Emilio Mercanti is a young filmmaker born and raised on the coast of the Marche region, in a family of artisans and fishermen. He began studying directing and multimedia audiovisual language in high school, then earned his degree at the Academy of Fine Arts with a specialization in theories and techniques of audiovisual media. He started working at a very young age on commercial and film sets as an assistant director and backstage videographer, eventually becoming assistant director on one of the most successful Italian independent films, Neve. In 2020, he directed his first short film Believe In You, an experimental and silent piece that won various awards across Europe both as Best First Work and Best Short Film. In 2024, he completed TIC TAC, his first narrative short film.
-Do you remember the exact moment you fell in love with cinema?
I remember precisely the moment I fell in love with cinema and I also remember how I nurtured that passion. My very first time at the movies was terrifying. I was five years old and had to leave the screening because I was too scared; that enormous screen had overwhelmed me. A month later, I went back, and during the cave scene in Batman Begins, still frightened, I told my mother she could hold my hand if she was scared (even though I was the one afraid, but I didn’t want to admit it). In that moment, I overcame my fear of the screen and understood that cinema could be a pure form of emotional communication both positive and negative. I was fascinated by the possibility of learning to control that language. During my childhood, every weekend my family and I rented two DVDs, and I spent those years watching every type of film I could get my hands on, trying to absorb as much as possible until I finally started studying film in high school. It’s a passion I’ve had for as long as I can remember, and one I’ve never lost.
-Tell us about your project “TIC TAC”.
TIC TAC is an experimental short film that deals with various themes first and foremost, the breakdown of communication within a couple, and ultimately, the fear of parenthood. I believe this is a subject that deeply concerns younger generations around the world, especially in what Bauman would call our “liquid society.” Synopsis: Trapped in a daily life that repeats like a jammed mechanism, Phil a methodical and solitary office worker discovers he is caught in a time loop where every choice seems to lead to the same destiny. Each ticking of the clock brings him closer to a secret, a repressed truth, a pain never resolved. Throughout this endless cycle, Phil must face the experience alongside Mary (his partner) an ethereal and contradictory figure, both a saving presence and an elusive one, and the Daemon, the embodiment of his darkest conscience. In this space suspended between reality and hallucination, between life and dream, Phil must confront himself in order to break the hypnotic rhythm of time.
-Which Director inspires you the most?
The two directors who have influenced me the most are Christopher Nolan and Fritz Lang. Nolan, because the first film I ever watched was one of his, and it shaped my understanding of audiovisual language and how it can be used to communicate both in themes and style. The second is Fritz Lang, for his visionary outlook and his desire to speak both about the masses and to the masses, treating the audience as an integral part of the cinematic experience. His work, especially Metropolis, deals with complex, forward-thinking themes that still resonate deeply today.
-What do you dislike about the world and what would you change?
What I dislike most is the indifference and lack of empathy that often define human interactions. I would change our approach toward others, promoting a culture of listening and understanding where people are willing to give something up for themselves if it benefits someone else. I believe cinema can be a powerful tool to raise awareness and inspire real, positive change.
-How do you imagine cinema in 100 years?
I envision cinema becoming increasingly immersive, where technology will allow for fully sensory experiences. However, I hope that despite all the technological evolution, the heart of cinema will remain rooted in storytelling and in the exploration of the human soul—through personal and innovative ideas.
-What is your impression of WILD FILMMAKER?
WILD FILMMAKER is an innovative platform that celebrates creativity and independence in the world of cinema. I appreciate their commitment to giving voice to emerging directors and for promoting a vision of cinema that goes beyond traditional conventions through a more real and honest communication toward independent filmmakers, truly giving them the chance to be seen and to emerge.
I am a multidisciplinary artist who started out as an actress and specialised in screenwriting, directing and producing. My focus is on content that addresses challenging stories, sensitive issues and inspiring characters, both in documentary and fiction.
I believe that art has the power to impact and transform. If one day I am no longer here, the works I have created will say a lot about what I believe in. I am an artist who seeks, through poetic art, to question and stimulate a more just and equal world. Stories that leave good seeds motivate me.
My work explores the connection between the individual and the collective, using art to address social and emotional issues. Each project is an opportunity to investigate new languages, always aiming to touch the audience and generate a positive impact.
-Do you remember the exact moment when you fell in love with cinema?
My relationship with cinema developed gradually through a series of coincidences: a family that liked going to the movies, access to good films when I was young and living in Brasilia, the capital of Brazil, where I still live today. In the 1980s, there were many movie theaters showing ‘art films’. It was my favourite thing to do. I fell in love with cinema before I fell in love with acting. I am a spectator and a film buff.
But when I was almost 30, after having acted in several films, studied screenwriting and logically identified the similarities and connections with my theatre training, I was overcome by the desire to tell my own stories. I dedicated myself to creating, writing and directing with great determination. When I realised this in my first short film as a director in 2005, I identified the overwhelming desire for audiovisual work as my profession. And here I am today, 20 years after my first short film as a director.
-Tell us about your project ‘Wheels of a Giant’.
I had a spark of curiosity to dive into the life of Hugo Rodas, the protagonist of the documentary Wheels of a Giant, since I met him at the age of 19 at the University of Brasília as my professor. His last name ‘Rodas’ means ‘Wheels’. He was my theatre director for over 10 years in two theatre companies. He became my friend. He was a very original artist and a unique human being. When he was 79, after almost 30 years of daily friendship, with an established career in cinema, I started filming him in the midst of his theatrical activities. Months later, he discovered he had an illness. I decided to tell this story. Without knowing, I filmed the last four years of this charismatic man’s life in Brasília, Brazil, following him to Juan Lacaze and Montevideo, Uruguay. And so the documentary came about, with a universal conflict that arose: the imminence of death. The film premiered in Brasília in December 2023 and, since then, has been shown at more than 70 festivals, receiving more than 30 awards, as honourable mentions and other recognitions. This makes us believe in this story of an old soul of the theatre facing death through art and his eccentric relationships.
-Which director inspires you the most?
I would highlight female directors who inspire female directors and screenwriters. I would highlight Sofia Coppola for the personality and skill of her narratives; she is certainly an international reference. In Brazil, Anna Muylaert has a very expressive and important cinematography due to her approach to original stories that carry social importance. She inspires me with how she directs and handles scenes and stories, as well as being a great screenwriter.
-What don’t you like about the world and what would you change?
There is a lack of tolerance, right? The various wars, oppression, the extermination of peoples, supremacy at any level, it’s horrific. I wonder where we will end up with all this. The world is collapsing, thousands of people are dying, nature is screaming, there is war, hunger, oppression, devastation, new technologies are being manipulated for greed, money and power. It’s sad, isn’t it? I would change it to a world with collective ideals so that we don’t all die soon without leaving any possibility of continuity for future generations.
A world of respect for differences and generosity in the deepest sense of both words would be an incredible place to live, don’t you agree?
-How do you imagine cinema in 100 years?
I believe that nothing can replace the immersive experience of cinema. I hope that authorship will be increasingly valued. But these are just wishes. Perhaps I prefer to imagine films that are possible to make. I can’t transport myself to a future where I won’t be. It’s better to think about what I can tell and achieve today, in the present.
-What is your impression of a WILD FILMMAKER?
I consider Wild Filmmaker an excellent opportunity both for film distribution and for promoting filmmakers and their independent, auteur works. I appreciate the opportunity to talk with you and tell you a little about the cinema made in Brazil’s capital city.
The contemporary film industry is undergoing an irreversible transformation, with independent producers at the forefront. It’s no coincidence that at the latest edition of the Oscars, one of the most awarded films was Anora by Sean Baker. Today, the technical means to express oneself through audio-visual media is no longer a privilege reserved for a few.
In this context, we are very proud that WILD FILMMAKER has become the largest global community of its kind. Our philosophy is to continue spreading independent cinema with passion and humility—but we cannot hide the fact that certain milestones fill us with joy.
The idea of bringing together artists from all over the world has allowed us to reach the most important film events. In the coming months, we’ll be in Toronto, New York, and at the American Film Market, which in its next edition returns to Los Angeles after the Las Vegas experiment.
In addition, in just a few days, WILD FILMMAKER will arrive in Silicon Valley, home to the world’s most innovative communication and entertainment companies. Perhaps we can even say that the New Hollywood is now in Silicon Valley.
These and many other projects are only possible thanks to a community that has now grown to over 70,000 artists. It’s obviously impossible to mention everyone, but in this Press Release dedicated to our latest event in Venice, we include the artists from the WILD FILMMAKER Community who chose to be part of it. To those not mentioned, we still want to embrace and thank you for believing in a dream that has now become a successful project.
Long live free cinema—today and forever!
Brooke Harris Wolff, Robin Williams & Howard Storm
I write scripts. I don’t just write words on a page, I search for the treasure in people’s stories. Especially survivor stories! When you have been through some stuff, (and we’ve ALL been through some stuff) sometimes our brains locks that pain away in a vault we never touch. But a good screenwriter knows how to open that vault. Screenwriting for me isn’t just about entertainment. It’s about taking human experience and translating it, so others can feel it too. When I help survivors tell their stories, I say, “Your pain matters, but more importantly, your resilience matters!” Sometimes we forget we have resilience and we are walking around acting like we can’t handle anything, when our ancestors survived everything. I want to remind everyone of that strength in their DNA through story. I believe in transforming pain into art and pain into triumph.
Do you remember the exact moment you fell in love with cinema?
Yeah. I was 8 years old watching Star Wars. Just sitting there, my first time in a movie theater with no concept of what filmmaking even was, and suddenly there’s this whole universe happening in front of me. But then I fell in love with cinema all over again in college, taking these film appreciation classes. It’s like being in a relationship with someone for years and then one day they tell you this deep thing about their childhood or you discover their hidden talent and you go, “Oh wow, I’m falling for you all over again but deeper now.” It’s a renewed appreciation and respect. I learned film history, which is basically watching how humans figured out how to tell stories with this technology. Silent films, man… they had to tell the whole story with just images. No dialogue to bail them out. Buster Keaton could make you laugh and break your heart without saying a word. That’s pure cinema. The bad thing about falling in love with cinema is it ruins you for normal viewing. You can’t just watch a movie anymore. You’re seeing all the choices, all the invisible work. It’s like being a chef and tasting a sauce and going, “Oh, they used tarragon in this.” Regular people just enjoy the sauce. You’re cursed with film knowledge.
Tell us about your project “The Evolution of Low Joe”.
“The Evolution of Low Joe.” This script is a what I call a backwards hero’s journey. In your typical hero’s journey, the protagonist starts in the ordinary world, gets a call to adventure, faces trials, and returns transformed. But Low Joe? He started at the top. He’s already a successful rapper with money, fame and he can have anything or anyone he wants. His journey is about falling DOWN before he can truly rise up. Low Joe has to lose everything he thinks matters to find what really matters. He hits rock bottom before he can look up and see the light. This is the point, sometimes we have to lose our false identity before we can find our true self. Low Joe was a walking wound and that caused him to hurt the people he loved and even those he didn’t love. His open wound was bleeding on everyone. This is what unhealed trauma does to people. Enter Alma. She understands love and redemption and she believes in Joe. The script should call us to ask ourselves…What’s real power? Is it controlling others through fear like Low Joe did at first? Or is it having the courage to be vulnerable, to face your demons, and to choose love even when it’s hard? That’s the evolution from Low Joe to WHOLE Joe.
Which Director inspires you the most?
Sofia Coppola stands out to me because she understands life in a way that few filmmakers get. She knows that life is more than an action movie with things exploding. It’s closer to real life to be sitting in a room, having complicated emotions that are hard to express. The explosion for Sofia is showcasing the human experience. Sofia realized that women in film existed to serve the narrative of male protagonists. So, women in Sofia’s films take center stage to tell their own stories without needing to be a wife or girlfriend or a male fantasy. The stories she tells are naturally small and quiet because that is where life’s best drama unfolds, in these small moments. The industry demands filmmakers to produce obvious and loud content because it seems to believe audiences are like lab rats who need their stimulation increased again and again. But Sofia shows courage by concentrating on the small moments that make up life beyond the fleeting dopamine hits. Like, the glance between people that reveals a complete relationship through its silent exchange. The moment of silence follows when someone speaks words they can’t take back. That’s why she’s so good with actors. She doesn’t need them to explain their psychology through dialogue. She just puts the camera on their face and lets us watch them think. That’s harder than it sounds. Most directors would panic and add a voiceover. Sofia’s doesn’t need the voiceover, her directing is solid.
What do you dislike about the world and what would you change?
We’ve created this weird thing in society where we’re obsessed with our differences and ignore our similarities. It’s like we’re all drowning, and instead of helping each other, we’re arguing about who has the better swimming technique. We’re the only species that does this. You don’t see a bunch of squirrels forming groups based on tail fluffiness. “Oh, you have a less fluffy tail? Stay on your side of the tree. You are inferior. You don’t deserve to exist .” It’s ridiculous when you think about it. We need to start treating each other better. What sounds simple as that is actually the hardest thing in the world. Because treating people better means you have to see them as complex as you see yourself. That’s terrifying for too many people. I wish people would stop hating so much and love more. We need to acknowledge the importance of healing trauma. That’s the thing about humans…we’re all just walking collections of unprocessed experiences pretending we’re fine. “Oh yeah, I watched this horrible thing once when I was seven and never talked about it, but I’m totally fine!” No, you’re not. None of us are. We all have trauma and if we don’t process those feelings, they will come out in a toxic way. And we stigmatize mental health like it’s some luxury problem. “Oh, you’re sad? Have you tried just… not being sad?” Meanwhile, we’ll spend ten hours researching the best phone case but won’t spend ten minutes figuring out why we keep sabotaging our relationships. If I could change anything, I’d make us all a little more honest about how broken and similar we all are. Because once you realize everyone else is also terrified and confused, it’s harder to hate them. It’s like being mad at someone for also being caught in the same rainstorm as you. But we are humans…we’re terrible at accepting simple truths. We’d rather build elaborate systems of denial than just admit we’re all scared animals, pretending we’re fine and trying our best not to die alone.
How do you imagine cinema in 100 years?
There’s probably going to be these virtual reality glasses that we all wear, and the experience will be so immersive that you’ll feel like you’re actually there. I see diversity in film where all perspectives are given equal time, because right now, we basically get the same seven stories told by the same twelve people. And we pretend that’s the human experience. I see different opinions respected. Which is funny because we can’t even do that now with low stakes things. People lose their minds over whether a superhero movie is good. Imagine actual challenging content. The weird thing about cinema in 100 years is that it’ll probably be both more advanced and exactly the same. Because no matter how fancy the technology gets, we’re still telling the same ol’ Hero’s Journey stories about love and death and why we’re here. We’ve been doing that since we were painting buffalos on cave walls. So yeah, we’ll have the amazing technology, but we’ll still be using it to process the fact that we’re conscious animals who know we’re all here on earth for a limited time. That’s the thing about humans…our tools evolve faster than our hearts.
– Who is Jean-François Rodrigues? I suppose you could say I’ve always been searching for a path that gives my life true purpose. Over the years, I’ve been a trained engineer, a professional pastry chef, a journalist, and most recently, a government intelligence officer. But everything changed when I was diagnosed with an incurable chronic pain condition, which abruptly ended my government career.
It was during that difficult time that I discovered a new sense of purpose through independent filmmaking. It gave me a powerful way to explore and address issues I felt deeply mattered in society.
– Do you remember the exact moment you fell in love with cinema? To be honest, my introduction to cinema wasn’t love at first sight—it was born out of one of the saddest chapters of my life. After a tragic misdiagnosis, my mother was diagnosed with cancer and passed away within a week of hospitalization. Despite being 53 at the time, I found myself completely unprepared to navigate palliative and end-of-life care. I felt lost.
I realized how many others might feel the same way during such a vulnerable time, and I wanted to help change that. So I made a documentary about palliative and end-of-life care, which was screened in 28 locations across the UK and used to educate healthcare professionals. It helped me reclaim a sense of purpose after losing my previous career, and it marked the beginning of my journey into filmmaking.
– Tell us about your project Letters to Mother Earth. Letters to Mother Earth is my third film project, and it represents a shift in both subject and style. Climate change has become my raison d’être, and I wanted to approach it in a more creative and experimental way. Rather than creating another traditional documentary, I chose to explore how music—one of the most universal and timeless forms of expression—can communicate urgent messages.
Historically, music transcends borders, cultures, and generations, so I curated three original tracks around the theme of climate change: a hip-hop piece, a Christian worship song, and a classical piano composition. Each artist shared their personal reflections on the topic, giving the project a unique and emotional resonance. It has been well-received on the festival circuit so far, which is incredibly encouraging.
– Which director inspires you the most? As someone still new to filmmaking, my list of influences isn’t long, but one director who’s had a profound impact on me is Dallas Jenkins, the creator of The Chosen. In a world growing increasingly secular, his series about the life of Jesus is not only bold but beautifully executed. His vision is now defying expectations and, in many ways, feels like a cinematic Christian revival.
– What do you dislike about the world, and what would you change? I wish my generation—the older generation—would take more responsibility for the world we’re leaving behind. Too often, we focus only on the short-term impacts on our lives and forget the bigger picture.
Climate change is a real and urgent issue that will deeply affect future generations. Governments need to take more honest, focused, and bold action. I want to leave my children and grandchild a world that’s still filled with beauty, mystery, and, above all, more love—for our planet and all the life it sustains.
– How do you imagine cinema in 100 years? Given the pace of technological advancement—especially in film—I can imagine a future where you input a script into an AI and it generates a full holographic film ready for distribution. It might sound far-fetched, but it’s not outside the realm of possibility.
Even so, I believe there will always be a human yearning for the authentic. Just like how analog photography has made a nostalgic comeback, perhaps cinema will also experience a revival that values human emotion, storytelling, and imperfection.
– What is your impression of WILD FILMMAKER? I see WILD FILMMAKER as an essential platform—giving a voice to small, independent filmmakers who can so easily get lost in today’s oversaturated industry. It’s incredibly important to have a space where emerging voices can be heard and seen.
There’s so much talent out there, and it would be a true shame if that creativity remained unnoticed. Your platform helps elevate those voices, and for that, I’m truly grateful.
Dani Gondim is a daughter, a sister, a wife, an actress. I would say I am absolutely everyone I love, with an extra touch of boldness and maybe a little bit of madness. If I had to describe myself in one word, it would be “artist.” And for me, being an artist is not simply what I do; it’s what exists within me. Everything I do, everything I live, and the way I feel reflects this artistic essence.
-Do you remember the exact moment you fell in love with cinema?
I don’t remember a specific moment when I fell in love with cinema. I think cinema and the arts have always been present in my life – both as entertainment and as a source of learning. Since I was a child, art, theater, painting, reading, and writing have saved me from the frustration of not feeling understood by the “real world,” by traditional school. Cinema was one of the places where I found myself and understood my ability to be and to create. So, maybe it wasn’t a moment of “falling in love,” but rather an understanding that art saved my existence.
-Which actor inspires you the most?
The actress who inspires me the most is Marjorie Estiano. I find her brilliant, strong, and powerful. Every time she’s acting, I can feel her soul pulsing, just like the character’s. She lives the moment so truthfully that I deeply connect with her performance. If one day I could be just a strand of her hair, it would already be incredible.
–What do you dislike about the world and what would you change?
What bothers me the most about the world – or, more specifically, our Western system – is the idea that everything is buyable or payable. This leads to so many wonderful things going unseen or unheard simply because there aren’t financial resources to produce or promote them. If I could change something, I would love for all beings in the world to be free and happy. There’s a phrase in meditation practice that says “Namah Samastha Sukhino Bhavantu,” which means may all beings in the world be free and happy. When basic needs are not met, people can’t be truly free. And if I could, I would change that.
-How do you imagine cinema in 100 years?
Wow, I’d never thought about that before! I think that while artificial intelligence – which has a lot of “artificial” and little “intelligence” – is taking over many spaces and markets, I also see so much good, visceral art with soul and body being created and recognized. I imagine that in 100 years we’ll see this duality: an explosion of magnificent films, with editing becoming more accessible and effects that were once unimaginable, but also a return to a more raw, stripped- down, “roots” style of cinema, as a counterbalance to all this technology. I think this coexistence will be fascinating.
-What is your impression of WILD FILMMAKER?
I see WILD FILMMAKER and Michele Diomà as disruptive forces. To me, they represent a fight with the system, but from the inside out – embracing the system while also questioning and resisting it. It’s a way to keep independent cinema alive, with space, voice, and strength. And that’s exactly what I want to be part of.
