Category: Senza categoria

An impossible secret

by Sofia Sotiria Mavrou

BEST ORIGINAL FIRST TIME DIRECTOR, BEST ARTHOUSE SHORT FILM & BEST ARTHOUSE SCREENWRITER

Melodramma

by Giuseppe De Vuono

BEST EUROPEAN DIRECTOR, BEST INDIE PRODUCER & BEST ORIGINAL SCREENPLAY

Monument to Love

by Jacob Comforty

BEST ARTHOUSE DOCUMENTARY FEATURE & BEST ORIGINAL EDITING

Dojo

by Armin Alic

BEST ACTION MOVIE, BEST INTERNATIONAL SHORT FILM, BEST ACTOR (Jon Paul) & BEST PRODUCTION COMPANY

Heart to Heart

by Bruno Marro

BEST EUROPEAN SONG & BEST INDIE MUSIC VIDEO

Paradise Takeaway

by Paul Cooke

BEST EXPERIMENTAL DIRECTOR & BEST INDIE NARRATIVE SHORT (Low Budget)

Chosta 3

by Jean Detheux

BEST INTERNATIONAL ART FILM

Lost Cause

by David J Schroeder

BEST ORIGINAL SCREENPLAY & BEST AMERICAN SCREENWRITER

I Survived The Holocaust

by Sanela Prašović Gadžo

BEST INTERNATIONAL DOCUMENTARY FEATURE

Two Fridges

by Rob Banish

BEST AMERICAN NARRATIVE SHORT & BEST ORIGINAL IDEA

The world of Martoon , episode 15

by Manouchehr Kholghi

BEST SUPER SHORT FILM & BEST EXPERIMENTAL EDITING

Escape of the Dragons

by Nicolas Bullentini

BEST ORIGINAL NARRATIVE SHORT, BEST CAST, BEST CINEMATOGRAPHY & BEST INDIE FILMMAKER

Two Million Steps

by Tommy Anderson

BEST INTERNATIONAL BOOK

Tangled Tails

by Oleg Condrea

BEST FIRST TIME SCREENWRITER

To Outwit the Fate

by Katarzyna Ewa Adamus

BEST INTERNATIONAL WRITER & BEST ORIGINAL MANUSCRIPT

Hot Afternoons Have Been in Montana

by Ken Kimmelman

BEST INTERNATIONAL EXPERIMENTAL DOCUMENTARY & BEST INSPIRATIONAL SHORT FILM

Tirare la cinghia

by Paolo Pier Luigi Guglielmetti

BEST EUROPEAN SUPER SHORT FILM

Orphic Laments

by Mimi Garrard

BEST INTERNATIONAL DANCE FILM & BEST CHOREOGRAPHY

Beate sits in the bathroom in silence

by Valerie Knill

BEST ORIGINAL DRAMA SHORT

The Quisling

by Lynn Elliott

BEST INTERNATIONAL FEATURE SCRIPT & BEST AMERICAN SCREENPLAY

Apples, Oranges, Lemons & Limes

by Pat Mitchell

BEST INTERNATIONAL THRILLER, BEST SUSPENSE, BEST INDIE AMERICAN DIRECTOR & BEST ROMANCE

The Sicilians

by Frank Mancuso

BEST INTERNATIONAL SCREENPLAY & BEST ORIGINAL WRITER

The way women are

by Adam Tuliński

BEST EUROPEAN SCREENWRITER & BEST ARTHOUSE EUROPEAN SHORT FILM

The Wrong Lighthouse

by Laura Fitton

BEST SYMBOLIC FILM

Guardian Angel

by Laura Fitton

BEST SMARTPHONE MOVIE

Paradox

by Robin Hunt

BEST INTERNATIONAL SCI-FI, BEST AMERICAN DIRECTOR, BEST INDIE PRODUCER & BEST CAST

Birthday Cake

by Eugenia Teller Ríos

BEST ORIGINAL STUDENT FILM

Chosen Family

by Dina Faye Gilmore

BEST TELEVISION SCRIPT & BEST LGBTQ+ SCRIPT

Magma

by Nicolas Maffre

BEST EUROPEAN MUSIC VIDEO & FANTASY SUPER SHORT FILM

Picture Me This

by Dean Morgan

BEST NO-DIALOGUE FILM

BayouTech

by Kathleen Renee Krenitsky

BEST EXPERIMENTAL ANIMATED SHORT & BEST STOP MOTION PROJECT

Your Choice

by Barbara Spevack

BEST ACTRESS & BEST INDIE SHORT FILM (Low Budget)

The Girl Made of Earth and Water

by Pamela PerryGoulardt

BEST INTERNATIONAL TRAILER

Broken Redemption

by David M Lewis

BEST INDIE NARRATIVE FEATURE & BEST AMERICAN INDIE PRODUCER

Artist’s Voices

by Alberto Nacci

BEST INTERNATIONAL DOCUMENTARY FEATURE

Los Angeles Flipside Fanzine the Narrative Documentary / Film. Epeisodion Two

by Hudley Flipside

BEST INTERNATIONAL DOCUMENTARY SHORT

Hearing Voices

by Debra Knox

BEST HORROR SHORT & BEST AMERICAN INDIE DIRECTOR

Fellini Mastorna…a film of no return

by Jennifer Glee Foley

BEST EXPERIMENTAL CINEMATOGRAPHY, BEST FANTASY SHORT & BEST ORIGINAL FILMMAKER

Love Is My Gun

by Valerie Verseau

BEST INDIE MUSIC VIDEO & BEST ORIGINAL SOUND DESIGN

Little Miss Sunshine

by Charli Brown

BEST AMERICAN DRAMA

Seasoning of the Soul

by Charli Brown

BEST INTERNATIONAL FIRST TIME DIRECTOR

Road 721

by Lucinda Luvaas

BEST ORIGINAL SOUNDTRACK & BEST ARTHOUSE INDIE DIRECTOR

Light me up / Five Lilies of the Vally / boy guitar

by Hiroaki Hirakata

BEST EXPERIMENTAL MUSIC VIDEO & BEST INSPIRATIONAL CINEMATOGRAPHY

Just an old fashion future / boy guitar

by Hiroaki Hirakata

BEST ANIMATED MUSIC VIDEO

Precious The Baby Dragon

by Dawn Menge

BEST BOOK/MANUSCRIPT

Paula’s Dad and the right button in his head

by Thomas Heinemann

BEST CHILDHOOD FILM

Vanishing Ventures: The Mystery Of The Missing Business Journal!

by Cicely Mitchell

BEST INDIE ANIMATED PROJECT

MARYAM OF TSYON – Cap III Assumpta est in Caelum

by Fabio Corsaro

BEST HISTORICAL NARRATIVE FEATURE, BEST RELIGIOUS FILM & BEST EUROPEAN SCREENPLAY

Heat and Love

by Michał Kucharski

BEST ARTHOUSE MUSIC VIDEO

Where’s the money?

by Adam Scarborough

BEST ORIGINAL COMEDY

Spring In Chigwell

by Adam Scarborough

BEST ARTHOUSE DOCUMENTARY SHORT & BEST EXPERIMENTAL EDITING

And There’s Someone

by Stefano Giannotti

BEST EUROPEAN MUSIC VIDEO & BEST INDIE SONG

Inviolable

by Devin Dugan

BEST ARTHOUSE SCREENPLAY & BEST INTERNATIONAL INDIE WRITER

No One Will Know Me

by Devin Dugan

BEST ROMANTIC COMEDY SCRIPT

The Pathos of Hamlet

by Sean Gregory Tansey

BEST POETRY FILM & BEST ARTHOUSE FILMMAKER

The Stones of Rome

by Sean Gregory Tansey

BEST INDIE NARRATIVE SHORT

Take 7

by Vishal Rajput & Scott Parisien

BEST PSYCHOLOGICAL THRILLER SCRIPT

Vale Road

by Glenda Cimino

BEST INTERNATIONAL HORROR SHORT FILM

Bog Meditation

by Glenda Cimino

BEST VIDEOPETRY & BEST ARTHOUSE DOCUMENTARY SHORT

The Brawl

by Mireille Fiévet

BEST INTERNATIONAL DRAMA SHORT & BEST EUROPEAN INDIE FILMMAKER

The Dead Ringer

by Suzanne Lutas

BEST ORIGINAL FEATURE SCRIPT

Emergency Musical Response: Part 1 – Journey to Netherworld

by Cosmo Swevens

BEST AMERICAN SOUNDTRACK & BEST INTERNATIONAL INDIE FILM

Nuce

by John Johnson

BEST WESTERN SHORT FILM

Dogma

by John Johnson

BEST EXPERIMENTAL DIRECTOR, BEST ORIGINAL EDITING, BEST ARTHOUSE CINEMATOGRAPHY & BEST AMERICAN INDIE PRODUCER

The G-Files

by John Johnson

BEST INTERNATIONAL DOCUMENTARY & BEST UNIVERSAL INDIE FILMMAKER

Ye Ole Glorya

by Jeffrey R. Kazanjian

BEST INTERNATIONAL COMEDY

Cycle of Pain

by Mikos Zavros

BEST INTERNATIONAL SHORT SCRIPT

Urban Eats MTL

by Ioannis Koutroubis

BEST INTERNATIONAL WEB/TV SERIES

Planetary Rebellion

by Fabrizio Fuochi

BEST ARTHOUSE SONG & BEST EUROPEAN MUSIC VIDEO

1955 march 5 A song for Carla

by Fabrizio Fuochi

BEST ORIGINAL SUPER SHORT FILM

The Tías mockumentary

by Grace Fraga

BEST INDIE COMEDY

Say My Name

by Rhoyce Nova

BEST INTERNATIONAL FIRST TIME DIRECTOR, BEST POETIC DRAMA, BEST ORIGINAL SCREENWRITER & BEST ARTHOUSE INDIE SHORT FILM

Fate’s Shadow: The Whole Story

by Michelle Arthur

BEST INTERNATIONAL INDIE FEATURE FILM, BEST ARTHOUSE PICTURE, BEST AMERICAN ACTRESS (Michelle Arthur – Eva) & BEST INDIE PRODUCTION COMPANY

A Pilgrimage Into Tibet

by Mark Gould

BEST HUMAN RIGHTS DOCUMENTARY & BEST DIRECTOR (Category Documentary)

Colombano & La 21esima Fetta

by Paolo Pier Luigi Guglielmetti

BEST EUROPEAN INDIE FILM & BEST ORIGINAL ARTHOUSE FILMMAKER

The game just got real

by Bellopropello

BEST ANIMATED SUPER SHORT FILM

Are you going to wait for the next one?!

by Emilio Guizzetti

BEST SOCIAL NARRATIVE SHORT & BEST ARTHOUSE SUPER SHORT FILM

Antiquarius

by Jacek Krawczyk

BEST EXPERIMENTAL FILMMAKER, BEST INSPIRATIONAL SHORT & BEST DIRECTOR (Category: Original Short Film)

Red Faust

by Zsolt Pozsgai

BEST INTERNATIONAL FILM & BEST EUROPEAN SCREENPLAY

Lies of war

by Gerald Zinnegger

BEST EUROPEAN MUSIC VIDEO

Errata in blue

by Karin Balog

BEST INTERNATIONAL ART FILM

La tête dans les étoiles

by Timo Paris

BEST ORIGINAL DANCE FILM & BEST INTERNATIONAL ARTHOUSE DIRECTOR

Omnipotent Resolution

by Uniqueness

BEST INTERNATIONAL SONG, BEST POETRY MUSIC VIDEO, BEST ORIGINAL SOUND DESIGN & BEST INDIE SINGER

The Adventures Of C.J.

by Gaby Day

BEST INTERNATIONAL PILOT TV & BEST DRAMEDY SCRIPT

Cybernetic Genesis – La guerra tra i due mondi

by Anna Morelli

BEST EUROPEAN ACTION MOVIE & BEST FANTASY SCREENPLAY

Wave Man

by Anna Morelli

BEST ARTHOUSE SCREENWRITER

I Am God

by Brooklynn Winters & Virginia Torres

BEST AMERICAN DRAMA & BEST SCREENPLAY SHORT

Soul

by I-Jien Jane Kou

BEST FANTASY SHORT FILM, BEST INSPIRATIONAL DIRECTOR & BEST ORIGINAL EDITING

Halloween (Rabbit Well Episode 6)

by I-Jien Jane Kou

BEST ANIMATED NARRATIVE SHORT & BEST INTERNATIONAL ORIGINAL COMEDY

Entangled

by Damiano Rossi

BEST POETRY SHORT FILM & BEST EUROPEAN INDIE FILMMAKER

Synesthesya

by Gianni Salamone & Marzio Benelli

BEST INTERNATIONAL UNDERGROUNG MUSIC VIDEO

I Swear *

by Nathan Hey

BEST DIRECTOR (Category: Music Video) & BEST PRODUCER

Searching for Camelot: The Quest

by Roger Paradiso

BEST DIRECTOR (Category: Narrative Feature)

Soul of the Ocean (Her Heartbeat)

by TerryLee WHETSTONe

BEST ARTHOUSE DOCUMENTARY SHORT

Examining Eloise – a case study in mental illness and demonic influence

by Delores Flynn Flynn & Jeffrey Checker

BEST ORIGINAL HORROR SHORT & BEST INDIE CINEMATOGRAPHER

Michelangelo and Me

by Colleen Fuglaar

BEST INTERNATIONAL ROMANTIC COMEDY & BEST AMERICAN PILOT TV

In a Whole New Way

by Jonathan Fisher

BEST HUMAN RIGHTS DOCUMENTARY SHORT & BEST AMERICAN FIRST TIME DIRECTOR

Sign – “I’m waiting for you”

by Riccardo Santoro

BEST INDIE MUSIC VIDEO

Atlas Of Uncertainty (7’15”)

by Massimo Vito Avantaggiato

BEST VIRTUAL REALITY, BEST INDIE DIRECTOR & BEST INTERNATIONAL SOUND DESIGN

Free Birds

by Olaf Lenz

BEST POETRY FILM & BEST INTERNATIONAL EXPERIMENTAL VIDEO

The Beloved Universe of Filmmaker

by Goran Ajtič

BEST ARTHOUSE CINEMATOGRAPHY & BEST INSPIRATIONAL SHORT FILM

The Conspiracy

by Goran Ajtič

BEST THRILLER SHORT

Shenanigans Pilot

by Breanne Nicole Wilson

BEST ORIGINAL AMERICAN WRITER & BEST TELEVISION SCRIPT

Office Chatter

by Breanne Nicole Wilson

BEST INTERNATIONAL COMEDY, BEST AMERICAN FIRST TIME DIRECTOR & BEST CAST

The Dancing Spies @Goddess – Novel Manuscript

by Francis Billingsley

BEST INTERNATIONAL BOOK

Ragzi & The Danseuse

by Kevin Michael Irvine

BEST ARTHOUSE FEATURE SCRIPT & BEST INTERNATIONAL ORIGINAL WRITER

Drag Queens Of Emeralis

by Kevin Michael Irvine

BEST INDIE SCREENWRITER

Late Sleeper

by Peter Morris Hardy

BEST INTERNATIONAL FIRST TIME FILMMAKER & BEST ORIGINAL CINEMATOGRAPHER

Nocturnal

by Peter Morris Hardy

BEST AMERICAN SCREENPLAY

Veil

by Peter Morris Hardy

BEST ORIGINAL SHORT SCRIPT

Noi Crusaders – 30 years of american football in Sardinia

by Stefano Sernagiotto

BEST INTERNATIONAL INDIE DUCUMENTARY

Luzinete

by Carla Di Bonito

BEST DIRECTOR (Category Indie Narrative Short), BEST ORIGINAL SCREENWRITER, BEST SUPPORTING ACTRESS & BEST ARTHOUSE CINEMATOGRAPHY

Dreaming Vincent

by Christian Candido

BEST ART FILM, BEST INTERNATIONAL INDIE PRODUCER, BEST EUROPEAN FILMMAKER & BEST EUROPEAN CAST

Universe Beyond Time

by Joel Barkley

BEST ANIMATED EXPERIMENTAL SHORT FILM

Virtuality

by Marta Torres

BEST EXPERIMENTAL INDIE SHORT FILM

Divide and plunder

by Marta Torres

BEST INDIE SCREENPLAY SHORT

Giulietta e Romeo?

by Vanessa Cremaschi

BEST INTERNATIONAL NARRATIVE SHORT, BEST EUROPEAN FIRST TIME DIRECTOR & BEST INDIE PRODUCTION COMPANY

Windows of a Lonesome Chaos

by Jeff Riley Kazanjian

BEST PSYCHOLOGICAL DRAMA SCRIPT

The Hollywood’ll Eat

by Jeffrey Riley Kazanjian

BEST AMERICAN SHORT SCRIPT

Man in a Can

by Henk Pringels

BEST POETRY ANIMATED PROJECT

Ritual For a Little Dead Bird

by Margreet Kramer

BEST ORIGINAL FILMMAKER & BEST EUROPEAN EXPERIMENTAL FILM

Hard Times In The Deep South

by Rick Revel & Kevin Kehl

BEST INDIE AMERICAN MUSIC VIDEO & BEST ARTHOUSE SONG

Master Speesa!

by Rosie Malek-Yonan & Monica Malek-Yonan

BEST INTERNATIONAL FEATURE SCRIPT & BEST ORIGINAL WRITER

Cats and Husbands

by Grace Samson & Barry Samson

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

Cozy Eurekas

by Marco Felipe Rossi

BEST INTERNATIONAL YOUNG FILMMAKER

Tangled Tails

by Oleg Condrea

BEST EUROPEAN SCREENWRITER, BEST DRAMA SCRIPT & BEST INTERNATIONAL ORIGINAL IDEA

EarthLove

by Felicia Konrad & Johan Haugen

BEST POETIC DANCE FILM & BEST INTERNATIONAL ARTHOUSE MUSIC VIDEO

Rhymes With Crump

by John Johnson

BEST INTERNATIONAL SUPER SHORT FILM, BEST ARTHOUSE CINEMATOGRAPHY & BEST ORIGINAL INDIE FILMMAKER

Essence On Time Frames

by Luis Dias

BEST INTERNATIONAL THRILLER SHORT & BEST SUSPENSE

All You Can Carry

by Max Orkis

BEST AMERICAN SCEENPLAY SHORT

Normal Thoughts From A Strange Mind: Volume I

by L. S. Strange

BEST SCI-FI SCRIPT, BEST INTERNATIONAL HORROR SCRIPT & BEST THRILLER SCRIPT

Appointment with The Plague Doctor, Lester Haywood

by L. S. Strange

BEST ORIGINAL FIRST TIME DIRECTOR, BEST HORROR SHORT, BEST TRAILER & BEST CINEMATOGRAPHER (Category: Narrative Short)

Forever Love

by Mariano Tamburrini

BEST ITALIAN NARRATIVE SHORT

Ciccillo

by Mariano Tamburrini

BEST EUROPEAN INDIE PRODUCER & BEST ORIGINAL SCREENPLAY SHORT

The Running Man 2020

by Jonas Grimas

BEST ORIGINAL COMEDY

Championship Season

by James Anthony McElligott

BEST INTERNATIONAL DOCUMENTARY FEATURE, BEST INDIE DIRECTOR & BEST ARTHOUSE PRODUCER

Krazy Dead

by Horatio Tihanyi & Dawn Nargi

BEST INTERNATIONAL FEATURE SCRIPT & BEST ORIGINAL SCREENPLAY

Double Identity

by Chris Nightshaid

BEST INTERNATIONAL LGBTQ+ FILM

The Village V: The Orphanage

by Isaac Lawrence

BEST INDIE DIRECTOR

Roses are Blind

by Gui Agustini

BEST ORIGINAL SCORE, BEST AMERICAN ACTOR & BEST ORIGINAL THRILLER SHORT

Reawakened

by Denise Georgina Dowdell-Stent

BEST ORIGINAL BOOK

Eternal

by Denise Georgina Dowdell-Stent

BEST INTERNATIONAL WRITER

The Blanket

by Susanna Donau

BEST EUROPEAN SUPER SHORT & BEST EXPERIMENTAL ANIMATION

Aspettando La Rivoluzione – I primi due episodi

by Francesco Niglio

BEST INTERNATIONAL YOUNG DIRECTOR, BEST INDIE CINEMATOGRAPHER & BEST ORIGINAL PROJECT

The Screecher

BEST ORIGINAL SCREENPLAY

Please Help Me Forgive

BEST ARTHOUSE SONG, BEST INTERNATIONAL SINGER & BEST INDIE MUSIC VIDEO

4 ESTAÇÕES

BEST POETRY SHORT FILM & BEST INTERNATIONAL CINEMATOGRAPHY

Nuce

BEST ORIGINAL ARTHOUSE ANIMATED SHORT FILM

Apples, Oranges, Lemons & Limes

BEST ARTHOUSE DRAMA, BEST AMERICAN SCREENWRITER, BEST THRILLER & BEST AMERICAN DIRECTOR

Cats and Husbands

BEST AMERICAN SHORT FILM & BEST ARTHOUSE FILMMAKER

Fate’s Shadow

BEST INTERNATIONAL INDIE NARRATIVE SHORT, BEST PRODUCER, BEST AMERICAN CINEMATOGRAPHER, BEST INDIE DIRECTOR & BEST ACTRESS

Fate’s Shadow: The Whole Story

BEST INDIE NARRATIVE FEATURE, BEST INTERNATIONAL VIDEOPOETRY, BEST SOUND DESIGN, BEST MAKE-UP, BEST CAST & BEST ORIGINAL SCORE

Cozy Eurekas

BEST INTERNATIONAL SHORT FILM, BEST SCREENPLAY SHORT, BEST INDIE PRODUCER & BEST ORIGINAL FILMMAKER

Synesthesya

BEST ORIGINAL MUSIC VIDEO

Dojo

BEST INTERNATIONAL THRILLER, BEST ORIGINAL DIRECTOR, BEST INDIE PRODUCTION COMPANY, BEST ORIGINAL IDEA & BEST ACTION MOVIE

Farewell Dreams

BEST INTERNATIONAL EXPERIMENTAL FILM

Hoplove – a journey through the hop year at Lake Constance

BEST ARTHOUSE DOCUMENTARY SHORT & BEST SOUND DESIGN

The Edge – Episode One “Into The Past”

BEST PILOT TV

Darker Realities

BEST INTERNATIONAL FEATURE SCRIPT

La Belle Dame Sans Merci

BEST ORIGINAL NARRATIVE FEATURE FILM

Ash Silent Depression

BEST ARTHOUSE AMERICAN DOCUMENTARY

Virulence

BEST ACTION SCRIPT & BEST INTERNATIONAL WRITER

500 Meters Beeline

BEST ORIGINAL WEB/TV SERIES & BEST EUROPEAN DOCUMENTARY

PAULA’S DAD and the right button in his head

BEST CHILDHOOD FILM

Nuce

BEST STOP MOTION FILM

Dogma

BEST ANIMATED SHORT FILM

Last Sunrise

BEST INTERNATIONAL SCI-FI

Monument to Love

BEST INDIE DIRECTOR & BEST HUMAN RIGHTS DOCUMENTARY

The way women are

BEST THRILLER SHORT

L’amour est temps de reflets

BEST INTERNATIONAL VIDEOPOETRY & BEST INDIE SHORT (Low Budget)

The Hourglass

BEST ORIGINAL FANTASY, BEST INTERNATIONAL DRAMA, BEST INDIE FILMMAKER & BEST CAST

Amen-Amen-Amen: A Story of Our Times

BEST EDUCATIONAL FILM, BEST CINEMATOGRAPHY, BEST DOCUMENTARY FEATURE & BEST FIRST TIME DIRECTOR

Bigger Dolls

BEST ACTRESS

Lulu 2022

BEST ARTHOUSE DIRECTOR

Covid Bach

BEST POETRY ANIMATED FILM

Picture Me This

BEST NO-DIALOGUE FILM

Take This Faux Turkey and Shove It!

BEST INTERNATIONAL SHORT SCRIPT

Lizzy’s Plan: 3 Peas in a Podcast

BEST ORIGINAL COMEDY, BEST AMERICAN INDIE FILMMAKER, BEST AMERICAN FILMMAKER & BEST INDIE PRODUCER

Toska

BEST INTERNATIONAL YOUNG DIRECTOR

Tangled Tails

BEST INTERNATIONAL SCREENWRITER & BEST ORIGINAL SCREENPLAY

Shadow Fist 3 “THE FINAL CHAPTER”

BEST INDIE ACTION FILM

Blackout

BEST AMERICAN THRILLER

Lurid Woman

BEST STUDENT HORROR SHORT

Planetary Rebellion

BEST EUROPEAN INDIE ORIGINAL SONG & BEST ARTHOUSE MUSIC VIDEO

1955 march 5 A song for Carla

BEST INDIE SUPER SHORT FILM

Am I a painter?/ Czy jestem malarzem?

BEST EUROPEAN ANIMATED SHORT

I Swear *

BEST ORIGINAL MUSIC VIDEO

Winter Bird

BEST AMERICAN ORIGINAL SCREENPLAY

Michael Malott’s Bed of Nails

BEST ARTHOUSE HORROR & BEST INTERNATIONAL ORIGINAL SCORE

No Mas

BEST ARTHOUSE AMERICAN SHORT FILM & BEST INDIE ACTOR

The Righteous

BEST ORIGINAL SUPER SHORT FILM & BEST ORIGINAL ACTING

I wish i was human

BEST INDIE SHORT FILM (Low Budget) & BEST FILMMAKER (Category: Narrative Short)

In Search Of A P-I-G

BEST ORIGINAL COMEDY, BEST DIRECTOR (Category: SCI-FI), BEST CAST & BEST INDIE PRODUCER

The Second Coming

BEST AMERICAN SCREENWRITER, BEST AMERICAN COMEDY, BEST EDITING & BEST DIRECTOR (Category: SCI-FI)

Terror in Toulouse: Has the Community Recovered?

BEST ORIGINAL DOCUMENTARY SHORT

Appointment with The Plague Doctor, Lester Haywood

BEST HORROR SHORT & BEST TRAILER

George Hobbs: Stick Figure Wisdom

BEST ARTHOUSE DOCUMENTARY FEATURE

You’re Safe With Me

BEST INDIE MUSIC VIDEO & BEST INTERNATIONAL SONG

Bimbizangan Movie: The Musical

BEST CINEMATOGRAPHY & BEST INDIE SHORT FILM

Casting Film Youssef Shaheen

BEST INDIE DIRECTOR

Bad Love Tigers

BEST FAN FILM, BEST TELEVISION SCRIPT, BEST ORIGINAL FEATURE SCRIPT, BEST SCI-FI SCRIPT & BEST ACTION SCRIPT

Precious The Baby Dragon

BEST ORIGINAL BOOK

Anything You Lose

BEST AMERICAN DOCUMENTARY FEATURE

THE GHOST SCREENWRITER ( The Hero With A Thousand Faces)

BEST ARTHOUSE FEATURE SCRIPT

Mercy

BEST EUROPEAN WRITER

Take a trip

BEST INDIE DOCUMENTARY SHORT

Heart to Heart

BEST EUROPEAN ORIGINAL SONG

VENUS.IA

BEST ORIGINAL EXPERIMENTAL FILM

The Stranger In Our Bed

BEST INTERNATIONAL SCREENPLAY

The House of Killers

BEST ORIGINAL MANUSCRIPT

Lines

BEST INSPIRATIONAL MUSIC VIDEO

Searching for Camelot

BEST AMERICAN FILMMAKER

Spike Game

BEST INDIE EUROPEAN DIRECTOR

Street 105

BEST ORIGINAL INDIE SHORT MOVIE, BEST CAST, BEST ORIGINAL CINEMATOGRAPHY & BEST CINEMATOGRAPHER

The Beloved Universe of Filmmaker

BEST INTERNATIONAL THRILLER SHORT

The Asifa Bano Story

BEST INTERNATIONAL DIRECTOR, BEST SCREENPLAY SHORT, BEST INDIE PRODUCTION COMPANY & BEST ORIGINAL EDITING

Double Identity

BEST LGBTQ+ FILM

Life’s Mapped Out

BEST DIRECTOR (Category: Indie Short Film)

Bitter Brownies

BEST AMERICAN NARRATIVE SHORT

RAGZI & THE DANSEUSE

BEST ORIGINAL WRITER & BEST ARTHOUSE FEATURE SCRIPT

Red Knots

BEST ORIGINAL DOCUMENTARY SHORT

Masterjam

BEST AMERICAN DOCUMENTARY FEATURE

Westbound

BEST NARRATIVE SHORT

Marzipan

BEST SOCIAL DRAMA SCRIPT & BEST EUROPEAN FEATURE SCRIPT

No Porn Avocado

BEST ARTHOUSE INDIE SHORT FILM (Low Budget)

Superheroes

BEST ORIGINAL NARRATIVE SHORT

Hot Afternoons Have Been in Montana

BEST INDIE INSPIRATIONAL FILM

Flames of Love

BEST POSTER MOVIE & BEST AMERICAN SHORT SCRIPT

Poetry Against the End of the World

BEST INTERNATIONAL ORIGINAL SCORE & BEST EXPERIMENTAL FILMMAKER

Detective Stories

BEST BLACK & WHITE FILM

Richard Spong

BEST ORIGINAL FEATURE SCRIPT

4 Estações

BEST EUROPEAN DIRECTOR, BEST SCREENPLAY SHORT, BEST INDIE NARRATIVE SHORT & BEST ARTHOUSE IDEA

Michael Malott’s Bed of Nails

BEST AMERICAN FIRST TIME DIRECTOR

 Invitation To My Own Assassination

BEST DARK COMEDY SCRIPT

Chasing the Dead Requiem

BEST ORIGINAL INSPIRATIONAL FILM

Blind Truth

BEST INTERNATIONAL THRILLER & BEST AMERICAN FIRST TIME DIRECTOR

The Veil

BEST INTERNATIONAL SUPER SHORT FILM

BayouTech

BEST SCI-FI & BEST STOP MOTION

Man in a Can

BEST ARTHOUSE ANIMATED SHORT FILM

Don’t Let Your Heart Be Troubled

BEST AMERICAN INDIE MUSIC VIDEO

Cancun

BEST INTERNATIONAL DOCUMENTARY FEATURE

Gamers Nightmare

BEST EUROPEAN SUPER SHORT FILM

Under Desert

BEST EXPERIMENTAL DIRECTOR

Niki Pilic- The Legend

BEST SPORT FILM & BEST EUROPEAN DOCUMENTARY FEATURE

Taste: Carrots and Sticks

BEST SOCIAL DOCUMENTARY FEATURE & BEST INTERNATIONAL DIRECTOR (Category: Documentary)

Tom and Luce

BEST EUROPEAN DRAMA

Eastern Fitness

BEST EUROPEAN COMEDY

“Staycation” Teaser Trailer

BEST INTERNATIONAL TRAILER

13 Driver’s Licenses

BEST EUROPEAN DOCUMENTARY SHORT

An Ever After Drama

BEST ORIGINAL ACTRESS, BEST ARTHOUSE INDIE NARRATIVE SHORT (Low Budget) & BEST AMERICAN COMEDY

Whispers of Love

BEST INTERNATIONAL INDIE FEATURE SCRIPT

The Wedding Bouquet

BEST ORIGINAL ROMANTIC COMEDY SCRIPT

Orphic Laments

BEST ORIGINAL CHOREOGRAPHY

Etrange Global

BEST ART SHORT FILM

Is He Cheating?

BEST LGBTQ FILM

Alta California

BEST INTERNATIONAL ORIGINAL SCREENPLAY

Giulietta e Romeo?

BEST EUROPEAN SUPER SHORT FILM, BEST ORIGINAL INDIE DIRECTOR, BEST ORIGINAL IDEA & BEST ARTHOUSE SCREENPLAY SHORT

The Dead Ringer

BEST INDIE FEATURE SCRIPT

The Pathos of Hamlet

BEST ORIGINAL INDIE FILMMAKER

The Stones of Rome

BEST ARTHOUSE NARRATIVE SHORT

MIN

BEST AMERICAN SUPER SHORT FILM

Master Speesa!

BEST INTERNATIONAL FEATURE SCRIPT

The Film

BEST ARTHOUSE DIRECTOR

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True Friend

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Star Dance

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Omnipotent Resolution

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Leo’s Whiskey Bar

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The Dancing Spies @Goddess – NOVEL manuscript

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The Last Target

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Appearances

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Somebody’s Someone

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Nocturnal

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Veil

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Scrupus

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Soul

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#Filmcontext visualization 3

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Los Aspirantes -The Applicants-

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Tom and Luce

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IF YOU LIKE HERE YOU CAN ORDER YOUR TROPHY: Wild Filmmaker Festival

-How was your project title ‘The Panharmonion Chronicles’ born?

The title of my graphic novel and music video is made of three parts. The first one is “The Panharmonion”. I’ve imagined that this could be a harmonic frequency that contains the fundamental “code” of our reality. This frequency could be accessible by some humans, under rare circumstances and expressed through a musical score, which then could be shared with everyone on the planet.

“Chronicles” is from the Greek word “Khronika”. It usually refers to the record of past events, real or imagined. As stories are usually produced by “cause” and “effect” I’m wondering whether there could be circumstances where causality could be reversed. It’s a complicated mental exercise but fascinating on a creative and philosophical level.

“Times of London” is a play on words. This refers directly both to my fiction story and to official history. When we talk about London, we usually assume that it is the city, capital of England. But there is another “London” located in Ontario, Canada. It is also a city with a river called Thames, located between Detroit and Toronto. The city and the river were named in 18th century by British general John Graves Simcoe, as a statement to claim Canada as a colony. In my novel, I postulate an alternative history where events are changed in the 19th century and therefore in the 21st century, with surprising results. Because history in my story is changed by the actions of the protagonist, we follow an audio-visual narrative that blends technology, fiction, and reality into an aesthetic style that I call “Electro-Steampunk”.

-What goal do you dream of achieving?

The Panharmonion Chronicles is a long-term project. I started writing the story five years ago and more than 2000 pages later, I’m still writing. There is a main story arc covering 160 years with many branches into the past and the future. Each branch can be developed with specific characters, locations, and events. The first story “Times of London” is now out as a 200 page graphic novel. The second one, “Ghosts of Sound”, is being illustrated now and will be published early 2025.

In the meantime, I’m polishing a script for a pilot and an outline for an eight-part TV show, for which I’ve started creating a library of visual assets for props and set design. I’ve also written a few songs and electronic music tracks to create a particular soundscape for the story. In future, through my production studio Supanova Media, I want to collaborate with other international professionals to develop the multiple strands of this fictional world in as many media as possible, including games, animation, feature films and live performances.

Ultimately, I want “The Panharmonion Chronicles” to fund a charitable platform to sponsor literacy and education in art and science, across the world, especially for disadvantaged demographics.

-)What inspired you to create your project?

It’s an idea that had been evolving over 10 years. It first started to form after I visited Toronto and Montreal several times. The two cities are relatively close geographically but are culturally two worlds apart. I was intrigued enough to start researching the history of Eastern Canada and what I found was a complex web of colonial conflicts over centuries juxtaposing the actions of Britain, France and the USA which were conflated with immigrants from all over the world and with a large diversity of First Nations indigenous people. So, I started writing a novel based on that, when separately, as an interior designer, I was also working on the development of several Victorian houses in the borough of Camden, London. The idea was to create a boutique hotel based on an alternative history of Scotland. As we were digging the basement I found a strange artefact and could not find any explanation or references for it in the British Library. So, I decided to create my own origin story and connected the object to a new plot in my existing novel, which became a time-travel mystery thriller.

Then, because the main protagonist of my novel is a music composer, I thought it would be interesting to write songs and produce music related to The Panharmonion Chronicles and start filming music videos. The first video is a synthesis of many arts coming together, what in German is called “Gesamtkuntswerk”. I’m the writer, director, producer, editor, actor, set designer, sound, special effects and props designer. You could say it’s the ultimate indie microfilm, but also it’s much more than a music video: it’s a teaser and “proof of concept” to give a flavour of what a future film or TV show might look like.

-Which awards have your project won?

The music video is still going around the festivals, having been selected by many. So far, it has won “Best Music Video” from “8 & HalFilm Award”, “International Gold Awards”, “London Movie Awards”, “Milan Gold Awards”, “4 Theatre Selection” and “Cine Paris Film Festival”. It also won “Best Sci-Fi short” at the “Florence Film Awards” and “Best Production” at the “Europe Music Video Awards”, “4 Theatre Selection”, and “Cine Paris Film Festival”.

-Who is William R.A. Rush?

That’s a question I am still trying to answer. I have been a trial attorney for nearly twenty years. I have education backgrounds in law, eastern philosophy, psychology, creative writing and journalism. I have three daughters; Victoria, Mary and Adriana. I have an incredibly talented and supportive wife, Xxena N. Rush. All of these life experiences professionally, educationally, as a husband and father, have shaped my filmmaking. I started shooting my first short film, the Stephen King adaptation for “One for the Road” in late 2022. I hope, if I continue to work hard and improve my craft, that I can simply answer this question as follows: I am a husband, father and filmmaker.

-What inspired you to become a Filmmaker?

It was always a dream, it seems. My first theatrical experience was a second run showing of E.T. sometime in 1985, when I was around four years old. I was absolutely captivated, entranced. I found myself lost in the world of E.T. I was roughly the same age as Gertie, played so perfectly by Drew Barrymore. There was this girl, my age, and she as running around in a troubled family, caught up in the magic of hope. I was caught up in that magic as well. The first time I saw the art of film, the complex innerworkings that created the final work caught my eye. I began to see film very differently. Other films began to force me to look beyond the picture to how it was made. “Jurassic Park”, “The Departed”, “The Matrix”, “Inception”, “Amelie”, “Wild Tales” and, in particular, “Mulholland Drive” were primary examples of this immersion into the world of what goes on behind the scenes. It became a fascination. Once the pandemic hit, I started watching the films I’d always wanted to experience. With every film, this passion to know, to learn, to do, grew stronger. Finally, episode 5 of Mike Flanagan’s “The Haunting of Hill House” solidified it for me. I decided it was “now or never”. My wife, Xxena N. Rush (magnificent producer) encouraged me. In fact, Mike Flanagan himself encouraged me. I reached out to Stephen King’s office and requested the rights to “One For the Road”, pitching my ideas for it. Less than two days later I had a written contract. I had one year to write, cast, direct, edit and finalize the film. I did it, and it was pretty good.

In the back of my head I knew I could do better, I knew I had a better film in me. I had been writing “Group”, I finished it in short order. I wrote three additional features in 2024. I finished “Group”, shot “Immersion” and am scheduled to shoot “Fetish” in September. I truly believe every film I ever enjoyed planted a blossoming seed into my mind that fueled this desire in me. All I want to do is be a good husband, a good father, and make films. That is how I became, and hopefully shall remain, a filmmaker.

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

It’s the naïve answer, but I do. Art is important. I see finished cinema as an artistic nirvana. This applies to any film, even those people deride or that are unsuccessful. In order to get from an idea to a film, so many artistic disciplines and masters must work together, somehow. You must have, as the foundation, a compelling story that’s understandable or interesting to a random reader. That story must be written in the language of cinema. You then need the organizational “big picture” thinking of producers to see the possibilities from the story. Acting is a very specific craft that I certainly have no skills in. But it’s a craft I admire beyond words. It’s magic to me. Just look to Marcello Mastroianni and you’ll see how I try (quite inadequately) to carry myself, the style I choose professionally. The ability of a performer to make you cry with words and the expression of emotion. It’s a glorious and beautiful calling. Set designers are part-architects, part-painters, part-concept artists, often a combination thereof. These people create worlds. It’s a spectacular fete. If you look at any Tarkovsky, Kubrick, Wes Anderson or Ken Russell film you get a glimpse into a world that is viscerally real. Months or years after seeing these films, you remember the fictional places as though you’ve visited them. Your sound mixers have the ears of the masses. They can listen to everything, background noises, creaks, the soft hum of an air conditioner, but what they hear and what they capture is incredible. They know how the film should sound in front of a large audience a year from now. Michael Competielle, or sound man, seems to hear the film from the best seat in a theater as we’re filming. The director of photography, in my case the great Michael Joseph Murray, is a photographer who can capture and properly light the equivalent of 86,400 photographs per hour of footage recorded. I can visualize something, write it, describe it, and this genius can look around a room, whatever the natural weather or external factors, and use light and camera to make the vision reality. The first assistant and second assistant camera can make any place become anything you want. It’s remarkable. Instagram filters take something real and make it seem fake. Cinematographers make something entirely manufactured and make it appear more real than your own living room. Costume designers not only bring the beauty and style to the characters, but also work to make the actors comfortable physically and emotionally. All of their work and skill shines through in the final film.

The editors take these raw, often disordered pieces and make them a cognizable whole. Miranda Jean Larson and Bradley Shupinski are my editing superheroes. Whatever we are able to do on set, however good, is but a chunk of marble before they complete. Even if all of the above is done to perfection…and everyone involved always strives for perfection…it lacks a soul until a great composer paints a symphony over it. I honestly don’t know what I’d do without Gary Mutch. He gives the film it’s soul. His scores and sound design evoke emotion, they resonate with the unconscious sensations borne of memory and experience in each viewer. Without music and sound a visual masterpiece like “2001: A Space Odyssey” would fail to stir the viewer. It’s all but impossible to think of Steven Spielberg without thinking of John Williams, or Tim Burton without Danny Elfman. Musical composition is a similarly involved product made of many brilliant artists bringing their specialties to the studio and creating a singular piece. I cannot help but think of Brian Wilson overseeing the “Pet Sounds” sessions. Finally, a director must be able to adopt the story into a vision, express that vision clearly to all involved, and organize the various artistic factions together to captain the brilliant collective toward the destination of completed work. It’s an incredible amalgamation of individuals with different artistic mastery, at the top of their craft, working together to create a singular piece. It’s art that can only exist through the collective and collaborate works of many great artists, each at the height of their creative strengths. Honest human emotion allows the viewer to escape. Art is mean to designed to remove you from reality during the time you consume it. So I believe cinema can, does, and has changed society. I am certain it will continue to do so, hopefully for the better.

-What would you change in the world?

Access to healthcare, proper healthcare, for everyone that needs it. This would include mental health care. My film, “Group”, has a very strong statement about that very concern weaved in throughout. Many people work very hard, often through tremendous pain, often in invisible professions. Those people are one injury away – often caused by their job, often caused by someone else – from becoming impoverished and desperate. Mental health is stigmatized. To live in a world where a life-saving mental health diagnosis could result in the patient being ostracized or professionally ruined is the ultimate Catch-22. Someone can either seek treatment to get the help needed to manage the condition and consequently suffer serious personal, financial and professional consequences, or they can avoid treatment altogether and suffer. That’s not any kind of life as I understand it. That’s hell. Healthcare for all, without financial harm or societal prejudices, is what I would give the world if I could change one thing. I think many other related (and seemingly unrelated) problems would be solved if this wish were to come true.

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

Technological advancements, whether 100 years in the past or the future, do not make or define the course of cinema. It’s the filmmakers who use the technology to create their visions that define the course of cinema. I believe that will always be the case. I am certain Artificial Intelligence programs and software will become more prevalent. Indeed, some film festivals are already offering submissions under such categories. There is tremendous fear in the industry over A.I.’s growing presence and influence as well. This will likely go on for a while. Some proponents of A.I. have likened the critiques of A.I.-driven film to those stars of the silent era who railed against talkies. I find this comparison spurious at best. The stars of that era were concerned about being replaced by stars in a different forum, more for fear it would fail or undermine the art than anything else. Of course, it elevated the artform.

The difference in effect between films with sound, or the advent of colorization and the like and the current “threat” from A.I. is apples and oranges. A.I. can make something visually stunning, maybe it can approximate emotional resonance. But it lacks, and will always lack, the soul needed for film to be film. It will lack the element that makes it timeless. It will never escape the uncanny valley. Soul is what feeds a film and makes it feel real. If you take it away…and A.I. largely does take it away…the husk that remains, however beautiful, will have an element of the uncanny that will be unappealing.

No computer program or app can ever create what visionaries like Bergman, Fellini, Varda, Argento, Ducournau, Cronenberg, Jordan Peele or David Lynch can bring to life. This is because they have lived. Part of the filmmaker resides inside the films they create like a beating heart. Audiences feel that humanity reaching out through the screen. A computer program is lifeless, soulless, robotic, algorithmic… Audiences don’t feel algorithms or binary code. It’s not part of living. It’s not part of the human experience. The movie industry’s recovery from the pandemic has shown that people long for great cinema. Audiences will be there to embrace it, to escape into it.

-Who is Sofia Mavrou?

I am an independent filmmaker and actress with no formal training in filmmaking and acting. I love the art of film as it is a very powerful means of communication.  It can convey messages and emotions through images, music, movements, lighting and camera angles. ”An Impossible Secret” was my directorial debut and I thoroughly enjoyed the process of writing the story and then bringing it to life. I read books about filmmaking and script writing in the past but through the process of writing and directing my own film I learned so much more. It has been an amazing experience for me and it has given me the encouragement to carry on with my next film. 

I studied Primary Education and Psychology at University which helped me develop skills that are very useful for screenwriting and filmmaking such as writing, analytical and communication skills, problem solving and teamwork. Also understanding human behaviour and the underlying causes of our actions is very important when you create your story and characters for a film.

-What inspired you to become a Filmmaker?

I have worked as a careers adviser for the last 15 years in high schools and although I enjoy my job and the interaction with young people I felt that I needed a hobby to channel my creativity. As a child I loved reading and watching films. In primary school I started writing my own stories and some of them were read in class but I never had the confidence to take part in any competitions. I loved going to the cinema as a child and always thought how wonderful would be to create your own story and then turn it into a film. However as filmmaking has always been a hard industry to break through I chose instead to go into teaching.

Last year I decided to write my own story and turn it into a film. My inspiration came from an Italian family friend. Her dad was an Italian prisoner of war who came to Wales to work on farms during the Second World War. ”An Impossible Secret” is my first film.  It took me a long time to gather the courage to get my story out there as I had to first learn how to turn my story into a screenplay. I am very lucky as I had very supportive cast and crew members that helped me bring my story to life. 

As there is a lack of female filmmakers I think it is important to break those barriers such as gender discrimination and stereotyping in a male dominated industry. Female filmmakers are not only interested in women’s stories. They can make movies about any matters that they feel are important to be addressed.

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

Cinema is a powerful means of communication as it combines music, art, theatre. It can give the audience an unforgettable experience by immersing them into a world of strong visuals, emotive music and performances. Cinematic films can bring a  positive change in the society as they can convey messages and emotions and get the audience to start reflecting on their life, beliefs and feelings. 

Cinema can change the world for the better by touching us on a deep, emotional level and inspiring us to take action. We all remember those films that had a significant impact on us because we connected with them on an emotional level. We will never forget how a film made us feel whether it was a tale of triumph over adversity or a tough exploration of social issues. Cinema can also push boundaries and challenge what is considered acceptable in society. Some films may do this in a more subtle way and get the audience to reflect on their own prejudices and beliefs. I strongly believe that cinema has the power to challenge social norms, question current attitudes and therefore promote a more inclusive and diverse society.

-What would you change in the world?

I would prefer for the world to be more inclusive and diverse. No stereotypes such as gender, race, age, nationality, religion, social class as they do lead to inequalities in society. For example gender stereotyping feeds into gender discrimination. Gender stereotyping can limit the development of natural talents of boys and girls and limit their educational and life opportunities. I also wish the world would value personal happiness over materialism, integrity over dishonesty, altruism over selfishness, kindness over ruthlessness.

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

We all know that artificial intelligence is here to stay and it will also have an impact on filmmaking. AI is opening up new possibilities in film production processes. It is a development that I am still not sure where it will take us in the film industry. For example suggestions have been made to use algorithms to replace human imagination in scriptwriting, performance and the creation of moving images.

The SAG-AFTRA strike in Hollywood last year showed us that artificial intelligence could be a serious threat for everyone involved in the film industry including actors, screenwriters, visual effect artists. Union members expressed concerns about how artificial intelligence could exploit performers by using their likeness without fair compensation. The real threat is that many professionals in the film industry including actors, writers and visual effect artists could be replaced by AI within the next couple of decades. However the positive potential of AI cannot be ignored. It could make filmmaking accessible to more people. Aspiring filmmakers could potentially create their own films just by using their smartphones and artificial intelligence technology. There is also the argument that AI could reduce the need to reshoot scenes and take over more mundane tasks. I think that AI will be used in the film industry in the next 100 years even more but I do hope that it will be used in a way that will enhance filmmaking and make it an easier process for everyone involved without though replacing human imagination in scriptwriting and performance. It will be exciting to see the new forms of art culture it is going to bring and how the audiences will engage with the new forms.

–Who is Cameron Ryan Soedi?

I’m just someone who’s always been fascinated by the deeper questions in life, you know, the ones that really make you stop and ponder. And for me, the magic of cinema has been the perfect vehicle to dive into those mysteries. I love weaving stories that take folks on a ride, whether it’s through the glaring lights of reality or the deep, mysterious shadows of imagination—that’s my gig.

When I’m knee-deep in a film project, it’s like sailing across an endless sea, exploring new territories of the human mind. It’s a wild adventure, where I get to plunge into the very fabric of existence itself. Through my work, I want to shake people up a bit, make them see the world with fresh eyes, and question everything they thought they knew about reality. Because, in the grand scheme of things, we’re all just like shadows dancing on the walls of Plato’s cave, trying to figure out what the heck is going on around us.

–What inspired you to become a Filmmaker?

Inspiration is this crazy mix of the everyday and the otherworldly, you know? Becoming a filmmaker, for me, was the natural next step in my ongoing fascination with life’s big mysteries. The dance between light and shadow, the rollercoaster of emotions, and the downright puzzling essence of existence—those are the things that pulled me into the mesmerizing universe of filmmaking.

What really gets my gears turning is the power to create a world that mirrors the depths of the subconscious, a dreamscape where reality and illusion tango together. It’s the ability to conjure up a visual symphony that lit the spark for my journey into the expansive and exhilarating realm of cinema.

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

From where I stand, the screen is like a window into the collective soul of society. When a filmmaker hits the sweet spot of the collective unconscious, stirring things up, cinema has the potential to ignite change. It’s like weaving a lingering dream that sticks around long after the lights come back on, showcasing the profound impact thoughtful storytelling can have on individuals and the broader cultural landscape. But let’s not forget, the real power lies in the hands of the audience. It’s their engagement and connection with the narrative that ultimately shapes the lasting influence of a film.

-What would you change in the world?

Ah, the world, a real head-scratcher. The world is quite a complex place, full of beauty and darkness. If I had to pick just one thing, I’d aim to foster a deeper sense of unity and understanding among people. I’m a firm believer in the power of storytelling, be it in film or other mediums, to bridge gaps and connect us on a fundamental level. It’s about embracing the diversity of our shared human experience and finding common ground. In that interconnectedness, we might stumble upon a path towards more empathy, compassion, and a shared appreciation for the mysterious journey we’re all on. A bit more love and understanding could go a long way in navigating the sometimes chaotic and confusing nature of our world.

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

Now, that’s a mind-bender. The film industry, like life, is ever-evolving. Technology will keep pushing the boundaries of storytelling, and who knows what new dimensions we’ll explore. But no matter how advanced the tools become, the heart of it all is the human experience. As long as there are stories to tell and people hungry to hear them, the film industry will keep on rolling, and that’s a beautiful thing. Just keep your eyes open for the unexpected – you never know when the next masterpiece might hit the screens.

Akal Demir, actor, director, and cinematographer extraordinaire, reflects a whirlwind of talent and creativity that has garnered him numerous awards as a writer and director. To Akal, filmmaking isn’t just a career; it’s a burning passion that ignites his soul and drives him to express his unique vision.

The allure of filmmaking lies in its ability to transport audiences to new worlds, provoke deep emotions, and challenge societal norms. For Akal, it’s the ultimate form of self-expression, a medium through which he can unleash his innermost thoughts and dreams. Every frame he captures, every line he writes, brings his creative vision to life and inspires others to see the world through his eyes. But Akal doesn’t stop there. He’s a catalyst for change, a force determined to make a tangible difference in the world through his films. With every project, he meticulously crafts stories that not only entertain but also inspire, educate, and uplift. Through the power of storytelling, he aims to ignite a spark within individuals, encouraging personal growth and pushing the boundaries of what society deems possible.

Peering into the crystal ball of the future, one can only imagine the thrills and marvels the film industry holds in the next 100 years. Technological advancements will revolutionize the cinematic experience, propelling us into breathtakingly immersive worlds filled with awe-inspiring visual effects that defy our wildest imagination. No longer will it be enough to watch a film; it will be an all-encompassing journey that transports us to realms we never thought possible.

But the future of film isn’t solely about technological marvels. It’s about the power to spark change, to influence hearts and minds. Through the lens of storytelling, filmmakers like Akal will rise, armed with the ability to shape society and make a profound impact. Their works will challenge social norms, provoke conversations, and shine a light on the most pressing issues of our time. In this brave new world, the film industry will be a platform for unity, diversity, and inclusivity, celebrating the myriad of voices that deserve to be heard.

So, fasten your seatbelts and get ready for a cinematic journey unlike anything we’ve ever seen. With Akal leading the charge, the future of filmmaking promises excitement, inspiration, and boundless possibilities. Together, let’s embrace this electrifying evolution and witness the birth of extraordinary stories that will shape our world and change it for the better……

-How was your project “Virulence” born?

When I first started screenwriting in 2013, “Virulence” was only the second screenplay I’d ever written and my first attempt at horror with the idea to write a low budget movie set in one isolated location. In 2021 after a six year break from writing I decided to go back and revisit Virulence, re-writing dialogue & changing certain scenes until I was fully satisfied with it.

-What goal do you dream of achieving?

Ultimately I’d love to find a home for the screenplay with a production company that can see its value and potential in the horror market, and with this being one of seven screenplays I’ve written it would allow me to focus on other projects.

-Who inspired you to create your project?

The biggest inspiration for Virulence was John Carpenter’s 1982 masterpiece, The Thing. Being one of my favourite films of all time I loved the concept of people being trapped in a hostile environment with no help from the outside world as they fight for their lives against something they both can’t control nor understand.

-Which awards has your project won?

I’ve been very fortunate to win a number of awards for Virulence, these include:
Best Action Screenplay – THE THING IN THE BASEMENT HORROR FEST
Best Action Screenplay – ADBHOOTURE FILM FESTIVAL
Best Feature Script – LIT SCARES INTERNATIONAL FILM FESTIVAL
Best Feature Script – 8 & A HALFILM AWARDS
Best Feature Script – INTERNATIONAL GOLD AWARDS
Best Action Screenplay – FRIDA FILM FESTIVAL
Best Feature Script – INDEPENDANT HORROR MOVIE AWARDS
Best Unproduced Action Screenplay – LA SCI-FI FILM FESTIVAL
Nosferatu Prize for Horror – Best Unproduced Screenplay – LOS ANGELES MOTION PICTURE FESTIVAL
Jury Award Winner – Scariest Script – HYSTERIA FEST
Best Feature Script – RUSSIAN INSTITUTE OF CINEMA & PERFORMING ARTS AWARDS
Best Feature Script (OUTSTANDING ACHIEVEMENT AWARD) – CALCUTTA INTERNATIONAL CULT FILM FESTIVAL
Best Feature Script – SEVEN WONDERS INTERNATIONAL FILM FEST
Best Feature Script – BOX OFFICE CINE AWARDS
Best Feature Script – SWEDISH ACADEMY OF MOTION PICTURE AWARDS
Best Feature Screenplay – HORROR UNDERGROUND FILM & SCREENPLAY FESTIVAL
Best Original & Feature Script – IF INDIE FESTIVAL

-Who is Lazar Karov?

Lazar Karov is a Macedonian writer and actor. From poetry to short stories and plays, novels and screenplays, he keeps his readers attached to his suspense stories where always the moral and the universal love win over ego and wickedness.

-What inspired you to become a Filmmaker?

Not just for entertainment but encouraging the individuals to come out from the daily affairs that shape the super ego and engage with various aspects of life.

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

Stories in general are always inspiring that evoke emotions and imagination.

–What would you change in the world?

Nothing. It’s a perfect world.

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

Nothing we come up with, make and build, is able to surpass over our comprehension.