website (speed, server power, mobile devices layout fitting)

● Website security (physical firewall + software firewall and SSL security certificates)

● The Platform scalability (Vision in Motion sites are highly flexible and time-scalable)

● The User Experience (UX) provided to the navigator, which must be pleasant and as simple as possible​

● Search Engine Optimization (SEO), the optimization of pages for search and ranking on Google, which includes many factors (there are more than 200 in play, from the domain name to tags, keywords, sitemap and Meta integrations through the Open Graph protocol)

● Compatibility with international privacy laws (GDPR)

Today a website is an hybrid of all these factors, which make up the foundation for any social media marketing activity, professional advertising campaigns and even film production, mainstream television and art distribution strategies. In the same way that we work on the various stages of a film, a script, a treatment, a short film or a video clip (the various drafts of the script, storyboards, filming, video editing, audio editing, etc…) Consider the following pattern leading from the platform to the goal of a conversion (for example, an ecommerce sale):

Fig. 2 – The marketing Sales Funnel . A high-performance website helps the lead generation and lead qualification.

To get a right return on investment (ROI), whether we need to sell a product or service on our ecommerce, or we need to grow our followers on social networks, whether we need to try to attract a producer for one of our film projects, we will need to use the pipelines and processes outlined above.

A website is our business card on internet and, if accompanied by correct social strategies and SEO, it becomes the most institutional and professional tool to best introduce our projects to a worldwide audience. Let’s take as a case-study the site of my short film Boombox (which has received more than 50 international awards) -> https://boomboxthemovie.com/en It has a modular architecture that allows us to add pages, modules, trailers, merchandising, reviews and much more.

The site is built with the CMS (Content Management System) Joomla for security reasons, but Vision in Motion also works with platforms such as WordPress, Woocommerce, Drupal, etc…

Depending on the evolution of the project over time, the site can become from a catalog site to a blog, an ecommerce, a site for subscriptions to projects and events, such as the same https://wildfilmmaker.net

We like to take care of all aspects of a client’s digital image, from graphic design, domain name purchase, SEO, social networking and advertising campaigns, because we can take full advantage of those structural consistency and user experience factors (for example the Google Core Web Vitals) that are dear to Google and other search engines.

Like mentioned before our websites are built with SEO in mind, but what is SEO and why it’so important? Search Engine Optimization (SEO) improves a website’s visibility on search engines like Google. It involves optimizing various aspects of the website, including content, structure and performance, to make it easier for search engines to understand and rank. SEO is crucial because it directly impacts how easily potential visitors can find your website. When your site ranks higher in search engine results, you attract more organic traffic, often more valuable than traffic from ads. Since most users click on the first few results, a well-optimized site can drive significant growth for your business or blog! Ignoring SEO, on the other hand, could mean losing out on valuable visitors and potential customers to competitors. Core Web Vitals are a set of metrics that measure the real user experience related to page loading performance, interactivity and visual stability.

We strongly recommend site owners to have good metrics of Core Web Vitals to make the most of their search and ensure a great user experience overall.

Fig 6 . The Google Core Web Vitals, a set of metrics that measure the actual user experience related to the website.

For social marketing and advertising campaigns we use innovative and professional analysis tools such as Google Trends, Google Analytics, Semrush, Meta Business Manager, Google Search Console, Microsoft Advertising and Google Ads. After the first months of paid campaigns, we analyze the advertising performance together with some Google and Meta Strategist, so be always aware of the new algorithms used by Big Data Companies. In this context, we are very pleased to collaborate with the Wild Filmmaker network for the growth of independent cinema and for multiple projects of the community

For any information you can write directly to [email protected] , or check our website https://vision-in-motion.net

Convicto

By Rafael Ervolino

BEST INTERNATIONAL ACTOR & BEST ORIGINAL ACTING

Mastering the Grain: Max’s Journey

By Zoe Barron

BEST ARTHOUSE DOCUMENTARY SHORT, BEST ORIGINAL IDEA, BEST PRODUCER & BEST CINEMATOGRAPHY (Category: Documentary)

The Days of Knight: Chapter 3

By John Martinez

BEST INTERNATIONAL NARRATIVE SHORT, BEST DIRECTOR, BEST CAST & BEST ORIGINAL SCREENPLAY

Princess Zarabanda

By Omar Carias

BEST ANIMATED SHORT FILM & BEST INDIE FILMMAKER

The Crone

By Catherine Kasima Kanda

BEST ARTHOUSE SHORT FILM, BEST ORIGINAL DIRECTOR, BEST ACTRESS, BEST CINEMATOGRAPHY, BEST ORIGINAL SCORE & BEST EDITING

Homeless Street Artist

By Tysen Knight

BEST DOCUMENTARY SHORT, BEST CAMERA OPERATOR, BEST DIRECTOR OF THE YEAR (Category: Documentary)

Caesar

By Reine Johansson

BEST ORIGINAL NARRATIVE SHORT FILM, BEST SOUND DESIGN, BEST INTERNATIONAL ARTHOUSE FILMMAKER & BEST SCREENPLAY SHORT

The Brawl et La Rixe

BEST ORIGINAL DRAMA & BEST ARTHOUSE SCREENPLAY

The Horror Filmmaker’s Handbook: Creating Terrifying Cinema

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

Atlas of Uncertainty

BEST SOUND DESIGN & BEST ARTHOUSE ORIGINAL FILMMAKER

Angel

BEST STUDENT FILM

The Priory of Sion

BEST EUROPEAN FEATURE SCRIPT & BEST SCREENWRITER

Water

BEST ARTHOUSE DOCUMENTARY FEATURE

Remnant

BEST NARRATIVE FEATURE, BEST DIRECTOR, BEST SCREENPLAY, BEST CINEMATOGRAPHY & BEST CAST (Category: International Narrative Feature)

Fire Flies

BEST AMERICAN FEATURE SCRIPT

The Dragonfly Dreaming Project

BEST DIRECTOR, BEST EDITING, BEST ORIGINAL IDEA & BEST SOUNDTRACK (Category: International Documentary Short)

Eye of the Storm

BEST BIOGRAPHICAL DOCUMENTARY FEATURE & BEST CAMERA OPERATOR

The Demon

BEST INTERNATIONAL YOUNG ACTOR

Uncle Franco’s Birthday Suit

BEST INTERNATIONAL FEATURE SCRIPT

Alta California

BEST INDIE SCREENWRITER & BEST ORIGINAL IDEA

The Dead Ringer

BEST INTERNATIONAL SCREENPLAY

Nossos Caminhos (Our Paths)

BEST ARTHOUSE WRITER

The way of Mizoguchi

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

Katabasis

BEST ACTRESS, BEST CINEMATOGRAPHER & BEST INDIE NARRATIVE FEATURE

Sinestesìa

BEST EUROPEAN ARTHOUSE MUSIC VIDEO

The Esteemed Priority

BEST FILMMAKER & BEST SCREENPLAY (Category: Animated Short Film)

Fascino d’altri tempi

BEST INDIE SHORT & BEST FILMMAKER (Category: European Narrative Short)

Omnipotent Resolution

BEST ORIGINAL NARRATIVE SHORT, BEST DANCE FILM, BEST INSPIRATIONAL SHORT FILM & BEST MAKE-UP

Prima del Giorno Dopo

BEST INDIE FILM & BEST CAST

Thankful

BEST FEATURE SCRIPT & BEST INTERNATIONAL SCREENWRITER

TALITA l’abbandono

BEST INDIE EXPERIMENTAL FILM & BEST ORIGINAL EXPERIMENTAL DIRECTOR

Tom and Luce

BEST INTERNATIONAL DRAMA & BEST EUROPEAN INDIE FILMMAKER

Not Without Gloves

BEST DIRECTOR, BEST CINEMATOGRAPHY, BEST EDITING & BEST ORIGINAL IDEA (Category: Best Experimental Film)

Am I a painter?/Czy jestem malarzem?

BEST INTERNATIONAL ANIMATED SHORT FILM & BEST ARTHOUSE DIRECTOR

The Stones of Rome

BEST INSPIRATIONAL INDIE SHORT FILM, BEST ORIGINAL ACTING & BEST SCREENPLAY SHORT

The Pathos of Hamlet

BEST EXPERIMENTAL NARRATIVE SHORT & BEST ARTHOUSE EDITING

Ye Ole Glorya

BEST DIRECTOR, BEST SCREENPLAY & BEST EDITING (Category: International Comedy)

The Duchess

BEST INTERNATIONAL ACTOR & BEST INDIE FILMMAKER

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

BEST INTERNATIONAL NARRATIVE SHORT FILM, BEST ORIGINAL DIRECTOR & BEST SCREENWRITER

Routine

BEST ARTHOUSE FILMMAKER, BEST PRODUCTION COMPANY & BEST CASTING DIRECTOR

I Waited for You

BEST ORIGINAL FILMMAKER & BEST EXPERIMENTAL FILM

Effata

BEST SONG & BEST INTERNATIONAL MUSIC VIDEO

Dreaming Vincent

BEST ART FILM & BEST EUROPEAN PRODUCER

Risveglio Planetario

BEST EUROPEAN INDIE MUSIC VIDEO

5 Marzo 1955 Una Canzone Per Carla

BEST SUPER SHORT FILM

Colombano & La 21Esima Fetta

BEST EUROPEAN INDIE FILM & BEST ARTHOUSE SCREENPLAY

Apart

BEST EUROPEAN NARRATIVE SHORT

Innovation in Connecticut

BEST EDUCATIONAL FILM

Downriver

BEST INDIE SHORT FILM

by Michele Diomà

It was 2015, and with film producer Donald K. Ranvaud (City of God – 4 Oscar Nominations), I was preparing my first Narrative Feature. I managed to hire Dario Fo, still today the last Italian playwright and actor to have won the Nobel Prize in Literature. That film, “Sweet Democracy,” made me realize what kind of director I was. In that first film, the seeds of Mavericks were already present, seeds from which, years later, the Wild Filmmaker revolution would emerge, currently the largest platform in the world dedicated exclusively to independent cinema.

In the fall of 2017, the film was presented at New York University and received a huge success, opening the doors to my American dream!

Also part of the team for that film was Cecilia Di Giulio, the artist who created the movie poster for “Sweet Democracy.” Our collaboration continued over the years, and after creating the movie poster for my second Narrative Feature, “Dance Again with me Heywood!” (2018), which featured Academy Award-winning James Ivory, she also created the movie poster for my film with Mariel Hemingway and Christopher Coppola, “O – the fiRSt mOvie by aN alien,” currently in post-production.

I am very happy to share today with the WILD FILMMAKER Community the first exclusive interview with Cecilia Di Giulio.

-Who is Cecilia Di Giulio?

This is a very difficult question! In short Cecilia is a girl born in Milan 38 years ago, with a thousand different passions, one of which she managed to turn into a real job, drawing. She loves cats, pizza and polka dots.

-What inspired you to become an artist?

My earliest memory is of me drawing a picture and I didn’t stop doing it for many years. At first maybe I drew to put on paper what populated my head, then anime came along and I started drawing just those, but it didn’t last that long. Over the years I broke away and got back into drawing many times. They said I wasn’t able to do it but then I realized there is no right and wrong way to do it and slowly I am looking for my own. Now I look for inspiration from everyday life, from other artists, from everything beautiful.

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

It depends. Thank goodness in the last few years the sensibility has changed and the way of addressing minorities or disadvantaged groups has changed, and this is right. Unfortunately, however, often, this new sensibility has led to the obligation to make changes in the stories we knew so that all categories feel recognized, but it is a straining that often casts the original intent in a bad light. If instead of modifying the stories we already know, new ones were written, making room for everyone perhaps cinema and art in general would benefit.

-What would you change in the world?

I don’t know where to start but if I could, I would like to see a definitive cure for cancer. And I would like historical memory to be more ingrained. -If you could ask a question to a great director from the past, who would you like to talk to and what would you ask them? Hitchcock without a doubt. I would just like to thank him for all the -pieces of cake ‖ he gave to cinema, because he showed the world how art can really be accessible and interesting without losing its value. This is often not the case.

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

I have no idea. But I do hope that in 100 years from now the human component will still be dominant in film and in all artistic and creative fields.

Instagram: @the.reddot.comics

https://www.behance.net/ceciliadigiulio

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By Stefano Sernagiotto

-Who is Dave Baranek?

He’s a guy who was fortunate to discern his dreams and then to live them… mostly. Let me switch to the first person; I have to say that I put in the effort and overcame some challenges, and everything didn’t go exactly as I’d imagined, but looking back I feel very fortunate. Now I try to inform, entertain, and inspire people pursuing their dreams.

-Tell us about your involvement in the filming of the famous movie TOP GUN.

My involvement started in the Spring of 1985, eight months after I became a Topgun instructor. A group of people from Paramount Pictures came to our base, Naval Air Station Miramar in San Diego, to plan the movie. Producers Don Simpson and Jerry Bruckheimer had been inspired by a magazine article in 1983 and had spent two years getting Navy approval and preparing. Soon we were discussing the movie at the squadron: certain elements of the plot, how to film specific scenes, things like that. Because this was our business, the producers asked for our assistance with many details. The Topgun squadron identified a liaison officer, but all instructors contributed in various ways, such as suggesting ideas and actually flying our aircraft to film scenes. One small way that I contributed was showing actors the correct way to climb into an F-14; even though Topgun itself didn’t fly F-14s at that time, I had been a RIO for four years, so I knew how to get in. When filming was done, F-14 pilot John Semcken and I went to Hollywood for two days to help assemble the flying scenes in ways that made sense and provide dialogue for all flying scenes. It was a fascinating trip into the heart of Paramount and an unforgettable experience to work closely with legendary director Tony Scott. Tony was respectful of us, a couple of lieutenants, because he brought us there for our input. I had several small “confrontations” with him, for lack of a better word, ​ over technical issues and his reply was, “We’re not making a f***ing documentary!” Other Topgun instructors had had similar confrontations with him… and received similar replies. John and I created the dialogue they needed, but then we were worried if a civilian audience would understand it. A writer told me, “Don’t worry, when I get through with it, they’ll get it.” To return to an earlier point: regrettably, I didn’t take my camera on this trip to Paramount! Other pilots and RIOs also contributed in many ways. When we saw the completed movie, we found the names of Topgun instructors and F-14 pilots and RIOs in the credits, which was a nice tribute. Here’s the 1983 article that inspired the movie: https://www.topgunbio.com/top-guns-by-ehud-yonay/. A friend could not find the article anywhere online, so we worked together and recreated it on my own website.

-You were an F-14 Tomcat radar intercept officer (RIO), like Goose was in the movie TOP GUN. What were your duties in the airplane cockpit?

One thing that people are surprised to hear is that the RIO could not fly the plane; there were no flight controls in the rear cockpit. My assigned responsibilities were navigation, communication, and operating the weapon system (radar). In addition, I coordinated with the pilot to complete checklists, such as before every takeoff and landing, and to deal with any problems with the aircraft. The US Navy was smart to require that pilots and RIOs take the exact same tests regarding knowledge of aircraft systems. RIOs were fully functioning members of the aircrew. In a tactical situation (air-to-air or air-to-ground, training or combat), the RIO was expected to take the lead in directing the aircraft during early stages of the mission, when he would likely have better situational awareness via the radar and other sensors. As the mission progressed, the pilot and RIO worked together to accomplish their objectives. The Navy gave RIOs most of the career opportunities it gave pilots: tactical leadership, squadron command, and more.

-How did your passion for photography begin? How often did you bring your camera on board?

I credit my father with sparking my passion for photography and nurturing it. He was an amateur photographer with simple equipment but learned many of the basics and passed much of that on to me. I received a mid-range 35 mm camera as a Christmas present when I was 12 and took some creative photos such as time exposures, forced perspective, and others. By the time I joined a Navy F-14 squadron, I considered myself a serious amateur. In my experience, most squadrons had a few pilots and RIOs who were amateur photographers, and we discussed ideas and tips. The Navy had a few rules about carrying personal cameras in aircraft, but fortunately it was allowed. I carried my camera on almost every flight, although there were a few notable exceptions, such as when I went through Topgun as a student I didn’t want any distractions from the training, so I did not take my camera in the jet with me. Also, my squadron participated in a training program that​ was highly classified, and we were warned not to take cameras on these flights. (The program involved dogfighting against Soviet MiG aircraft flown in Nevada and has since been declassified.) In the end, I’m happy that I captured some good photos. I use some of my favorite pictures to illustrate my books.

-How did you become a Topgun instructor?

I went through the Topgun class with a very capable and dedicated pilot, and we worked well together. We did well in the class and several instructors felt that I had the potential to become one of them, so they mentioned that to me. The prospect appealed to me so I discussed it with the commanding officer and other instructors, and they encouraged me to pursue it through the assignment process. I guess it sounds like a dance. Once I completed my tour in an F-14 squadron, I transferred to Topgun and began the very challenging process of becoming a qualified instructor. The school (it was also a squadron) had an excellent program to train new instructors. They had clear performance standards for everything, from delivering lectures to leading complex training flights. They didn’t lower the standards for anyone, but other instructors would expend significant effort to help a new instructor meet the standards. The pilot I went through the class with also became an instructor. Over the years Topgun has refined the way it selects instructors, but its commitment to the highest standards remains unchanged. By the way, I’ll use the convention of writing Topgun as one word when talking about the squadron, and as two words when talking about the movie.

-Would you ever have thought that the movie TOP GUN would have been such a success that still lasts after all these years?

This is a great question, because I clearly remember thinking, “If this movie gets made, it’s not going to be a big deal.” So the answer is a resounding no. But TOP GUN’s enduring appeal can be credited to several things. The vision of the producers, Simpson and Bruckheimer, who had to fight to get the movie made. When I saw the talented crew at work — cinematographers, sound people, transportation planners, everyone — I was impressed with their skill and commitment. A great book about making the movie is Top Gun Memos by Meredith Jordan. Another contributor to the movie’s success was Paramount’s use of Navy personnel when they needed technical advice: they requested our input and used it as much as possible.

-We have to ask: can we spot you in the movie?

The short answer is not really. The movie people invited actual pilots, RIOs, and other personnel to be in some scenes, and quite a few are in the movie. But in most case they wanted you to be at the set all day, or for two days, and we Topgun instructors were having a class so we were busy. I also have to reiterate, I personally didn’t think it would be a big deal so I didn’t worry about being in it. Remember I said we flew scenes for the movie? Well, for those scenes we wore black flight suits and black helmets, and they told us to keep our oxygen masks on – all measures designed to make individuals unrecognizable, and any flying scenes interchangeable. Once I rolled up my sleeves to make myself stand out, but someone in the Learjet camera plane noticed and made a radio call, “The RIO in the F-5F roll your sleeves down.” ​ But I am pretty sure I’m the back-seater in the scene where Maverick is inverted above the “MiG-28,” which was actually a Topgun F-5. High above the Pacific Ocean, we flew into a tight formation on the Lear’s right side, and I saw the large glass window on the side of the fuselage. One high-quality camera sat behind the window, others were mounted on the top and belly of the Lear. Tony Scott said over the radio, “A little forward. That’s good. When I count to three, both of you look up as quickly as you can. Remember, you’re startled. One, two, three!” I looked up. It was hard to act startled in all my flight gear and oxygen mask. No feedback, just, “Okay, let’s do it again. Remember, you are startled that there is an F-14 above you. One, two, three!” They filmed that scene several times, but looking at the final scene I think it’s me. And the inverted F-14 was added later. My book Topgun Days has more on the movie, as well as the F-14 Tomcat and the Topgun school.

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

That would have to go back to a movie I truly enjoyed as a youngster, 2001: A Space Odyssey. I saw it when I was nine years old and was in awe of its grandeur, technical details, and spectacular scenes, from the prehistoric landscape to the detailed spacecraft that acted like real spacecraft, not the comic book-type spaceships seen in most movies to that point. I can’t say that I understood the movie back then, but it sure made an impression.

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

Oh yes, it definitely can. But the change may not always be good, so it is up to everyone in society to evaluate the product and how to respond. This would be a good topic for a long interview with an expert on cinema. Let’s look at one example of how cinema can affect society: TOP GUN. Before the movie came out (1986), few people had heard of the Topgun school, but afterwards it was very popular in American society and the term “top gun” was used in advertising for all kinds of businesses. Clothing and hairstyles from the movie became common. The US Navy saw a large increase in recruiting for aviation and all types of service; in fact, US Air Force recruiters said they also experienced increased interest. Some may think that the movie glorified war, but I don’t think it did, and if it contributed to stronger defense than this means more stability – the opposite of war.

-We saw your name in the Italian Top Gun school documentary “DECI Decimomannu Air Force Base” awarded in our festivals, how did it happen?

I met the director of DECI, Stefano Sernagiotto, on social media. We started out chatting about aircraft and Topgun, as well as activities at the Decimomannu base. He’s a creative gentleman who is interested in many things, and as you can tell I have some interest in photography and the cinema, so we formed a friendship. I ​ was happy and honored to assist in a small way with DECI. Now I look forward to meeting Stefano in person one day! I have enjoyed this interview and also learning about The Wild Filmmaker. I wish you much success.

Photos by Dave Baranek

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