-With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?
It is an honor to receive such a distinction! My next project is to create a feature length script of a comedic/drama/thriller which focuses on a highly respected leader in the private sector who has Narcolepsy. I usually write for small casts (2-5 characters), but this one will definitely challenge me more as I want to have characters bouncing off each other a lot more.
-Describe yourself with three adjectives that best reflect your vision of the world.
Adaptable. Limitless. Connected.
-WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them?
I would love to sit down with Dr. Gad Saad who is a leading public intellectual who often writes and speaks about idea pathogens that are destroying logic, science, reason, and common sense. I would like to discuss with him the art of storytelling based on his own experiences and travels but also from his point of view of the human condition and impact at all levels of the societal landscape.
-Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
I use industry-standard script coverage criteria. This involves assessing concept originality, plot structure, character arcs, dialogue, and technical formatting. The evaluation focuses on what is working, what needs work, and how the narrative achieves its emotional goals.
* Structure and Pacing
Plot Engine: Are there a clear inciting incident, rising action, climax, and satisfying resolution?
Tension: Do conflicts escalate, or do the stakes bottom out?
Scene Utility: Does every scene advance the plot or reveal character (rather than acting as filler)?
* Character Development
Motivations: Do characters have clear desires, actionable goals, and obstacles?
Agency: Do protagonist decisions drive the story, or do events just happen to them?
Arcs: Do characters experience a believable emotional change or realization over the course of the script?
* Dialogue and Voice
Subtext: Do characters express themselves through action and subtext rather than exposition (telling vs. showing)?
Distinct Voices: Does each character speak with a unique rhythm and vocabulary reflecting their background?
With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?
First, I want to express my gratitude to the TriBeCa Film Critics Circle Awards and WILD FILMMAKER community for creating a space where independent voices can be discovered. My creative journey has always been focused on one central question: What happens to the people society overlooks? My screenplay Pretty Little Lucy explores digital identity, loneliness, artificial connection, and the emotional consequences of a world where technology can imitate intimacy but cannot replace humanity. It is a deeply personal psychological drama about vulnerability, empathy, and rediscovering yourself after losing your way. Moving forward, I want to continue telling stories that challenge how we see each other. My upcoming project Pizza Boyz takes a completely different tonal approach as it’s a working-class comedy and social satire about gig workers racing across America while confronting the algorithms controlling their lives. Beneath the humor, it asks many of the same questions: Are we people, or are we just data? Beyond writing individual films, I am also passionate about building tools and communities that help remove barriers for independent creators. I believe extraordinary voices exist everywhere, not only in traditional entertainment hubs, and technology should help discover artists- not replace them.
Describe yourself with three adjectives that best reflect your vision of the world.
Empathetic. Persistent. Curious. Empathy is where every story begins. Every person has a history, pain, dreams, failures, and victories that we may never see. Persistence represents the independent creative spirit. Most artists are not discovered overnight. We create because something inside us refuses to stop. Curiosity keeps me from judging characters or people too quickly. The most interesting stories usually exist beneath the surface, in the places people rarely take the time to understand.
WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them?
I would love to sit across from the artist who is seconds away from giving up. It could be a filmmaker, musician, writer, painter, or storyteller from any generation. Someone who believes they missed their opportunity because they were not born in the right city, did not have the right connections, or were never invited into the room. I would tell them: “Your voice matters before anyone validates it.” History is filled with people who were misunderstood before they were celebrated. The world does not always recognize something meaningful immediately. Sometimes the artist’s responsibility is simply to keep creating until the world catches up. The stories that change people rarely come from perfection. They come from honesty.
Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
I believe what WILD FILMMAKER represents is essential to the future of storytelling. For generations, geography and access determined whose voices reached audiences. Incredible creators around the world were limited not by imagination or ability, but by proximity and opportunity. Platforms that celebrate independent cinema help rebalance that system. The future of filmmaking should not be about replacing traditional cinema, but rather it should be about expanding the table. Hollywood will always create incredible stories, but there are also powerful stories being written in small towns, different countries, and unexpected places every day. Independent filmmakers do not lack talent. Many simply lack discovery. WILD FILMMAKER is helping prove that meaningful stories can come from anywhere, and sometimes the voices furthest from the spotlight are the ones audiences need to hear the most. Thank you again to the TriBeCa Film Critics Circle Awards and WILD FILMMAKER community for supporting independent artists and giving new voices a place to be seen.
-With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?
Thank you. I’m currently developing a short-animated pilot, part of a Japanese genre aimed at pre-teens, titled “Majokko Star.” At the same time, I’m developing a feature film that I’ve been planning with an agency for a long time, but I don’t know when it will actually be finished. The agency is looking for investors and would like to make a short test film first.
-Describe yourself with three adjectives that best reflect your vision of the world.
A little dystopian, at once meritocratic, and a little charitable.
-WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them?You may include figures from the present or the past, from Julius Caesar to Marilyn Monroe, just to give an example.
A figure I greatly miss is Stanley Kubrick. I’d love to see his new works, but as we all know, that’s not possible. I’d like to ask him for the strength to delve deeper into the human side of my work and to find the energy to do so. Until now, all my work has been entirely my personal work, because it’s impossible to find collaborators where I live, and for other reasons, I can’t travel far from my home in Campania, Italy.
-Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
That’s good. I’m very happy to be part of this community, Wild Filmmaker. It wasn’t the only platform to reward me; others have also shown interest. I highly value your critical thinking and will strive to give my best in my future work. My current project, “Majokko Star,” which I hope to finish soon, is probably too cheerful, joyful, and even naive, but I wanted to do something completely different from a drama; I doubt this work will appeal to audiences outside of Japan. I’d like to thank the editorial team of the TriBeCa Film Critics Circle Awards, NYC, again for their interest in myself and the engaging questions.
-With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?
My next project is based on an anonymous diary written in 1885 by a young English boy believed to possess the gift of second sight. First published in 1953 and has maintained a 5-star rating on Amazon and Barnes and Nobel for decades and is considered a time-honored classic among the paranormal internationally. The Boy Who Saw True , and the identity of the diarist remains one of literature’s enduring mysteries. Through a series of daily journal entries, the boy recounts extraordinary encounters and visitations from the spirit world with remarkable detail and conviction. What continues to fascinate readers, researchers, and spiritual scholars alike is the apparent impossibility of a child possessing the knowledge, insight, and descriptions contained within the diary. More than a century later, the author’s identity remains unknown, leaving behind a compelling and thought-provoking record that continues to inspire debate about the nature of consciousness, intuition, and the unexplained.
We also have a live action/animated feature for audiences of all ages called Big Dogs Adventures in Believeland. Set in a magical world where every creature has a place and every voice matters, the story celebrates the beauty of diversity and the power of living together in harmony. Through a series of extraordinary adventures, Big Dog discovers that our differences are not obstacles but strengths that bring communities together. As he faces challenges and uncertainties, he learns to believe in himself and finds the courage to overcome anything with the wisdom, kindness, and support of the friends he meets along the way. Filled with wonder, heart, and hope, *Big Dogs Adventures in Believeland* is a timeless tale about friendship, acceptance, and the belief that a brighter world is possible when we embrace one another.
-Describe yourself with three adjectives that best reflect your vision of the world.
Benevolent. Courageous. Enlightened.
-WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them? You may include figures from the present or the past, from Julius Caesar to Marilyn Monroe, just to give an example.
The person who comes to mind is Charles Chaplin. From cinematic genius to giving a gift to the world Chaplin understood that visual storytelling could communicate directly with audiences regardless of nationality or language. His films were embraced worldwide because viewers could understand the emotions, conflicts, and humor through actions, expressions, and situations rather than words. And I would ask “When did the light appear that led to his inspiration that would become legendary,?
-Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
Wild Filmmaker’s greatest achievement may be its ability to unite a global creative community through a vision that recognizes art not merely as commerce, but as one of humanity’s most essential forms of expression. By fostering meaningful connections between artists, storytellers, and audiences across borders, cultures, and disciplines, it is helping to build a more inclusive and sustainable future for independent cinema and the arts.
At a time when market forces often dominate creative discourse, Wild Filmmaker has championed something increasingly rare: authenticity. Its distinctive approach creates space for original voices to be heard, diverse perspectives to flourish, and meaningful stories to find their audiences. In doing so, it reminds us that the true value of art lies not only in its commercial potential, but in its power to inspire, challenge, connect, and elevate the human experience.
The work being done is extraordinary. I believe I speak for many artists around the world when I say that these efforts are helping to restore the creative freedom, courage, and integrity that have always been at the heart of great storytelling. By bringing the arts back to their creative roots while embracing a global future, Wild Filmmaker is helping ensure that the next generation of creators will not simply survive—they will flourish.
With this victory, you have achieved an important milestone and have become an uthoritative voice in international independent cinema. What are your next projects?
My next film projects are both ambitious and deeply meaningful. I am planning to make a short documentary about a man who has dedicated his entire life to saving others and has received many awards for his extraordinary service, having saved more than 700 people over the course of his career. After that, I intend to create a longer documentary exploring his full life story, including his very difficult childhood, the hardships he survived, and the life-saving work that came to define him. I also plan to venture into narrative filmmaking with a short film based on an unusual true story. Altogether, these projects reflect a busy and exciting creative journey ahead.
Describe yourself with three adjectives that best reflect your vision of the world.
My vision of the world is optimistic, rooted in hope, peace, and a belief in our shared humanity. It is luminous in the way it looks toward light, possibility, and clarity even in difficult times, and unifying in its desire to bring people together across differences. To make this vision real, we need to work towards a world free from drugs and violence, where people can live in safety, dignity, and harmony. I see the world not only as it is, but as what it can become when compassion, understanding, and collective purpose guide us.
WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them?
I would most like to stand before John Wayne, because he embodies a powerful and lasting presence in the history of cinema. I would ask him what it was truly like to make films during Hollywood’s golden age, and how he experienced the industry from within, both as an artist and as a public figure. I would want to understand what gave him strength, discipline, and identity over the course of such a remarkable career, and whether the man behind the screen differed from the image the world came to know. Above all, I would ask him what cinema meant to him personally – not simply as a profession, but as a way of life.
Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
I hold WILD FILMMAKER in very high regard for its commitment to supporting independent cinema. As a filmmaker, I have seen firsthand the importance of your platform in providing independent films with real international visibility. Thanks to the support of WILD FILMMAKER, my documentary Kev Franzi – Works 80 Years in the Film Industry received recognition from festivals and award platforms across Europe and the United States. Such exposure is essential for independent filmmakers, as it not only promotes a film but also builds artistic credibility and professional momentum. I believe WILD FILMMAKER plays a significant role in bridging independent filmmaking and the broader international film industry. Your platform demonstrates that independent filmmakers can stand alongside mainstream cinema when given the visibility, network, and critical support they deserve.
I am rather « New » in the independant movie field. I started one year ago to propose my first dance movie « Silk » on the plate-forme Film Freeway encouraged by Davy Brun Director of Centre National de la danse in Lyon, who allows me to work and create in rehearsal studios as Artist since 4 years during about 15 days each year. I wanted to create my own vision of dance, without barrière in style or convention ., my love of tapdance (sound and dance) as choreograph as I always did but with a dance video traitement. And I see now that my 5 dance films in 1 year have won many awards and Honorable Mention all over the world (from Jakarta, to Athens, Australia, Tokyo London, Paris, Berlin…) ! And this encourage me to go further. MY PROJECT : I have just finished 2 new films « Mix Art Clic » and « Drippin » and I will create a new one in Australia in November .. But as I am always workin in a very impulsive and spontaneous way, and as I realise everything alone , maybe it’s.
Gonna happen soon again !!! sometimes I look at a photography, a landscape, a music , a Souvenir .. It gives me a real sincère émotion and comes the vibrant IDEA and so , hop ! I start composing the frame, thing about the music, the Choreography, the traitement of the picture… !!! My 3 ADJECTIVES : poetic, singular, spontaneous, I want to keep smilin’ at life (Even it has not been always funny….) I would like to stand in front of Gene Kelly ( I met him in 1985 in France) and also Gregory Hines (I met him in 1980 in New York) , because first of all I love them not only as Artist with a judge talent but also as Human BEING generous and humble . I believe that your part in the world of cinema is very important because it gives the réflection of particular way of looking at this crazy world, it allows to sensible artists to express them self in total freedom and it open the door in a good new free and indépendant way. So they can reach a larger audience .
-With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?
I am obviously honoured to have my work recognized by the TriBeCa Film Critics Circle Awards this year. It is always gratifying to have informed persons in your chosen field acknowledge that they find your work worthy of celebrating. However, I must admit to a certain reserve concerning your very complimentary categorization of me as an authoritative voice in international independent cinema. I simply strive to create work that is appreciated as being relevant in some way to the contemporary world in which we live. From this perspective, my experimental video work NOISE is an important work for me, not only because it deals with a topic that I personally consider relevant – the potentially harmful messaging noise created by billions of posts created daily worldwide on social media platforms – but also because it is the introductory element in a larger interactive multimedia project that involves interviews with persons around the world expressing their frustrations and preoccupations with both interpersonal as well as regional, national and international social situations. The project began to take shape in 2025. It involved my identification of artists in a variety of countries around the world capable of conducting the interviews I designed in each country. These interviews would serve as the data I required to build an interactive installation illustrating messaging noise as a problematic international phenomenon. By early 2025 I had already gathered the data I required from 4 countries (a total of 20 interviews) thanks to the collaboration of four very talented artists: Joan Logue (USA), Hervé Nisic (France) Ana Carolina von Hertwig (Canada) and Flávia Baxhix (Brazil). However, I wanted both the Asian and African continents involved in this first edition of the project and I am currently seeking to identify artists from these two regions interested in taking part in the project. In the meantime, the technical structure of the multi-projection, multi-media installation has been finalized including the interactive portion involving the possibility for the public to add their frustrations in real time to the mix of audio-visual commentaries of the participants from around the world. The film NOISE serves as the introduction to the main room of this interactive installation. One last note: this year marks the 50th anniversary of my work as an artist in the fields of analogue photography, musical composition and new media creation in the areas of photography, graphic art and video. It seemed to me only fitting that I mark this event with a project. This month I have completed two comprehensive 3D simulations of my work: one dealing with my figurative work in the fields of photography, music, new media and video art; the other dealing with my abstract works that have had such a profound influence on my figurative works over the years. These simulations can be visualized in a retrospective dossier using the following link: https://bit.ly/42ASphd
-Describe yourself with three adjectives that best reflect your vision of the world.
Ambiguous / Uncertain / Doubtful
Although these three adjectives might, at first glance, seem to reflect a rather pessimistic vision, that is not my intention. I believe that the world suffers from a profound lack of what I refer to as informed understanding, that is, the form of understanding that results from in-depth investigations of issues coupled with the ability to observe and analyze the results of such investigations from multiple cultural and socio-economic perspectives. A quote from the Greek Stoic philosopher Epictetus comes to mind: “First learn the meaning of what you say, and then speak.” With informed understanding, situations and events automatically appear less “black and white” or” right or wrong” and we appreciate the inherent ambiguity in them creating what I feel is a potentially helpful dose of uncertainty and doubt about our initial “home grown” way of looking at them. This, for me, is the first essential step to finding solutions that involve relevant compromise, that all important step in affirming a belief that two competing visions can both be partially accurate and partially inaccurate depending on context and perspective. My work of the past twenty years has been largely devoted to suggesting the inherent ambiguity and uncertainty of situations that we observe and the inevitable doubts generated by such qualities. This social perspective is akin to the conclusions of quantum mechanics which state that it is our observations themselves that shape the reality we observe and that therefore our universe doesn’t possess definitive, objective properties that are independent of the observer.
-WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them? You may include figures from the present or the past, from Julius Caesar to Marilyn Monroe, just to give an example.
I couldn’t possibly name just one person. I can think of many.
I would love to sit down with 18th century ukiyo-e artist Kitagawa Utamaro and say “Thank you for showing me that flat field perspective and texture-free faces can produce such timeless universality”.
I would love to sit down together with Marcel Duchamp and John Cage and say “Thank you for opening up my mind”
I would love to sit down with photographer / video artist William Wegman and say “Thank you for showing me that a lighter, often humorous perspective on a topic can be as powerful as a purely intellectual approach to the same subject matter.”
I would love to once again have the opportunity to sit down in a Paris café today with my dear friend video artist Joan Logue and say “Thank you for showing me the incredible power of video portraiture and for your profound kindness and generosity.” With a bit of luck, perhaps this year it will be possible. I could go on, but I think you get the picture. I feel deeply indebted to so many remarkable human beings who have consciously or unconsciously marked my journey through life, expanding my horizons and providing the inspiration and stimulation necessary to making my journey a productive one – an ever-present challenge requiring relentless dedication and focus.
-Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
I find the work of Wild Filmmaker extremely important to the health and well-being of the independent cinema universe and the artists working in it today – not only because it heightens awareness of the importance of independent cinema as a relevant vector of artistic expression, but also because it has demonstrated that it cares about the artists themselves by offering a wide variety of festival opportunities worldwide to artists of different sensibilities and priorities as well as offering awards that cover a broad spectrum of areas and expertise (both technical and aesthetic) that more accurately represents the preoccupations of artists working in the field today. Simply put, “Bravo.”
-With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?
At present, I am preparing a larger and more comprehensive solo exhibition and film project entitled In the Artist’s Eye, which will be presented together with a catalogue at the Royal Academy of Fine Arts in Stockholm, Sweden, from 20 March to 1 May 2027.
I have also had the great fortune of collaborating with brilliant actors throughout my artistic practice — individuals who have enriched and coloured my works with the depth of their lived experiences. Most recently, I have worked with the artist and actress Ebba Melber, who performs the lead role in the film The Rorschach Test.
Simultaneously with the development of the solo exhibition at the Royal Academy of Fine Arts, I am creating new short films. These will primarily be presented at film festivals and in cinemas, in order to achieve the most optimal and resonant environment for this particular kind of cinematic work. We shall see what unfolds; perhaps a new documentary will also emerge within this framework. In this endeavour, I am seeking visionary collaboration partners who can help realise this journey on both a financial and structural level.
All my artistic works require considerable time to create, even though some of them are short films such as The Rorschach Test, Not Without Gloves, and The Aesthetics of Failure, with which I proudly won the TriBeCa Film Critics Circle Award 2026. My films are always meticulously tailored to the contexts in which they will be shown — whether in cinemas and festivals, outdoors on cliffs, islands, buildings, and houses, or within art institutions such as galleries, art halls, and museums, where I frequently work sculpturally with the moving image. For me, there are no boundaries to what film and art can be.
I always depart from the inherent poetry of a given place when creating my works. Now, as I begin this exhibition at the Royal Academy of Fine Arts in Stockholm — having carried out thorough research and carefully studied the spaces and site — my mind begins to work frenetically with ideas, scripts, filming, editing, and the complete visualisation of the spatial experience. One should step into the work and be enveloped by it as a viewer. I always strive to create a space for reflection. For me, it is of the utmost importance to artistically craft a multifaceted moving-image project that touches the depths and opens pathways for profound reflection upon what one sees — or perhaps does not wish to see. To penetrate beneath the surface is, I believe, what I continually strive for when creating new works. Perhaps I may succeed in opening the door to that which cannot be described in words, only experienced.
It is profoundly important to me that my works and films pose questions, becoming an open dialogue with the audience in which the answer perhaps always resides in the beholder’s eye. The new work will illuminate that which we may prefer not to see — the things we entirely close our eyes to.
I always work subliminally and poetically, and I am deeply grateful to collaborate with a truly remarkable individual who creates magical music for my works and films — the exceptionally gifted composer, critic, art historian, philosopher, musician, and visionary artist Conny Malmqvist. He has composed the music for several of my internationally awarded works as well as my monumental site-specific pieces.
For me, when creating new cinematic works, the intellectual discourse, rhythm, and image within the film are of vital importance. I edit for months, sometimes years, on a new piece or a larger exhibition comprising several works before I allow the public to encounter it. I am extremely self-critical — a blessing as much as a curse. Art is difficult; remember this when you encounter a work you do not immediately understand. The simple is often the most difficult. I am not personally interested in creating mainstream film or art. For me, film is art, not entertainment; it is pure magic in its truest form.
My great passion in life is art, film, poetry, literature, and music. I am deeply engaged with our contemporary moment, yet I root my works in the past. If we are to learn anything about the present, we must know and understand history rather than censor it. Knowledge is the only true power the individual possesses. I stand for free art. Life has not been a bed of roses for me; violence, death, and illness have coloured my palette, yet instead of becoming bitter, I can transform these experiences in the hope that they may resonate with another person’s reflections. As an artist and filmmaker, it is essential to me to pose the difficult questions about life and death, about what it means to be human with all our faults and shortcomings. To gaze into our multifaceted psyche, to look at life and illuminate nature as a treasure we must protect — indeed, all living things — while death and the departed whisper in our ears if only we listen and open the window to the inarticulable.
-Describe yourself with three adjectives that best reflect your vision of the world.
Reflective visionary filmmaker, curator, and artist who does not shy away from the difficult questions of life and art.
-WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them? You may include figures from the present or the past, from Julius Caesar to Marilyn Monroe, just to give an example.
I have no specific question for any historical figure. For me, it is more about learning from the past in order to understand the time in which we live and how the future might possibly take shape, in both positive and negative terms. It concerns seeing — or rather daring to see — the uncomfortable, daring to be critical of norms, looking beneath the surface, and attempting to transform the negative into something positive. To strive towards a world that is more inclusive and permissive. Perhaps it is a utopia, yet together we can try to change the rules of the game and make visible other ways of seeing the world — where power, money, war, and violence do not reign as the dominant ideology.
-Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
I am deeply grateful and proud to be part of Wild Filmmaker, where I have had the pleasure of encountering remarkable artists and filmmakers who burn with passion for their craft. I have personally witnessed brilliantly accomplished films of the highest quality that could not have been created here in Sweden owing to the extensive economic cutbacks in culture. This is entirely the wrong path; one should invest in culture, film, art, literature, poetry, music, theatre, research, and more. That is how one creates a creative, sustainable, and reflective society.
In this regard, Wild Filmmaker is truly magnificent. You create opportunities for filmmakers across the world and bring their works to a larger audience. Therefore, I wish to offer you all a great tribute for your visionary work. Special thanks to editor-in-chief Michele Diomà and his international team, and of course I want to thank all the inspiring artists, screenwriters, and filmmakers, as well as all the international collaboration partners Wild Filmmaker has across the globe. It is a great honour to be part of this visionary journey. Only together can we change the rules of the game. Forward with new visionary film without physical boundaries — where art is free in spirit and soul.
-With this victory, you have achieved an important milestone and have become an authoritative voice in international independent cinema. What are your next projects?
Thank you. It means so much, especially because independent animation is made with heart, and faith in the magic of storytelling. My upcoming projects expand on that dream. I’m currently working on extending the adventures of Malibu and Roxie in my animated series. Through charming adventures for children and families, Malibu & Roxie share messages of kindness, compassion, and friendship. I look forward to creating impactful stories through animation that move people, and open hearts, while reminding us that even our darkest travels can lead us to a place of hope and greater meaning.
-Describe yourself with three adjectives that best reflect your vision of the world.
If you asked me to describe myself with three words that embody how ?I see the world, I would say “hopeful, compassionate, creative”. I’m hopeful because I believe that even in our darkest moments, we can emerge from trauma with strength, healing, and new beginnings. I’m compassionate because I believe in the power of human connection, kindness, and empathy to walk alongside others in their journeys. And I’m creative because I believe in the arts, storytelling, and imagination to spark change and inspire others, build community, and uncover the magic within our daily lives. Hope. Compassion. Creativity. You’ll find all of these in the things I make, from my books and films, to my work with kids, families, and our community.
-WILD FILMMAKER is, above all, a space for freedom of thought and sharing. Who would you most like to find yourself in front of, and what would you say to them? You may include figures from the present or the past, from Julius Caesar to Marilyn Monroe, just to give an example.
If given the chance to stand in front of anybody, it would be “Walt Disney”. I would express my gratitude for teaching the world that imagination could endure through generations, cultures, and circumstances. He turned childlike stories into timeless classics that empower dreamers everywhere. I would tell him his films and books inspired me to be a storyteller as well. Through animation and children’s books, I’ve created worlds of my own that emphasize kindness, hope, friendship, and perseverance. As a small independent filmmaker, I never lost sight of the fact that stories have the power to change hearts and unite people. But above all else, I would ask him what kept him going when no one believed in his dreams. Then I would say, “Thank you for teaching us that if we can dream it, we can create it.”
-Through the WILD FILMMAKER Community, we have succeeded in bringing independent filmmakers under the same spotlight as mainstream industrial cinema. How do you evaluate our work and activities?
I admire what WILD FILMMAKER does for the future of film. As an independent filmmaker myself, I know how easy it is to feel left out of the loop when you pour your heart into something from a place of passion, vision, and authenticity. Not every film comes from big budgets. Your organization allows independent filmmakers to be seen and heard. Not just around those with more access to film festivals and markets, but right alongside them. What you’re doing is creating a community that embraces free expression, artistic vision, and international collaboration. You’re allowing filmmakers to reach audiences that they may not have had the chance to reach if it weren’t for you. Thank you for the work that you do for independent artists. Keep bridging the gap between undiscovered talent and the world.
For those who love the history of cinema, there are great auteurs to study and often rediscover—and then there is Charlie Chaplin. Once, Federico Fellini said that Chaplin, in a way, is Cinema itself. I believe that if we want to understand the great tragedies humanity is experiencing today, we should revisit Charlie Chaplin’s films, because I think they contain the most precious message of peace that any artist has ever given to the world. It is with immense honor that today we welcome Michael J. Chaplin to the WILD FILMMAKER Community.
(PH By Ashim Bhalla)
Who is Michael J. Chaplin?
I am a British author, born in Santa Monica, California, and raised in Switzerland following my father’s expulsion from America during the McCarthy era. I am the eldest son of Charlie Chaplin and Oona O’Neill. After a youth spent trying to escape my father’s overwhelming fame, which followed me everywhere, I eventually found a stable life farming land in Southwest France and raising a large family. My literary debut is the historical fiction novel, A Fallen God. More recently, I have dedicated myself to tracing my father’s English Romany roots, an exploration that is the subject of the theatrical documentary Chaplin | Spirit of The Tramp, in which I am the central participant and narrator. I currently live in Switzerland, but continue to write and travel frequently in Southern Europe.
The main mission of WILD FILMMAKER is to introduce younger generations to the history of cinema. Is there a project you would like to create to help contribute to this goal?
My current project, the documentary Chaplin | Spirit of The Tramp, is designed to do exactly that. The goal of the film is to revisit Charlie Chaplin’s work through the lens of his Romany heritage, which is a new perspective compared to other films about his life. The film is particularly important in cultivating a love of the big screen experience to build future cinema-going audiences as it was made in that spirit. I am the thread that runs through the film, and it features my granddaughter, Uma Bhalla Chaplin, who interviews me and also voices an animated version of my father in his own words. This passing of the torch within the family, and the inclusion of a younger generation, introduces the Maestro to a new audience.
What do you like and what don’t you like about the world?
I am a family man, I spend most of my time at home reading and writing. I enjoy a simple life with my wife, children and grandchildren. There is much to dislike about the world but if I focus on basic goodness, people, my family, nature and simple pleasures like reading and writing then there is so much to like.
Every artist has someone or something that inspired them. Where do you draw your creative drive from?
For my novel, A Fallen God, the inspiration was drawn from the land itself. While farming in Southwest France, a strong, melancholic feeling settled over me. Discovering the history of the 13th-century conflict between the Church of Rome and the rebellious Cathar movement—and the subsequent genocide—unlocked the world and theme for my historical romance novel.
For my work in cinema, the drive is deeply personal and began when my father told me about his Romany roots at the age of ten, a confession that impressed me greatly. The documentary, Chaplin | Spirit of The Tramp, represents decades of my dedication to tracing and honoring this English Romany tradition. Ultimately, this project is a pilgrimage of love, where I reclaim my father and his legacy.
What impression do you have of WILD FILMMAKER?
I have a positive impression of WILD FILMMAKER. I appreciate it’s focus on preserving the history of cinema and promoting arthouse cinema at major film festivals. The mission to promote creativity and democratize cinema, while introducing younger generations to the history of the art form, is commendable.
