Category: Senza categoria

Remnant

BEST INTERNATIONAL NARRATIVE FEATURE, BEST SCREENPLAY (Category: Film), BEST DIRETOR, BEST INTERNATIONAL PRODUCTION COMPANY, BEST ORIGINAL CINEMATOGRAPHER & BEST MAKE-UP

You Are Here

BEST INDIE NARRATIVE FEATURE, BEST DIRECTOR & BEST SCREENPLAY (Category: International Film)

Dinner With Dante

BEST INTERNATIONAL SHORT SCRIPT & BEST EUROPEAN SCREENWRITER

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

BEST NARRATIVE SHORT FILM OF THE YEAR, BEST SCREENWRITER, BEST CAST & BEST PRODUCTION COMPANY (Category: International Indie Narrative Short Film)

Routine

BEST INDIE FILMMAKER OF THE YEAR, BEST SOUND DESIGN, BEST CASTING DIRECTOR, BEST CINEMATOGRAPHY & BEST ORIGINAL SCREENPLAY

Monument to Love

BEST ARTHOUSE FILMMAKER & BEST INTERNATIONAL DOCUMENTARY OF THE YEAR

A Melody In The Bronx

BEST INTERNATIONAL BOOK OF THE YEAR & BEST ARTHOUSE WRITER

Eye of the Storm

BEST DOCUMENTARY FEATURE OF THE YEAR, BEST EDITING & BEST BIOGRAPHICAL DOCUMENTARY

Prodigio

BEST GUITARIST OF THE YEAR & BEST ORIGINAL SONG WRITER

True Friend

BEST AMERICAN DRAMA OF THE YEAR & BEST DIRECTOR 2025

The Arcangel Of Death

BEST INTERNATIONAL ACTOR & BEST ORIGINAL ACTING

Artists and Aliens

BEST ORIGINAL ARTHOUSE SHORT FILM, BEST INDIE DIRECTOR & BEST SCI-FI

Alta California

BEST INTERNATIONAL FEATURE SCRIPT 2025

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

BEST ORIGINAL PILOT TV/TELEVISION SCRIPT OF THE YEAR

Big Momma Earth

BEST DIRECTOR, BEST EDITING & BEST PRODUCER (Category: Comedy)

Ye Ole Glorya

BEST INTERNATIONAL COMEDY OF THE YEAR

The Girl Made of Earth and Water

BEST SUPER SHORT FILM OF THE YEAR

In a Whole New Way

BEST EDUCATIONAL FILM & BEST SCREENWRITER (Category: Educational Film)

The Duchess

BEST INTERNATIONAL DRAMA OF THE YEAR

Am I a painter?/Czy jestem malarzem?

BEST INTERNATIONAL ANIMATED SHORT FILM OF THE YEAR

Colombano & La 21Esima Fetta

BEST INTERNATIONAL ARTHOUSE FILM OF THE YEAR

Thankful

BEST INTERNATIONAL INDIE FEATURE SCRIPT OF THE YEAR

Can’t Figure It Out

BEST ORIGINAL INSPIRATIONAL FILM & BEST PRODUCER (Category: EXPERIMENTAL FILM)

Déjà Vu On The Ledge

BEST DIRECTOR OF THE YEAR & BEST PRODUCER (Category: EXPERIMENTAL FILM)

The Taste Of Rain

BEST SCREENPLAY OF THE YEAR

Katabasis

BEST NARRATIVE FEATURE FILM OF THE YEAR & BEST ACTRESS 2025

Drowning

BEST INTERNATIONAL SONG OF THE YEAR

The Priory of Sion

BEST EUROPEAN SCREENWRITER & BEST EUROPEAN ORIGINAL FEATURE SCRIPT 2025

Not Without Gloves

BEST INTERNATIONAL EXPERIMENTAL 2025

Hiding in Holland: A Resistance Memoir” by Shulamit Reinharz and Max Rothschild

BEST ARTHOUSE WRITER & BEST INTERNATIONAL INDIE BOOK OF THE YEAR

The Days of Knight: Chapter 3

BEST INTERNATIONAL SHORT FILM OF THE YEAR, BEST INDIE PRODUCTION COMPANY, BEST ORIGINAL IDEA, BEST SOUNDTRACK & BEST SCREENPLAY SHORT

Omnipotent Resolution

BEST DANCE FILM, BEST CHOREOGRAPHY, BEST DIRECTOR (Category: International Musical) & BEST SINGER OF THE YEAR

Precious the Baby Dragon

BEST ORIGINAL BOOK/MANUSCRIPT 2025

The Dead Ringer

BEST INTERNATIONAL ARTHOUSE FEATURE SCRIPT OF THE YEAR

The Stones of Rome

BEST INTERNATIONAL EXPERIMENTAL ACTOR OF THE YEAR

The Pathos of Hamlet

BEST ORIGINAL ACTING

L’Amour est temps de reflets

BEST EUROPEAN SHORT FILM OF THE YEAR

Out of Control

BEST INDIE ANIMATED PROJECT OF THE YEAR

Emergency Musical Response: Part 1 – Journey to Netherworld

BEST INDIE MUSICAL OF THE YEAR

-Who is Hakan Ünal?

Hakan Ünal is an award-winning Turkish screenwriter and director, recognized for his psychologically complex narratives and visually immersive storytelling. His work delves into themes of memory, identity, and suppressed emotions, often exploring the fine line between reality and perception. He began his career by writing short stories before transitioning into screenwriting. His first feature screenplay, Metamorphosis, was shortlisted for the Toronto IFF Talent Development Program in 2019. His short scripts have garnered international acclaim, with The Shell winning First Prize for Best International Screenplay at Flickers’ Rhode Island IFF (Oscar & BAFTA Qualifier) in 2020, and Purgatorio receiving the Grand Prize for Best International Screenplay at the same festival in 2022. Purgatorio also won Best Short Screenplay at the Garden State Film Festival (23rd edition).

Ünal has directed several short films, including Crack in the Wall (2018), Allegoria (2020), and The Shell (2025), each showcasing his distinct ability to craft emotionally resonant and thematically intricate stories. Currently, he is preparing for his feature film HIDDEN-SAKLI, a layered drama that examines hidden desires, family secrets, and the psychological consequences of repression. With a strong foundation in both cinema and literature, Ünal continues to push narrative boundaries, creating thought-provoking films that captivate audiences worldwide.

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

“I don’t know if there was a single defining moment, but I do remember the first-time cinema truly captivated me. I was a child, sitting in a dark theatre, completely immersed in a world that felt more real than reality itself. It wasn’t just about watching a story unfold—it was about feeling it, living inside it. I was mesmerized by how images, sounds, and emotions could be woven together to create something so powerful.

As I grew older, I found myself drawn not just to watching films, but to understanding how they were made—how directors crafted atmosphere, how screenwriters structured narratives, how actors embodied their characters. That curiosity led me to storytelling, first through short stories and later through screenwriting and directing.

Cinema, for me, is more than an art form; it’s a way of understanding the world, of exploring the unspoken and the unseen. That fascination has only deepened over time.”

–Tell us about your short screenplay “Purgatorio”

Purgatorio is a psychological drama that explores themes of guilt, redemption, and the weight of unresolved pasts. The story follows a man trapped in a mysterious, liminal space—neither alive nor dead—where he is forced to confront the choices that led him there. As he navigates this purgatorial realm, he encounters figures from his past, each interaction unravelling layers of his psyche and the deep-seated regrets that haunt him.

The story was heavily inspired by Dante Alighieri’s Purgatorio, the second canticle of The Divine Comedy. I was fascinated by Dante’s depiction of purgatory—not just as a place of suffering, but as a journey of self-discovery and transformation. I wanted to reinterpret that concept in a modern, psychological framework, where purgatory becomes a deeply personal space, shaped by the protagonist’s own guilt and subconscious fears.

In Purgatorio, the characters are not just physical beings; they represent different facets of the protagonist’s psyche, as well as the weight of his past actions. The main character finds himself in a purgatorial space, encountering individuals who embody the moral and psychological consequences of his decisions. These figures are symbolic representations of guilt, denial, and regret, each one playing a role in forcing the protagonist to confront the personal demons that brought him to this place.

The connection to Dante’s Purgatorio lies in the structure of the narrative itself. Just as in Dante’s work, where souls undergo a process of purification, my protagonist is forced to face the consequences of his actions in order to move forward. The characters he encounters mirror the various layers of sin and redemption, but the key difference is that they are not static figures. Each character, while representing certain aspects of his past, evolves throughout the story, symbolizing the possibility of change, understanding, and ultimately, redemption.

–Which Director inspires you the most?

There are several directors who have inspired me, but if I had to choose one, it would be Ingmar Bergman. His mastery of psychological depth, minimalist storytelling, and exploration of the human condition resonates deeply with my own approach to filmmaking. Bergman’s ability to craft intimate, complex narratives while delving into existential themes is something I strive for in my own work. Films like Persona and The Seventh Seal have had a profound impact on how I approach character development and visual storytelling.

Another key influence for me is Andrei Tarkovsky, whose films like Stalker and Mirror explore memory, time, and the metaphysical in ways that continue to inspire my work. His unique approach to pacing, symbolism, and the relationship between the inner and outer worlds pushes me to think more deeply about how to convey emotions and themes visually.

These directors, each in their own way, have shaped my understanding of cinema and continue to inspire my journey as a filmmaker.

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

What I dislike most about the world is the persistence of inequality, division, and a lack of empathy. The way people are often reduced to labels or judged based on superficial traits like their background, race, or socioeconomic status, rather than being understood as complex individuals, is something that deeply concerns me. The world often seems to prioritize profit, power, and superficial success over genuine human connection and the well-being of others.

If I could change one thing, it would be to foster a greater sense of empathy and understanding among people. I would aim for a world where people take the time to listen, to truly understand one another’s experiences, and to work toward collective betterment rather than division. In my work, I hope to contribute to this shift by telling stories that challenge assumptions, encourage deeper reflection, and inspire audiences to question the world around them. I believe that cinema has the power to bring people closer together, to break down barriers, and to spark change.

–How do you imagine cinema in 100 years?

In 100 years, I imagine cinema will have evolved in ways we can’t fully predict, but I believe the essence of storytelling will remain constant. Technological advancements will likely continue to reshape the way we experience films—whether through fully immersive virtual reality, holographic projections, or even neural interfaces that allow us to interact with films in real-time. The boundaries between the viewer and the film could become increasingly blurred, creating entirely new forms of interactive and sensory experiences.

However, despite these advances, the core of cinema—the ability to tell stories that connect with people emotionally and intellectually—will remain. I believe the power of human connection and the ability to share our experiences through stories will transcend any technology. In 100 years, filmmakers will likely use new tools and mediums to tell stories, but the need for authentic, compelling narratives will persist.

Cinema could also become more global and inclusive, with diverse voices from all over the world contributing to a more interconnected cinematic landscape. The diversity of experiences and perspectives will enrich the medium and continue to challenge societal norms, much like it does today.

Ultimately, I imagine cinema will continue to push boundaries, to question societal structures, and to reflect on the human condition, regardless of how it’s delivered.

–What is your impression of WILD FILMMAKER?

I find Wild Filmmaker to be a fascinating and timely exploration of where cinema is headed in the post-cinematographic era. It represents a shift in how stories are told and who gets to tell them. In a world where nearly every person with a smartphone has the ability to capture and share stories through images, the boundaries of cinema are expanding in ways we couldn’t have imagined a few decades ago.

I believe that Wild Filmmaker embraces the democratization of storytelling, where the audience no longer just consumes content but becomes a creator of content. With the power of the internet, these stories can go viral and reach audiences on a universal scale, changing the very fabric of what we consider ‘cinema’.

I also appreciate how Wild Filmmaker acknowledges the evolution of art and audience awareness. Just as we once saw the circus as entertainment, only to evolve into a more compassionate understanding of animals’ rights, cinema too is undergoing a transformation. It’s becoming a more inclusive space where everyone can contribute and engage in conversations about social change, representation, and human experience.

The respect for cinema’s rich history, from the works of Stanley Kubrick to Federico Fellini, while also acknowledging new ways of storytelling, resonates with me deeply. It shows a balance of honouring the past while embracing the future. As a filmmaker, I appreciate this forward-thinking approach and look forward to seeing how this evolution will make cinema more accessible, diverse, and meaningful.

 -Who is Sheldon Woodson Sr.?

Sheldon Woodson is a USN Veteran who served in the military for 24 years and a former realty specialist with the Federal Government who served for 8 years. He’s earned an honorary doctorate in filmmaking, a master’s degree in business management, and a bachelor’s degree in business marketing. He’s a writer, producer, director, editor, and everything else in between when it comes to filmmaking.  He’s published three fiction novels and one self-help book. His will to achieve the highest levels of his endeavors is his greatest asset. He started Woodson’s World Studios to make films for various distribution formats to educate via entertainment. 

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

Coming from a strict religious family, I couldn’t go to movies. It was considered “worldly.” I graduated at 17, left home for college, and decided I would go to hell by seeing a film at the theater.  I was blown away. Right then, I decided I wanted to write books that would become screenplays, and eventually films.  

-Tell us about your project “The Model, The Mannequin, and Me”.

The MM&M is about a group of fashion designers who are supposed to be working as a team to achieve a big commission from an investor to design clothes. The designers slowly go missing due to simply coming in contact with a misplaced military mannequin developed by the Chinese as an experiment.   

-Which Director inspires you the most?

If I’m being honest, it would be John Carpenter’s early work, with movies like “They Live,” “The Thing,” and “Assault on Precinct 13.” However, based on the film business, I admire Steven Spielberg, James Cameron, and Tyler Perry. Quentin Tarantino, Martin Scorsese, Spike Lee, Robert Rodriguez, and John Woo represent the art of film. There are so many more, but these are my top. 

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

Clubism. The brightest light rarely gets seen due to suspension. The world has become a place where if you didn’t go to this school, belong to this club, or are a part of this race of people, you don’t get to be seen. This goes for nepotism, favoritism, religion, and political beliefs. What happened to working hard for something and being rewarded based on your labor? There’s a lot more to this, but I’ll stop here.  

-How do you imagine cinema in 100 years?

Total immersion, somewhat like cosplay. You step into the theater, put on a device, and you’re in the film. You feel the wind, waves, and heat of an exploding building. You can join the side of the good or bad guy and live or die based on the direction of the script. i.e., no real harm will come to the viewer/participant. Those not going to the theater can experience the same thing with a built-in unit. 

-What is your impression of WILD FILMMAKER?

WILD FILMMAKER offers opportunities to be seen, selected, and awarded by the best of the best in the film industry. It provides validation that you, as a filmmaker, are in the right place and time. And if you keep moving forward, the public will notice you, the gods of film will assist you, and the world will watch and be inspired by you. 

Omnipotent Resolution

By Uniqueness Heiress & Azia

BEST INTERNATIONAL MUSICAL SHORT FILM, BEST ORIGINAL CHOREOGRAPHY, BEST ARTHOUSE FILMMAKER & BEST PRODUCER

Something ain’t right

By Susan Downs

BEST ARTHOUSE DOCUMENTARY OF THE YEAR & BEST ORIGINAL INDIE FILMMAKER

Homeless Street Artist

By Tysen Knight

BEST ARTHOUSE DIRECTOR, BEST CAMERA OPERATOR & BEST PRODUCTION COMPANY (Category: Documentary Short)

Déjà Vu On The Ledge

By R. Scott MacLeay

BEST ARTHOUSE EXPERIMENTAL FILM, BEST ORIGINAL FILMMAKER & BEST PRODUCER (Category: Experimental Film)

Downriver

By Andrea Boll

BEST DIRECTOR, BEST CHOREOGRAPHER, BEST DANCE MOVIE, BEST SOUND DESIGN & BEST CINEMATOGRAPHY (Category: International Dance Movie)

Can’t Figure It Out

By R. Scott MacLeay

BEST EXPERIMENTAL EDITING, BEST CINEMATOGRAPHY & BEST EXPERIMENTAL SCREENPLAY

Virulence

By Christopher Pennington

BEST ARTHOUSE FEATURE SCRIPT & BEST INTERNATIONAL ORIGINAL INDIE SCREENWRITER

Sundown In Beaver Creek

By Larry Gene Fortin

BEST INTERNATIONAL TELEVISION SCRIPT & BEST AMERICAN INDIE SCREENPLAY

Toddler’s Tears

By Shamil Aliyev

BEST INTERNATIONAL DOCUMENTARY SHORT OF THE YEAR & BEST INDIE FILMMAKER ( Category: Documentary Short)

Lambada The Dance of Fate

By Kai Fischer

BEST ARTHOUSE SCREENWRITER OF THE YEAR & BEST INTERNATIONAL BIOGRAPHICAL SCRIPT

Appointment With The Plague Doctor, Lester Haywood

By L. S. Strange

BEST INTERNATIONAL HORROR OF THE YEAR

Boxed In

By Steve Hunyi

BEST INDIE DIRECTOR, BEST PRODUCER & BEST CHARACTERS (Category: International Narrative Short Film)

Caesar

By Reine Johansson

BEST INTERNATIONAL ARTHOUSE NARRATIVE SHORT, BEST ORIGINAL DIRECTOR, BEST ORIGINAL EDITING & BEST SOUNDTRACK

The Arcangel Of Death

By Vincenzo Amoruso

BEST ARTHOUSE ACTOR 2025

The Dead Ringer

By Suzanne Lutas

BEST WRITER & BEST INTERNATIONAL ARTHOUSE FEATURE SCRIPT

Ye Ole Glorya

By Jeffrey Kazanjian

BEST DIRECTOR, BEST CAST & BEST EDITING (Category: Arthouse Comedy)

Big Momma Earth

By Jeffrey Kazanjian

BEST INDIE COMEDY OF THE YEAR & BEST SCREENPLAY

Planetary Rebellion

By Fabrizio Fuochi

BEST INTERNATIONAL DIRECTOR (Category: International Music Video) & BEST SOUND DESIGNER

Katabasis

By Samantha Casella

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

The Broken Road

By Tommy Anderson

BEST SCREENWRITER 2025 (Category: FEATURE SCRIPT)

Thankful

By Earnest Diaz

BEST ARTHOUSE FEATURE SCRIPT 2025 & BEST INTERNATIONAL INDIE SCREENWRITER

Doctor Hyphoteses

By Vicentini Gomez

BEST INDIE FILMMAKER & BEST ORIGINAL ACTING

I Waited for You

By Jennifer Glee

BEST INDIE FILMMAKER, BEST ORIGINAL EDITING & BEST PRODUCER (Category: Arthouse Experimental Film)

Secrets of Montmartre 3

By Michelle Lynn

BEST AMERICAN FEATURE SCRIPT OF THE YEAR

Forevermore

By Danilo Del Tufo

BEST ARTHOUSE ANIMATED SHORT FILM & BEST ORIGINAL EDITING

The way of Mizoguchi

By Danilo Del Tufo

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

Alta California

By Lynn Elliott

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

Ghost Town, N.M.

By Lynn Elliott

BEST ORIGINAL SCREENWRITER

NeverWere: a Lycan Love Story

By Chris Ross Leong

BEST WRITING STYLE & BEST INTERNATIONAL FEATURE SCRIPT

Revisited – Life is Short

By TerryLee WHETSTONe

BEST DIRECTOR, BEST EDITING, BEST INDIE SONG & BEST CINEMATOGRAPHER (Category: International Music Video)

Monument to Love

By Jacob Comforty

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

Hot Afternoons Have Been in Montana

By Ken Kimmelman

BEST INTERNATIONAL VIDEO POETRY, BEST FILMMAKER, BEST ARTHOUSE CINEMATOGRAPHER & BEST SOUND DESIGN (Category: Video Poetry)

The Days of Knight: Chapter 3

By John Martinez

BEST ORIGINAL NARRATIVE SHORT, BEST DIRECTOR, BEST SOUND DESIGN, BEST CASTING DIRECTOR & BEST ORIGINAL SCREENPLAY SHORT (Category: International Short Film)

Precious the Baby Dragon

By Dr Dawn Menge

BEST BOOK/MANUSCRIPT, BEST CHARACTERS & BEST INDIE WRITER OF THE YEAR

Prodigio

By Don Pasquale Ferone

BEST SONG WRITER, BEST INTERNATIONAL SINGER & BEST SPIRITUAL SONG OF THE YEAR

The Stones of Rome

By Sean Tansey

BEST INSPIRATIONAL SHORT FILM & BEST ACTOR OF THE YEAR (Category: Experimental Film)

The Pathos of Hamlet

By Sean Tansey

BEST PERFORMANCE IN THEATRE/CINEMA

Am I a painter?/Czy jestem malarzem?

By Michał Kucharski

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

Only in Malibu

By Phoebe von Satis

BEST INTERNATIONAL SCREENWRITER (Category: International Indie Feature Script)

Gold Glory & Nobility

By Phoebe von Satis

BEST ORIGINAL FEATURE SCRIPT

Malibu Madam

By Phoebe von Satis

BEST CONTEXTUAL DESCRIPTION (Category: International Feature Script)

The Insomnia Experiment

By Phoebe von Satis

BEST INTERNATIONAL SHORT SCRIPT 2025

Colombano & La 21Esima Fetta

By Paolo Pier Luigi Guglielmetti

BEST EUROPEAN INDIE FILM, BEST DIRECTOR, BEST SCREENPLAY & BEST ORIGINAL SCORE (Category: Arthouse European Narrative Feature)

The Duchess

By C. Arnold Curry

BEST DIRECTOR, BEST CAST, BEST CASTING DIRECTOR & BEST SCEENPLAY (Category: International Arthouse Drama)

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

By Russell Emanuel

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

Routine

By Russell Emanuel

BEST PRODUCER, BEST ORIGINAL IDEA & BEST NARRATIVE SHORT 2025

Shout It Out

By Hayden Billingy

BEST ARTHOUSE MUSIC VIDEO, BEST SOUND DESIGN & BEST ORIGINAL FILMMAKER (Category: International Music Video)

Mind over Matter

By Pamela PerryGoulardt

BEST FILMMAKER, BEST ORIGINAL CINEMATOGRAPHY & BEST ARTHOUSE PRODUCER (Category: Super Short Film)

Il Fuoco di Santa Lucia

By Eduardo Cocciardo

BEST EUROPEAN DOCUMENTARY OF THE YEAR, BEST DIRECTOR & BEST BIOGRAPHICAL FILM 2025

In a Whole New Way

By Jonathan Fisher

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

Sheldon Mashugana gets Stooged

By Dean Morgan

BEST ARTHOUSE COMEDY, BEST SCREENPLAY & BEST CAST (Category: International Comedy)

Sinestesìa

By Gianni Salamone

BEST ARTHOUSE FILMMAKER, BEST PRODUCER, BEST EUROPEAN SONG 2025 & BEST CINEMATOGRAPHY (Category: International Music Video)

Not Without Gloves

By Lena Mattsson

BEST EXPERIMENTAL FILM OF THE YEAR

The Rorschach Test

By Lena Mattsson

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

The Oracle

By Anaya Music Kunst

BEST INTERNATIONAL VOICE OF THE YEAR

Tony N’ Tina’s Wedding

By Roger Paradiso

BEST NARRATIVE FEATURE & BEST DIRECTOR (Category: International Comedy)

Medea

By Andronica Marquis

BEST THEATRICAL NARRATIVE SHORT 2025, BEST CAST, BEST ORIGINAL DIRECTOR & BEST PLAYWRITING

 

Nossos Caminhos

By Carla Di Bonito

BEST SOCIAL FEATURE SCRIPT

-Who is Monte Albers de Leon?

Ideally, a storyteller, trying to give a little hope, to a whole lot of people.

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

Age 5.  In the back of my parents Chrysler K Car station wagon, a grocery bag full of home-popped popcorn in my hand, at the drive-in movie theater in California, about to see ET for the first time.

-Tell us about your project “Mecca”.

It is the second installment of The Parables Anthology and prequel to the origin story “Good.”  It takes place in New York City shortly after 9/11, and follows a gay young professional who arrives in Manhattan to begin working at a top financial firm and almost immediately accidentally kills his boss.  No one sees the accident, however, which is mistakenly construed as an attempted sexual assault gone wrong, and rather than endure a scandal and possible liability, the firm does not implicate the young professional but rather promotes him several tiers above what his experience would garner.  The movie then shows the audience where the secret knowledge and inner turmoil of the young professional’s burden of thinking his life has been elevated exponentially for killing his superior takes him.

-Which Director inspires you the most?

I have always been a fan of Aaron Sorkin, and The West Wing and American President stand out as inspirations.

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

The increasing preciousness of authenticity.  It is due for a comeback.

-How do you imagine cinema in 100 years?

More dazzling and less original.

-What is your impression of WILD FILMMAKER?

A refreshing safe harbor of excellence in an ocean of disappointment.

-Who is Ty Brueilly?

Similar to some, identical to none. An Asheboro, North Carolina native with family roots in Pennsylvania and New York. Appalachian State University Graduate. Former expatriate of five years in China. A Husband, a Father and an artist. A lifelong Journalist. A Teacher of seven years. Visual and audio art of all sorts. A poet. A fashion designer. A photographer. A world traveler. I’ve released over 50 film titles, mostly short films and music videos. I have released 8 solo studio albums and the founder of Mightier Than The Sword Records, which turned 20 years old this year. 

I have passion, compassion, determination and drive. My experience is extensive, and I am just now realizing the impact that can have to the communities I represent and how I can use that to help build my city up, in what many have called an “artistic revolution”. Right Now, in a Small City in North Carolina, an Artistic Revolution is Happening –

-Do you remember the exact moment you fell in love with cinema?
When it comes to being a consumer of cinema, It wasn’t all at once. There wasn’t a definable moment, it was just always there and a major part of me. I fell in love with the cinema going experience first. The rare activity that my parents and I were equally as excited about engaging in, we would have a lot of fun together, and the only real time I felt an authentic connection with them. My parents were always present and still are present in my life, but going to the theatre was a pure connection that I’ve never really felt with them since. Watching E.T. at the drive-in was a very specific moment that my parents noticed I was completely hypnotized by what was on the screen. 

When it comes to creating cinematic pieces, there is certainly a defining moment, and that was day one of shooting my first film, ‘Shucks’ seeing my visions play out on the playback screen was the most incredible high, I remember everything from that day, the smells, the weather, the breeze, the teamwork of our small cast. My wife and I were newlyweds at the time, and it was such an amazing feeling to connect with her on a working relationship level.  A top five feeling when it comes to my career, and honestly I still get that feeling anytime I film anything for my ongoing ‘Shucks’ cinematic world. When I knew I wanted to evolve that love for cinema into an actual marriage with cinema was the first time I saw my work on the big screen in Hollywood at the TCL Chinese Theatre back in 2023. ‘A Night In Charlotte With Sweeney Ty’ was the first of my films to play at that cinema, which is an incredible honor, and I knew then, I had to put a ring on it, symbolically of course. Since then, I have had a dozen of my films played there, the most recent being the long awaited ‘Shucks’ Hollywood premiere in February 2025. 

-Tell us about your project “Shucks”.

Essentially the script, the characters and the lore were all created as a coping mechanism for a close family member who passed away from an overdose. It was a very small cast and crew, a family affair for sure. I was uncertain if we would be able to complete the story and the filming, because I didn’t know how emotional we would get, or if the people involved would tap out or stay in the ring, but we got into a good groove and stayed the course to get it completed. 

Aside from the inspiration spawning from my total intrigue of Dante’s Divine Comedy, in particular the Inferno segment, there’s an extensive background story for ‘Shucks’ that hasn’t been publicized…yet. That’s on purpose, because ‘Shucks’ is a silent, but scored black and white 50 minute film, which I scored with my musical background spanning over 20 years. I personally wanted it to be filled with symbolism and a slow burning wave that is up for interpretation, I actually never let the actors or cast ever see the script because I didn’t want them to know, so that they would go with their natural flow more than from the story and I could just direct and not rely heavy on a roadmap as it were. As I add titles, (currently ten released titles) I reveal a little more, but at this point in the evolution I want to hear from other people how the film speaks to them and what it makes them feel like. 

– Which Director inspires you the most?

Rob Zombie. His unique and gritty approach for most of his films is an incredible inspiration to me. Also, his extensive appreciation and respect he has for the horror genre has always made me more attracted to his work. And as a musician myself, I have firsthand experience with how difficult of a transition it is from music to filmmaking, especially for the fans and demographic of either. It’s like a lot of times when you transition or evolve from music to something else, you lose respect from some and then never really get it for that thing you are evolving into, but once you can master it, film and music go hand and hand, you can’t have one with the other, it’s a symbiotic relationship that if you can get traction from both can give you some unstoppable momentum, unfortunately with Rob Zombie, he’s been at what seems like a standstill after his rendition of ‘The Munsters’ which way too many people bashed and hated, but me, I absolutely loved it and enjoyed a more bright and vivid approach from him. It was a treat to be able to watch a Rob Zombie film with my son without worrying about exposing him too early to Zombie’s other films.

Nonetheless he is my top tier inspiration, with a close second being Richard Elfman, who also has that musician, director killer combination, his unconventional execution of ‘Forbidden Zone’ alone has him in a whole other level of filmmaking and that kind of determination to make sure his vision is executed the way it should be is admirable and something I strive to do. I also appreciate the fact that he also incorporates live pre-show performances for most of his screenings, with an instrumental ensemble and a bloody burlesque show with his wife Anastasia Elfman who is ‘Bloody Bridget’ from his most recent directing effort. I have been fortunate enough to call them friends in the past two years and learning from them has really fortified my trajectory in filmmaking, where I would also like to use some live performances with some of my screenings in the future, of course paying homage to their approach. 
I also pull inspiration from Kubrick, Lynch, and up and coming director Sean Haitz from ‘Cannibal Comedian’.

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

The stigma that comes with addiction and those who are addicted to various substances. I really wish that hatred towards them was longer an option. It’s a luxury to be sober, I mean really, you have to look at it like that, most people don’t have the intricate support system and the love that helps nurture and recover an addicted person, it’s almost like you have to approach those situations like you are a brand new parent and the addicted person is a newborn baby, they need everything that comes with that experience and many people don’t have the endurance to do that over and over again. However, I know there are places, such as one in my hometown of Asheboro that are fully committed and fully active in doing just that, Susan E. Hunt & Chip Womick at Keaton’s Place, my hope is that many many many more establishments like this become a mainstay in cities all across the world.

‘Cause look, I’ve been on all sides of that, I’ve been severely addicted, I’ve gone cold turkey, I’ve stopped for months, just to attempt to make up for the time I didn’t in a weekend, I’ve had some of the people I love the most fall victim to the vicious cycle and pay the ultimate price, I’ve been crass and hateful to people I love who are in the clutches of the addiction, I’ve ignored it, I’ve tried to help, I’ve loved, I’ve fought them, I’ve fought for them, I’ve empathized, I’ve sympathized, I was embarassed, I was proud of who they were and could be and not once through all those have I felt like I’ve done the right thing, it’s such a delicate situation . As cliche and overused as this phrase is, in the blink of an eye your life can change, and oftentimes it’s not through any fault of your own, and even when it is, I mean, who doesn’t want to feel good? We are all searching for the highs we got when we were kids growing up, a substance is something that is actually accessible and quick. 

-How do you imagine cinema in 100 years?

It’s scary what can happen. I’m pretty nervous about it, but equally as excited. A.I is both a threat and a tool, and within 100 years it will be an undeniable force in the creative process of filmmaking. I worry when it’s time to “compete” with the machines, and how that will play out. I also worry about when everyone associated with certain films are dead and gone and the rights become someone else’s, what can happen with those, like who can add and take away from it, it’s happened a lot already, but will that continue?

 I feel that the cinema going experience will remain in high demand, because of the very reasons I mentioned before about why I fell in love with it. Screens will get bigger, higher definition and we will see more virtual reality type films come into play, with some that kind of let you choose your own story as it progresses, like those books from the 1980s I read as a kid. I think arthouse survives and thrives. Drive-In has an opportunity to flourish if people give it a chance again. Unfortunately, I feel like in the next 1-10 years we will all face different levels of censorship, especially in the USA, but that won’t last. Art is revolutionary in nature, and is resilient, because there are few people who can actually take the world’s imagination and put it on a screen, that’s what has always made cinema magical and always will. 

-What is your impression of WILD FILMMAKER?

I first heard about WILD FILMMAKER a few years ago when I had a positive experience with 8 & Halfilm Award in Cannes, and was pleased to hear from Michele Diomà last week. I am still learning about WILD FILMMAKER, but what I see so far has been something that aligns with my goal set, I love the tendencies to use black and white and also that it’s on an International scale. There are a lot of filmmaking communities that are 100% transactional, while others help those filmmakers who commit and/or financially support to these communities on different levels. I’ve been a part of both, and I hope to actually grow with WILD FILMMAKER and not just have a one and done relationship. I’d also love to see WILD FILMMAKER have a presence at our next Mightier Than The Sword Awards at Sunset Film Festival in 2026!

-Who is Alberto Martín-Aragón?

I don’t know exactly. I think Alberto Martín-Aragón is a defeated and melancholic man who makes surreal and dreamlike short films to alleviate the loneliness of his shipwreck.

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

When I saw Barbara Stanwyck weep desperately in the final scene of “Meet John Doe,” a 1941 film directed by Frank Capra. I was twelve years old, and it was the first time I thought cinema could be more beautiful and truer than life.

-Which director inspires you the most?

Many directors inspire me. I’ll name four of them: Béla Tarr, Luis Buñuel, Pier Paolo Pasolini, and David Lynch.

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

I don’t like people who are obsessed with always winning. Many of these people tend to dedicate themselves to politics, which has become an undignified and despicable activity carried out by charlatans and ruffians.

-How do you imagine cinema in 100 years?

I think that in 100 years there will be no humanity, nor will there be cinema. I hope I’m wrong.

-What is your impression of WILD FILMMAKER?

WILD FILMMAKER is an indispensable and providential community because it gives visibility to many bold and visionary filmmakers who often lack the financial support necessary to bring their work to large audiences.

Ye Ole Glorya

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

Iriso

BEST ARTHOUSE DRAMA OF THE YEAR

Artists and Aliens

BEST INSPIRATIONAL DIRECTOR, BEST SCI-FI & BEST ORIGINAL SONG

Menti Minda Mothertongue

BEST INTERNATIONAL EXPERIMENTAL FILM & BEST EDITING (Category: Experimental)

Out of State-A Gothic Romance

BEST INTERNATIONAL NARRATIVE FEATURE OF THE YEAR, BEST ORIGINAL SCREENPLAY, BEST CINEMATOGRAPHER, BEST SOUND DESIGNER & BEST INTERNATIONAL PRODUCTION COMPANY

Boxed In

BEST FILMMAKER OF THE YEAR, BEST ORIGINAL IDEA & BEST ARTHOUSE NARRATIVE SHORT FILM

Waiting On Love

BEST INTERNATIONAL SUPER SHORT FILM, BEST DIRECTOR & BEST SCREENPLAY (Category: Super Short Film)

Koorts

BEST FEATURE SCRIPT & BEST AMERICAN SCREENWRITER

Searching for Camelot

BEST DIRECTOR 2025, BEST EXECUTIVE PRODUCER & BEST EDITING

Valentine’s Law

BEST PILOT TV & BEST INTERNATIONAL TELEVISION SCRIPT

Remnant

BEST DIRECTOR (Category: Narrative Feature), BEST INDIE NARRATIVE FEATURE, BEST INDIE CAST, & BEST ORIGINAL SCREENPLAY

The Duchess

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

Something ain’t right

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

Katabasis

BEST EUROPEAN NARRATIVE FEATURE, BEST SCREENPLAY & BEST ORIGINAL CINEMATOGRAPHER

Nossos Caminhos (Our Paths)

BEST INTERNATIONAL ARTHOUSE FEATURE SCRIPT

The Days of Knight: Chapter 3

BEST INTERNATIONAL NARRATIVE SHORT, BEST ARTHOUSE DIRECTOR, BEST ORIGINAL SCORE & BEST SCREENPLAY SHORT (Category: Narrative Short)

The Arcangel Of Death

BEST EUROPEAN ARTHOUSE SHORT FILM & BEST INTERNATIONAL ACTING

Omnipotent Resolution

BEST DIRECTOR 2025 (Category: Dance Movie) BEST INTERNATIONAL SONG, BEST CHOREOGRAPHY & BEST INTERNATIONAL DANCE MOVIE

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

BEST INTERNATIONAL NARRATIVE SHORT 2025, BEST SCREENPLAY SHORT, BEST CAST & BEST INDIE FILMMAKER

Routine

BEST ORIGINAL DIRECTOR 2025, BEST INDIE SHORT FILM & BEST PRODUCER

The Pathos of Hamlet

BEST VIDEO POETRY & BEST ORIGINAL ACTOR

The Stones of Rome

BEST AMERICAN INDIE NARRATIVE SHORT FILM, BEST EXPERIMENTAL CINEMATOGRAPHER & BEST ARTHOUSE EDITING

Am I a painter?/Czy jestem malarzem?

BEST DIRECTOR, BEST EDITING, BEST ORIGINAL PRODUCER (Category: Animation) & BEST INTERNATIONAL ANIMATED SHORT FILM OF THE YEAR

Not Without Gloves

BEST EUROPEAN EXPERIMENTAL SHORT FILM, BEST EXPERIMENTAL ACTRESS & BEST INDIE INSPIRATIONAL FILM

The Rorschach Test

BEST DIRECTOR OF THE YEAR (Category: International Experimental Film)

Alta California

BEST AMERICAN FEATURE SCRIPT & BEST INDIE WRITER OF THE YEAR

Pirandello’s Wife

BEST INTERNATIONAL SCRIPT & BEST BIOGRAPHICAL SCRIPT

 Uncle Franco’s Birthday Suit

BEST INDIE FEATURE SCRIPT

Doctor Hyphoteses

BEST ARTHOUSE COMEDIAN OF THE YEAR

Planetary Rebellion

BEST ARTHOUSE MUSIC VIDEO & BEST SONG WRITER

5 Marzo 1955 Una canzone per Carla

BEST EUROPEAN SUPER SHORT FILM OF THE YEAR

Risveglio Planetario

BEST ORIGINAL MUSIC VIDEO & BEST INTERNATIONAL FILMMAKER (Category: Music Video)

Eye of the Storm

BEST BIOGRAPHICAL DOCUMENTARY, BEST AMERICAN DIRECTOR & BEST ORIGINAL EDITING

The Ballad of Lulu and Dad

BEST INDIE SCREENPLAY & BEST ARTHOUSE ORIGINAL NARRATIVE SHORT

by Michele Diomà

The series eleveN fiftY originates from one question:

“How is Cinema doing?”

Is what is being produced by the audiovisual multinationals and distributed on platforms still Cinema?

George Orwell once said: “A day will come when WAR will be called PEACE and FREEDOM will be called SLAVERY.”

Words can be the most powerful tool for bluffing.

So, if someone starts calling CINEMA what is actually a mix of propaganda and marketing, those who have seen the films of Federico Fellini, Stanley Kubrick, Orson Welles, François Truffaut, Akira Kurosawa, Sidney Lumet, etc., could defend themselves against such a LIE.

But how many people have actually seen the films of these great directors?

We live in a cinematic era where Francis Ford Coppola, the director who created the most brilliant saga in the history of American cinema, The Godfather, the most remarkable pacifist work of art, Apocalypse Now, and more recently the greatest independent film in the history of cinema, Megalopolis, is awarded the Razzie Award for Worst Director of the Year.

Therefore, there are two answers to the initial question of this editorial, “How is Cinema doing?”

First answer: The film industry has fallen into the hands of someone who hates Cinema and wants to destroy it.

Second answer: What is called Cinema today is not really Cinema.

Solution?

A GREAT RESET!

The first episode of our series “eleveN fiftY” is the first step!

You can watch it for free at this link: https://www.youtube.com/watch?v=JqeY7Ts-q0o

Something Ain’t Riight

BEST ORIGINAL DOCUMENTARY OF THE YEAR

Tom & Luce

BEST ARTHOUSE DRAMA 2025

Princess Zarabanda

BEST INTERNATIONAL ARTHOUSE ANIMATED SHORT FILM 2025 & BEST DIRECTOR (Category: Animation)

The Girl Made of Earth and Water

BEST ORIGINAL SUPER SHORT FILM

Roses are Blind

BEST DIRECTOR, BEST SCREENPLAY & BEST CAST (Category: International Thriller)

Darker Realities

BEST INTERNATIONAL ARTHOUSE FEATURE SCRIPT

The Great Animal Escape

BEST INDIE WRITER & BEST ORIGINAL BOOK

Downriver

BEST INTERNATIONAL DANCE MOVIE 2025 & BEST DIRECTOR (Category: Dance Movie)

The Insomnia Experiment

BEST ORIGINAL SCREENWRITER (Category: International Short Script)

The Wood Ranch Country Club

BEST ARTHOUSE SHORT SCRIPT OF THE YEAR

Split Endz

BEST INTERNATIONAL WRITER & BEST ORIGINAL WRITING STYLE (Category: International Short Script)

The Mint

BEST INDIE SHORT SCRIPT 2025

Adelaide’s Magic Sunglasses

BEST ORIGINAL CHARACTERS (Category: International Short Script)

K Bender (The Bloody Benders)

GRAND JURY PRIZE (Category: International Short Script)

Hummel

BEST ARTHOUSE SCREENWRITER (Category: International Short Script)

The Hallmark Couple

GRAND JURY PRIZE (Category: International Feature Script)

Magic Moment

BEST ARTHOUSE MUSIC VIDEO 2025, BEST CINEMATOGRAPHER & BEST PRODUCER (Category: International Music Video)

Black Wolf

BEST INTERNATIONAL NARRATIVE SHORT, BEST SCREENPLAY SHORT & BEST INDIE PRODUCER

Secrets of Montmartre 2

BEST INTERNATIONAL FEATURE SCRIPT 2025

The Adventures Of CJ

BEST PILOT TV/TELEVISION SCRIPT OF THE YEAR & BEST INTERNATIONAL SCREENWRITER (Category: Television Script)

L’Amour est temps de reflets

BEST ROMANCE SHORT FILM, BEST CINEMATOGRAPHY (Category: Indie Narrative Short), BEST INDIE SCREENPLAY SHORT & BEST EUROPEAN FILMMAKER

A Perfect Love

BEST ARTHOUSE DOCUMENTARY SHORT & BEST DIRECTOR (Category: Documentary)

Because We Are Too Many

BEST ARTHOUSE DRAMA & BEST INTERNATIONAL INDIE DIRECTOR 2025

Planetary Rebellion

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

5 Marzo 1955 Una canzone per Carla

BEST DIRECTOR (Category: International Super Short Film)

Risveglio Planetario

BEST SONG WRITER & BEST SOCIAL MUSIC VIDEO

Homeless Street Artist

BEST INTERNATIONAL DOCUMENTARY SHORT, BEST DIRECTOR & BEST EDITING (Category: Documentary Short)

Revisited – Life is Short

BEST DIRECTOR, BEST CAMERA OPERATOR & BEST SONG 2025 (Category: Music Video)

Borderline Justice

BEST FEATURE SCRIPT 2025 & BEST ORIGINAL SCREENWRITER

Alta California

BEST WRITING STYLE, BEST INDIE FEATURE SCRIPT & BEST INDIE WRITER OF THE YEAR

Sheldon Mashugana gets Stooged

BEST INDIE DIRECTOR & BEST SCREENPLAY (Category: International Comedy)

Lambada The Dance Of Fate

BEST BIOGRAPHICAL SCRIPT, BEST INTERNATIONAL ARTHOUSE SCRIPT & BEST ORIGINAL SCREENWRITER

Am I a painter?/Czy jestem malarzem?

BEST FILMMAKER OF THE YEAR, BEST ORIGINAL PRODUCER & BEST ANIMATED SHORT FILM 2025

Colombano & La 21Esima Fetta

BEST INDIE FILM, BEST CAST & BEST ARTHOUSE PRODUCTION COMPANY (Category: Narrative Feature)

On My Special Day

BEST FILMMAKER, BEST INDIE PRODUCER & BEST EDITING (Category: Arthouse Narrative Short)

Ye Ole Glorya

BEST INTERNATIONAL COMEDY & BEST ACTING (Category: International Comedy)

Big Momma Earth

BEST INDIE DIRECTOR OF THE YEAR (Category: International Comedy)

Silver Heels

BEST ARTHOUSE BOOK/MANUSCRIPT OF THE YEAR & BEST ORIGINAL WRITER

Eye of the Storm

BEST INTERNATIONAL ACTOR (Academy Award Winner Robin Williams – Lifetime Achievement Award), BEST DIRECTOR (Category: Documentary) & BEST ARHOUSE DOCUMENTARY FEATURE

Wave Man

BEST EUROPEAN FEATURE SCRIPT OF THE YEAR

The Arcangel Of Death

BEST INTERNATIONAL YOUNG ACTOR 2025 & BEST EUROPEAN ACTING

The Days of Knight: Chapter 3

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

Amen-Amen-Amen: A Story of Our Times

BEST DIRECTOR, BEST EDITING (Category: International Documentary Feature) & BEST ORIGINAL DOCUMENTARY FEATURE 2025

Monument to Love

BEST DIRECTOR, BEST HUMAN RIGHTS DOCUMENTARY, BEST ORIGINAL CAMERA OPERATOR & BEST ORIGINAL EDITING (Category: International Documentary Feature)

Nossos Caminhos (Our Paths)

BEST SCEENWRITER OF THE YEAR (Category: International Feature Script)

Neshoba: The Price of Freedom

BEST PRODUCER & BEST INDIE FILMMAKER (Category: Documentary Feature)

The Broken Road

BEST INDIE SCREENWRITER OF THE YEAR (Category: Feature Script)

Adelaide’s Magic Sunglasses

BEST INTERNATIONAL SCREENWRITER OF THE YEAR (Category: Short Scrip)

Hummel

BEST ORIGINAL WRITER (Category: Short Script)

K Bender (The Bloody Benders)

BEST INTERNATIONAL SHORT SCRIPT OF THE YEAR

The Wood Ranch Country Club

BEST ORIGINAL IDEA

The Insomnia Experiment

BEST ARTHOUSE SHORT SCRIPT

Atlas of Uncertainty

BEST EUROPEAN INDIE PROJECT & BEST SOUND DESIGNER OF THE YEAR

The Duchess

BEST DRAMA OF THE YEAR, BEST ARTHOUSE SCREENPLAY, BEST DIRECTOR, BEST INTERNATIONAL ACTOR/ACTRESS (Category: International Drama)

Thankful

BEST INDIE SCREENWRITER 2025, BEST ORIGINAL FEATURE SCRIPT & BEST IDEA OF THE YEAR (Category: Feature Script)

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

BEST ARTHOUSE NARRATIVE SHORT 2025, BEST SCREENPLAY SHORT, BEST CASTING DIRECTOR & BEST INTERNATIONAL INDIE FILMMAKER

Routine

BEST ORIGINAL SHORT FILM, BEST EDITING & BEST CINEMATOGRAPHER (Category: International Narrative Short)

Doctor Hyphoteses

BEST ORIGINAL ACTING & BEST COMEDIAN 2025

Omnipotent Resolution

BEST POETRY SHORT FILM, BEST INTERNATIONAL MUSICAL, BEST INDIE SONG OF THE YEAR, BEST CHOREOGRAPHER & BEST DIRECTOR (Category: International Musical)

Fire Flies  

BEST FEATURE SCRIPT

Walking In Memphis

BEST INTERNATIONAL PILOT/TV SCRIPT

The Dead Ringer

BEST ARTHOUSE FEATURE SCRIPT 2025 & BEST INDIE WRITER

Not Without Gloves

BEST EUROPEAN SHORT FILM, BEST EXPERIMENTAL DIRECTOR OF THE YEAR & BEST INSPIRATIONAL FILM

The Rorschach Test

BEST FILMMAKER & BEST EDITING (Category: International Experimental Film)

Katabasis

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

The Donbass Children

BEST HUMAN RIGHTS DOCUMENTARY FEATURE & BEST EUROPEAN DIRECTOR (Category: Documentary)

Grey Lines

BEST FILMMAKER, BEST CINEMATOGRAPHY & BEST DRAMA SCRIPT (Category: International Arthouse Drama)