Category: Senza categoria

Out of State A Gothic Romance

BEST AMERICAN NARRATIVE FEATURE 2025, BEST INTERNATIONAL INDIE DIRECTOR, BEST PRODUCER, BEST ORIGINAL CAST & BEST EDITING

Healing: Behind the Paint

BEST DIRECTOR, BEST CINEMATOGRAPHER (Category: International Documentary Short) & BEST DOCUMENTARY SHORT 2025

Brothers of Babylon

BEST ORIGINAL SCREENWRITER 2025, BEST ARTHOUSE FEATURE SCRIPT & BEST ORIGINAL IDEA (Category: International Screenplay)

Flint&Ema

BEST INTERNATIONAL ANIMATED FILM, BEST CINEMATOGRAPHY, BEST FILMMAKER & BEST INDIE PRODUCER (Category: International Animated Short Film)

Lambada The Dance of Fate

BEST WRITER 2025 BEST INTERNATIONAL BIOGRAPHICAL SCRIPT

Ye Ole Glorya

BEST MOVIEMAKER, BEST SCREENPLAY, BEST PRODUCER & BEST ORIGINAL CINEMATOGRAPHY (Category: Comedy)

Big Momma Earth

BEST ARTHOUSE COMEDY & BEST EDITING

Amen-Amen-Amen: A Story of Our Time

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

Princess Zarabanda

BEST ARTHOUSE ANIMATED SHORT FILM & BEST MOVIEMAKER (Category: Animation)

Cataclysm Down Under – Hero

BEST ORIGINAL SHORT, BEST INDIE DIRECTOR, BEST ORIGINAL IDEA & BEST CAST (Category: Arthouse Narrative Short)

Ciccillo

BEST INDIE EDUCATIONAL FILM & BEST EUROPEAN ARTHOUSE MOVIEMAKER

Dragul and Forbes

BEST ORIGINAL FEATURE SCRIPT OF THE YEAR

Ice Hockey Orphans

BEST DOCUMENTARY SHORT 2025, BEST DIRECTOR, BEST EDITING & BEST ORIGINAL CINEMATOGRAPHY (Category: Documentary Short)

Drowning

BEST INTERNATIONAL SINGER & BEST SONG 2025

Monument to Love

BEST HUMAN RIGHTS FILM, BEST CINEMATOGRAPHER & BEST ARTHOUSE DOCUMENTARY FEATURE

Thankful

BEST INTERNATIONAL SCREENWRITER 2025 & BEST WRITING STYLE

Cassandra Venice

BEST INDIE MOVIEMAKER, BEST ORIGINAL DIRECTOR & BEST CINEMATOGRAPHER 2025

Hot Afternoons Have Been in Montana

BEST INTERNATIONAL INDIE FILMMAKER 2025, BEST ARTHOUSE CINEMATOGRAPHY & BEST POETRY SHORT FILM

Prodigio

BEST SPIRITUAL MUSIC VIDEO, BEST SOUND DESIGN, BEST HUMAN RIGHTS SONG & BEST SONG WRITER

Alta California

BEST AMERICAN WRITER & BEST INTERNATIONAL ARTHOUSE SCREENPLAY

The Quisling

BEST ORIGINAL INDIE FEATURE SCRIPT

You Are Here – a dylan brody project

BEST ORIGINAL NARRATIVE FEATURE, BEST INDIE SCREENPLAY, BEST ORIGINAL DIRECTOR, BEST CINEMATOGRAPHER & BEST CAST

Omnipotent Resolution

BEST ARTHOUSE DANCE MOVIE, BEST INTERNATIONAL MUSICAL, BEST ORIGINAL CHOREOGRAPHY, BEST DIRECTOR (Category: Experimental Music Video)

Eye of the Storm

BEST MOVIEMAKER OF THE YEAR (Category: Biographical Documentary Feature) & BEST ORIGINAL EDITING

Sheldon Mashugana gets Stooged

BEST COMEDIAN & BEST INTERNATIONAL SCREENPLAY (Category: Comedy)

NeverWere: a Lycan Love Story

BEST SCREENWRITER 2025, BEST INDIE SCREENPLAY & BEST ARTHOUSE FEATURE SCRIPT

Revisited – Life is Short

BEST INTERNATIONAL FILMMAKER, BEST ARTHOUSE SONG & BEST PRODUCER OF THE YEAR (Category: Music Video)

The Days of Knight: Chapter 3

BEST ORIGINAL NARRATIVE SHORT, BEST DIRECTOR, BEST CAMERA OPERATOR, BEST CASTING DIRECTOR, BEST TRAILER & BEST ORIGINAL SCREENPLAY SHORT

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

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

Routine

BEST MOVIEMAKER, BEST PRODUCER, BEST ORIGINAL IDEA & BEST NARRATIVE SHORT 2025

Planetary Rebellion

BEST EUROPEAN SOCIAL MUSIC VIDEO & BEST ORIGINAL IDEA (Category: International Arthouse Music Video)

The Taste of Rain

BEST AMERICAN FEATURE SCRIPT 2025

Sundown In Beaver Creek

BEST INTERNATIONAL TELEVISION SCRIPT

Something ain’t right

BEST INDIE DOCUMENTARY, BEST ORIGINAL STORY & BEST INDIE CAMERA OPERATOR

Katabasis

BEST DIRECTORE (Category: Narrative Feature) BEST SCREENPLAY (Category: Narrative Feature), BEST ACTRESS & BEST ORIGINAL CINEMATOGRAPHY

2020: life and death of a virus

BEST EUROPEAN EXPERIMENTAL FILM & BEST ORIGINAL FILMMAKER

Adelaide’s Magic Sunglasses

BEST INTERNATIONAL SHORT SCRIPT

Remnant

BEST FILM 2025, BEST PRODUCTION COMPANY, BEST SCREENPLAY, BEST CAST & BEST ORIGINAL MOVIEMAKER

Homeless Street Artist

BEST INTERNATIONAL DOCUMENTARY SHORT FILM, BEST ARTHOUSE MOVIEMAKER & BEST ORIGINAL IDEA

Hummel

BEST WRITER (Category: Short Script)

K Bender (The Bloody Benders)

BEST ARTHOUSE SCREENWRITER OF THE YEAR (Category: Short Script)

The Wood Ranch Country Club

BEST ARTHOUSE SHORT SCRIPT

The Insomnia Experiment

BEST ORIGINAL WRITER OF THE YEAR (Category: Short Script)

Mind over Matter

BEST DIRECTOR, BEST EDITING & BEST CINEMATOGRAPHY (Category: Super Short Film)

The Rorschach Test

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

The Arcangel Of Death

BEST INTERNATIONAL ACTOR, BEST INSPIRATIONAL SHORT FILM & BEST INDIE CINEMATOGRAPHER

L’Amour est temps de reflets

BEST ARTHOUSE EDITING & BEST EUROPEAN ORIGINAL INDIE FILMMAKER

The Dragonfly Dreaming Project

BEST ARTHOUSE DOCUMENTARY SHORT

-Who is Luigi Pingitore?

A tiny man wandering through an endless world.
Someone who has never fully accepted adulthood, who uses images and words to find his bearings, to avoid getting completely lost — someone who holds a blind and absolute faith in the power of words and images to occasionally shed light on existence. Not just his own.

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

I remember it perfectly. I was just under 10 years old when I saw a film on TV that completely hypnotized me, even though I couldn’t quite understand what I was watching. The film was Picnic at Hanging Rock by Peter Weir. For the first time, I saw — and this I could understand — a film that didn’t follow rules, that felt like a dream, where the freedom to imagine was the most important thing. At that moment I thought:
how wonderful — so it’s possible to dream even without going to sleep!

-Tell us about your short screenplay “JAGO I NTO THE WHITE”.

JAGO INTO THE WHITE was a fascinating and complex challenge. I’ve always been deeply drawn to the theme of talent, and the relationship between inspiration and expression. That’s why one of the things I love most is making documentaries about artists. Film ing and telling the story of the creative act — a mysterious, powerful, almost messianic act — is something I find beautiful.
That’s exactly why I decided to make this film, and from the very beginning — since the first notes I jotted down — I had one clear goal: I didn’t want to make just a documentary, I wanted to make a film. No interviews, just a real – life character followed in h is daily life, and a post – production process typical of narrative cinema: an original soundtrack, sound design reconstructed by a foley artist, meticulous work on color grading and the final mix.
After all, I’m not a documentarian — I see myself as a director and a writer, and I use different genres and languages to tell the stories that matter most to me.

–Which Director inspires you the most?

I have a sacred trilogy. Antonioni, Bergman, and Fellini — in that order.
Antonioni is perhaps the director I feel most connected to. He taught me how to use silence and space. Light and camera movements. Bergman, on the other hand, taught me how to use words. And to understand that there are no limits — you have to say everything, even the unspeakable.
Fellini is a genius, and 8½ is the most beautiful film in the history of cinema. I think that says it all.

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

Since your question is long and complex, I can only give you a long and complex answer: I’ve realized there are a lot of things I don’t love.​ A lot of things I’ll never love. I don’t love Elon Musk or Steve Jobs. I don’t love those who worship them as idols. I don’t love bosses. I don’t love entrepreneurs who don’t know how to do anything, the captains of industry, the ones who play the stock market with daddy’s money, the ones who start trading at 19 and think they’re brokers, the ones who believe in easy money, who believe money is an end and not a means. I don’t love content creators who have nothing to say, the ones who self – publish a book and then write “official profile” on social media, the ones who say they’re open to collaborations. I don’t love food bloggers who go around telling you what they like as if it were the truth about taste. I don’t love girls who sell their videos on OnlyFans and then explain that this too is a form of female revolution. I don’t love the female revolution, or the male revolution for that matter; I don’t love marches, sweat, slogans, or flags. I don’t love anxiety. I don’t love the kids who spend thousands of hours on TikTok watching other kids who, like them, spend thousands of hours on TikTok, until one of them — luckier or more skilled or who knows what — sets a foot beyond the swamp of anonymity and starts dreaming o f becoming Elon Musk or Steve Jobs. I don’t love vertical videos, fast videos, stupid transitions, or inaccurate subtitles. But I also don’t love the small – minded bourgeois who don’t even try to understand and have already decided everything is shit — who say this stuff sucks just because they’re left out, old, out of sync with the present, living inside a dull, self – consoling no stalgia that elevates their own time into an absolute myth, when even in their time the world was full of brainless idiots. I don’t love those who live locked in their shitty little world, who use fear to navigate life, who know nothing beyond themselves, who confuse selfishness with self – love and vice versa, and when they say they need to take care of themselves — now, they need to take care of themselves — it just means they’re about to screw you over. I don’t love the anxiety of screwing people over, the fear of loving, the shame of shamelessness, forced exhibitionism, the shyness of failure. I don’t love what it means to succeed, and I don’t love what it means to fail. I don’t love Napoli Bene — because no one has ever shown me where the good is. I don’t love happy hours that inevitably turn into painful melancholy, I don’t love fruity cocktails, people who drink bitters with ice, people who eat thin pizza, those who don’t crumble under the weight of memories and try hard to believe in the future, those who speak loudly about their lives, those who scream in rage over bullshit and then bow their heads in defeat in front of real injustice, I don’t love Juventus fans, southerners who vote for the Lega, I don’t love that in summer it’s too hot, even though heat is beautiful in one specific way, I don’t love arrogant thirty – somethings, disillusioned forty – somethings, crazy fifty – somethings, or twenty – somethings who are arrogant, disillusioned, and crazy all at once. I don’t love people who prefer winter over summer, people who wait for the rain, people who don’t drink coffee in the morning, decaf coffee. I don’t love the fate of all the memories I’ve stopped remembering, all those moments I thought would last forever, all the right promises made to the wrong people and all the wrong things I did to the right ones. I don’t love those who have never spent a night sleeping on a beach, who have never skinny – dipped, who have never once been moved thinking about how shitty life can be — and then been moved again realizing that, either way, it’s far too short. I don’t love writers — the clever ones, the ones who calculate everything, who are obsessed with their place in the world, neat writers, who never step outside the lines, who live on constant compromise, who want to tell us a little story (fuck your little stories), who are afraid to get their soul dirty, afraid to mess with power, who shake hands with everyone, who read nothing, who lost their original spark — the one that, at sixteen, lit them up and told them literature, true literature, could lead to some kind of truth. I don’t love writers trapped in the turning point, the cliffhanger, the three – act structure, the noir guys, the crime guys, all those who lean on easy news headlines, who recycle the same plots, the same ideas, the same characters, I don’t love the nonsense – spinners who care only about the rankings, who survive off simple plots, instant words, pages that reek of hand sanitizer.​ I don’t love bitter poets, poets with no poetry, extinct poets, the soul – bankrupt, the incontinent ones who turn their misery and failures into fake grand inner epics. I don’t love those who pretend to live, the arrogant, the touchy, the irritable, the gloomy for no reason, I don’t love all those men full of money who, despite it all, live miserable lives. The ego show – offs, the narcissists in love with the idea of themselves, I don’t love friends who don’t answer the phone or messages anymore, and then pop back up when they need something, I don’t love those who don’t value friendship. In truth, I don’t love anyone who goes silent after a call or a message because they don’t know what to say or because they lied and don’t know how to get out of it. The slick ones living off tricks, who crumble in embarrassment when caught, I don’t love the rudeness that masks cowardice, I don’t love people who don’t keep their word, who are not men of honor — because honor is sacred, and it’s not true that it’s gone out of fashion. I don’t love those who don’t cultivate illusions, those who never give up, those who give up, those who have already surrendered, those who refuse to surrender, those who blast our ears with motivational quotes about never giving up, I don’t love life coaches, I don’t love people who meditate to find their path and then lack the courage to walk it. I don’t love those who delude themselves into thinking they’re empathetic, I don’t love resilience (actually, I hate it), I don’t love inner strength when used as a marketing slogan, I don’t love those who waste their lives in front of the TV, those who waste it in betting shops, those who waste it in endless arguments, in the absence of calm, in neurosis. I don’t love those who don’t give themselves, once in a while, a flash of useless happiness.

-How do you imagine cinema in 100 years?​

Potentially, cinema — understood as the projection of a film inside a large, increasingly comfortable theater, with magnificent, immersive, hypnotic audio – video systems — has a bright future ahead of it. Television as we know it today is destined to disappear, and what will remain will be, on the one hand, fragmented and miniature viewing experiences, and on the other, the great Magic of the cinema.

Because watching a Film in a theater is a Unique experience. But this is just a hope. The truth is that in 100 years, cinema will follow the same path as every other artistic language — just look at what literature has become in the world today. We are living in a historical moment in which everything that produces emotion and reflection is under attack and threatened.

We are living in a horrible time, dominated by minds that cannot see beyond their own egos, in a reality where Beauty and Art are increasingly irrelevant, replaced by entertainment and spectacle. Entertainment and spectacle are perfect industrial tools: th ey flatten differences, inhibit individuality, and suppress dreams. Either we are reborn with a true Renaissance, or we will succumb — because human
beings without Beauty and Art are nothing more than imperfect automatons.

–What is your impression of WILD FILMMAKER?

All experiences of exchange, dialogue, and analysis must be encouraged — everything
that celebrates the Beauty of cinema. So long live Wild Filmmaker! And besides, the
word “wild” is absolutely beautiful!

Because We Are Too Many

BEST INTERNATIONAL DRAMA, BEST SCREENPLAY & BEST ORIGINAL DIRECTOR (Category: Arthouse Drama 2025)

Etnoragù

BEST EUROPEAN SHORT FILM, BEST ARTHOUSE FILMMAKER, BEST ORIGINAL SCREENPLAY SHORT & BEST CAST (Category: Narrative Short Film)

Homeless Street Artist

SPECIAL AWARD “YOUNG CRITICS” BEST DOCUMENTARY SHORT, BEST DIRECTOR, BEST ORIGINAL IDEA, BEST EDITING, BEST CINEMATOGRAPHY & BEST PRODUCTION COMPANY (Category: International Documentary Short)

NeverWere: a Lycan Love Story

SPECIAL AWARDS “YOUNG CRITCS” BEST SCREENWRITER & BEST ORIGINAL FEATURE SCRIPT 2025

The Arcangel Of Death

BEST ORIGINAL ACTING & BEST EUROPEAN ACTOR 2025

Out of State A Gothic Romance

SPECIAL AWARD “YOUNG CRITICS” BEST INTERNATIONAL NARRATIVE FEATURE, BEST DIRECTOR, BEST ORIGINAL IDEA, BEST SCREENPLAY & BEST MAKE-UP (Category: Narrative Feature)

Gold Glory & Nobility

SPECIAL AWARD “YOUNG CRITICS” BEST INDIE FEATURE SCRIPT

Malibu Madam

BEST INTERNATIONAL SCREENWRITER

The Insomnia Experiment

BEST INTERNATIONAL SHORT SCRIPT & BEST ORIGINAL IDEA

The Mint

SPECIAL AWARD “YOUNG CRITICS” BEST SHORT SCRIPT

Flint&Ema

BEST ARTHOUSE ANIMATION, BEST PRODUCER, BEST EDITING & BEST MOVIEMAKER (Category: Animated Short Film)

Lambada The Dance of Fate

SPECIAL AWARD “YOUNG CRITICS” BEST AMERICAN BIOGRAPHICAL SCRIPT & BEST ORIGINAL FEATURE SCRIPT OF THE YEAR

Brothers of Babylon

BEST AMERICAN FEATURE SCRIPT 2025

Dancing with Spies @Goddess novel manuscript

BEST WRITER (Category: Book/Manuscript) & BEST INTERNATIONAL BOOK OF THE YEAR

What If

BEST EDUCATIONAL FILM, BEST ORIGINAL EDITING & BEST EXPERIMENTAL DIRECTOR

Thankful

BEST HUMAN RIGHTS FEATURE SCRIPT 2025 & BEST INDIE WRITER OF THE YEAR

Colombano & La 21Esima Fetta

BEST ORIGINAL ARTHOUSE FILM, BEST EUROPEAN SCREENPLAY & BEST INDIE MOVIEMAKER

Am I a painter?/Czy jestem malarzem?

BEST ANIMATED SHORT FILM, BEST PRODUCER & SPECIAL AWARD “YOUNG CRITICS” BEST DIRECTOR (Category: ANIMATION)

I Waited for You

BEST INSPIRATIONAL FILM, BEST DIRECTOR (Category: Arthouse Experimental Film) & BEST INDIE MOVIEMAKER 2025

Katabasis

BEST ORIGINAL FILM, BEST CINEMATOGRAPHER, BEST ACTRESS & BEST EUROPEAN FILMMAKER 2025

Something ain’t right

BEST INDIE DOCUMENTARY, BEST EDITING, BEST CINEMATOGRAPHY & BEST MOVIEMAKER (Category: Arthouse Documentary)

Hot Afternoons HaveBeen in Montana

SPECIAL AWARD “YOUNG CRITICS” BEST AMERICAN FILMMAKER & BEST HUMAN RIGHTS SHORT FILM 2025

Prodigio

SPECIAL AWARD “YOUNG CRITICS” BEST SINGER, BEST SONG WRITER, BEST EUOROPEAN ARTHOUSE MUSIC VIDEO & BEST MUSICIAN

An Ever After Drama

BEST AMERICAN NARRATIVE SHORT, BEST ORIGINAL ACTRESS, BEST INDIE DIRECTOR & BEST ORIGINAL SCREENPLAY SHORT

Alta California

BEST ARTHOUSE FEATURE SCRIPT

Ghost Town, N.M.

BEST AMERICAN SCREENWRITER 2025

The Days of Knight: Chapter 3

BEST INTERNATIONAL NARRATIVE SHORT FILM, SPECIAL AWARD “YOUNG CRITICS” BEST DIRECTOR, BEST CAST & BEST CINEMATOGRAPHY

The Bag

BEST FILMMAKER, BEST PRODUCER & BEST ORIGINAL EDITING (Category: Animated Short Film)

Cassandra Venice

BEST ORIGINAL IDEA, BEST ARTHOUSE CINEMATOGRAPHY & BEST CASTING DIRECTOR

Cactus Run

BEST INTERNATIONAL SCREENPLAY 2025 & SPECIAL AWARD “YOUNG CRITICS” BEST AMERICAN SCREENWRITER

Eye of the Storm

BEST ARTHOUSE DOCUMENTARY FEATURE & SPECIAL AWARD “YOUNG CRITICS” BEST DIRECTOR (Category: Documentary Feature)

The Duchess

BEST ARTHOUSE DRAMA, BEST SCREENPLAY (Category: Drama) & BES INDIE ACTOR

Sheldon Mashugana gets Stooged

SPECIAL AWARD “YOUNG CRITICS” BEST INTERNATIONAL COMEDY

Princess Zarabanda

BEST CINEMATOGRAPHY, BEST DIRECTOR (Category: Animation) & BEST INDIE ANIMATED SHORT FILM

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

SPECIAL AWARD “YOUNG CRITICS” BEST NARRATIVE SHORT FILM, BEST INDIE PRODUCTION COMPANY, BEST SCREENPLAY SHORT & BEST MOVIEMAKER

Routine

BEST ARTHOUSE SHORT FILM, BEST INTERNAIONAL INDIE DIRECTOR, BEST ORIGINAL EDITING, BEST SCREENPLAY & BEST INTERNATIONAL ARTHOUSE SCREENWRITER

Monument to Love

BEST INTERNATIONAL DOCUMENTARY FEATURE, BEST CAMERA OPERATOR & BEST EDITING (Category: Documentary)

Omnipotent Resolution

SPECIAL AWARD “YOUNG CRITICS” BEST INDIE MUSIC VIDEO, BEST SINGER, BEST SOUND DESIGNER, BEST DIRECTOR & BEST PRODUCER (Category: International Music Video)

The Rorschach Test

SPECIAL AWARD “YOUNG CRITICS” BEST EXPERIMENTAL FILM & BEST EXPERIMENTAL CINEMATOGRAPHY

In Search of A P-I-G

BEST INTERNATIONAL WEB/TV SERIES, BEST CAST, BEST DIRECTOR, BEST PRODUCER & BEST SOUND SESIGN (Category: Web/Tv Series)

Nossos Caminhos

BEST ORIGINAL WRITER, BEST DRAMA SCRIPT & BEST ARTHOUSE FEATURE SCRIPT

Deci – La base aerea di Decimomannu

BEST EUROPEAN DOCUMENTARY & BEST CAMERA OPERATOR (Category: International Arthouse Documentary Feature)

Tony N’ Tina’s Wedding

BEST AMERICAN NARRATIVE FEATURE, BEST CASTING DIRECTOR, & BEST EXECUTIVE PRODUCER

Planetary Rebellion

BEST EUROPEAN MUSIC VIDEO & BEST ORIGINAL INDIE SONG OF THE YEAR

I Swear

BEST ARTHOUSE ORIGINAL MUSIC VIDEO OF THE YEAR & BEST FILMMAKER (Category: Indie Music Video)

The Stones of Rome

BEST ACTING (Category: Experimental Film)

The Pathos of Hamlet

BEST ORIGINAL SHORT FILM & BEST AMERICAN ACTOR 2025

Anything You Lose

BEST ORIGINAL DOCUMENTARY & BEST FILMMAKER (Category: International Arthouse Documentary Feature)

Free

BEST COSTUME DESIGNER

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

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Ye Ole Glorya

By Jeffrey Kazanjian

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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

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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

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Monument to Love

By Jacob Comforty

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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

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Precious the Baby Dragon

By Dr Dawn Menge

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

Prodigio

By Don Pasquale Ferone

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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

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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.