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Change The World

BEST ORIGINAL DOCUMENTARY & BEST INTERNATIONAL FILMMAKER

Roses are Blind

BEST INTERNATIONAL THRILLER & BEST INTERNATIONAL DIRECTOR

Drag Queens Of Emeralis

BEST COMEDY SCRIPT

Déjà Vu On The Ledge

BEST EUROPEAN EXPERIMENTAL FILM

Out of State-A Gothic Romance

BEST NARRATIVE FEATURE, BEST INTERNATIONAL INDIE FILM, BEST CAST & BEST AMERICAN DIRECTOR

4 Estações

BEST DIRECTOR, BEST SCREENWRITER & BEST EUROPEAN PRODUCER

Blood Run

BEST CASTING DIRECTOR

In a Whole New Way

BEST INTERNATIONAL DOCUMENTARY SHORT & BEST ARHOUSE EDITING

Not Without Gloves

BEST POETRY FILM & BEST EXPERIMENTAL DIRECTOR

Eye of the Storm

BEST PROJECT based on a True Story & BEST PRODUCER (Category: Documentary)

The ADDENDS – Numeri Ardenti

BEST EUROPEAN INDIE PRODUCER

Emergency Musical Response: Part 1 – Journey to Netherworld

BEST INDIE NARRATIVE SHORT, BEST ORIGINAL SCREENPLAY SHORT & BEST CINEMATOGRAPHER

Alta California

BEST INTERNATIONAL WRITER

Borderline Justice

BEST FEATURE SCRIPT

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

BEST INTERNATIONAL EXPERIMENTAL FILM

Wild Music

BEST ORIGINAL MUSIC VIDEO

A Reflection of Life

BEST INDIE DOCUMENTARY

Brothers of Babylon

BEST AMERICAN WRITER

The Blanket

BEST ANIMATION & BEST ARTHOUSE FILMMAKER

Omnipotent Resolution

BEST INSPIRATIONAL SHORT FILM, BEST DANCE SHORT FILM, BEST SOUNDTRACK & BEST FILMMAKER (Category: Music Video)

Monument to Love

BEST PRODUCTION COMPANY, BEST EDITING & BEST INTERNATIONAL DOCUMENTARY FEATURE

Luzinete

BEST INDIE DIRECTOR & BEST MAKE-UP ARTIST

The Lost Village

BEST INTERNATIONAL FILMMAKER & BEST PRODUCER

A Love Like This

BEST INTERNATIONAL SONG & BEST ARTHOUSE SINGER

Soul

BEST INDIE ARTHOUSE DIRECTOR & BEST ORIGINAL IDEA

Halloween (Rabbit Well Episode 6)

BEST ANIMATED PROJECT & BEST ORIGINAL COMEDY SHORT

Malibu Sunset

BEST ORIGINAL FEATURE SCRIPT

The Stones of Rome

BEST ACTOR & BEST ORIGINAL DIRECTOR

The Pathos of Hamlet

BEST EXPERIMENTAL NARRATIVE SHORT & BEST AMERICAN INDIE FILMMAKER

Anything You Lose

BEST ARTHOUSE DIRECTOR & BEST ORIGINAL CINEMATOGRAPHY

But I Want to Leave the Party

BEST ACTRESS, BEST ORIGINAL NARRATIVE SHORT & BEST SCREENPLAY SHORT

The Dead Ringer

BEST ORIGINAL SCREENWRITER & BEST INTERNATIONAL ARTHOUSE FEATURE SCRIPT

Routine

BEST AMERICAN NARRATIVE SHORT, BEST PRODUCER & BEST FILMMAKER

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

BEST ORIGINAL DIRECTOR & BEST EDITING

Bat Sheva (The Daughter of 7even)

BEST ORIGINAL SCORE

Lacrime di Vento

BEST EDUCATIONAL FILM & BEST EUROPEAN INDIE DIRECTOR

Wave Man

BEST EUROPEAN SCREENPLAY

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

I did not fall in love with cinema. As a person with a visual anomaly (I see two dimensional images), I had difficulties watching movies as a young child. The experience was overwhelming visually. Also the viewing conditions of movies where I grew up were always difficult. In the gym of the school, Tarzan films were shown with Hebrew subtitles handwritten on a stripe on the side of the screen. A small sports hall over overcrowded with hundreds of sweaty children. The movies in the theaters were for adults. But I remember some films like Bambi, the red balloon, Chaplin, Laurel and Hardy and the Russian classic the stone which I remember struggling to watch all the way with my troubled vision. So Films were a mixed experience. Intense, demanding cognitively and entertaining. 

As a teenager I was always drawn to comedy and humor. I was close to my father with whom we used to joke and make up jokes and think of visual short funny stories.  After studying a year of History and a year of social studies I decided that what I wanted was to learn how to make films and I wanted to learn “hands on”. I got a job as an assistant in a biblical film and for 5 years I worked in different departments on the set of 25 feature films and many documentaries and other film shoots. I also went to the university for a couple of years until I felt I needed to move on and do films rather than study film. 

And since 1980 I have been making independent films, self funded, low and no-budget films. First I was concentrated on comedy, but when my father passed away I realized I do not care to make other people laugh anymore and I concentrated in teaching myself to do documentary films and  I also have developed methodologies for Applied Educational Media which is using educational media in non traditional viewing environments and spaces, like individualizing the visitor’s experience in the museum space.   

Part of the methodologies involve learning to be a non intrusive observer, to become a “fly on the wall” able to observe and film events without influencing them. Other approaches were developed as an interviewer – to empower storytelling of interviewees – to be the best possible audience so they can be the best storytellers they can. Refining a minimalist approaches to dealing with visual history and historical films where the personal and the global are interwoven. 

All these are part of the process of growing up and understanding what to do how to be purist and how to be ethical and how to do so that whatever I do is done to serve the content and no choices are random, but are part of a very long and exhausting critical process.

– When did you realize that the story living in your heart had to be turned into a screenplay and then into a film project?

My community’s unique history and also the inspiring survival story during WWII has captured my interest. I have done 3 films about the subject, wrote a book, organized a conference and am working on 2 exhibitions. I do not write scripts for my documentary films. I work with what I collect, what I researched and what I documented and interviewed. It’s a long process of weaving testimonies, archival footage, home videos or private photos, documents and other visual objects into a sequence of events that reconstruct a certain time. 

– Is there a person you would like to thank for helping you bring your project to life?

My parents were supportive, inspiring and very creative. They were role models and they brought the unique story to my attention and helped me with my first steps of my career. 

– Do you think the Wild Filmmaker Community is helping to turn your dream into a reality?

I believe the Wild filmmaker Community has a promising role in bringing independent filmmakers and their audiences in contact. It is also important for filmmakers to be able to distribute their work and get revenue that will help and encourage more independent work. As a person who has done self funded independent films for over 40 years – I hope to share some of my experiences and advice to encourage young filmmakers to go the way they choose and overcome all the hurdles along the way. 

-What and who has inspired you the most in your artistic career?

For sure my mum! She has always boosted me with confidence and cheered me on, embracing any form I needed to express myself.

It’s such a gift to be brought up by a mum who pushes you to be an individualist. We are all different. Why try to be like everyone else, why be a sheep as my mum says.

Find you and shine!

-Every true artist is also a revolutionary against power. Do you think there is still room today

to express one’s revolution through art?

Art has always been political. Theatre started out like that. Also when you watch movies you can  kind of predict what will happen.

Yes, there is still room as art changes all the time with our time, and then of course there is art that is still as actual today as it was before like Norwegian famous author Henrik Ibsen. My movie ELLIDA is based upon his play The Lady From The Sea. He was a feminist in the 19th century.

-We live in a world where, unfortunately, war still exists.

Do you believe that if there were more dissemination of art through the media and social networks, the world would be a more peaceful place?

I believe art helps. I myself raise awareness through my art. If it’s music, theatre, shows , movies, art, poetry, books. Through my songs like INTIMACY which was the anthem of International Women’s Day UN in the UK , WE CAN’T GO BACK a duo with my daughter Benedicta Syran about the abortion law . Through my play BREAKING THE SILENCE spotlighting all the different issues women still have to deal with today, and of course my movie ELLIDA where she goes through natal depression and losing a child. Many of us are not aware or haven’t even thought about different issues, so yes for sure when one learns through art , when art light a torch and we see the truth, it is for sure the most powerful way to learn and hopefully react.

It brings me back to NYC where I performed my play “Breaking The Silence” at the United Nations.People came up to me afterwards saying how crucial it was, as now they felt passionate again to make those changes and work even harder. Also with my movie ” Ellida”, many women have contacted me afterwards and told me how it affected them and their lives. If you can reach people through art you have given them a gift! I believe without art we are all dead. We need “real” art. Yes fluff of reality shows and light no brainer movies is relaxing and fun to watch but the richness in depth and raising awareness is for sure on another level so yes please to ART!

-Are you working on a new project? If so, can you give us a sneak peek?

Yes,  I’m working on quite a few projects. They are all very exciting and challenging.

Every project feels like a baby you get so attached so when the time comes to share it with the world it feels extremely vulnerable. I remember first time I had to perform my self written songs in front of an audience of 4 to 6 thousand people it felt like I threw myself off a cliff naked.

With “Ellida” the most nerve wrecking situation was the first screening at the Chinese Theatre in LA, I felt sick.

-What and who has inspired you the most in your artistic career?

Maya Angelou

-Every true artist is also a revolutionary against power. Do you think there is still room today to express one’s revolution through art?

Absolutely! Films that drive social change, like *Schindler’s List*, inspire us to avoid repeating past mistakes and increase our awareness. Similarly, *Blood Diamond* has highlighted the issue of trafficking in diamond mines, raising significant awareness and caution around the purchase of conflict diamonds.

-We live in a world where, unfortunately, war still exists. Do you believe that if there were more dissemination of art through the media and social networks, the world would be a more peaceful place?

I believe in the power of affirmative action through film. When stories are told well, they inspire us to think creatively, uncover corruption, and realize that political conflicts don’t define us.
Films can empower us to stand up and say “No” to war, fostering inspiration and action toward positive change.

-Are you working on a new project? If so, can you give us a sneak peek? 

I’m currently working on two new projects that address pressing global issues. The first, titled *IAMILLEGAL*, explores the complex realities of immigration. It follows four individuals entering
the US—two legally and two illegally—with two of them harboring criminal intentions. The challenge for viewers is to identify which two are involved in criminal activities. This film aims to highlight that our borders and immigration issues are far more nuanced than political rhetoric often suggests. Having been trafficked myself, I met many victims who struggled to access resources due to a lack of education and services, and I hope this film will drive positive change.
My second project is a poignant love story about my son’s father, who passed away. His unwavering love and patience helped me reclaim my humanity after trafficking and inspired me to become the woman I am today. This film will honor his legacy and the profound impact he had on my life.

-Who is Jacopo Marchini?

I’m a Director and Cinematographer based in Rome and my projects mainly range from music videos to films and TV series. I think that my attitude and passion for both directing and cinematography allowed me to earn some credits with top quality artists and with the largest record labels such as Sony Music, Warner Music and Universal Music. In 2019 I’ve been accepted as an Associate Member by the prestigious Italian Association of Cinematographer (AIC) and i’m is still part of it. In 2021, with the experience accumulated in the audiovisual industry, I founded a production company, “Movi Production SRL” which obtained considerable feedback in the film market by producing a short film, already in the first year of life, selected for the Oscar Qualifying. And then in 2023 I shoot my first feature film, a production halfway between Cinecittà and New York where I had the immense honor of lighting Mariel Hamingway (Oscar winner with Woody Allen’s Manhattan) and Christopher Coppola. And yet I feel like my journey has yet to truly begin.

-What inspired you to become a Cinematographer?

I grew up in a family of photographers and had my first “photoshoot” at the age of 16 during a high school trip. From there I never stopped to explore the world of photography. I’ve been really lucky because I met people who believed in me right away and this gave me the opportunity to take some portraits of celebrities like Donald Sutherland, Penelepe Cruz, Javier Bardem, Matt Damon, George Clooney and others. However, something wasn’t enough for me and I felt the need to explore even more deeply so I approached Cinematography and Direction. And I still feel like my journey has just begun.

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

Cinema, like music and more generally art, do not have a specific utility like that which a doctor or an engineer might have but they have the power to raise awareness and excite like nothing else in the world. The further I get in my career, the more my studies look to the past of the greats. I go further and further back and discover more and more wonderful things making myself and my works better day by day. Society needs great art more than ever because we are simply getting lost under the infinite mass of false information and weak interests that are characterizing recent years. So yes! We need great cinema that moves us and teaches us healthy values. We need it now.

-What would you change in the world?

There are many things I would change in the world but I think one wins above all. And it is the need that we should find, especially the new generations, to surround themselves with beauty. And I don’t mean the beautiful woman because tastes are subjective. I mean music made by musicians who have studied, I mean watching films by directors who have something important to say and have studied night and day to be able to say it, I mean the beauty of turning off the phone at the table, the beauty of sharing photos without waiting for number of likes, they took away our concerts without our phones and we now go to the concert just to record it, not to live it. These times have taken away our priorities and replaced them with surrogates of what they tell us we should like. We urgently need to get back in touch with ourselves. I would change this.

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

Unfortunately I don’t have good prospects for our industry. I think we will get to a point where it will collapse and finally start from scratch. But in Italy everything is more difficult, fortunately there is still a lot of quality international cinema. For posterity the arduous sentence.

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

Like many, I was taken to see Disney’s “Bambi” at an early age. Here was a wonder that transported me to another world, another way of seeing. Then, every Saturday morning, I’d go along to Saturday morning
“pictures” in my hometown, Cardiff, Wales. The reality of the world outside disappeared for a few hours.
In my teenage years, I attended evening movie shows at the universities. Here I witnessed some of the older, often silent, masterpieces. I have used some of those images—the “dead” woman opening her eyes in the coffin—in my own work.
By now I was adding to my enjoyment of the movies, observations about the format of movies (flashbacks, voiceovers, etc.) and noting the differing structures and possibilities between them and stage plays. And so many memorable moments, flashes of genius in the movies. The famous Italian director trying to discover his creativity while an unspeaking motor cyclist ripped through the town preventing characters’ serious philosophical discussions! The huge starship coming over the top of
the movie house. And on and on.

-When did you realize that the story living in your heart had to be turned into a screenplay and then into a film project?

In my academic capacity I taught the works of the great dramatists, so characters, situations, contrasts, intrusions, etc. were part of my teaching. Writing my own plays and screenplays came a little later for me. My background was, by and large, academic. But I didn’t want to add to the piles of academic papers. I was interested in transforming the challenges, physical and psychological, I faced into a “living” form. A racial murder in MY TOWN (the title of the play and screenplay) was deeply troubling to me.
My central character, a newspaper reporter, can answer the who, what and where, but what about the “Why”? And the questioning continued. Why did my American history class (I was a 20-something immigrant), not talk about women, blacks, native Americans? Was the “Mission Era” of California, dominated by the figure of Padre Serra, exact or romanticized? My filmscript, ALTA CALIFORNIA, let me
explore that era through the eyes of a half-breed ripped from his family and now confronted by European soldiers and padres. And then there was Antonietta Portulano, PIRANDELLO’S WIFE, who was suddenly deposited (I can think of no better word!) in an asylum for the last 40 years of her life.
Why? What about her lived-life experience? And on it went—and still goes. Why, why, why? Not just skimming the surface, the accepted, but foraging deep into the live-life experiences of myself and my characters. It wasn’t simply the telling of a story. Writing movie scripts allowed me to revert back and forth through time periods as I tried to piece the modicums together to constitute, hopefully, a whole. Maybe an answer.

-Is there a person you would like to thank for helping you bring your project to life?

Critiques have varied over the years from amateurish and unseeing, to unsophisticated, to uncritical, to valuable. I really thank Wild Filmmaker for opening a world of possibilities for me to share all of my questionings, all of my potential answerings.

-Do you think the Wild Filmmaker Community is helping to turn your dream into a reality?

Wild Filmmaker has been invaluable for me. Here, my script is being judged by intelligent, industry professionals. I feel that Wild Filmmaker’s readers understand my philosophical meanderings as I attempt to understand this thing called living. Wild Filmmaker’s readers appreciate how I attempt to transport these thoughts into filmscripts. And, finally, I feel that here is a viable vehicle through which agents, directors and producers will become aware of my work and, hopefully, consider transporting it to the
“big screen.”

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

For us the exact moment we fell in love with cinema. Was when the Creator of Heaven and Earth Yashiya through following the Law statutes and commandments and fasting, prayer, and supplication gave us the discernment to see all living things as physical manifestations of cinema. With individual stories and themes. And that sparked our passion to convey life’s concepts into film.

-When did you realize that the story living in your heart had to be turned into a screenplay and then into a film project?

We realized the stories living in our hearts had to be turned into a screenplays and then into a film projects. When the Most High Yashiya conveyed to us that we are His hands and feet on this plain. And we are to show His creations on earth His power using our testimonies and Uniqueness so He can inspire everyone else’s Uniqueness to flourish invoking revolution in spirit through cinematic expression music shows through us.

-Is there a person you would like to thank for helping you bring your project to life?

The person we would love to thank for bringing this project to life is the Almighty Sovereign and Father of all creation Ahayah Asher Ahayah the Father, Yashiya the Son, and the Rawach His set apart spirit. Because without Him there would be no life and nothing new to bring to our brothers and sisters. We also are so thankful to all those who donate and will in the future donate nto our cause in creating as it is a huge undertaking to bring to life what our creative minds assemble in spirit. 

-Do you think the Wild Filmmaker Community is helping to turn your dream into a reality?

We absolutely know beyond a shadow of a doubt that the Wild Filmmaker Community was chosen before the beginning of time for such a time as this to be used as  powerful vessels of change. Yashiya never ceases to amaze us as we watch Him move in whom He chooses and the Wild Filmmaker Community not only helped bring our dreams into reality but also is  bringing Yashiya’s prophetic plan into fruition. We love you all dearly and are humbled and grateful for everything you do.

-What and who has inspired you the most in your artistic career?

Throughout my artistic career I was inspired by many people and things, but the most important thing for the start of my film career was the first Slovenian feature-length animated film “Socializacija bika?”, which was finished in 1998. Next year I finished my first animated film “Neptune – the Secret Planet” as 11-years old boy an dedicated it to the authors of the aforementioned film Milan Erič and Zvonko Čoh. Another important thing for the success of my career is that I had an access to my father’s studio, where I observed his passion for drawing illustrations, comic strips and paper-drawn animations and so I learned a lot. I also had access to watch the best animated films in the world and I watched every animated film that I got a chance watching in the analog era of television 30 years ago when the quality of their program was much better.

-Every true artist is also a revolutionary against power. Do you think there is still room today to express one’s revolution through art?

Most of so called “artists” in my country get loud and rebel only if one particular person gets into the position of power. As soon as anyone else gets into the position of power, they all get quiet. The government, which leads our country at this point in time is the worst in the history of Slovenia and I am going to explain why. English translation of the main governmental party’s name is “Freedom”. The truth is that true artists in our country don’t have freedom to express ourselves trough art anymore. My latest film “The Story of Marjan the Bunny” got censored by Slovenian national television (Radiotelevizija Slovenija), which is owned by our government. So the freedom here is fake, most of revolutions here are also fake ones and I also see most of the loudest artistic colleagues here as fake ones as well. If you want to see true artistic rebels today, you need to take a look at people who do that in their free time. Most of my artistic works were made in my free time, only a few ones got funds as I am not willing to skew my artistic expression because of some “quasy-experts”, who reject my work for political reasons.

-We live in a world where, unfortunately, war still exists. Do you believe that if there were more dissemination of art through the media and social networks, the world would be a more peaceful place?

Yes, more dissemination of art through the media and social networks could help artists receive deserved recognition and because of that the world would be more peacful place. Would Adolf Hitler need to cause the World War II, if he would be recognised as a painter?

-Are you working on a new project? If so, can you give us a sneak peek?

I made the script for my new short animated film project “Transgender Euphoria” almost a year ago, but the funding got blocked by main Slovenian agencies that fund films in my country, as they prefer to fund more infantile works. And so I am trying to get my project funded by ordinary people online. You can have a sneak peek at my crowdfunding campaign for my next film right here: https://igg.me/at/transgendereuphoria/x/37978528#/

-What and who has inspired you the most in your artistic career?

I studied visual arts in Cordoba, Argentina, then at Kutztown University where I was involved in performance art and installation. While in Argentina I was influenced by my boyfriend who was a huge film & music fan. We saw tons of European films and listened to everything from American Jazz, to Folkloric to Astor Piazzola. In Buenos Aires we saw a fashion show that was held in the second story windows as we watched from the street. I was captivated. Later when I was living in Atlanta I ran a funky old hotel called Le Pavilion. I created a series of drawing about the place and had a one woman art show. But the people were missing so I created Le Pavilion in the gallery windows and co-wrote with David Lee three scenes – A Murder, A Love Scene, and My Office. The action all happened simultaneously to New Tango by Astor Piazzola. It was very filmic and I had an ephipany – I wanted to make on-site performances that stirred strong emotions in the viewers. This led to video and then to making my first feature Out of State-A Gothic Romance.

-Every true artist is also a revolutionary against power. Do you think there is still room today to express one’s revolution through art?

Art is very powerful against tyrants, despots and charlatans who want to control people. That is why unenlightened people who are brutal dictators try to eliminate artists who speak out, write, draw, make music, films and documentaries. Think of that famous scene in “Casablanca” when the occupying German officers are singing a Third Reich song. In defiance the whole club stands to sing “Le Marsaillaise” the French National anthem. 

-We live in a world where, unfortunately, war still exists. Do you believe that if there were more dissemination of art through the media and social networks, the world would be a more peaceful place?

It is unfortunate that war is still with us. Art, music, film, dance etc. are all very important in bridging the divide in the world. There was an amazing musical on Broadway a few years back call  The Band’s Visit. It was based on an Israel film about an Alexandrea, Egypt  band that gets stuck in Israel and makes friends with Israelis who befriend them and offer to help them out of a tight spot. It a very powerful statement of breaking down stereotypical images of someone who is from another culture and seeing the humanity it all. If it were only so simple.

-Are you working on a new project? If so, can you give us a sneak peek?

I want to adapt “The Gas Station Project”  that I wrote for a feature film. The play was conceived while in an actors/writers workshop with the cast of CBS’s Soap Opera “The Guilding Light.” Set in a small town in Florida in 1999, Tammy & Chet, a 30-soemthing couple, run a gas station/automotive center. Their crumbling marriage is told through their eyes, their children and their best friends. The conceit is that two actors play the roles with a narrator who sits in a bright red convertible leading the audience through the 16 different scene setups including their home, a juice bar, a television studio, a bar in Daytona, and an emergency room. We staged a reading in OverSeas Auto Body Shop in Hastings on Hudson and my goal was to translate the play into 7 languages and work with international theater groups to stage it in car related places in their town. Naturally, for the film version the idea of two actors playing all roles is not possible. Hoping to raise funds to make this one happen. With cars as metaphor all the world is a showroom. This film is gassed up and ready to go. As you can tell I love cars.

-What and who has inspired you the most in your artistic career?

Throughout my career, the world of fantasy cinema, particularly those involving extraterrestrial life, has been an inexhaustible source of inspiration for me. For example, films like “A.I. Artificial Intelligence”, directed by Steven Spielberg, and “Contact” by Robert Zemeckis, with their imaginative worlds, have fueled my creativity and driven me to explore the infinite possibilities of visual storytelling. However, over time, I felt a growing need to move towards a more concrete and tangible dimension. This evolution has led me to passionately embrace the direction of realistic documentaries, where I can tell true stories and provide a more authentic and profound view of the world around us.
For me, realism is essential: I enjoy observing and capturing protagonists during a period of their lives, allowing them to occupy the frame, much like in a theater of the big screen. In this way, I can tell real stories, enabling viewers to immerse themselves in the lives of the subjects without filters, much like in theater, but with the power of cinema.
Today, in terms of imagery, I am deeply inspired by Wes Anderson, a director known for creating unique cinematic worlds through his unmistakable visual style, characterized by impeccable symmetry, a pastel color palette, and meticulous attention to detail. His storytelling approach, which blends elements of realism with a surreal aesthetic, has influenced me in finding the right balance between the concreteness of reality and visual beauty, even in my documentaries.

-Every true artist is also a revolutionary against power. Do you think there is still room today to express one’s revolution through art?

I believe so, but I also like to consider the power of the soul that resides within each of us. This artistic power not only challenges external forms of power, such as political and social structures, but also explores and confronts inner dynamics and personal power.
We all possess an internal power that we can liberate, although we often face difficulties in doing so. This power represents our deepest convictions, fears, desires, and aspirations. Art has the unique ability to reflect and illuminate these inner aspects, offering a path of self-discovery and transformation. Through art, we can confront our personal challenges, explore our identity, and seek inner balance.
In this context, the director plays a crucial role: they must strive to convey and express this internal power through their films and worldview. This vision can sometimes go against dominant conventions and external forces. In this way, art becomes not only a means to challenge external authorities but also a tool to reveal and manifest the beauty and truth hidden within us.

As someone once said, “Beauty will save the world”.

-We live in a world where, unfortunately, war still exists. Do you believe that if there were more dissemination of art through the media and social networks, the world would be a more peaceful place?

I do not believe that a greater dissemination of art through media and social networks would necessarily make the world a more peaceful place. True beauty, in fact, emanates from within each of us and is not merely a reflection of what we see on the outside. Confronting the harsh realities and difficulties of life can, in fact, help us rediscover and value hidden fragments of beauty within ourselves. By uniting these pieces, we can achieve a deeper and more authentic understanding of beauty, revealed through our process of introspection and inner reflection.
For instance, in my work as a filmmaker, when I create documentaries that explore stories not traditionally positive, I strive to infuse them with an aesthetic dimension through the art of visual composition. My goal is to uncover and reveal intrinsic beauty even in complex and challenging contexts, seeking a balance between raw reality and its artistic representation. In this way, I hope to provide a perspective that allows us to appreciate the hidden beauty even in the most nuanced and painful situations.

-Are you working on a new project? If so, can you give us a sneak peek?

Yes, I’m working on a new project that I’m very excited about. It’s a documentary that follows the story of a young man who decides to travel the world with his dog, seeking to distance himself from his relationships and responsibilities. Initially, the journey represents an escape from reality and an opportunity to explore new horizons. However, as he moves from place to place, he gradually realizes that he was actually trying to run away from himself. The documentary delves into this journey of self-discovery, where travel becomes a metaphor for inner exploration and reconciliation with one’s past and emotions. I hope it will be ready for release in the early months of 2025.
I am also working on writing an introspective short film, but I can’t reveal any more details about it at this time.