This year's edition, which kicks off in Austin today and continues through Sunday, continues ATX's tradition of serving as a meeting place where TV creators and fans can rub shoulders and talk about their favorite shows in a laid-back setting, free of attitude. It strives to avoid the kind of pressure and jockeying that can make big film festivals feel like work. 

“We just loved movies and TV, and we loved adventure, and we had a really bad habit of quitting our jobs and traveling and then needing to start over again, meaning we never got past assistant,” laughs McFarland. 

“We did always want to come back to Texas, and I basically had a moment where I was leaving New York, and I could go back to L.A. and start over again, or I could come to Texas and see what was up.”

McFarland and Gipson realized that more and more, they were talking about TV. When they decided to start a TV-focused festival, they started by attending events to learn what worked.

“We went to everything — I mean, South by Southwest, Comic-Con, the Austin Film Festival — anywhere we could to do our research,” recalls Gipson. 

Also Read: The Best Places to Live and Work as a MovieMaker in 2025, Including Austin

She also attended lots of music festivals, and wanted to capture their harmonious atmosphere. They also turned to Kickstarter to raise money.

“We got feedback from people who wanted to, you know — watch Friday Night Lights in a parking lot together. And creators didn’t have that audience experience. The people who made TV and watched TV never got to watch it together,” says McFarland. 

ATX started simply: About 700 people attended the first edition. HBO was among the companies that understood the vision early. 

“The very first year when we pitched this, they gave us like $2,000 and a rerun of True Blood. But it came with the message of, ‘We want to be here when you turn 10. We want to be a part of this. We want to help you grow it.’”

ATX has surpassed that milestone, and this year’s edition — dubbed Season 14 — is packed with stars like Seth Meyers, Christine Baranski, Jon Hamm, Steve Zahn, and Brett Goldstein, as well as Scrubs and Bad Monkey creator Bill Lawrence. A Leftovers retrospective will include co-creator Damon Lindelof and star Carrie Coon. Andor creator/executive producer Tony Gilroy and writer Beau Willimon will talk about constructing the world of the critically-acclaimed Disney+ Star Wars series. And Mike Judge and Greg Daniels will reminisce about King of the Hill and preview the new Hulu revival.

The festival makes sure everyone is there for the love of TV.

“We like to make sure everybody has a margarita and a taco and feels very taken care of,” says McFarland. “But it is not a red velvet ropes, red carpet, per diem, we-paid-you-to-be-on-this stage kind of space. 

“You want to be a part of this community. You want to market your show. You want to find your audience. You want to network with your peers. But you’re here for the experience, not the payday. We don’t pay appearance fees,” she explains.

Everyone, celebrities and fans included, are asked to abide by a simple motto: Be cool. That means no big attitudes, and no harassing or crowding stars, for example.

“The heartbeat of the festival, both on the panelist side and the attendee side, is that from the beginning they’ve established this energy, this vibe at the festival,” says Gipson. 

“And so people that come in through the doors, they pick up on it, and they follow along, and the other attendees will be the first ones to tell someone, like, ‘You need to calm down.’”

ATX Brings Fans and Industry Together

The goes-both-ways approach also applies to the numbers: The thousands of people at the festival are split almost exactly between fans and industry professionals. And the festival allows a rare opportunity for professionals to be fans. 

“People who make TV love TV, and they don’t get to celebrate it that often,” says McFarland. “So one of our greatest joys was watching showrunners run to an Aaron Sorkin panel or the ‘Presidents on TV’ panel, and they want to sit in the audience and listen to their peers. 

“It’s really beautiful to have them not just do their panel and leave town. They’re able to stick around and network in the best way, and learn from each other.”

There are some opportunities for career enhancement, including a pitch competition overseen by Gipson, in which finalists run their ideas past showrunners and executives. They develop both a four-minute elevator pitch and 12-to-15-minute pitch for studio and network representatives, including visuals. 

But most of the focus is on fun, not acquisitions or money. And ATX places a premium on keeping things familiar.

“Our goal is not to be SXSW or Austin City Limits. We want to be smaller and intimate and accessible, because we believe that’s what TV has that other mediums don’t: You often watch it in your living room, alone or with a small group of people, or your family,” says McFarland. “We are bringing the community together, and we want them to be able to see each other. We’ve done 2,000- or 3,000-seat venues for very big things, but a lot of our stuff is 50 to 500 people in a room, and we’re really trying to be as intimate as possible.”

She summarizes: “This is TV camp for grown-ups.”

In the early years of ATX, broadcast networks still ruled and Netflix was launching one of the first original streaming hits, House of Cards. Gipson and McFarland have seen TV trends come and go, heard numerous declarations of a new golden age, and been repeatedly informed that things will never be so good again. 

So they’ve learned to expect pendulum swings. They’ve also had to find a modern definition for the word “TV.” 

“Our current definition is that it’s episodic,” says McFarland. “Feature-length films are not things we do. But whether scripted or unscripted: Is the story told in some version of chapters? 

“Where you watch it, how you watch it, and who’s making it, have all changed in 14 years. But we hold on to that episodic piece.” 

One trend they see changing is the practice of a streamer dropping an entire season at once. They think the traditional broadcast practice of releasing a new episode a week — a longstanding practice of HBO/Max, and the approach of new hits like Apple TV+’s Severance — is regaining popularity.

“If it’s coming out week to week, then people are really deep-diving into it, week to week, and they’re really immersing themselves in it. And it is now a 10-week conversation, as opposed to a weekend conversation,” says Gipson. 

“People that make TV really love and value that — because they don’t want this thing that they worked on for years to just be consumed in a weekend and then forgotten about.”

Main image: ATX founders Emily Gipson, left, and Caitlin McFarland. Photo by Jack Plunket, courtesy of ATX.

Ragsdale, whose credits also include Search Party, Justified and Herman's Head, got his start in a West Woods Elementary School production of Charlotte's Web in El Dorado, a southern Arkansas city with a strong artistic bent. He graduated from El Dorado High School, then Hendrix College, before breaking into Hollywood.

The festival, which will include MovieMaker in attendance, takes place February 26th-March 2nd at the South Arkansas Arts Center. The film lineup includes H. Nelson Tracey's Break Up Season, starring Chandler Riggs (The Walking Dead) and Wendy Lobel’s documentary Anxiety Club, featuring Marc Maron, Mark Normand, Aparna Nancherla and more. It will also feature the top films from the Louisiana Film Prize in nearby Shreveport, Louisiana, one of our 50 Film Festivals Worth the Entry Fee.

The 2025 El Dorado Film Festival line-up also includes J.C. Doler's The Fetch and Terre Weisman's Max Dagan.

“Last year’s El Dorado Film Festival left me feeling inspired,” said executive director Alexander Jeffery. “We received over double the submissions this year and we are putting together an event that I think people in the community and surrounding area will really enjoy. There is plenty more to announce in the coming weeks, but for now I am absolutely thrilled to share this incredible line-up of films that we have the great fortune of showcasing next month.”

The Louisiana Film Prize block includes “Sex Date” (the Film Prize winner), “Most Likely to Succeed,” “Napoleonic Code,” “Toots” and “Three Sessions” (directed by El Dorado native Erica Michelle Singleton and
starring El Dorado native Moriah Hicks, who won for Best Performance at Film Prize).

Tamra Corley Davis, chair of the film committee, celebrated the work of the EDFF and the Film Prize in uplifting the regional film scene.

“Our partnership with the Louisiana Film Prize is one that Alexander and I have been fortunate to see continue to grow each year, and the slate of films that came from the 2024 Prize Fest has something for everyone!” she said. “We love our Prize family of filmmakers and are excited to showcase the Top 5 films, including the winner of the $50,000 top prize, during programming on Thursday.

"The Louisiana Film Prize and the Shreveport film community is a family that we at the El Dorado Film Festival are proud to be a part of. After the Prize Short Block we will be screening The Fetch, a feature film that premiered during the Austin Film Festival. The Fetch began as a short film, 'Hangman,' for the Louisiana Film Prize in 2016 and was developed into the feature film you can see Thursday night.”

The El Dorado Film Festival Shorts Lineup

Short films will screen throughout the week in various blocks. The Arkansas Shorts Block includes:

● “Carving” by Russell Sharman & Laura Shatkus
● “The Fundamentals” by Kyle Yazzie
● “Generational” by Jen Gerber
● “Greed” by Paula Blanco Perez
● “Little Bit” by Raeden Greer
● “Show Pub Queen” by Ren Tsukamoto & produced by Smackover native Javion Lee
● “Smoothie” by Chris Churchill
● “Stitches” by Madison Roy
● “Tippi & Barb” by Brad Burleson
● “Two of a Kind” by Skylar Nelson
● “Where Is It?” by Brady C. Ness

The festival's Southern Made Film Block includes “The Artiste,” “Connected,” “The Heart of Texas,” “Love Is Neat,” “Miniature Life,” “Titty Boy,” “The Stage” (directed by Junction City native Jeremy Enis) and “Fast” (directed by Smackover native Clayton Henderson).

Other short films include “Canary,” “The Captives,” “The Chain,” “Deliberate,” “Detox,” “Donor,” “Dinosauria, We,” “Draft Night,” “Help Is…On the Way?,” “Not Afraid,” “The Owl,” “The River,” “Saint Christopher,” “Start Them Young,” “Tandem,” “They Call Me the Tattoo Witch” and “Pasture Prime” (which premiered at the 2024 Sundance Film Festival).

Cash awards presented to the winners include the categories Best of Fest ($1,500), Pam Callaway Spirit of the Festival Award ($1,000), Best Narrative Feature ($500), Best Documentary ($500), Best Short Drama ($500), Best Short Comedy ($500), Best Arkansas Short ($500) and Best Southern Made Short ($500).

Established in 2014, the El Dorado Film Festival offers a curated selection of independent cinema to audiences in El Dorado. Past guests have included actor/director Joey Lauren Adams (Come Early Morning, Big Daddy) and producer Kristin Mann (What Happens Later, To the Stars).

Its home, the South Arkansas Arts Center, is a visual and performing arts center that includes three gallery spaces, a ballet studio, a 207-seat theatre, a scene and costume shop, classrooms, a photography studio, and offices all of which provide AIE residencies, monthly gallery exhibits, community theatre productions, classes in visual arts, ballet, photography, drama, and music for people of all ages and people with special needs.

Main image: Fright Night. Columbia Pictures.

In his discussion with SCAD associate chair of film and television Brett Wagner (whose films include the new The Big Bend), he noted that a lot of things worked in Amelie's favor — including, oddly enough, a release date near the 9/11 attacks, which fueled an audience hunger for something happy and distracting. The film follows Amelie (Audrey Tautou), a young Parisian waitress who tries to help others find joy.

Wagner noted that Amelie is "an extremely romantic, extremely sweet story, but it's never saccharine — because it's also occasionally harsh and occasionally edgy, and you never know what the next feeling you're going to have is."

Jeunet, who merged hope and wry cynicism in his answers, gave a typical response: "You know, human beings are the worst thing on earth. But somewhere, all of us, we have something good inside."

He continued: "When you speak about that, you have to avoid being too sugary — I hope I did — and you'll touch the heart of the people everywhere."

What makes people continue to embrace Amelie, he says, is that "it speaks about generosity. Amelie wants to help people and she doesn't want anything in return. So it's touching for everyone."

Jean-Pierre Jeunet on the Timeless Look of Amelie

The director said the look of the film has helped it as well. The film is difficult to place in any particular timeframe, much like Terry Gilliam's 1985 film Brazil.

"And also, I showed a beautiful Paris — a fake one. No dog s--- on the street in the film," Jeunet said, to audience laughter.

The two also discussed the small details in Amelie — Amelie touching a grave, the story of a garden gnome, a photo booth book — that make it especially enduring.

Jeunet's first two films were 1991's Delicatessan and 1995's City of Lost Children, both of which he co-directed with Caro and which combine dreaminess with bleak conceptions of humanity. The two split up after 1997's Alien: Resurrection, which Jeunet directed solo.

Also Read: SCAD Lacoste Honors Miranda Richardson, Janty Yates, Sam Taylor-Johnson and Jean-Pierre Jeunet

Jeunet said he made Amelie without Caro in part because of his and Caro's different visions. "Marc would have been ashamed of Amelie" because of its relative sunniness, he explained.

"It was very, very, very personal," he said of Amelie, before adding: "I am Amelie."

The setting for Wagner and Jeunet's talk wasn't sunny, but it was sweepingly cinematic — they endured through winds, a light rain and flashes of lightning that added to the stunning setting of the festival. The festival's films were screened at Maison Basse, part of the SCAD Lacoste campus that was a former gambling den of the Marquis de Sade, and attendees could glance past the screen to a castle that was the former home of de Sade and later fashion designer Pierre Cardin.

Between the castle and Maisson Basse (French for "lower house") was the village of Lacoste, site of the SCAD campus since 2002, the year after Amelie's release. Classrooms, studios and living quarters fill gorgeous buildings and even carved out caves in the medieval village.

Jeunet received the festival's Auteur Award, while actress Miranda Richardson received the Etolie Award, Back to Black director Sam Taylor-Johnson received the Outstanding Achievement in Directing Award, and Oscar winning costume designer Jancy Yates received SCAD’s Lifetime Achievement in Costume Design Award.

Yates discussed both Gladiator — for which she won the Oscar, and which was among the films that screened at the festival — and Gladiator II, coming later this year.

Main image: Amelie director Jean-Pierre Jeunet, director of Amelie, at the SCAD Lacoste Film Festival. Courtesy of SCAD Lacoste.

She told MovieMaker at the SCAD Lacoste Film Festival, where Back to Black played last week to an enthusiastic audience, that one of her first questions to Back to Black producer Alison Owen was who owned the rights to Winehouse's music. A deceased singer's family can sometimes use music rights as leverage to make sure they like posthumous biopics.

"When she asked me, I said, 'Is the family, or anyone, gonna hold anything, like music rights, against me? Or do they have script approval? And she said no. And I said I can't do it creatively with somebody saying, 'Oh I don't like the way you've done that,' or 'This was wrong,'" Taylor-Johnson told MovieMaker. "I had complete carte blanche in that way."

Owen added at the SCAD Lacoste screening of Back to Black that Winehouse's family had no control over the music because they had made the decision to sell their daughter's catalogue.

Still, Taylor-Johnson did seek out a meeting with Winehouse's parents, Mitch Winehouse (played by Eddie Marsan in the film) and Janis Winehouse (Juliet Cowan), both of whom are treated sympathetically in Back to Black.

"What I did do, out of respect, is meet with Mitch and Janis... because I thought, if I'm making a film about their daughter, it would be wrong if I didn't sit with them. And I wanted them to feel heard."

She felt like most of the Amy Winehouse stories were already in the public record, but did learn of something from Janis Winehouse that ended up serving as a crucial metaphor in Back to Black.

"Janis told me that Amy had a canary that she was deeply connected to, and that when it died, they had to drive to a cemetery and perform a proper burial, and that she sang and that she wrote the song 'October Sun,' which is on her first album, about this canary.

"And I thought, well if it's that significant in her life, the analogy isn't lost on me, of this fragile songbird. And so that was from Janis, and that's in the movie, and that probably was the most important thing from their stories that I took."

Taylor-Johnson didn't meet with Blake Fielder-Civil, Winehouse's ex husband and a key character in the film — though it wasn't for lack of trying. Fielder-Civil has often been blamed in the tabloid press for contributing to Winehouse's troubles with drugs and alcohol. She died on July 23, 2011 from alcohol poisoning at home in her beloved Camden Town, London.

"We had three scheduled and canceled meetings and I think he was afraid of judgment, because that was his experience, and afraid of what story I was gonna tell. But Jack O'Connell, who plays him, they met. I would have liked to have met him."

How Blake Fielder-Civil and Amy Winehouse's Parents Reacted to Back to Black

Fielder-Civil said in an interview with Good Morning Britain in April that watching the film was "surreal" for him, but he appreciated that it "wasn’t all about addiction.”

His interviewer on Good Morning Britain noted that some critics have accused the film of treating him too gently. He said O'Connell was a "really, really, really good guy" who wasn't interested in perpetuating tabloid narratives about the relationship.

Mitch and Janis Winehouse have endorsed Back to Black, and attended the film's premiere in April.

Sam Taylor-Johnson received the Outstanding Achievement in Directing Award at the SCAD Lacoste Film Festival, which handed out awards to prominent creators at the SCAD Lacoste campus in the gorgeous village of Lacoste in the Provence region of France. Back to Black and the other films — including Gladiator and Amelie — played for a lawn of grateful students alongside a shimmering pool, not far from lavender fields and cherry orchards, under the twinkling lights of the medieval village of Lacoste.

The evening ended with Taylor-Johnson and her husband, actor Aaron Taylor Johnson, posing for photos with SCAD students and other attendees.

Main image: Marisa Abela as Amy Winehouse in Back to Black. Studiocanal.

Back to Black is now available on video on demand.

The Crying Game and Harry Potter star was speaking with MovieMaker in the library of the Maison Basse (French for "low house") of the SCAD Lacoste grounds, in a building that was a former gambling den of the Marquis de Sade. The southern France location now includes the lush poolside lawn where the festival played films including Jean-Pierre Jeunet's Amelie, Sam Taylor-Johnson's Amy Winehouse biopic Back to Black, Ridley Scott's Gladiator, and Robert Altman's Kansas City, which counts the prolific Richardson among its stars.

The audiences included Savannah College of Art and Design students, visiting for the summer from the SCAD campus in Savannah, as well as in-the-know members of the general public, who were welcome to join the free screenings.

Among those who dropped in for the Back to Black showing were Taylor-Johnson's husband, actor Aaron Taylor-Johnson, who gamely posed for photos with students and SCAD president and founder Paula Wallace, as well as writer-actor Phoebe Waller-Bridge and her partner, Oscar winning playwright-screenwriter-director Martin McDonagh.

The young people Richardson praised as great communicators were also great listeners throughout the fest, absorbing talks with Richardson, Gladiator costume designer Janty Yates, Sam Taylor-Johnson and Jeunet, in which they shared their advice about breaking into filmmaking.

SCAD — one of MovieMaker's stop film schools — teaches not just film but acting, photography, fashion, and a slew of other professions, so students enjoyed cross-discipline insights as well as fun anecdotes and repartee.

Yates, who won an Oscar for Gladiator and received SCAD's Lifetime Achievement in Costume Design Award, gave the students some frank advice that applies to all careers in the arts:

"Designers sleep under their cutting tables when they don't have anywhere else to sleep," she said.

She advised them "to be very willing" to do what they need to do to break in and make a name for themselves, and to accept that it will involve some struggle.

SCAD Lacoste Grounds Students in History, With an Eye on the Future

The advice may have made the students all the more grateful to be spending the summer in a gorgeous mediterranean village in France's Provence, a sun-kissed region known for lavender and cherry trees.

Some of the SCAD classrooms and ateliers, or studios, are carved out of caves in the village of Lacoste, which ascends to a castle that is the former home of not only de Sade but also fashion designer Pierre Cardin. Fashion's influence on Lacoste is everywhere, including in a SCAD exhibit, which drew a steady stream of tourists, dedicated to designer Jean Paul Gaultier's artistic give and take with cinema. (The town, amusingly, has no relationship to the menswear brand.)

The castle was in magnificent view if you glanced to the right of the Maison Basse screen. And, just before the screening of Amelie, attendees were also blessed with a view of a double rainbow. Two lavender fields welcome visitors to Maison Basse. There is no overselling the natural and crafted beauty of Lacoste.

Jeunet, known for dystopian films like Delicatessen and City of Lost Children prior to the sunniness of 2001's Amelie, brought things back to human scale with a charming recollection of how he delayed paying his taxes to pay for his first short film. He told the tax accessors he needed more time to pay, used the money to make his movie, and paid them back with the profits.

But he also reminded audience of his willingness to share flights of fancy, telling his audience that despite appearances, "I am Amelie." He received the Auteur Award.

Taylor-Johnson's film may have had the most obvious resonance for SCAD students, as it is the story of an artist, Winehouse, who is finding her astonishing voice. The director told MovieMaker she believed Winehouse's artistry had been overshadowed by the tabloid fixation on the alcoholism that killed her at only 27.

"One of the things I wanted to remind people of, in a sense, is that she was so incredible creatively, and although her flame burned fast and short, I wanted to remind everyone of her brilliance," said Taylor-Johnson, who received the Outstanding Achievement in Directing Award. "Because I felt like the tragedy of what happened to her and her mental health and addiction issues have really eclipsed her brilliance."

The changes in the film industry are obvious and can seem overwhelming to people who grew up with film, and watching movies in theaters, and analog approaches to making art.

The medieval surroundings of SCAD Lacoste are a constant reminder of how much has changed in the last few centuries, and how the changes seem to accelerate every day: The former castle of de Sade was luxuriantly updated with impeccable furnishings during Cardin's stay there, and is now a tourist destination that played over the speakers, during our visit, Taylor Swift.

But as Richardson noted, the passage of time doesn't feel so pronounced to those who have lived through less or it. Which means SCAD students and other rising filmmakers don't have to adapt from the past so much as they need to plan for the future.

"The good thing is that anyone coming into the profession now only knows what they know. So they don't say, "Oh, it used to be like this..." — they're just getting on with it. And there's a fantastic resilience there."

Main image: A screening of Gladiator at SCAD Lacoste. Courtesy of SCAD Lacoste.

"I got offered it, but that's when I was living at home with my family... and my parents read the script and told me I couldn't be in it," she said. "I was very sad and later regretted that, but they would've kicked me out of the house if I was in the movie."

Of course, her career worked out, as she sought and earned sometimes provocative and frequently iconic roles. After achieving financial independence with 1987's License to Drive at just 17, she went on a run that included Drugstore Cowboy, Twin Peaks, Swingers, Austin Powers: The Spy Who Shagged Me, Bowfinger, and many more.

She began writing and directing with 2018's Half Magic, and was honored for her filmmaking Saturday with SLOIFF's King Vidor Award as she prepared to screen Chosen Family at the festival.

Graham spoke with The Hollywood Reporter senior writer Chris Gardner as her own chosen family looked on from the front row — including one of her best friends, Legally Blonde and 10 Things I Hate About You screenwriter Karen McCullah.

Heather Graham on Her Family and Chosen Family

Born in Milwaukee to an FBI agent father and author mother, she moved around a lot before going to Agoura High School, west of Los Angeles. She had a high IQ but wasn't popular, she said, and expressed herself by starring in school plays.

"When I was younger, I was in these advanced placement classes, and I just wanted people to think I was pretty," she said, to audience laughter. "And now I'm like, 'Oh, people think I'm pretty? I want them to know how smart I am.'"

Her household was so restrictive that she had to sneak R-rated movies during babysitting gigs, including Fast Times at Ridgemont High. She knew early on that she also wanted to make movies.

"My father is extremely, very, very Catholic to probably an extreme amount, and my mom was more artistically leaning, so she was more supportive. I kind of got a mixed message. On one hand, my mom was saying, 'You should do this,' and on the other hand, my father was kind of saying, 'This isn't good.'

Also Read: Ghostlight, a New Vision of Romeo and Juliet, Opens 30th Annual SLO International Film Festival

Once she was no longer reliant on her parents, she began taking on roles in now-praised films that shocked some people at the time — like the drug addict Nadine in Gus Van Sant's 1989 Drugstore Cowboy, the porn starlet Rollergirl in P.T. Anderson's 1997 Boogie Nights, and Austin Power's liberated love interest in Jay Roach's 1999 The Spy Who Shagged Me.

She said some of her best-known roles are attributable to the built-in sexism of Hollywood.

"As an actress, I was trying to work, and then the way I feel like I broke in was playing like sexual characters. And then I feel like these are the breaks I got through men who wrote these parts, and men who greenlit these movies, and men who released these movies. And then people judge you, like, 'Oh, you're too sexy.'

"And I'm like, 'These are the roles I got, because these are the roles being written.' And then now you're judging me like I'm too sexy? I need to make money to pay for my life, guys."

In 2017, she wrote a piece for Variety in which she described Harvey Weinstein unsubtly proposing she have sex with him for roles. She avoided him afterwards. She told Gardner on Saturday that the reversal of Weinstein's New York rape conviction was "depressing, but at least he's still in jail." (Weinstein was also convicted of rape in California.)

"The culture still has a lot of ways to go before we can become a truly fair and safe place to be," Graham said.

Heather Graham on the Value Ascribed to Male and Female Actors

She also said that in making Half Magic and Chosen Family, she was struck by the blunt assessments she received of female-focused movies.

"As I got into being a producer, writer and director, I did understand more about the financial stuff," she said. "And I really understood that when you get the money for a movie, they go, 'Well, this is what this person's worth.' And they won't make the movie unless somebody is worth this much. And basically, men are worth more than women. They're telling you: You can't make a movie unless there's a male name.

"So any movie that's about women — without having a big male movie star, and most of them don't want to be in something unless they're the lead, and it's about them — blocks the system from making these kinds of movies."

She added: "I don't think audiences go and say, 'Oh, I don't care about movies about women.' I think they're just not really given many options," she said.

She said that by casting herself and Julia Stiles in Chosen Family, she got they money she needed to make the film — "but we didn't get as much money as if we would had gotten a very famous man."

Graham also shared many candid anecdotes about her early career — including having a crush on her Licensed to Drive co-star Corey Haim, and being a little surprised by his and Corey Feldman's drug use.

"I was super sheltered, and hanging around with kids my age that were doing lots of drugs, that was new for me, because I wasn't very wild like that," she said.

She also recalled Sarah Jessica Parker giving her a gift certificate for a foot massage after she mentioned, while shooting a Sex and the City episode, that she didn't love wearing heels. "I just feel like a fan of hers," she said of Parker, noting that she was a die-hard fan of the HBO series, as well.

Another shoot she especially enjoyed was Frank Oz's Bowfinger, with Steve Martin and Eddie Murphy.

"I grew up also having a crush on Steve Martin. He's obviously brilliant. And I watched Saturday Night Live, and of course, his films. And I was just excited to work with him and Eddie Murphy, of course, and Frank Oz, who was part of The Muppet Show, which is one of my favorite shows as a kid. And it was just a really funny script. And I got to be so silly," she said.

She also recalled working with Johnny Depp in the underrated Jack the Ripper film From Hell — and how he wore an earpiece so he could listen to music during filming.

Gardner asked if she had any similar quirks during filming, and she said she just likes to do yoga in her trailer. That feeds into Chosen Family, in which she plays a yoga instructor who forms a close-knit inner circle. Graham, who noted that she's no longer close to her parents, said that the film is about creating a better support system for yourself.

"I wanted to tell a story about how people can grow up in a dysfunctional family and how sometimes you can get attracted back into those dynamics that you hate, and why are we drawn to sometimes the things that we don't want to be drawn to? And just this idea that sometimes your friends can be your family. I feel like my life has been like that.

"Whatever kind of lessons and learning you get from your family, you can find people in your life that can also be there for you — and maybe in a more healthy way."

Main image: Heather Graham in Chosen Family.

The film, which premieres today at the Santa Barbara International Film Festival, includes jaw-dropping footage that Australian director Nays Baghai and his team recorded — mostly with Sony A7SIII — by following Heinerth on her expeditions around the globe, including an especially dangerous one in Mexico’s Sierra Mazateca mountains, in which they traversed an underwater passage deep below our planet’s surface.

The film doesn’t yet have distribution, but cries out to be seen — and negotiations are ongoing.

“I jokingly remind myself that if I can survive having to squeeze underwater through a two-foot-tall passage half a mile away from the surface, then surely I can withstand the various stressors and uncertainties that come with the securing distribution,” says Baghai.

We asked him a few questions over email about meeting Heinerth, shooting underwater, and reasons to dive into the Earth.

Nays Baghai on Diving Into Darkness With Jill Heinerth

MovieMaker: How did you first learn of Jill Heinerth and connect with her? Was she at all ambivalent about being the subject of Diving Into the Darkness? 

Nays Baghai: I first met Jill in 2017 when I attended Australia’s largest dive conference, OzTek, for the first time. I was a film school student and a keen scuba diver, but I didn’t know a single soul in the dive industry at the time. As fate would have it, one of the first people I met was Jill, but it wasn’t until after I saw her presentation on a cave diving expedition to Cuba that I realized just how eminent and accomplished she was. Moreover, Jill is such a warm, generous person that we ended up talking for half an hour after the show and began a close friendship that would last many years. 

Meeting all the incredible technical divers at OzTek made me curious to understand the motivations and psychology behind their breathtaking risks and challenges and how I could explore that question as a filmmaker. I was initially leaning towards a Chef’s Table- style documentary series centered on the psychology of the world’s best divers. But by the end of 2021, I decided to pivot towards a standalone documentary feature film instead, focusing solely on Jill’s story, especially having just read her autobiography, Into The Planet. At that point, Jill and I knew each other well enough that when I asked her if she was keen to adapt her life story into a feature film with me, her response was an immediate yes. 

I believe her enthusiasm stemmed from not only the fact I wanted to tell a more authentic, character-driven story compared to what previous film crews had done, but also because I was a certified rebreather diver and knew the theory and practical side of diving more fluently than most directors. For me, it was an incredibly thrilling opportunity to be a translator between these two worlds. 

MovieMaker: What’s your background in undersea filmmaking, and your film background in general? 

Nays Baghai: The dual passions of film and diving were catalyzed in tandem when I saw Star Wars and The Blue Planet at age 6. However, what had a seismic impact on me was watching the behind-the-scenes documentaries for both of them; that was when I immediately knew I wanted to be a hybrid undersea filmmaker. However, it ended up being a full 12 years before that dream actually came to fruition. As a high school student, I spent my free time experimenting with various genres of film (drama, stop-motion, thriller, action, sci-fi, travel etc.). 

Also Read: Cillian Murphy Copied Oppenheimer Down to His Nicotine-Stained Fingers

I also became a full-on cinema addict devouring everything I could get my hands on, from the artsiest Criterion Collection films to blockbuster classics. By the time I got accepted into AFTRS — the Australian Film Television & Radio School — I had seen close to 1,000 films and had won several awards in national film competitions in Australia and Canada. 

During my first year at AFTRS I finally managed to make the underwater dream come true, when I volunteered as the underwater cinematographer for a classmate’s short film. The minute my finger clicked the shutter of the GoPro, I felt a much bigger click reverberate in my mind and soul. I knew this was where my passion and future intersected. But I also knew I had to accelerate my diving education quickly, as my entry level PADI Open Water diving certification would be insufficient to realize this dream. 

I recalibrated the remaining two years at AFTRS so that I could curate a learning experience (both within and outside my university degree) to develop the skills I needed to be an underwater creative. At the time, there were no underwater cinematography courses, so I had to scour dozens of different sources to build up as much knowledge as I possibly could. If I didn’t have any assignments to take care of, I spent all my free time scuba diving and freediving in various environments — shark diving hotspots, wrecks, caverns, and under various conditions to build up my experience and comfort with the technical aspects of diving so that I could also safely film at the same time. 

By the time I graduated from AFTRS, I also walked away with the highest-ranking recreational certifications in scuba diving and freediving, along with an introductory certification in rebreather diving. 

Diving with Jill Heinerth

MovieMaker: The opening of the film especially is just gorgeous and it seems like you must have taken all the risks that Jill did to film her in underwater caves - how did you do it? How many people on your team actually did cave-diving while shooting the film? What was the process like? 

Nays Baghai: It took a lot to pull it off. For starters, although I was an experienced diver with nearly 200 logged dives, I had almost no cave diving experience, so before the shoot in Mexico, I enrolled in a cave diving course in Mount Gambier, South Australia. All certified cave divers have to pass what’s called the Stress Test. 

This test occurs when you least expect it: your mask is ripped off, you’re removed from the guideline, your buddy is out of air, and your equipment isn’t functioning - all whilst in total darkness and, in my case, 50°F water. It’s designed to see how calmly students can problem-solve when things are going horribly wrong. I quickly learned that being a good cave diver means being an even-tempered, zen-like Jedi that doesn’t leave things to chance, and thoroughly assesses and prepares for all the possible risks in advance. 

It really is the polar opposite of how cave diving is often portrayed in mainstream media as an adrenaline-fuelled daredevil sport. After that course, I became even more determined to change that stereotype with this film. 

In Mexico, we typically had six people in the water — Jill, two cameramen, two safety divers, and me. Jill would be at the very front, while the two cameras were positioned in the middle to film her, and myself and the two safeties would be at the back to observe the whole thing. For the smaller caves that were too tight or too silty, we slimmed the crew down to Jill, one camera, and two safeties. 

What was interesting about this shoot is that everyone on the crew was a highly experienced cave and technical diver, first and foremost, long before they forayed into filmmaking. It was the opposite of almost every other shoot I had worked on previously, and this high degree of diving fluency afforded us more time to focus on the creativity and execution of the scenes. 

However, because this was the first time we had all worked and dived together, it took us a fair bit of time to get in the right rhythm. Even though I had prepared a 100-page encyclopedia with extensive plans before filming began, we ended up having to start from scratch because of how this specific project required a high degree of flexibility, and also, how unpredictable filming underwater is in general. 

Eventually, we all settled into a routine at the dive shop every morning, where together, we would dissect the scene we were filming each day. As the director, I would start the meeting by writing out my shot list and explaining what I had in mind creatively and tonally. 

Janne Suhonen, the lead cinematographer, would then interpret my shot list by drawing out storyboards with accompanying diagrams that indicated where he wanted to position the cameras and lights. While discussing the scene, we would confer with Jill for historical accuracy and to Vincent Rouquette Cathala, our chief of safety, for the conditions and details of the cave we’d be filming in. This process usually took us an average of 45 minutes to do every morning, and once our rebreathers were ready, we then headed off to the cave and shot until we were exhausted. 

MovieMaker: How much of the diving footage in the film did you and your team capture? Another way of asking this is, did you get any archival footage from Jill? For the Mexico dive, for example, in the Sierra Mazateca mountains? Did you do any recreations of her early dives? 

Nays Baghai: The only two expeditions that exclusively used archival footage were Wakulla, in 1998, and Antarctica, in 2001. Jill also generously granted us unlimited access to her personal library of archival underwater footage & photographs, which we utilized as B-roll and inserts throughout the film. 

The rest of the big expeditions had to all be reenacted simply because there was no footage that chronicled any of them. However, the absence of archival or stock footage ended up being a blessing in disguise — it meant we could shoot these scenes in a more cinematic, emotive way that made you feel what Jill experienced on each dive. 

While we were filming in the various caves of Sistema Dos Ojos, it turned out we were diving in the exact same spots Jill herself had explored and mapped 25 years ago, which lent a strong sense of realism to the scenes. 

To get inspired, I watched Touching The Void a few times both before and during filming because of how masterfully the filmmakers recreated the story in a very cinematic style that defied the cliches associated with documentaries. We all were united in our desire to make a compelling film that felt alive and more like Inception or Blade Runner rather than a run-of-the-mill anthropological documentary. 

Why Jill Heinerth Cave Dives

MovieMaker: I was surprised to learn this isn’t just about thrill seeking - there’s a scientific need for her dives. Can you talk about what it is? 

Nays Baghai: Jill says it best in the film - these caves are natural history museums that contain a variety of information that informs our past, present and future. This also feeds into the astronaut allegory of the film, given how it’s really science, not sport, that fuels cave diving. 

One of the subplots we reluctantly cut from the film was the significance of the orange bacteria samples Jill and Ruth — the panicked diver — collected, as recreated in the film. For a long time, scientists have been studying various life forms — from bacteria to blind crustaceans — to figure out how they are able to live in total darkness without the aid of photosynthesis. It turns out the conditions that these organisms thrive in are not dissimilar to outer space, so it is important research as we explore other planets and consider how life can be sustained in hostile environments. 

On the outer space note, my personal favorite scientific theme in the film is how Jill’s expeditions with Bill Stone were ultimately proving grounds for various technologies for outer space. The drysuits and rebreathers we use are very comparable to what astronauts wear when they’re doing spacewalks, and the 3D mapping technology Bill pioneered has now evolved to being done by autonomous robots. 

In the Wakulla expedition, a deleted scene revealed that the data Jill and Bill extracted from the 20 miles of tunnels also helped advance conservation efforts and dialogues with politicians. By showing how this massive underwater river was right underneath an entire town, it proved just how vital these freshwater caves are for the residents and industries in any given region. 

MovieMaker: What was your biggest challenge in making the film and how did you overcome it? 

Nays Baghai: It would be easy to nominate the whole shoot in Mexico as the most difficult challenge of the whole production. The hurdles were endless — complex shot lists, grueling dive plans, rebreather issues, negotiating location permits, heat, mosquitoes, you name it. 

However, for me personally, editing the whole film was actually the most colossal challenge of all. The post-production schedule for this film was a whopping 15 months, largely due to the fact the structure and storytelling were so complex and required many drafts and cuts before we finally nailed it. Some of the feedback in early screenings was particularly brutal, but it definitely helped evolve the story structure and film into a much better product. 

There were far more moving parts to juggle, compared to my first film, Descent. I had to manage animation in Oslo, visual effects and music in Sydney, sound mixing and feedback in Los Angeles, plus technical support in Brisbane. 

All told, I had nearly 70TB of footage and post-production assets to edit into a 96-minute film, which definitely pushed my computer to its limits. If you’re a director who also edits, the best tool you can have in your arsenal is having a very open mind, and the willingness to try new things while also being very deliberate and methodical. In a strange way, my personality as a cave diver lent itself well to the editing process. 

While I am very proud of what I accomplished as an editor, I will be the first to admit that it took a very large toll on me. I owe a lot to my friends and family for being there for me when I was at my lowest and tempted to give up. The scene where Jill suffers from burnout and claustrophobia in her office was influenced by my own experience as much as it was by hers 30 years ago. 

Despite all these challenges, I feel like I have learned many new skills and have much more confidence as a writer/director/editor. I also want to emphasize how grateful I am to the encouragement and guidance from the community of friends, family and professionals I had on this journey. 

Nays Baghai on How His Team Shot Diving Into the Darkness

TM: What equipment did you use, especially underwater? 

Nays Baghai: The whole film was shot on a menagerie of cameras from Arri, RED, Blackmagic and Sony. However, we ended up shooting the bulk of the underwater footage on the Sony A7SIII, mainly due to its lowlight capabilities, lightweight, compact body, reliability and battery life. 

This especially became clear when we were in the total darkness of caves 25 minutes from the surface and needed a flawlessly performing camera to do the job under such tough conditions. We had a total of three A7SIIIs - two inside Nauticam underwater housings and another on the surface for topside filming. 

However, none of the shoots would have been remotely possible without the help of our closed-circuit rebreathers. Because rebreathers recycle your breathing gas, that meant we could stay underwater for up to four hours, which was also a huge advantage from a safety perspective; the risk of running out of air was dramatically reduced. Another big advantage our rebreathers afforded was the absence of bubbles hitting the ceiling and reducing visibility. 

Diving Into the Darkness premiered today at the Santa Barbara International Film Festival, and an encore screening will be held Wednesday, February 14. Screening details are here.

Main image: Jill Heinerth in Diving Into the Darkness, a film by Nays Baghai. Courtesy of Running Cloud Productions.

In a conversation with Leonard Maltin as he accepted the Maltin Modern Master Award at the Santa Barbara International Film Festival, Downey joked frequently about his comeback from addiction — and expressed wonder and delight at the second act of his career that began in the late 2000s with Zodiac and Iron Man. (When Maltin asked if he's a workaholic, Downey quipped, "I'm a something-aholic.")

Downey spent more than a decade after his Iron Man casting anchoring the Marvel Universe as billionaire investor turned superhero Tony Stark, but walked away after 2019's Avengers: Endgame.

"I will never be as cool as Tony Stark, but it was it was so great to be associated with someone like that for a while, you know? And then it wore off," he told Maltin.

Between Endgame and Oppenheimer, he made 2020's Dr. Doolittle and Sr., a documentary about his film director father, who gave him his first role in the film Pound when he was five.

Christopher Nolan's Oppenheimer, for which he has an Oscar nomination for best supporting actor, is a reminder that he can disappear into serious roles. He plays Lewis Strauss, the jealous nemesis of Cillian Murphy's Dr. Robert J. Oppenheimer, father of the atom bomb.

Robert Downey Jr. on Oppenheimer and Mozart

"I wouldn't be here tonight if I hadn't participated, with Cillian as the head of the acting department, under the tutelage of Chris Nolan — there'd be no reason to have me here as a modern master, because what have I done for you lately?" Downey said, to audience laughter.

Also Read: Bradley Cooper on His 25 Years Onscreen, Another Hangover, and How Robert De Niro Breaks Bad News

Both Cillian Murphy and Downey's old friend Rob Lowe at were on hand at Santa Barbara's Arlington Theater to celebrate Downey's career. Downey told Maltin that Murphy was a natural choice for the lead in Oppenheimer, especially he and Nolan have worked together so many times before.

Downey said casting him as the scheming Strauss was a bigger swing, in some ways, but that he was very happy to be lower on the call sheet, in service of the film.

"A visionary filmmaker can see things that other people can't see," said Downey, saying Oppenheimer was "very exacting, very rewarding — and I think it's probably the best movie I've ever been a part of."

He also said Nolan explained the dynamic between Strauss and Oppenheimer by citing the one between Salieri and Mozart in Amadeus.

"And I was like, [imitating whiny voice], 'But I usually play Mozart,'" Downey said, to more laughter.

The script, based on American Prometheus by Kai Bird Martin J. Sherwin, recounts the real-life efforts of Strauss to undercut Oppenheimer after Oppenheimer guided the Manhattan Project in the creation of the A bomb.

"It turns out that there was plenty of historic animosity to draw on," Downey said. "And I also just thought about every time that somebody had embarrassed me in public or I felt less than or looked over or walked past or not acknowledged or on the outside, or people didn't know that my voice or opinion mattered."

He also thought back to one of his earliest roles, in Less Than Zero, in which he plays Julian, an addict rejected by his father. (He described playing a drug addict, years before his own addiction took hold, "was a bit of a Ghost of Christmas Future.")

His unsympathetic performance in Oppenheimer illustrates how personal grievances can undercut progress and peace.

"I thought, can humanity survive all these petty grievances that these egotistical, usually men have with each other?" Downey asked. "It ended up being a great learning experience."

Murphy said of Downey from the stage: “Robert works incredibly hard to make it look so so easy, because all the great ones do. But he’s not just a great actor, he’s kind of a unicorn, because he’s risen to the level of superstar that few of us can comprehend.”

Main image: Robert Downey Jr. accepts the Maltin Modern Master Award during the 39th Annual Santa Barbara International Film Festival . (Photo by Tibrina Hobson/Getty Images for SBIFF)

Cooper, 48, was in his early 20s at the time — and his career since has been about as good as can be. As surprise guest Brad Pitt noted as he awarded Cooper the Outstanding Performer of the Year award at the Santa Barbara International Film Festival, Cooper is up for three Oscars this year for Maestro — bringing his career total to 12.

Besides starring in and directing both A Star Is Born and Maestro, he's starred in franchises from the Guardians of the Galaxy franchise to The Hangover (and would do a fourth Hangover movie "in a heartbeat," he said.) He's worked with his heroes, from Robert De Niro to Clint Eastwood. And he's the kind of movie star who can draw 2,000 people to downtown Santa Barbara on a Thursday night and keep them entertained for two hours by just chatting.

How Robert De Niro Once Turned Down Bradley Cooper

But in his Q&A with Deadline's Pete Hammond, Cooper often turned Thursday to the hiccups in his career. Like the time Robert De Niro took a moment to give him a compliment while telling him he wouldn't be getting a role in the 2009 film Everybody's Fine.

"I wasn't going to get the role, but I didn't know at the time. But he called to meet with me, and I went to meet him and he's just like, 'Hey, how you doing?' You know, you're not gonna get the role, but, I see it. I see it."

Cooper says that compliment — "I see it" — kept him going. He would soon star with De Niro in both Limitless and Silver Linings Playbook. And he returned to the moment in his acceptance speech.

"Without community, I would never attempt to achieve the things that I've attempted — without people that have believed in me in ways that I never believed in myself. ... To have people [like] Bob — 'I see it.' So gosh, if you feel that way about anybody, please tell them.

"I never would have thought as a kid growing up in Rydal, Pennsylvania, who was terrified at his fifth-grade presentation — who was shaking and the board was shaking, he was so nervous — would be here doing a retrospective of his work. I mean, it's just absolutely incredible. And it's only the result of me, being so blessed to be with people — and I can list 50 of them right now — who believed in me and gave me a chance. So let's do that for other people, right?"

Also Read: Here's Brad Pitt's Tribute to Bradley Cooper at the Santa Barbara International Film Festival

He often deflected praise to collaborators, making the case that his co-stars in A Star Is Born and Maestro — Lady Gaga and Carey Mulligan — were the true stars of the films. Mulligan repaid the compliments, taking the podium to beam, "I am just having the loveliest evening. It makes me want to watch all of your films again.”

He similarly praised collaborators like Bruce Greenwood, Amy Adams, Sienna Miller and Sam Elliott. He also talked about how much he appreciates directors, like David O'Russell — with whom he worked on Silver Linings Playbook and American Hustle) — who get close to the actors. When he made American Sniper with Clint Eastwood, he tried to get Eastwood to sit closer to him, too.

"I would ask him, Clint can you be close? I don't know — he like — just — fumes come off him. I just love being around him."

It backfired a bit because Eastwood would do a deadpan play-by-play of what Cooper was supposed to be seeing in the scene. He did an imitation of Eastwood: "Look at that little f---er run. I was like 'Clint, stop! I can't do the scene.' I kept laughing."

Main image: Bradley Cooper speaks onstage at the Outstanding Performer of the Year Award ceremony during the 39th annual Santa Barbara International Film Festival. Photo by Tibrina Hobson/Getty Images for SBIFF.

Editor's Note: Corrects italics in headline.

We'll have highlights soon from Cooper's Q&A, in which he discussed all of his films, did impersonations of collaborators Clint Eastwood and Robert De Niro, and said he would make another Hangover film "in a heartbeat." But in the meantime, here are the remarks by Brad Pitt as he presented the award, and made fun of Cooper's favorite football team.

Brad Pitt's Remarks on Bradley Cooper

Tonight, we celebrate the brilliant writer, director, actor, producer, singer-songwriter, Bradley Cooper. Now the first time I saw Bradley, I said to myself, one day — one day — I'm gonna milk this guy for a free trip to Santa Barbara.

Before we start, I want it known, for the record, I was this close, this close to getting A Star Is Born. And in the end, the director went with Bradley.

It's selfish, really.

But truthfully, the first time Bradley made me sit up and start taking notes was in The Hangover. And really, if you look closely, amongst all the chaos of trying to, you know, find their friend, you'll see the more irreverent that that Alan — Zach Galifianakis gets — the more that Phil — Bradley — is enjoying that irreverence. It's subtle, it's often to the side of the frame, but it's there.

And it's interesting. And I know this sounds strange, but I'm watching that, and I knew no one else would have brought that to the to the table. And it was something fresh. I knew this guy was going to be around.

And then he decides to write and direct. And to do that he chooses A Star is Born. A film that's been made a few times — and been made really well. The bar is so high. Yet he's able to bring in this performance where he's able to play drunk, where he breaks down, and still keep an eye on the crew, the scene, the time, when to know that he's got to take and he can move on. And to do that really, really well is nothing short of Herculean.

Also Read: In Dandelions, a Filmmaker Meets the Secret Russian Father He Never Knew — Camera In Hand

And Maestro. For me, Maestro is a masterwork. And I want to point out one scene that does two amazing things at once. It's the scene where Leonard and Felicia [Carey Mulligan] first meet, and they're outside smoking in front of the window. And they're talking over each other and they're enthralled with each other.

What's masterful about this scene is first of all, it sets the tone for the entire film and gives us the cadence. But second, its construction of the way Bradley and Carey were able to talk on top of each other — it's alive. It's kinetic. It's so natural. And this is really really, really difficult to achieve. And yes, it takes great actors but it also takes great construction. And I'm telling you: Not since Redford have I seen anyone do it so well.

Now, I'm not going to say I know for certain what's at the heart of Bradley's brilliance, but I am going to take a stab at it. What I think it is, knowing him a few years now, is his verve and his voracious love for this little thing we call the human experience, and all its struggles and joys and messiness. My man's in it. He doesn't run from any of it. I think it's that that he infuses into each frame that he puts up on the screen. Either that or he's just manic.

Okay, so Maestro is nominated for seven Academy Awards. Bradley's nominated for producer, writer, actor — apparently the movie directed itself.

To date, he's been nominated 12 times and I really, really hope — I really say really a lot is what I'm realizing — 12 times. And I do hope that this is his year because it's well overdue.

But if it's not, it's okay. Everyone knows it's just a matter of time. And truly Bradley's okay, he's fine — he's a Philadelphia Eagles fan.

Chiefs vs. Eagles

At this, Pitt coughed "Chiefs!" to which Cooper calls out, "That's f---ed up!"

Cooper then added, "If you told me when I was watching Thelma and Louise that Brad Pitt is gonna give you an award..."

Main image: Honoree Bradley Cooper, Carey Mulligan, and Brad Pitt pose with the Outstanding Performer of the Year Award during the 39th Annual Santa Barbara International Film Festival at The Arlington Theater. (Photo by Rebecca Sapp/Getty Images for SBIFF)

Editor's Note: Corrects main image.

Basil tried to ignore the messages, but they kept coming. Soon, so did pictures — including of a man who bore a striking resemblance to Basil. Over time, he realized he had a family in Russia that his mother and father in America had told him nothing about. The message were from his half-brother and sister, the children of the Russian father they shared.

He struggled for seven years without telling anyone what he had learned. But given that he was a filmmaker — he has an MFA from NYU Tisch, and earned attention for his 2009 short "Rare Fish" — he decided to use his cameras to sort out the family mystery. He started by telling his brother, Benjamin, a moment that Dandelions captures on film. (They realize they are technically half-brothers, and immediately resolve not to use the term.)

Soon, Basil, Benjamin, and Basil's girlfriend, Flavia Watson, went on a secretive trip to Russia — with the Mironer boys telling their parents it was just for business. In fact, they met Basil's extended family, and learned the secrets of why his mother left his biological father in Russia, alongside the father who raised Basil and Benjamin in the United States.

And they recorded everything. The resulting documentary, Dandelions, makes it world premiere Monday at the Santa Barbara International Film Festival. It provides a fascinating portrait of a very photogenic family, while exploring questions about what makes a family a family.

Some moments are so intimate you're surprised that Basil's family — including his newfound Russian family —permitted them.

Here is an exclusive scene:

Benjamin, Basil and Watson are all producers on the film, and also appear on camera with Benjamin's Russian family, as everyone sorts out their relationships. Benjamin and Flavia also fill the film with music, lending their musicality to Basil's exploration.

We talked over email with Basil Mironer about Dandelions the film, dandelions the flowers, and whether the presence of the camera helped or hurt his search for answers.

MovieMaker: Can you explain a bit about why you named the film Dandelions, for people who haven't seen it?

Basil Mironer: An unexpected aspect of returning to Russia for the first time was the flood of childhood memories that resurfaced. There is a scene where a little dandelion seed falls on me and prompts a whole memory that I had with my grandmother. As we continued our journey through Russia and met various new family members, dandelions seemed to be everywhere. This led me to wonder if there was a reason for their presence, and if they held significance for the journey I was undertaking.

A peculiar detail about dandelions being genetically identical made me contemplate how they spread across the world, essentially forming one big family. This analogy resonated deeply with me as I realized that my own journey mirrored this concept—I had been carried from Russia to America and all around the world, back to Russia, and now, on this once-in-a-lifetime journey, I was surrounded by my friends and chosen family. I was surrounded by people who loved me.

The notion of a universal sense of belonging, akin to one big happy family, brought me a sense of connectedness and joy. Who knew that dandelions could be so inspirational!

Also Read: How a Naked Starving Man Birthed Reality TV (and Maybe the Eggplant Emjoi)

MovieMaker: The credits for the film include cinematographer Mitchell Arons and location sound person, Miriam Louise Arens. We see Benjamin and Flavia on film, but not Mitchell or Miriam. Did they join you on the trip to Russia? Were they present for all these intimate moments? How did you prepare everyone for the presence of cameras?

We understood from the outset that this was a film where everyone in our small crew of five had to be okay with being on camera. Both Mitch, the DP, and I filmed during the entire journey. My camera was used solely for my intimate perspective while Mitch’s camera observed and documented the unfolding story. Sometimes we would end up in each others shot, but for us this was all just part of the authentic experience. Alongside Mitch, there was his wife Miriam who was the sound mixer, and of course Ben and Flavia.

Beyond our roles as filmmakers and subjects, these are also my closest friends, my brother and my girlfriend, all supporting me on a deeply personal journey. We all recognized that this was not just a film, it was my actual life, and that came with an inherent excitement and vulnerability.

Throughout the journey, all five of us were present for every intimate, difficult, heartbreaking, and inspiring moment captured on film. Because we’re filming everything real time as it unfolds, we had to ask for peoples' consent only after we had already filmed our initial meeting with them. Often this happens on camera and you see these moments in the film.

Whether in America or Russia, people were generally receptive to being on camera. In part this is due to the inconspicuous nature of the DSLR cameras we used, while the familial connection with most people in the film established an inherent level of trust.

In the final edit of the film, the narrative unfolds over what feels like an eight-day journey. In reality, we amassed over 350 hours of footage in just a month. Condensing the film to a 96-minute feature-length version required us to cut out many memorable moments. It took seven years to complete the film, and at one point we actually created an episodic version of this story, and in that you see a lot more of Ben, Flavia, Mitch, and Miriam. However, the final feature-length version is the rendition of this story that I believe carries the most emotional impact.

MovieMaker: How do you think the presence of the camera affected all of your conversations? Do you feel like knowing they were being documented encouraged people to be on their best behavior, or to be especially truthful, knowing it was for the record? Do you have any regrets about that approach, or do you think it increased honesty?

Basil Mironer: There's undoubtedly an initial self-consciousness when you're placing a camera in someone's face, including my own. Being both the filmmaker and the subject was very challenging. Surprisingly, after the initial days of shooting, my filmmaking brain ended up taking a backseat, allowing me to simply experience each moment.

The film was the vehicle that allowed me to explore my past and this family secret; and once filming began, there was a feeling of no turning back.  Throughout filming, there were moments when I hid behind the camera because, as a filmmaker, that's what made me feel safe.

However, it eventually dawned on me that I couldn't hide behind the camera, just as one can't hide from the truth. It was in those moments that I was reminded that what was happening was a once-in-a-lifetime situation, and that realization gave me the courage to dive deeper into my past.

Similarly, for the other individuals in the film, the presence of the cameras seemed to fade away after a few days of filming. The cameras simply observed authentic human interactions and raw emotion, resulting in a radical transparency in both conversations and private moments in the film. As a result, some viewers may almost feel as if they shouldn’t be witnessing what they’re seeing! I believe that it's this inherent authenticity in Dandelions that truly makes it a cinéma vérité journey.

MovieMaker: Did you ever have to re-stage moments? Everyone in your family seems so comfortable being on camera... maybe your American family is used to it?

Basil Mironer: Everything that you see in the film happened organically, driven entirely by my desire to uncover the past, fill the gaps in my identity, and understand the reason behind this family secret. The scenes that made it into the film naturally follow these narrative threads, capturing the essence of my journey. The structure of the film mirrors the natural progression of the trip, adhering to a three-act structure: Los Angeles for the setup, Russia for the second act, and South Carolina for the resolution.

We never staged specific moments with a predetermined storytelling goal in mind. However, there were instances, particularly after meeting my biological father, where the answers I sought felt unsatisfactory. As a result we continued filming as I pursued the truth through ongoing conversations. In general, it took hours of filming for my family members to truly feel comfortable in front of the camera, allowing their initial self-consciousness to gradually subside.

I believe the film does show occasional moments of their discomfort, but ultimately, what shines through is the authenticity of the relationships, regardless of the presence of cameras.

MovieMaker: There's always a question of whether your "real" parents are the people who raised you or who conceived you. (Of course "real" is a very subjective term.) Has your answer to that question changed since you learned more about your Russian father?

Basil Mironer: There’s a moving scene in the film where my brother Ben shares a profound observation about the different types of fathers in our lives — he says that my dad who raised us and my biological dad are just different types of fathers. Meeting my biological father allowed me to see undeniable similarities in our physicality and demeanor. Seeing those traits mirrored in another person helped me embrace those inherited aspects as part of who I am. That experience played a pivotal role in filling a gap in my identity and helped me accept myself more. 

While my biological father contributed to my understanding of myself, much of who I am today is shaped by the time and guidance from the dad who raised me. His influence as a role model and teacher had a profound impact on my interests, work ethic, and general awareness of how one can look at life. I believe that true parenting goes beyond biological ties; it's about the time and effort invested in a child's life.

There's a poignant moment in the film where my biological father grapples with similar thoughts, and it’s a hard moment for me to watch.

MovieMaker: Have your mother and American father had any contact with your biological father since the events in the film?

Basil Mironer: My family here in America and my family in Russia have never communicated or met. For my parents, part of being Russian refugees meant leaving their old life behind and focusing on assimilating into American culture as much as possible. Additionally, for Russian civilians, leaving the country is essentially impossible. As a result, there hasn't been much opportunity for interaction between the two families. In a way, this film serves as the only intersection point for both sides.

Dandelions premieres at the Santa Barbara International Film Festival on Monday at 6 p.m. PT. You can learn more here.

Main image: (L-R) Dandelions stars and producers Benjamin Mironer, Basil Mironer and Flavia Watson in Russia.

This year, true to form, it will draw a cavalcade of Oscar contenders including Cillian Murphy, Robert Downey Jr., Mark Ruffalo, Jeffrey Wright, Bradley Cooper, Paul Giamatti, Annette Benning, Colman Domingo, Lily Gladstone, Da'Vine Joy Randolph, and Danielle Brooks. Santa Barbara includes a healthy bevy of Oscar voters, who won't have to travel south to watch nominees talk about their craft. They're drawn in large part by the work of Roger Durling, the highly regarded director of the 39-year-old event.

But weather, Oscar campaigns and location can't account for all the festival's success: There are also, you know, films. And much of the credit for the festival's programming success goes to Claudia Puig, the veteran USA Today film critic who was previously a writer for the Los Angeles Times.

When she left USA Today in 2015, after 15 years of reviewing films for the paper, she had three goals: to teach at the college level, to write speeches, and to program a film festival. She did the first two, and also worked on several festivals, including for Napa Valley and Mendocino — "my joke is that I was working my way through the wine country," she says — the turned to AFI Fest.

"And then Roger just reached out to me about three years ago, and said, 'Hey, are you interested?," she recalls.

She was: She and her husband, both based in Los Angeles, had been considering a movie to Santa Barbara, and the possibility still remains. But she was also occupied by her duties as president of the L.A. Film Critics Association and her work as the film critic for Los Angeles' beloved public radio station KPCC. Becoming the programming director the Santa Barbara Film Festival allowed her to stay in Los Angeles while keeping a strong presence up the coast.

"Santa Barbara is on my wavelength," she says.

About 3,500 to 5,000 films, both features and shorts, are submitted annually, and about 200 are accepted. They intially go through viewers who rank them from 1 to 5, then pass them on to Puig and three others on the programming team, who meet frequently over Zoom to deliberate.

"If it's like a three and above, we will watch them. And then we program the fours and fives," she explains. ""We watch a lot of films."

One of the challenges of the job falls into the nice-problem-to-have category: competing with Sundance for premieres. So SBIFF loses some films each year to the Park City event.

Also Read: MovieMaker's 50 Film Festivals Worth the Entry Fee, Including the Santa Barbara International Film Festival

Santa Barbara also has plenty of competition from festivals just below the level of Sundance's acclaim and prestige. But that's where its many advantages come into play.

"Santa Barbara is a beautiful place," notes Puig, and its beauty contributes to its stellar guest lists: "We really believe in having the filmmakers attend. I feel like there's no point of a film festival unless they attend, because otherwise you're just be watching a movie."

She adds: "So we really make sure that when they come, we really work hard on the Q&As, we involve them in panels, we make sure that they have a wonderful time when they're here. We do our best to program as inclusive and diverse a slate as possible."

And if you're traveling from somewhere cold, as many people are in February, you can expect a pleasant respite. California is dealing with intense rains and flooding this week, but they are expected to end before the festival opens Wednesday.

What Types of Films Does the Santa Barbara International Film Festival Look For?

Is there a particular brand of film that does especially well in Santa Barbara? The short answer, of course, is good films. But there are also some other standout qualities.

"There's some that we know will strike a chord and they tend to have to do with the ocean, ocean life, or watersports: surfing, swimming, you know. So we always have those. This year we have a movie called Point of Change that's about surfing in Indonesia, and the surfing culture there that was brought by Americans, and it gets into colonialism. It's a really interesting documentary."

Another water-related film is director Nays Baghai's stunning documentary Diving Into The Darkness, a profile of undersea cave diver Jill Heinerth that is shot largely in undersea caves that most people will never see outside of the film.

As the festival's international reputation expands, so do its international offerings: This year's opening night film is the Disney TV documentary Madu, which follows 12-year-old Anthony Madu from dancing barefoot on the streets of Lagos, Nigeria to attending one of the most prestigious ballet schools in the world and dancing on London stages.

The closing night film is the U.S. premiere Heather Graham's Chosen Family, about a yoga teacher searching for inner peace despite personal chaos. It stars Graham, Julia Stiles, Thomas Lennon and Michael Gross.

The event will also feature free screenings of Oscar contenders Maestro, Oppenheimer (featuring a Q&A with Murphy), Poor Things, Killers of the Flower Moon, American Symphony (featuring a Q&A with Jon Baptiste), The Holdovers, and American Fiction. All are part of the festival's commitment to expanding understanding through film.

"I'm a believer that films can contribute to open minds, and bring greater perspective and compassion," says Puig. "That line that Roger Ebert has about films being empathy machines — I think we really feel strongly about that. And so we program films that represen our mission to engage, enrich and insire people through film. That's the beating heart of the festival."

The September event began with InFocus: São Paulo, a collection of films curated in partnership with SPCINE that highlighted the work of a diverse range of filmmakers from the city of São Paulo, Brazil. The program continued with InFocus: Latinx & Hispanic Cinema Shorts I – Interdependence, a collection of stories about people relying on each other in beautiful and sometimes perilous ways. The third program, InFocus: Latinx & Hispanic Cinema Shorts II – The Unexplainable, highlighted narratives about characters grasping for answers.

The day concluded with InFocus: Latinx & Hispanic Cinema Shorts III – Through the Eyes of Youth, a selection of stories told from the perspective of children and adolescents.

NFMLA showcases films by filmmakers of all backgrounds throughout the year. All filmmakers are welcome and encouraged to submit their projects for consideration for upcoming NFMLA Festivals, regardless of the schedule for InFocus programming, which celebrates diversity, inclusion and region by spotlighting  communities of filmmakers within our filmmaking community as part of our monthly program. This project is supported in part by the National Endowment for the Arts.

“Angélica” Directed by Victor Velasco

About Victor: Victor Velasco is Venezuelan writer and director based in Los Angeles. He’s passionate about making raw dramas with fantasy/surreal elements and strong visuals. His work is inspired by the human condition, nostalgia and fantastic elements of Latin American Literature. His short films have played in competition at more than 30 festivals, including Sitges, the Cleveland International Film Festival, Interfilm Berlin, LA Shorts and USA Film Festival, where he got the honorific award. Victor is currently writing a screenplay for his feature debut.

About “Angelica”: Angelica, a disheartened Latina, shares a ride with a charismatic driver. As unexpected feelings emerge between them, they're left wondering: is their newfound connection worth pursuing?

Watch the NFMLA interview with Victor Velasco and Ginaris Sarra director and writer of “Angelica”:

“Wish Upon A Disco Ball” directed by Anabel Iñigo

About Anabel: Anabel Iñigo is a Cuban-Dominican woman born and raised in Miami, Florida. Adopted by her grandparents at an early age, Anabel learned two things: she loves music and movies. So naturally, she loves making movie musicals. She is a recent graduate of USC’s Film & TV Production MFA. As a writer and director, Anabel creates stories that focus on women of color through a feminine lens of kindness, comedy, and sisterhood. Currently, Anabel works with Mexican comedy writer and producer Brittany Miller at Sony as her development assistant. Her goals in life include staying happy, making movies for the whole family, and plotting eternal life for her cat, Versace.

About “Wish Upon a Disco Ball”: Olivia is sick of her sister, Juliana, choosing her boyfriend over her. After Juliana decides to spend time with Leo instead of going to a disco dance together, Olivia has a dream where she wishes on her father's magical disco ball that Leo and Juliana would break up.

Watch the NFMLA interview with Anabel Iñigo director of “Wish Upon A Disco Ball”:

“Balam” directed by Guillermo Casarin

About Guillermo: Guillermo Casarín is a Mexican film director, screenwriter, and advocate for diverse representation. He has earned recognition from the DGA, Emmys, and numerous Oscar-qualifying film festivals. His portfolio includes short films, commercials, and public service announcements, including the TV campaign "Este año, tu voto es Cosa Seria," viewed by 46 million people; the short documentary "Bad Hombrewood," selected by over 50 film festivals; and a documentary for X44, a company founded by seven-time Formula 1 World Champion Lewis Hamilton. He also co-directed the horror film "Phantom," financed by six-time Emmy winner John Wells.

About “Balam”: Itzel, a young girl of Mayan descent, goes on a camping trip with her father deep in the jungle. As they stargaze together, Itzel's curiosity leads her to wander off and explore the surrounding area. While wandering, she discovers a Jaguar in captivity and, without hesitation, frees the majestic animal. 

Watch the NFMLA interview with Guillermo Casarin, director of “Balam”:

“Next week, I promise you Palmares!” directed by Lux Machado & Lara Júlia

About Lux: Lux Machado graduated in Performing Arts from the School of Communications and Arts of the University of São Paulo. Currently, she is part of the scholarship program of Theatro Municipal, in the production area, and is part of the independent film collective Madrugada Filmes. Lux directed "Atroz", a miniseries of five episodes, awarded by the SMC's 2nd Black Culture Supporting Edital. "Next week, I promise you Palmares!," which she co-directed, was awarded by SPCine's short film development edictal 2021. Another short film project, "Ela & Elu", is being finalized.

About “Next week, I promise you Palmares!”: Dandara and Zumbi dos Palmares, two Black historical personalities who lived in the 17th century, are reincarnated in the bodies of a 21st century Black couple.

Watch the NFMLA interview with Lux Machado, director of “Next week, I promise you Palmares!”:

“Piedra Dura” directed by Rommel Villa

About Rommel: Rommel Villa is an Emmy and Student Academy Award-winning filmmaker from Bolivia. He has an MFA in Film/TV Production from USC and his the winner of directing stipends from Lionsgate-Televisa, USC, and the Sloan Foundation. Rommel's work ranges from magical-realistic LGBTQ+ stories to historical films like “Sweet Potatoes," which won him a Student Oscar. That caught the eye of Grant Rivers Productions, which hired Rommel to direct the TV pilot Harold and Helen. Rommel is currently developing his first feature, The Mechanical Box, a psychological thriller about obsessions, guilt, and trauma. Rommel is also an editing faculty at USC’s School of Cinema. In 2022, he won an Emmy for editing the documentary Lives Not Grades.

About “Piedra Dura”: An altar boy is disciplined after being caught watching gay porn at church.

Watch the NFMLA interview with Rommel Villa, director of “Piedra Dura”:

“Punk is Punk” directed by Kimberly Bautista

About Kimberly: Kimberly Bautista is a Colombian-American writer, director and educator whose award-winning films include investigative documentaries, queer feminist comedy, '90s punk coming-of-age dramedies, and surrealist dramas about women’s mental health. Her work has been supported by Latino Public Broadcasting, the Princess Grace Foundation, Ford Foundation, Panavision and more. Her work has been broadcast on PBS, TeleSUR, Univision, and LATV. Kimberly loves telling stories that only she can tell, pulling from her lived experiences with emotional honesty. She is an advocate for women, youth, and BIPOC leadership and is the founder of the nonprofit Justice for My Sister, which offers job placement to low-income emerging filmmakers of color.

About “Punk is Punk”: A genderqueer punkrocker mom reluctantly agrees to organize a quinceañera for her daughter, which sets the stage for her to face her estranged traditional father.

Watch the NFMLA interview with Kimberly Bautista, director of “Punk is Punk”:

“The Ciguapa” directed by Blaine Morris

About Blaine: Blaine Morris is a queer Latina multihyphenate filmmaker. Prior to graduating from Columbia University, she acted on Skins, Master of None, and more. Her films have shown at Slamdance and Outfest and won a DGA Student Jury Award. She wrote, produced and starred in the film Dark Obsession, featuring Mena Suvari. She assisted writer-director Charles Shyer for Netflix’s The Noel Diary and also worked on The Grotto, directed by Joanna Gleason. She graduated USC as a MFA George Lucas Scholar and is a mentee of Good Trouble showrunner Joanna Johnson, whom she shadowed. 

About "The Ciguapa”: A queer couple, Manny and Leo, go to a cabin for their anniversary, but a mysterious woman they find in the woods threatens to break them apart. 

Watch the NFMLA interview with Blaine Morris, director of “The Ciguapa”:

“The Cookbook” directed by Gabriela Paciel

About Gabriela: Gabriela Paciel is a bilingual writer and director of Cuba and Mexican background. She has written and directed short films including as “El Viejo,” selected by more than 20 festivals around the world including LALIFF, Festival del Nuevo Cine Latinoamericano and Festival Internacional de Cine de Cartagena de Indias; and “To Play with Fire”, screened at DishLatino and Lionsgate's Pantaya. She was part of the Cine Qua Non Lab fellowship and Tomorrow’s Filmmakers Today, a program for LatinX filmmakers supported by HBO and The Academy of Motion Picture and Science.

About “The Cookbook”: While trying to sneak out of her house, a Mexican-American girl makes an unexpected friend.

Watch the NFMLA interview with Gabriela Paciel, director of “The Cookbook”:

“Each Lovely Thing” directed by Paloma Nozicka

About Paloma: Paloma Nozicka is a Mexican-American actor, writer and director. Her directing credits include "Each Lovely Thing” (a selection of the Austin Film Festival and Cleveland International Film Festival, among other festivals, and the winner of Best Short at LA Femme and Lady Filmmakers LA. Her debut play Enough to Let the Light In premiered in the fall of 2022 at Teatro Vista and Steppenwolf Theatre Company in Chicago. She was voted Best Filmmaker in the Chicago Reader's 2022 Best of Chicago poll. She is a company member of Jackalope Theatre Company in Chicago and a proud member of SAG-AFTRA. She is repped by IAG and Zero Gravity Management. 

About “Each Lovely Thing”: In the midst of setting up for a mysterious party, a woman tries to stop her flighty younger sister from making a devastating choice.

Watch the NFMLA interview with Paloma Nozicka, director of “Each Lovely Thing”:

“Brownsville Bred,” directed by Elaine Del Valle

About Elaine: Elaine Del Valle is a Brownsville, Brooklyn-bred Puerto Rican multi-hyphenate director and storyteller. She has received awards from festivals including SXSW, Urbanworld, Catalyst Stories, Seriesfest and more. She is also a winner of the HBO Latinx Short Film Director award. Elaine's most recent directing work is a genre bending dance-drama-thriller feature film airing on Tubi. And she is a WarnerMedia 150 Artist. Her short films, "Me 3.769" and "Princess Cut," aired on HBO Max. As a writer, Elaine's original one-hour procedural drama pilot, The System, landed in development at the CBS network. Elaine recently completed the WGA Showrunner Academy program.

About “Brownsville Bred”: A spunky Latina must find her own path as she comes of age to face the grim realities of the musician father she once idolized and the deteriorating neighborhood she calls home.

Watch the NFMLA interview with Elaine Del Valle, director of “Brownsville Bred”:

“Fábula” directed by Hector Ignacio Serrano

About Hector: Hector Ignacio Serrano is a writer/director from Mexico City who is drawn to multi-generational storytelling told through a lens of the magical and the fantastical. Hector focuses his stories on Latinx thematic throughlines that speak about the struggles of race, immigration, love, belonging, and culture. These stories are interwoven with a veil of magic that speak to deeper emotions, trauma, and healing. Hector was a member of the UCLA MFA Producers Program class of 2019. 

About “Fábula”: Maria — a young girl processing the trauma of an abusive parent — discovers a world of old magic hidden between the pages of a notebook.

Watch the NFMLA interview with Hector Ignacio Serrano, director of “Fábula”:

“The Ballad of Tita and the Machines” directed by Miguel Angel Caballero

About Miguel: Miguel Angel Caballero is the son of Mexican immigrant farm workers and is an award-winning Queer Mexican-American/Chicano writer, director, and producer. His latest short film, “The Ballad of Tita and the Machines” premiered at the Tribeca Festival in 2023. His short film, “Acuitzeramo” premiered at the Morelia International Film Festival and won 20 awards internationally, including Best LGBTQ Short at the American Pavilion at the Cannes Film Festival. Miguel Angel is an Outfest Screenwriting Lab Fellow, Film Independent Project Involve Fellow, and Warner Bros Discovery 150 Artist Grant recipient. Miguel Angel was selected to take part in the 2022 inaugural Academy Academy of Motion Picture Arts and Sciences Accelerator Program.  

About “The Ballad of Tita and the Machines”: When Tita, an elderly fieldworker, reluctantly hires an AI humanoid to fill in for her picking strawberries, she attracts the engineers’ attention because their humanoids cannot do her back-breaking work.

Watch the NFMLA interview with Miguel Angel Caballero, director of “The Ballad of Tita and the Machines”:

“The Astronaut” directed by Damien Apunte

About Damian: As a first generation Ecuadorian raised in Asheville, North Carolina, Damián viewed the world in an unconventional way. His interest in the unique beauty in the darkness influences Damián’s aesthetic vision through his reflective storytelling. Additionally, his discovery of existentialism, paired with life- changing assaults, shaped his compassion for the human soul. This compassion is something he strives to share with the world by making films that make you feel. His lifelong quest is to find out: “Who got the hooch?”

About “The Astronaut '': A young girl with asthma, Aura, who dreams of becoming an astronaut, uses her imagination to overcome the environmental setbacks of her city.

Watch the NFMLA interview with Damian Apunte, director of “The Astronaut”:

“Hoar” directed by Jeanette Dilone

About Jeanette: Jeanette Dilone is a Dominican-American filmmaker, born and raised in Washington Heights, New York City. Since graduating from Columbia University, she has been selected for the Read Latinx Writer’s Initiative, Tomorrow’s Filmmakers Today, and the LALIFF Inclusion Fellowship, where she completed her third short, 2022's "Hoar.” Her sophomore short, 2020's "Rizo," also premiered at LALIFF, and later won the 2020 HBO Latinx Short Film Competition. In 2017, Jeanette made her directorial debut with the short film "Return," which premiered at NY Shorts International and was acquired by Shorts TV. Her vision is to create compelling Latine-centered narratives exploring family, identity and success themes.

About “Hoar”: When a phone sex operator is accepted into Oxford University, she must confront her live-in mother, a codependent hoarder, about her decision to move across the globe.

Watch the NFMLA interview with Jeanette Dilone director of “Hoar”:

“Death INC” directed by Icaro Barbosa

About Icaro: Icaro Barbosa is a Transmasculine person born in the city of São Paulo, in 2001 who studied audiovisual at Senac University Center in 2019 and graduated with a bachelor's degree at the end of 2023. In 2020, he began to develop the project "Death INC," a short film contemplated by public notice at SPCine and the theme project for his Undergraduate Course Completion Work. He has been working with freelance illustration since 2018, and as a filmmaker and motion designer since 2019. 

About “Death INC”: Mari and Pam work guiding spirits to their correct Afterlife and discover that a colleague is next named on their death to-do list.

Watch the NFMLA interview with Icaro Barbosa director of “Death INC”:

“Above the Desert With No Name” directed by Sonia Sebastian

About Sonia: Based in Los Angeles, award-winning Spanish director Sonia Sebastian has experience spanning theater, television, and film. Before settling in the United States, she earned a Bachelor of Arts from the Royal Academy of Drama in Spain and then studied film and television at the International School of Film & Television in Cuba, where she met many students from across Latin America. Sonia has co-directed more than 15 multicam episodes for Spain’s TV networks Mediaset and TeleMadrid. She was the showrunner, writer, and director of the first online Spanish web series Girl Seeks Girl, produced by Movistar (Telefonica). 

About “Above the Desert With No Name”: After she arrives illegally in the United States, a troubled young Mexican is inspired by spying on an incandescent neighbor. 

Watch the NFMLA interview with Sonia Sebastian, director of “Above the Desert With No Name”:

“Dandelion” directed by Lorena R. Valencia 

About Lorena: Lorena R. Valencia is Mexican independent filmmaker based in New York. Her directorial debut and MFA thesis film "Cuanacaquilitl (Dandelion)" received the National Board of Review Student Award and was selected by the Morelia International Film Festival, the Atlanta Film Festival, and the Human Rights Arts & Film Festival, among others. Lorena is a member of New York Women in Film and TV, and in 2021 she was nominated for the BAFTA-NY Jeff Hunter Charitable Trust award. She recently directed a documentary short film that explores resilience and love for the land, and is developing her debut feature Mayahuel.

About “Dandelion”: A teenage girl is helped by her best friend in her search for home remedies to stop an unwanted pregnancy.

Watch the NFMLA interview with Lorena R. Valencia, director of “Dandelion”:

“Love Letters” directed by Ana Julia Travia

About Ana: Ana Julia Travia is a Brazilian director who has just finished her third short film. She has had projects selected in several labs, becoming the first Projeto Paradiso’s talent by winning the Diadorim Award. Her experience includes the award-winning short film "Peripatetico" as an editor and Netflix's Nobody’s Looking as a scriptwriter assistant.

About “Love Letters”: Having just lost her father, Suellen starts receiving letters from a secret admirer. Her mother will do anything to prevent their correspondence.

Watch the NFMLA interview with Ana Julia Travia, director of “Love Letters”:

“The Mangrove of all Brazils” directed by Thuan Mozart and Flávio José de Moraes

About Thuan: Thuan graduated in Social Sciences with a focus on Anthropology and Cinema. In the last 5 years he has been working in the Brazilian audiovisual market. He served as assistant director on projects at Globoplay and worked on the series Segunda Chamada, chosen as the best series in Brazil by the Brazilian Academy of Cinema in 2020 and 2021. As a screenwriter, he wrote one of the episodes of the series O Enigma da Energia Escura, a partnership between Globoplay and rapper Emicida. More recently, he was awarded a public notice by Rio Filmes for his first feature documentary, directed by his production company Homem de Cor Filmes. It seeks to align knowledge and entertainment.

About “The Mangrove of all Brazils”: Crab gatherers and their families adapt to the challenges of the Anthropocene in the mangroves of Rio de Janeiro, Brazil.

Watch the NFMLA interview with Thuan Mozart, director of “The Mangrove of all Brazils”:

“Followers” directed by Felipe Martinez Carbonell

About Felipe: Felipe is an Argentinian-American filmmaker. He currently lives and works between Los Angeles and Miami. He has had two short films on the festival circuit, “Imaginary Portrait” and “Followers,” and is currently developing his first feature, For Our Daughter. He was also an additional editor on the film Wild Oats, directed by Andy Tennant, starring Shirley MacLaine and Jessica Lange. He was also an online editor for the film Dear Dictator, starring Michael Caine and Katie Holmes.

About “Followers”: Tempted by her greed, an unfulfilled psychiatrist ends up in a supernatural confrontation that she can’t escape. 

Watch the NFMLA interview with Felipe Martinez Carbonell, director of “Followers”:

Main image: "Punk is Punk" by Kimberly Bautista.

Led by founder and filmmaker Jonathan Martin, the festival packs filmmakers and film fanatics into Provo's Velour, an all-ages venue that transforms, for the length of FilmQuest, into a church of genre. Almost around the clock, students of slashers, ghost stories and grisly comic allegory celebrate each other's work from their chairs, cozy couches, settees or special spaces reserved for filmmakers as their works are unveiled.

Man of a thousand faces Doug Jones was on hand this year, just as he was at the first FilmQuest.

You can click on the following links to read more extensively about some of the winners, including Erin Brown Thomas' "[subtext]", Jillian Corsie's "Tooth," Mike Cheslik's Hundreds of Beavers, and Sam Fox's "Fck'n Nuts."

The latter film was made with the proud support of MovieMaker Production Services after MovieMaker met the very talented Fox at the 2022 edition of FilmQuest.

FilmQuest is one of MovieMaker's 25 Coolest Film Festivals in the World and one of our 50 Film Festivals Worth the Entry Fee, and if you make it to Provo next year you'll have no trouble understanding why — it's a near perfect mix of fun and inspiration, and it's not at all uncommon for attendees to meet new creative partners with whom they can complete projects in time for the next edition. See you in 2024.

Here is the complete list of FilmQuest winners.

2023 AWARD WINNERS

BEST FEATURE FILM
The Deep Dark

GRAND PRIZE BEST SHORT FILM
Escape Attempt

BEST COMEDY SHORT
Murder Camp

BEST FANTASTIC SHORT
[subtext]

BEST FANTASY SHORT
Juggernaut

BEST FOREIGN SHORT
Sincopat

BEST HORROR SHORT
Terror**

BEST MICRO SHORT
Tooth

BEST MIDNIGHT SHORT
Fck’n Nuts

BEST SCI-FI SHORT
Escape Attempt

BEST STUDENT SHORT
Voyager**

BEST UTAH SHORT
To Err

BEST ANIMATED SHORT
The Voice of the Hollow

BEST MUSIC VIDEO
Abandon**

BEST WEB SERIES
Headless: A Sleepy Hollow Story

BEST DOCUMENTARY
Citizen Sleuth

BEST DOCUMENTARY SHORT
Justice for Batman

BEST FOUND FOOTAGE FEATURE
Frogman

BEST FOUND FOOTAGE SHORT
Angel Hare

THE MINERVA AWARD
A.K. Espada for “I Could Just Die… and That Would Be All Right”

BEST DIRECTOR – FEATURE
The Wait – F. Javier Guiterrez

BEST SCREENPLAY – FEATURE
American Meltdown – Andrew Adams

BEST ACTOR – FEATURE
Hippo – Kimball Farley

BEST ACTRESS – FEATURE
New Life – Sonya Walger

BEST SUPPORTING ACTOR – FEATURE
The Deep Dark – Amir El Kacem**

BEST SUPPORTING ACTRESS – FEATURE
New Life – Hayley Erin

BEST ENSEMBLE CAST – FEATURE
Me, Myself & The Void**

BEST CINEMATOGRAPHY – FEATURE
The Wait

BEST EDITING – FEATURE
Hundreds of Beavers

BEST SOUND – FEATURE
Double Blind

BEST SCORE – FEATURE
Irati

BEST PRODUCTION DESIGN/ART DIRECTION – FEATURE
Irati**

BEST COSTUMES – FEATURE
Irati

BEST VISUAL EFFECTS – FEATURE
Hundreds of Beavers

BEST MAKEUP – FEATURE
How to Kill Monsters

BEST DIRECTOR – SHORT
Come Home – Mike Pecci

BEST SCREENPLAY – SHORT
To Err – Derek Romrell

BEST ACTOR – SHORT
What Lies Within – Aiden Carere

BEST ACTRESS – SHORT
Pruning – Madeline Brewer

BEST SUPPORTING ACTOR – SHORT
The Sin-Eater – Jack Parry-Jones

BEST SUPPORTING ACTRESS – SHORT
Oddities – Ariela Barer

BEST ENSEMBLE CAST – SHORT
Volition

BEST CINEMATOGRAPHY – SHORT
Accidental Stars

BEST EDITING – SHORT
Entrainment

BEST SOUND – SHORT
Honk

BEST SCORE – SHORT
Lost in the Sky

BEST PRODUCTION DESIGN/ART DIRECTION – SHORT
S P I D E R L I L Y**

BEST COSTUMES – SHORT
Velma

BEST VISUAL EFFECTS – SHORT
Evenveil

BEST MAKEUP – SHORT
Old Time Radio: Your Move

DIRECTOR’S PRIZE
Overall Cinematic Achievement – Hundreds of Beavers
Overall Cinematic Achievement – Lost in the Sky
Overall Cinematic Achievement – The Last Movie Ever Made
Overall Cinematic Achievement – The Reclaimers
Artistic Vision & Execution – The Ringmaster
Cultural Impact & Achievement – My Scary Indian Wedding
Atmosphere & Tone – Meadowville
Atmosphere & Tone – Red Velvet
Payoff & Execution – Too Slow
Dynamic Duo – Kill Your Lover

BEST UN-PRODUCED SCREENPLAY – FEATURE
1st Place – The Circuit Breaker by David Ethan Sanders
2nd Place – The Memory Sphere by Kevin Sluder
3rd Place – Borderline by Kieran Shea & David Osorio

BEST UN-PRODUCED SCREENPLAY – SHORT
1st Place – The Insatiable Pine by Kent Green
2nd Place – The Weeping Willows by Amalie Lorentzen
3rd Place (TIE) – Lashes by Jill Sachs
3rd Place (TIE) – Honed by Jeffrey Howe

BEST UN-PRODUCED SCREENPLAY  – FEATURE – TOP 20 (Updating)
A Nice Place to Visit by John Munn
Blood of the Mob by Johnny Giacalone
Borderline by Kieran Shea & David Osorio
Consumed by Don Stroud
Deep Down by Dan Sullivan
Frankenstein in the Land of Oz by Mike Mann
Hunter by Alan Sanchez
Krolik by Rose Ann-Marie Norberg
Mysteries of the Desert by Whitney Crowder & Adam Hardman
NRG by Andreas Petersen
Rough Cut by Mitchell V. Slan
Settlement by Jason Sheedy
Sheriff of Rottingham by Anthony Ferraro
The Broken Fellowship by Sam T. Weston
The Circuit Breaker by David Ethan Sanders
The Hat Man by Edward G. Lyons & Melissa P. Lyons
The Memory Sphere by Kevin Sluder
The Prodigal by Thomas O’Malley
The Third Wife by Barrett Burgin & Daniel Yen Tu
Wicked Grin by Arran Crawley

BEST UN-PRODUCED SCREENPLAY – SHORT – TOP 10
Blackout by Scott Akers
Detective Palooka by Jason Lou Baldwin
Erosion by Tony Hipwell
Freeda by Lorenzo Colonna & Giada Mazzoleni
Honed by Jeffrey Howe
Lashes by Jill Sachs
Mermaid by Jerry D. Ochoa
Mouse by Michael Clifton
The Insatiable Pine by Kent Green
The Weeping Willows by Amalie Lorentzen

Main image: FilmQuest founder Jonathan Martin (center) leads a panel discussion with FilmQuest filmmakers.

As you may have gathered from the title, no one says what they mean, and that becomes a smart storytelling device that drives the film to places you would never predict. The dynamics between Haller's character, Luna, and her date, Cameron, played by Hunter Stiebel, take a heart-in-your-throat turn – for the potential couple, and for everyone in the bar.

The film, currently enjoying a festival run that includes near simultaneous appearances at the Austin Film Festival and FilmQuest in Provo, Utah, where it arrives this weekend, is achingly topical. But its timeless message is about the need for empathy for everyone you meet.

Making '[subtext]'

Haller, who wrote the film, was encouraged by director Erin Brown Thomas to tell the story. They met in a Los Angeles writers group for Vanishing Angle, the prolific, boundlessly creative company behind recent films like Alden Ehrenreich's directorial debut, "Shadow Brother Sunday."

Haller, who is from the Washington, DC area and has a theater background, and Brown Thomas, who is from Ohio and is a longtime Angeleno and artistic director of L.A.'s Salute Your Shorts film festival, started going out for coffee, and eventually workshopping the script with actors.

"It went through like a lot of different drafts and became this really exciting, interesting exploration of trauma and how we don't want to rank trauma, and how we're all kind of moving through our own version of that," Haller said. "At least for me, by being honest and vulnerable, we're actually able to make better, more genuine connections than if we're trying to move past stuff or push it down or hide it."

We spoke with Haller and Thomas at the Indy Shorts Film festival, over the summer, as the short film started catching audiences by surprise.

"Something that I told her, and one of the reasons I responded to the script, is that I don't like it when I'm watching movies and I get ahead of them," explained Brown Thomas.

They took care to craft the scenes so that every line can be read on at least two levels.

"We had the option of making it super clear at the beginning what was going on," Brown Thomas added. "But she chose lines, and I encouraged her to choose lines, that could potentially play as her being cheeky. ... I wanted to make sure that the audience did not know the schtick until we wanted them to know the schtick."

They also made every moment count.

"If we go too long, it becomes a gimmick. There's all these like beats in the movie, and they're about two minutes each — that's about how long it's going to take the human brain to figure out this beat. Now we've got to get out of it and get to the next beat."

Also Read: Doug Jones, Man of a Thousand Faces, Helps FilmQuest Celebrate 10 Years

Tone was also a question, because the film veers from the normal, comic anxieties of dating to the deeper caution of meeting near-strangers to sheer terror.

"There were some people in our writers group that were just like reading the script, and they were like, 'This can't be done. You should not make this movie. It's like sad drama, and comedy.'"

She took that warning and used it to inform her guidance to her department heads: "Listen, everything in the design of this movie has to essentially say something bad is about to happen, because that's what both characters are thinking and feeling. And that is also going to help the big reveal feel earned and not like we're switching genres on it. The last thing we wanted was for it to feel like shock value."

It turned out that Amber Khieralla, an actor who plays a small but crucial role in the film, had recently gone through a trauma like the one referenced in [subtext.]"

"She ended up becoming like a trauma consultant," Haller said. "We did a lot of dramaturgy to make sure we're doing this authentically — again, not for the shock value at all, not like, 'Oh, we're gonna incorporate edgy elements.'"

[subtext] screens today at FilmQuest.

Main image: (L-R) Hunter Stiebel, Erin Brown Thomas and Olivia Haller on the set of [subtext]

FilmQuest has become one of the most beloved genre celebrations on the planet, and Jones — long known as the man of a thousand faces for his nuanced portrayals of countless fantasy and sci-fi beings — starred in the Oscar Best Picture winner The Shape of Water and earned regular roles on Star Trek: Discovery and What We Do in the Shadows.

To mark FilmQuest's 10th anniversary, festival founder Jonathan Martin invited the Mimic and Pan's Labyrinth star to reminisce about a career that started with commercials in the 1980s, including for the crooning McDonald's mascot Mac Tonight. (Jones shared that the role helped him by his first house.)

They were careful to stay with SAG-AFTRA rules that keep striking actors from promoting any of their work, including in past films. But Jones was free to detail how he first broke into show business.

Doug Jones Shares His Origin Story

A born entertainer, with perfect elocution and a knack for comic act-outs, he dreamed of sitcom roles. But Hollywood noted his build, and had other plans.

"I wanted to be an actor since I started watching television," he told Martin. "I was a big fan of sitcoms and musicals and funny things like The Carol Burnett Show — seeing funny people do sketch comedy. Dick Van Dyke, Mary Tyler Moore, I Love Lucy, Gilligan's Island, Gomer Pile.

"I saw goofy people on screen, and was like, "Maybe there's a purpose for me after all!" he joked.

He moved from his home town of Indianapolis, Indiana to Hollywood.

"I did not see the career that I had coming," he told the crowd. "I thought I was going to be like the goofy funny next-door neighbor guy. But when you show up in Hollywoodland and you are six-foot-three and you weigh 135 pounds, and you have a background as a mime —"

At this he impersonated creature-effects teams getting very excited.

It helped that he was also a skilled contortionist who could do things like putting his legs behind his head. He soon landed roles not just in commercials but in the 1993 Disney film Hocus Pocus and the 1997 horror film Mimic, in which he plays a cockroach creature. It was Guillermo del Toro's first American film, and the two would go on to work together again and again, most notably in The Shape of Water.

But Jones' roles aren't easy. When Martin jokingly asked him about his relationship with rubber — they key ingredient in many of his costumes over the years — Jones described what it's like to be fully costumed when no one else is.

"Well, I've never loved it, honestly," Jones said. "I mean, I love the end results when you can sit back and watch on the movie screen and think, "Wow, it was worth all the sacrifice' — but there was sacrifice involved."

He elaborated: "You say goodbye to all human comforts, and say goodbye to going to the bathroom whenever you want. You say goodbye to eating snacks when the rest of the crew is going" — here Jones made eating sounds — "in front of you."

He added: "The older I get the older it gets, to be honest with you."

But in telling that story, he also displayed a talent that Hollywood has become increasingly aware of in recent years: He's not just good at miming the behavior of humanoid creatures. He's fabulous at delivering monologues and punchlines, as well.

Main image: Doug Jones, left. and Jonathan Martin.

Four Daughters, a Tunisian documentary by Kaouther Ben Hania in which the director enlists two actors to play two of a mother's missing daughters, was awarded the main documentary prize.

The festival, held October 20-29 in lovely Montclair, an artistically focused town a short commute from New York City, focused on daring and provocative films perfect for an audience excited to learn and be challenged. Film fans packed houses to watch nature documentaries, tense documentaries and boundary-pushing comedies, among other films, in a film-nurturing community speckled with gelato shops and fitness studios.

The Montclair Film Festival co-founders are Evelyn McGee Colbert, president of the board of directors of the nonprofit Montclair Film, and WNET-TV executive Bob Feinberg — and McGee Colbert enlisted her husband, Stephen, for one of the highlights of the festival, a conversation with Martin Scorsese at the gorgeous New Jersey Performing Arts Center in nearby Newark.

“The work of this year’s festival filmmakers proves once again that cinema is thriving as an
art form,” said Montclair Film artistic director and co-head Tom Hall. “We could not be more honored to have been able to share each and every one of the films in our program, and we extend our immense gratitude to all of the filmmakers whose work made this year’s Montclair Film Festival a success.”

More Montclair Film Festival Award Winners

In addition to awarding the festival's Fiction Feature Prize to Do Not Expect Too Much From the End of the World, jurors in the category gave a Special Jury Prize for Direction to Lila Avilés for Totem.

The Fiction Feature Competition also featured La Chimera, directed by Alice Rohrwacher, Evil Does Not Exist, directed by Ryusuke Hamaguchi, and Inside the Yellow Cocoon Shell, directed by Phạm Thiên Ân.

The Fiction jury was composed of Clayton Davis (Variety), Kate McEdwards (Track Shot), and Alison Willmore (New York Magazine, Vulture). They also chose "The Pedestrian," directed by Nora DeLigter and Claire Read, as the winner of the festival’s Fiction Short Film Competition.

Four Daughters, a captivating and provocative study of religious and gendered expectations, was awarded the festival’s Bruce Sinofsky Award for the Documentary Feature Competition, the festival’s documentary
competition prize. A Special Jury Prize for Excellence in Documentary Editing went to Pianoforte, directed by Jakub Piatek.

The Documentary Feature Competition also featured On the Adamant, directed by Nicolas Philibert, Queendom, directed by Agniia Galdanova, and Rule of Two Walls, directed by David Gutnik.

The Documentary Feature Competition Jury and Non-Fiction Shorts jury was composed of Sam Adams (Slate), Greg Bousted (Sandbox Films) and Joe McGovern (The Wrap).

Winning the Future/Now Competition meant that The Feeling That the Time for Doing Something Has Passed also won the $5,000 The Mark Urman Award For Fiction Filmmaking, honoring early career filmmakers. The award was established in 2019 in memory of the film distribution executive Mark Urman, a longtime Montclair resident, and funded through Montclair Film’s Mark Urman Award Fund.

Additionally, Playland, director Georden West's stunning exploration of the lifetime of a beloved queer bar in Boston, was awarded a Special Jury Prize by the Future/Now jury for Daring Visual Splendor.

The Future/Now Competition also featured The Featherweight, directed by Rob Kolodny, Free Time, directed by Ryan Martin Brown, and Pet Shop Days, directed by Olmo Schnabel.

The Future/Now jury was composed of Lisa Macabasco (Vogue), filmmaker Miles Warren (whose excellent debut, Bruiser, is now on Hulu), and your humble correspondent, Tim Molloy of Moviemaker
Magazine.

Meanwhile, Tell Them You Love Me, directed by Nick August-Perna, earned the New Jersey Films
Competition prize. The New Jersey Feature Competition also featured Jesszilla, directed by Emily Sheskin, Lead and Copper, directed by William Ha, Scream of My Blood: A Gogol Bordello Story, directed by Nate Pommer & Eric Weinrib, and You Were My First Boyfriend, directed by Cecilia Aldarondo and Sarah Enid Hagey.

"Pushover," directed by Brian Lederman, won the festival’s New Jersey Shorts competition.
The Competition featured films in the fiction and non-fiction categories from New Jersey.

The New Jersey Films Competition jury was composed of filmmaker Julie Cohen, Georgette Gilmore (Montclair Local), Kase Wickman (Vanity Fair).

The Audience Award for Fiction Feature was awarded to The Holdovers, directed by Alexander Payne, while the Audience Award for Documentary Feature was awarded to American Symphony, directed by Matthew Heineman. The Audience Award for World Cinema was awarded to The Taste of Things, directed
by Trân Anh Hùng.

The Audience Award for Short Film was awarded to "Outsider," directed by Ted Haimes.

Montclair Film Festival Junior Jury

Each year, The Montclair Film Festival welcomes our Junior Jury, made up of fifteen area high school students representing twelve area schools. The Junior Jury awarded their top prize to Perfect Days, directed by Wim Wenders. Award for Andrew Haigh for Screenwriting for All of Us Strangers. The Junior Jury also awarded a Special Jury Award for for Andrew Haigh for Screenwriting for All of Us Strangers.

The 2023 Montclair Film Festival Junior Jury participants were May Bahoora (Columbia High), Faith Brolly (Verona High), Sabrina Camacho (Donald M. Payne High), Nicholas Giordano (Pascack Valley HIgh), Amadis Gonzalez (Passaic High), Caitlyn Huang (Hanover {Park High), Willow Killebrew (Montclair Kimberly Academy), Sylvia Koenig (Montclair High), Emile La Morte (High Tech High), Elisabeth Rose Powell (Montclair High), Robbie Rechtschaffer (Montclair High), Jason Simon (Glen Rock High), Lex Stipanov (Green Meadow Waldorf School), Michael Trinidad (Passaic High), and Trey Wakeshima (West Essex High).

Main image: The Feeling That the Time for Doing Something Has Passed, Future/Now winner at the Montclair Film Festival.

But there’s an X factor you shouldn’t forget: Sometimes a film festival can also be a vacation. Local communities certainly view film festivals as tourism, and maybe you should, too. MovieMaker tapped filmmaker surveys, traveler reviews, and in-person visits to evaluate what film festivals are especially worth the travel. 

Yes, you’ll remember the networking, the great Q&A about your film, the awards. These things are very important. But there’s also something to be said for eating a real California burrito in San Diego. 

Here’s our list of 20 Great Film Festivals in Vacation Destinations. Book a chartered flight from Jettly once you decide which film festival to attend or a vacation destination to explore. View further information here on how to plan your next travel. Book a reservation at Hotel Carmel to have a very relaxing vacation by the sea.

ASPEN SHORTSFEST

Location: Aspen, Colorado

Dates: April 1-7, 2024

Camera-worthy setting: ​​Take a ride on the Silver Queen Gondola and enjoy views of Maroon Bells,  two peaks in the Elk Mountains.

Nice spot for writer’s block: The John Denver Sanctuary includes the singer’s lyrics inscribed on boulders throughout the beautiful park.

What filmmakers say: “This is hands-down one of the best festivals I’ve ever attended. They take incredibly good care of the filmmakers and I think that’s why so many actually come out in person. There was no shortage of things to do in Aspen, but more importantly, the festival experience didn’t overwhelm your time while you’re there. It was a great balance of events and time to enjoy Aspen as you saw fit. The entire team is lovely and created a wonderful space to enjoy great films, network, and celebrate all the hard work that got everyone there in the first place.” - Director Alex Ross (“The Social Chameleon”) on FilmFreeway

BEAUFORT INTERNATIONAL FILM FESTIVAL

Location: Beaufort, South Carolina

When:February 20-25, 2024

Must-see attraction for movie lovers: Beaufort Tours offers walking and golf cart tours showcasing the film history in the area. Movies filmed locally include Forrest Gump, The Big Chill and Prince of Tides.

Camera-worthy setting: The Spanish Moss Trail is a greenway along the former Magnolia Rail Line. Visitors can enjoy marsh and creek views, wildlife, and majestic Spanish moss.

What filmmakers say: “The Beaufort International Film Festival was magical. Everyone we met was so warm, kind, and supportive — the atmosphere was beyond our wildest dreams. … Screening Storming Caesar’s Palace with you — and being honored with the Best Feature Documentary award! — was an unforgettable experience. Sondra [Phillips-Gilbert, a participant in the film] and I had a fabulous time, seeing films, making new friends, and soaking up the rich culture of Beaufort and the surrounding areas. This festival is a treasure and we hope to return again soon!” — Director Hazel Gurland (Storming Caesars Palace) on FilmFreeway

BIG SKY DOCUMENTARY FILM FESTIVAL

Location: Missoula, Montana

When: February 16-25, 2024

Must-see attraction for movie lovers:Yellowstone locations abound in Missoula, including Ruby’s Cafe, where festival goers can fill up on biscuits and gravy before a day of movie watching.

Camera-worthy setting: Get spooked at nearby Garnet Ghost Town, an abandoned mining town from the 1860s.

What filmmakers say: “The Big Sky Documentary Film Festival is like a nonfiction filmmakers’ paradise. We went for the past two years, first as a pitch presenter for Jack Has a Plan and then to screen the film. Both times revealed that Big Sky is a true filmmakers’ festival with a jam-packed schedule of screenings of amazing films, workshops, and parties. During the festival, everywhere you turn in Missoula is filled with talented, dedicated working doc makers who are eager to share their experiences and love of storytelling. These conversations take place at official venues but also in dive bars, local craft breweries, and backyard bonfire confabs — into the wee hours. If you want to share your movie with the smartest people in the business and to recharge your batteries for more doc filmmaking, set aside a freezing February week every year for the Big Sky Documentary Film Festival. It’s the real thing.”— Director Bradley Berman (Jack Has a Plan) on the festival’s website

CATALINA FILM FESTIVAL

Location: Avalon, California

Dates: 2024

Must-see attraction for movie lovers: Take a tour with Catalina Island Company and search for wild American bison roaming the island. The bison may have first arrived on the island for the 1925 film The Vanishing American.  

Camera-worthy setting: Hike up to the Buena Vista Point Scenic Overlook for unreal views of Avalon Bay.

For more than popcorn: Grab a bite and put your feet in the sand at Descanso Beach Club. It offers specialty cocktails, sea-inspired salads and much more.

What filmmakers say: “This is an amazing festival, especially for the L.A. area! The volunteers are incredibly helpful and host great Q&As. This film has been accepted into 35 festivals and this one is top 5. The panels are the best I have been to at a festival; the caliber of talent on the panels and the organization are amazing. It is well attended by other filmmakers, which makes it a great fest to network at.” -— Director Regina Pigsley (“The Phoenix”) on FilmFreeway

FLORIDA FILM FESTIVAL

Location: Maitland, Florida

Dates: April 12–21, 2024

Must-see attraction for movie lovers:Feel like a kid again and enjoy rides and attractions inspired by The Simpsons, Harry Potter, Men in Black and more at nearby Universal Studios Florida.

Camera-worthy setting:Visit the Audubon Center for Birds of Prey to learn about conservation and see bald eagles, ospreys, kites, owls, falcons and more up close.

What filmmakers say: “Highly highly recommend Florida Film Festival! From communication to networking to some of the most unique and diverse programming I’ve seen, Florida is one of the best festivals I’ve had the pleasure to screen at. The programming team is top shelf and the enthusiasm of everyone there is infectious!” —Director Jenn Harris (“She’s Clean”) on FilmFreeway

Also Read: 50 Film Festivals Worth the Entry Fee in 2023

HAMPTONS INTERNATIONAL FILM FESTIVAL

Location: East Hampton, New York

Dates: 2024

Artistic inspiration: The Pollock-Krasner House and Study Center gives visitors a glimpse into the working lives of artists Jackson Pollock and Lee Krasner.

Camera-worthy setting: The East Hampton Village Nature Trail and Wildlife Sanctuary is a small slice of nature with an adorable duck pond, perfect for some fresh air between films.

For more than popcorn:Try the delicious dosas at Hampton Chutney Company.

What filmmakers say: “Hugely enjoyed screening at this festival. Exceptional programming and a great selection of events to network with other filmmakers. Great communication from the team, and a beautiful setting for a film festival!” —Writer-actor-producer Duncan Moore (“Reasons”) on FilmFreeway

HAWAI’I INTERNATIONAL FILM FESTIVAL

Location: Based in Honolulu, with screenings in several locales

When: October 12-November 5

Must-see attraction for movie lovers: Kualoa Ranch is known as the Jurassic Valley for its part in multiple Jurassic Park films. Jumanji and Kong: Skull Island also filmed at the private nature reserve.

Camera-worthy setting: Don’t miss Manoa Falls, a 150-foot waterfall accessible via a nearly one-mile hike through rainforest.

What filmmakers say: “I’ve had the pleasure of screening with HIFF a handful of times now and it is without a doubt, my most favorite festival. They put on an incredible event with amazing special guests from across the world, awesome parties/gatherings (from sunset cocktail parties to karaoke nights), and a wonderful lineup of films. I always have a blast and feel so well taken care of by their team.” —Director Erin Lau (“Inheritance”) from the festival’s Instagram page

KEY WEST FILM FEST

Location: Key West, Florida

When: November 15-19

Must-see attraction for movie lovers: The Florida Keys’ Seven Mile Bridge is like no other, suspending drivers in ocean blue. It’s been in movies including License to Kill, True Lies, The Haunted Mansion, 2 Fast 2 Furious, and Mission: Impossible III.

Nice spot for writer’s block:The Ernest Hemingway Home and Museum, where he wrote some of his most famous novels.

What filmmakers say: “Loved the Key West Film Festival. Everyone was so nice and inclusive on top of the beautiful location that is Key West. The films selected were very beautiful and I am so grateful to have my film shown at this festival.” —Director Justin Hollis (“Leave a Message”) on FilmFreeway

LAKE PLACID FILM FESTIVAL

Location: Lake Placid, New York

Dates: October 26-29

Camera-worthy setting: Mount Jo is nestled in the Adirondack Mountains and the hike to great views is quite manageable.

For more than popcorn: Enjoy a beautiful view of Mirror Lake while you enjoy a tasty meal at the Cottage Cafe, which has something for everyone.

Nice spot for writer’s block:The Bookstore Plus is a family owned and operated music, art and book store in the heart of the Olympic Village.

What filmmakers say: “Lake Placid is an ideal spot for a film festival. The movie theaters so close to hotels and eateries and main venues for all that’s going on. The people were terrific. Communications and staff were really great.” —Director Rich Allen (“Escuela de Corte - Last Time We Play Hooky”) on FilmFreeway

MARTHA’S VINEYARD AFRICAN-AMERICAN FILM FESTIVAL

Location: Vineyard Havens, Massachusetts

Dates: August 2-10, 2024

Must-see attraction for movie lovers: Edgartown stood in as Amity Island in Jaws and many of the locations still stand. Swing by the iconic American Legion Memorial Bridge and then rewatch the scene where Brody’s son witnesses a shark attack.

For more than popcorn: Score some, well, chowder, at Martha’s Vineyard Chowder Company.

What filmmakers say: “Filmmakers are treated like royalty. I’ve never made more connections and enjoyed myself at a film festival more than this one. It was truly an unforgettable experience and I’m happy I was able to share my short film “Reggie & June” with everyone. I look forward to coming back!” —Director Brandon Thomas (“Reggie & June”) on FilmFreeway

MCMINNVILLE SHORT FILM FESTIVAL

Location: McMinnville, Oregon

Dates: February 23-25, 2024

Must-see attraction for movie lovers: The 1983 Helen Hunt film Quarterback Princess shot entirely in McMinnville. It’s a deep cut, and fun to watch before visiting, so you can spy spots from the film all over town.

For more than popcorn:Take advantage of Oregon wine country and visit one of the spectacular wineries in the region, including Yamhill Valley Vineyards, the oldest in the area, or the stunning Maysara Winery.

Camera-worthy setting: Visit the Erratic Rock State Natural Site, a state park featuring a glacially deposited rock from the last ice age. The name alone is full of intrigue. 

What filmmakers say:“A fantastic festival run by wonderful people who want to help you succeed! I am so grateful and thrilled that McMinnville exists and hosted us at their festival. Intimate filmmaker networking events, great wine, compelling films, everything I crave in a festival. If you get into this festival, you should be proud, and you should definitely GO! Attending this was one of my favorite experiences.” —Director Izzy Stephens (“Seafoam”) on FilmFreeway 

NAPLES INTERNATIONAL FILM FESTIVAL

Location: Naples, Florida

Date: October 26-29

Camera-worthy setting: Meander along the boardwalk at the nearby Corkscrew Swamp Sanctuary to see an abundance of birds and wildlife in a serene setting.

For more than popcorn: Cool down with a delicious pistachio or dark chocolate almond gelato at Cesibon.

What filmmakers say: “Hands down, full stop, NIFF indulged us with the best world premiere of our debut feature film we could possibly have imagined. From the judges to the audiences to our fellow films and filmmakers, the festival was curated to embrace passionate, dynamic, original cinema. Panels, galas, philharmonic-accompanied screenings, Airstream lounges, extended talkbacks, wee hour pow-wows in the fest hotel lobby... the celebration is unparalleled. Submit your film. And know you’ll be considered by the most thoughtful, diligent, supportive team out there. Endless gratitude and beyond.”— Director Johanna Putnam (Shudderbugs) on FilmFreeway

PALM SPRINGS INTERNATIONAL SHORTFEST

Location: Palm Springs, California

Dates: June 18-24, 2024

Must-see attractions for movie lovers: It’s not quite the Hollywood Walk of Fame, but the Palm Springs Walk of Stars is an easy stroll in downtown Palm Springs and highlights over 400 accomplished individuals. 

Camera-worthy setting: There is no shortage of desert landscapes, but Joshua Tree National Park is special, and only about an hour away.

What filmmakers say: “Great films, incredible filmmakers, and the friendliest programmers around — this festival is a MUST. Thanks for having us, Palm Springs. We can’t wait to come back.” —Director Haley Alea Erickson (“Call Me Mommy”) on FilmFreeway

SAN DIEGO INTERNATIONAL FILM FESTIVAL

Location: San Diego, California

Dates: October 18-22

Must-see attractions for movie lovers: There’s plenty of options if you feel the need to speed over to some of the locations from Top Gun and Top Gun: Maverick. They include the Kansas City Barbeque, where the “Great Balls of Fire” scene was filmed.

Camera-worthy setting: For expansive views of the Pacific Ocean and sandstone cliffs, visit Sunset Cliffs Natural Park.

For more than popcorn: Save room for a California burrito from one of the dozens of excellent spots in the area, including Lucha Libre and Rigoberto’s.

What filmmakers say: “My team had a great time in San Diego! It definitely exceeded our expectations in terms of audience turnout and hospitality. I’d say the people at the festival were my favorite part; the programmers and volunteers were all so warm and friendly. They made us feel welcome instantly and comfortable to mingle and to enjoy the festival to the fullest. They tried their best to listen to all our requests and were incredibly accommodating in every aspect. Highly recommend this festival to all filmmakers who want to enjoy a wonderful week of films and great weather in a beautiful city, with very cool people from all around the world.” —Director Christine Ko (The Woman in the White Car) on FilmFreeway

SANTA BARBARA INTERNATIONAL FILM FESTIVAL

Location: Santa Barbara, California

Dates: February 7-17, 2024

Nice spot for writer’s block: Chaucer’s Books is a locally owned, independent bookstore known for its knowledgable staff.

For more than popcorn: Stop by the Cold Spring Tavern, an 1868 stagecoach stop, and dig into hearty fare like wild game black bean chili and tri tip sandwiches.

What filmmakers say: “We had an absolute blast at SBIFF. The programming team and their army of enthusiastic, cinema-loving volunteers went above and beyond to make this a special experience for all of the filmmakers and attendees at the festival. Packed houses for the shorts blocks too, even the weekday matinee! That’s what it’s all about.” —Director Austin Kolodney (“Two Chairs, Not One”) on FilmFreeway

SEDONA INTERNATIONAL FILM FESTIVAL

Location: Sedona, Arizona

Dates: February 24–March 3, 2024

Must-see attraction for movie lovers: The Sedona Heritage Museum is great for local history, and includes a telegraph office film set used in many Westerns shot in Sedona in the 1940s and ’50s.

Camera-worthy setting: The red rock monoliths of Cathedral Rock and Bell Rock are mesmerizing, and possibly healing, as both are considered vortex sites (mysterious spots where energy is either entering or exiting the earth).

What filmmakers say: “Of all the festivals I’ve attended, I make it a point to have a new script or film I can submit to Sedona to return and enjoy their unequivocal events and hospitality and to network with filmmakers and celebrity talent. And being a day’s drive from Los Angeles makes it an enticing venue for any SoCal-based filmmakers to attend.” —Writer Jake Thomas (South of Normal) on FilmFreeway

SONOMA INTERNATIONAL FILM FESTIVAL

Location: Sonoma, California

Dates: March 20-24, 2024

For more than popcorn: There are wineries everywhere in Sonoma County, including Gundlach Bundschu, Buena Vista and Bartholomew Estate. Double down and check out Francis Ford Coppola Winery about an hour away from the festival.

Must-see attraction for movie lovers: The Coppola-produced, George Lucas-directed American Graffiti filmed all around the area. Go cruising and see some of the locations in Sonoma and nearby towns.

Nice spot for writer’s block:The Jack London State Historic Park shares the story of writer-adventurer London (The Call of the Wild) who made the Sonoma Valley his home. The park includes historic buildings, exhibits, hiking trails, and farmlands. 

What filmmakers say: “I was so honored to have my animated short ‘Little Hurts’ screened at the Sonoma Festival! The Just for Fun Shorts, programmed by Oscar Arce Naranjo, was an amazing afternoon of films. Everyone working and volunteering at the festival was welcoming and so friendly and there were so many opportunities to meet other filmmakers. Outside of the festival, the food in Sonoma is truly extraordinary! We took day trips to visit gardens and really this festival has it all - I hope I am able to return with my next film! —Director Debra Solomon (“Little Hurts”) on FilmFreeway

SUN VALLEY FILM FESTIVAL

 Location: Ketchum, Idaho

When: February 28-March 3, 2024

Nice spot for writer’s block: Ernest Hemingway lived here as well as in Florida — and he also died here. You can visit his grave at Ketchum Cemetery. 

Camera-worthy setting: The Sawtooth National Recreation Area has bountiful acres of lakes, trails and trees.

What filmmakers say: “Sun Valley is a top-tier film festival that is easily one of my best festival experiences I’ve had. The chosen films are beautifully curated, and the staff works overtime to make all visiting filmmakers feel special and included. The whole community really shows up to support the festival as well, and that fact makes the experience all the more special.” —Producer Lovell Holder (Midday Black Midnight Blue) on FilmFreeway

TELLURIDE HORROR SHOW

Location: Telluride, Colorado

Dates: 2024

Must-see attraction for movie lovers: Take a scenic ride on the Durango & Silverton Narrow Gauge Railroad, featured in Butch Cassidy and the Sundance Kid.

Camera-worthy setting: The Jud Wiebe hiking trail offers glorious views of the town and surrounding mountains.

What filmmakers say: “Great audience, and goddamn, Telluride is a slice of heaven.” —Director Greg McLean (The Belko Experiment, Wolf Creek) on the festival website

WOODS HOLE FILM FESTIVAL

Location: Woods Hole, Massachusetts

Dates: July 27-August 3, 2024

For more than popcorn: Pie in the Sky Bakery has perfect slices of pie, but also sandwiches, smoothies and more, all made on site.

Artistic inspiration: Woods Hole Handworks is a co-operative art gallery that has been bringing local arts and crafts to the community for nearly 40 years.

What filmmakers say: “The whole town of Woods Hole gives itself over to this force. The films were all curated with tremendous care and the programming was spot on. So many opportunities for a filmmaker to socialize, network and enrich their experience. Terrific organization! A wholly worthwhile experience!” —Writer Susannah Nolan ( “How Do You Type A Broken Heart?”) on the festival’s Facebook page.

Montclair Film Education’s annual Emerging Filmmaker Competition will participate in Shine
Global’s annual Children’s Resilience In Film Awards, beginning in 2024, in which an award of $500 will be granted to the winning film in a new filmmaking category focused on resilience. Another cash prize of $500 will be awarded to the EFC’s Grand Prize-winning film.

The Grand Prize and Resilience winners will also be invited to participate in Shine Global’s
2024’s Children’s Resilience in Film Award events, which celebrate films and filmmakers who highlight the resilience and strength of children dealing with adversity.

Montclair Film’s Emerging Filmmaker Competition focuses on filmmakers in the 6th through 12th grades. Their films, selected by a jury of film professionals, are in the categories of drama, comedy, documentary, animated, horror, experimental, social impact, and now resilience.

Student filmmakers interested in participating may submit at Montclairfilm.org/education starting December 1. Winners will be announced in the spring of 2024, and Shine Global’s Children’s Resilience in Film Award events will take place later in 2024.

“We are thrilled to deepen our relationship with Shine Global to bring great films from our
Emerging Filmmaker Competition to the Children’s Resilience In Film Awards,” said Montclair
Film Education director Sue Hollenberg.

“As young artists continue to find an outlet for their creative expression through filmmaking, this opportunity will provide material support and encouragement for them to continue to push the boundaries of storytelling into new directions.”

“For the past 18 years, Shine Global has produced films that acknowledge children's resilience
globally,” said Shine Global co-founder and executive director Susan MacLaury. “We're honored
to partner with Montclair Film to celebrate emerging filmmakers who represent the next
generation in the filmmaking community who do the same.”

The Prize Fest — one of our 50 Film Festivals Worth the Entry Fee in 2023 — is a celebration of film, food, music, fashion and comedy held annually in Shreveport, Louisiana. The Film Prize, now in its 12th year, was the final awards ceremony of Prize Fest, a two-week festival celebrating the work of independent filmmakers, fashion designers, musicians, chefs and comedians in the state.

“This was a Prize Fest for the history books,” said Gregory Kallenberg, executive director and founder of the Louisiana Film Prize and Prize Foundation. “After record crowds in attendance, and the highest level of talent we’ve ever seen, to finish with the crowning of our first female African-American director was the cherry on top of a very deliciously amazing Prize sundae.” 

About 'The Candy Lady' and the Louisiana Film Prize

"The Candy Lady" was chosen from the Top 19 short film finalists, all of which were filmed in Louisiana, and determined by a unique 50-50 combination of votes from online and in-person attendees, as well as a panel of industry judges from across the country. 

Additionally, Shelton won Best Performance for her role as Debra in “The Candy Lady.”

The other short films in the Top 5 included “Off Sides” (Kaitlyn Brown), “Caught on Tape” (Chris Evans), “Pink Suit Black Suit” (Jacob & Jaya McSharma) and “Dead Flesh” (Gianfranco Fernandez-Ruiz). All Top 5 filmmakers receive a $1,000 reimbursable grant to fund their fees and travel to screen their short films at other festivals.  

The Film Prize Foundation also announced the recipients for its Founder’s Circle Grants. The Founder’s Circle is a $3,000 reimbursable filmmaking grant that allows filmmakers to come back and make a film for Louisiana Film Prize 2024.

The 2023 recipients were Derouselle, Brown, Evans, the McSharmas, Fernandez-Ruiz, Clayton Henderson (“Clownfish”) and Gian Smith (“The Capitalist”).

You can learn more about the Louisiana Film Prize and Prize Fest or watch the Louisiana Film Prize awards ceremony at www.prizefest.com.

Main image: "The Candy Lady" director Monique Derouselle holds the award for the Louisiana Film Prize.

"My wife and I found out we were gonna be having a kid about eight or nine years ago, and it made me really nostalgic for how I grew up and what my life was like, and how I'd explain my childhood to this new little being that was coming into our lives," he explained after a jubilant late-night screening Saturday of The Weird Kidz at the El Paso Film Festival.

"And it suddenly sparked this thing — I started to get excited again, remembering the things that made me want to become a filmmaker: the the friends, the influences, the movies. And the story just came together. And that also reminded me that since I was little, I'd always wanted to make an animated feature film."

He had always romanticized films by solo animators who spent months or years laboring over their frames. And so he began working on The Weird Kidz, often in the small hours between 2 and 6 a.m., when he could find time away from his job as an editor. He and his wife, Hannah Passero, had worked together on animated shorts, and she hand-painted the images he created on a tablet.

Given their growing family, they had to be patient: The film ultimately took eight years.

"But it was a constant joy in my life. It became a meditation, and I just really looked forward to animating everyday," Passero said.

The Weird Kids is a very fun, strange hybrid: It's about a group of 12-year-old boys including Dug (voiced by Tess Passero, Zach Passero's sister) who go on an overnight camping trip with Dug's older brother, Wyatt (Ellar Coltrane), and his girlfriend, Mary (Sydney Wharton). They've heard the legend of a creature called the Night Child — and soon learn that the stories are very real.

Connecting With The Weird Kidz

The Weird Kidz drew a mix of shock and laughter at Saturday night's screening, as the raunchy, misinformed talk of kidz with lots to prove acclimated the audience to the wild elements to come.

It veers from a Richard Linklater-style hang (Coltrane is best known for starring in the Texas filmmaker's Boyhood) into a B-movie style horror film. But impressively, it takes another confident turn by handling its horrific elements with surprising empathy and gentleness, aside from the odd detached limb.

The film never establishes exactly when it takes place, but if you grew up in the 1980s — or wish you did — you'll get weird-kid feelings at the mostly extinct sights of boxy video-game consoles and newsstand centerfolds. It reminded me of classic kid-focused '80s movies like The Goonies and Stand By Me, as well as more grown-up adventures like Indiana Jones and the Temple of Doom. I can't really compare the animation to anything: It is unfussy and painterly at the same time, at times charming and at other times delightfully shocking. The overall effect is hallucinatory beauty.

Passero noted that he was able to streamline the process of hand-drawing all the images by thinking like an editor about how he could cut down scenes — essentially editing the movie in his head to minimize the amount of time he spent in an editing bay.

The film has had a very successful festival run, but Saturday's showing was special: Passero is an El Paso local, and the team's producers include El Paso filmmakers Lucky McKee, known for directing the recent Old Man and an episode of Poker Face, and Charles Horak, a champion of El Paso film who hosts a wide range of filmmakers at a spectacular converted warehouse at the edge of downtown.

Horak noted that there's a moment in every screening of The Weird Kidz when the audience locks into its pleasantly peculiar sensibility.

"Clearly as a hand-animated single endeavor, it looks different than a lot of animated films," he said. "About 10 minutes in, this weird thing happens to me, every single time where I stop — it's like your brain calibrates to the animation style, and then you just get sucked into the story and these characters in the arc they're on."

He added: "As a writer, Zach has put so much heart and soul in this film. There's so much depth to it, and all the characters have an arc, and they go somewhere over this long night. And to me that's what sucks you into the film — not just the the cool animation drawings.... That story from nine years ago is the backbone of this thing."

The Weird Kidz will next screen at the Sitges Film Festival.

Main image: The Weird Kidz, by Zach Passero.

But in the joyous new documentary Blood Sweat and Beers: The Making of a Comedy-Rock Classic, Money Mark elevates the comedian-musicians to flashes of musical brilliance, and teaches us all lessons about the power of good collaboration.

Is the album they made together, entitled Sonic Ranch, actually comedy-rock classic? I don't know, but the movie might be.

Meet The Sloppy Boys

El Paso news anchor Robert Holguin directed the film, which premiered to a very happy response at the El Paso Film Festival on Friday night. Holguin said the project came about because he was an old friend of Money Mark and a fan of The Birthday Boys, a comedy team championed by Bob Odenkirk that had a show on IFC for two seasons in 2013-14.

Three of The Birthday Boys, Mike Hanford, Tim Kalpakis and Jefferson Dutton, spun off into The Sloppy Boys, who host a successful podcast and released three albums prior to Sonic Ranch.

Also Read: At the El Paso Film Festival, Deadland Stands at the Border Between Life and Death

Holguin explained at a Q&A after the premiere that he wanted to make a fun documentary to break up all the serious stories he covers for El Paso's KFOX14. So he approached the Sloppy Boys and Money Mark and pitched an idea: Would they want to spend five days collaborating together at the Sonic Ranch, the residential recording studio outside El Paso where some of the world's greatest musicians have made beautiful music, free from outside distractions? Everyone agreed.

Holguin has a great eye, and, despite his considerable charisma, a reporter's instinct for not making himself the story. He disappears into the recesses of the studio and mostly does straight fly-on-the-wall reporting — a great move, because the dynamic tension between the master and his sloppy students provides comedy galore.

The band's Mike Hanford protests throughout the movie that he isn't even a real musician. Plenty of songs and riffs seem annoyingly basic in their early iterations. But Money Mark has remarkable patience as the bandmates figure out what they want. And the producer also demonstrates a mastery of how to bring out the Sloppy Boys' best without forcing ideas on them. By the end of the film, it's clear they're much better musicians than they considered themselves at the start.

The most exhilarating moment comes when Kalpakis searches for an earworm to anchor one of his songs, a hip-hop seduction theme called "The Gardens of Gomorrah" — and creates it with help from two cables and a Mexican coin. It's the very first hook you hear here:

I went into the movie with zero expectations — party rock is not my thing and I don't love the word sloppy — but I laughed throughout Blood Sweat and Beers and was sorry to see it end.

Holguin won the festival's El Paso Filmmaker Award. Asked if he had a lot of outtakes, he explained why he really doesn't.

"I come from news background so I shoot very efficiently," Holguin explained. "I don't just let it roll and roll and roll — to my detriment, I think, sometimes, in projects like this. So I had to learn to stop hitting stop, because I would stop a lot, and I would stop too soon sometimes."

His restrained approach made the film easier to edit — he estimated that he only recorded about eight hours of footage over five days of recording. That meant less agonizing about what to leave out, but also few deleted scenes.

"I don't have that much more that you didn't see," Holguin said.

The film has no distribution yet, but would play very nicely on Netflix of HBO. Blood Sweat and Beers might be hard to explain to people who aren't familiar with The Sloppy Boys, Money Mark, or Holguin — and may not realize how weird and wonderful their collaboration is. But I think almost anyone who watches the movie will be won over.

Many viewers — myself included — went skeptically into Friday's premiere at the Philanthropy Theater, and came out so impressed that we followed the band down the street for a live show at The Reagan, one of the coolest bars I've been to. Taking chances and saying yes to the uncertain pays off for artists, but audiences too.

Main image: Tim Kalpakis, Jefferson Dutton, and Mike Hanford, aka The Sloppy Boys, performing at The Reagan.

"I just thought, that's an amazing duality," Larson said Thursday at a Q&A following the El Paso Film Festival's opening-night screening of his film, which premiered at SXSW.

"That's a character worth writing about," Larson added. "He talked about how much he loved his country, loved being a border agent, but at the same time, his Mexican heritage wasn't lost. So he described himself as every day on the job carrying his badge in one hand, and his heart in the other."

Deadland stars Roberto Urbina as Angel Waters, who treats the migrants he stops with respect and empathy, in part because he sees his own father's story in theirs. When a mysterious visitor arrives at his home — soon after he tries to save another mysterious man caught in racing waters — he finds his loyalties divided.

The film, which received the festival's Producers Award, is filled with assured twists and turns, and explaining them would rob you of some of the pleasures of Deadland. The film accomplishes the complicated mission of being inventive and clever, but at the same time spiritual and elegiac. It's edge-of-your seat intense — one character is named Hitchcock, and yes, the film is downright Hitchcockian in its power to set and subvert your expectations. But is also asks you to do a little soul-searching.

El Paso

A very early version of the film was called El Paso — "the passage," in English — and it played especially strongly in El Paso, the sprawling West Texas city right on the U.S.-Mexican border. This week, El Paso's Democratic mayor, Oscar Leeser, said his city is at a "breaking point," with about 2,000 migrants arriving each day. The city's shelters are full, and there are plans to convert an unused middle school to an emergency center for migrants. 

Leaving the Philanthropy Theater, which hosted Thursday's Deadland screening, you could see small numbers of migrants on the nearby corners, biding their time, waiting to learn their fates in the United States. Will they be able to stay? Will there be jobs if they do? I saw none of the criminals and rapists Donald Trump has described, but did see mothers and fathers with babies. Temperatures are in the 90s.

During the Q&A, the audience made clear that the border crisis wasn't about manufacturing fear to help opportunists win elections. In El Paso, it is personal: Some had parents or grandparents cross into the United States — and sometimes cross back into Mexico, and then cross again. One longtime El Pasoan noted that he could remember a time, decades ago, when people could move fairly fluidly between El Paso and Ciudad Juarez, on the Mexican side, for work and to see family and friends.

You see some migrants on the streets of El Paso, yes, but you see far more homeless people on the streets of Hollywood or San Francisco or Manhattan. And El Pasoans are trying valiantly to help their neighbors, with food banks and beds and medical help. The people closest to the probem — unlike those sitting behind news desks in New York City or in cocktail lounges in Washington D.C. — recognize it as one about people, not politics.

The Backstory of Deadland

Deadland uses metaphor to both personalize the problem and tell a universal story. The mystery man crossing the river feels cursed to relive the same terror, night after night.

"We hear in the news some stories, but there are so many other stories where you just never know if they made it or didn't make it — if they lived or died or led a happy life or if it's tragic," Larson said.

Also Read: 'Be Generous': Sin City Producer Elizabeth Avellán on How El Paso Resembles Austin in the '90s

The film's producers include Elizabeth Avellán, the Troublemaker Studios co-founder whose hits with director Robert Rodriguez include Sin City and the Spy Kids franchise. She first met Larson is his capacity as an editor, a career that helped him hone his skills as a writer and director.

They were working on another project that wasn't moving forward quickly, so she asked him what else he had, and he mentioned Deadland — "a border movie," he explained.

"I was so snooty," she laughed at the Q&A. "I go, I don't do border movies."

He promised her it was different than the typical border movie, and she agreed to read it.

"Three pages in, I'm like, Damn it — I'm in!" she said.

Main image: Luis Chávez as The Stranger in Deadland.

Avellán, whose creative partnership with former husband Robert Rodriguez goes all the way back to his 1992 DIY breakthrough El Mariachi, spoke at the El Paso Film Festival Thursday about the indie sensibilities she has put into practice for years. She helped make Texas the film capital it is today, in part by her co-founding of Austin's Troublemaker Studios, and said Thursday that she sees some of the same qualities in El Paso that she found in Austin in the '90s.

"I've been in this business 30 years — wow," she said. "I will tell you what I see here that is common to what happened in Austin back in the late '80s, early '90s: You're investing in yourselves and you're investing in each other. This community has that ability, and it's already doing it, and the people are wonderful."

Avellán spoke at a panel on video games, graphic novels and film as part of the Creative Ways panels led by the El Paso Film & Creative Industries Commission at Visit El Paso and supported by the El Paso Film Festival. Her fellow panelists were Dr. E.C. Dukes of DUKEScomics and Xalavier Nelson Jr. of StrangeScaffold, who just released the new game El Paso, Elsewhere.

Filmmaking in El Paso

Avellán cited Drew Mayer-Oakes, El Paso's Film & Creative Industries commissioner and El Paso Film Festival creative director Carlos Corral among the people driving El Paso's film industry — and she advised the filmmakers in attendance to "be generous to a fault with each other" when it comes to sharing knowledge and resources.

"Be generous with what you have, be generous and humble to be whatever you can be in somebody else's project," she said, "even if you have to cook the meal."

She walks the walk: Deadland, a border thriller directed by Lance Larson that is playing the festival, shot in areas so remote that no restaurants were open. So she and another producer did the cooking.

"One of the producers and I cooked for six days while we were shooting. We cooked for 50 people there," she said. "So nothing is too small. All hands on deck."

Of course, she also told some pretty glamorous stories. Like the time George Lucas was generous with what he had.

When she and Rodriguez were making 2002's Spy Kids 2: The Island of Lost Dreams and 2003's Once Upon a Time in Mexico, they realized they could stretch their budgets by shooting on high-definition digital. Lucas had used the technology on 2002's Star Wars: Episode Two — Attack of the Clones, and shared everything he had learned, she said.

Also Read:

Later Rodriguez repaid the favor by speaking about his experience at Lucas' Skywalker Ranch.

Rodriguez and Avellán employed the digital technology again on the groundbreaking 2005 film Sin City — but only after getting permission from Frank Miller, the iconic writer and artists who wrote the graphic novels.

Which led to another fun story.

Avellán recalled that Rodriguez pursued Miller for a long time about the project, but couldn't get him on the phone. Finally, one day, Miller answered a call Rodriguez, who was in Los Angeles, and asked if he was in New York. Rodriguez, seeing his opportunity, said yes, so Miller asked him to meet him there the next day.

Rodriguez had no idea if he could get across the country in time. So producer Bob Weinstein had him and his whole family take a private jet. It was December 2003, and Avellán had plans to take their kids to see the Will Ferrell movie Elf.

"We went and saw Elf. And then we got on a private jet — the kids had their pajamas on — and we flew into New York. And we landed in New York on December 7, which is when everything's decorated, and the dusting of the snow — it was like we were the set of Elf," Avellán recalled.

"You Can Touch the World Through El Paso'

Dukes and Nelson shared their own stories of sharing and collaboration.

Dukes said that when she was working on her first film, A.W.O.L.: Cruz Ochoa, a local business owner, Raymond Palacios, Jr. of Bravo Chevrolet-Cadillac, not only wrote her a check for $5,000, but also gave her the use of several of his vehicles.

She ultimately decided that the story would work better a graphic novel than a film, which led her and her husband, artist Ronnie Dukes, to launch their comics line. Their latest collaboration is the recent Daizee & the Dukes of Chuco.

Nelson, meanwhile, created El Paso, Elsewhere he said, because "having gone all over the world and lived all over the world to do my work, El Paso was the first place that felt like home." As a child of a military family, and later as a writer, game designer and studio head, he had traveled extensively but realized he could do his best work from El Paso.

"The degree to which El Paso as an environment and as a creators' hub inspires creativity is massive, because the culture of the border and this set of communities all come together to create this larger environment," he said.

"You have magic realism, and the surreal and the sacred and the natural all put in the same exact place. To me, El Paso feels like a place like a church made by God. And stepping into it, I knew this was home."

He also found wonderful collaborators he said, including local hip-hop artists with whom he created an album linked to the game. Though he joked that in retrospect he may have been too ambitious — after releasing the game Tuesday, he found himself sick with exhaustion.

But he was also energized about future creativity in El Paso, and the opportunities for filmmakers, game creators and graphic novelists to create in West Texas.

"You can touch the world through El Paso," he said. "And increasingly the opportunities that exist around filmmaking comics, making game making, allow you to in previously corporate environments where you had to move to LA if you wanted to move to New York, if you wanted to do anything, "You can live in El Paso be surrounded by family, friends and community and really talented people."

Main image: (L-R) Drew Mayers-Oakes, Dr. E.C. Dukes Elizabeth Avellán, and and Xalavier Nelson Jr. Photo by Carlos Corral.

All these things will be explained over the the next marvelously constructed, beautifully controlled 80 minutes, as we travel through sprawling stretches of Oregon, where writer-director John Rosman went to college and spent 10 years working in public broadcasting, producing digital videos. He has a news veteran's ability to tell a story with economy and verve, never letting your attention slip.

The festival describes New Life as "one of the major discoveries of Fantasia 2023... a rare thriller that doubles as an unexpected emotional powerhouse." XYZ Films has picked up the North American sales rights.

Twenty minutes into the film — after Jessica has met two people who react to her differently than you might expect — I said to myself, "This is a very good movie." And then it got better. Soon New Life has you puzzling out very modern ethical quandaries you probably didn't think much about a mere four years ago.

Rosman has spent a lot of time thinking about what it means to be a good person in the modern age, but New Life isn't what most people would consider uplifting. It shows how even good people, doing good things, can create chaos and death.

"I do tend to believe people are kind," Rosman told MovieMaker in Montreal this week, ahead of the Fantasia premiere. "But also, if you're making a scary movie, or a horror movie in the way that this movie is a horror movie, and no one's doing the wrong thing — everyone's trying to do the right thing, but it still ends up a horror movie — I think that also can be kind of terrifying."

John Rosman on Cutting New Life

The film is ruthless in the best way, cutting away anything pretentious or fussy in service of the story. Rosman notes that excising what some filmmakers might perceive as "a style" is, in itself, a style.

"It probably comes from journalism," he says. "The more invisible I can be in the movie, the better it felt for me. ... And that's probably a little bit of my personality."

He edited the film as well as writing and directing it, and killed many of his darlings during the process. His main objective is to keep audiences from being taken out of the story. His outstanding leads help with captivating, unshowy performances.

"Let's say you have two great takes. They both sound the same. The performance in one is better than the performance in the other, but there's just something about the other one that feels better, that feels more honest or something. To me, that will always win," he says.

It's especially important given that in his film, the main character is largely silent for about 15 minutes.

"So I think it is really important to be like, 'Okay, how do we just keep people in this moment?' And then because we're making a horror movie, let's maybe tease that: 'Trust me, you need to trust me, we'll get there.' But I think the only way to do that is by trying your hardest just keep them from beat to beat, which ends up being scene to scene," Rosman says.

The film is a bit reminiscent of Debra Granik's immaculate Oregon-set 2018 film Leave No Trace, and Rosman also counts Kelly Reichardt's 2008 Wendy and Lucy, as well as Chloe Zhao's 2017 The Rider, as strong inspirations.

Rosman, who is from Detroit and is now based in Los Angeles, evolved as a filmmaker doing advertisements, music videos and documentaries. His directorial reel highlights his versatility and fondness for radio, as you can see here:

While directing, he also found time to write about a half-dozen features. One in particular got some industry attention, including from prominent producers T. Justin Ross (The Mortuary Collection) and David Lawson Jr. (Something in the Dirt). When that project proved too expensive, at least for the moment, the producers helped Rosman make New Life as economically as possible.

"Both those guys have done amazing work on small budgets," he notes.

He shot the film last year, taking advantage of all the evocative, overlooked locales he had mentally catalogued while working for Oregon Public Broadcasting. Between graduating from the University of Oregon's School of Journalism and making his feature debut, he has also worked as a digital editor for NPR affiliate KPBS in San Diego, as the social media editor for Fronteras Desk, and as a waiter in a Chinese restaurant.

All of those experiences — but especially going out to isolated locales, lugging around his sound equipment and cameras to ask strangers for interviews — led to his sense that people want to do the right thing.

But in a fast-changing world, he also wonders how we can have so many problems in spite of people's inherently good instincts.

"If a neighborhood is completely flooding, and you see someone who needs help, and you're in a boat — or maybe not in a boat — everyone will have a decision. And I think those decisions are going to be coming to us faster than we want," he says. "And I do believe people would help each other."

New Life makes its world premiere Tuesday at Montreal's Fantasia Film Festival, one of our 50 Film Festivals Worth the Entry Fee.

Main image: Hayley Erin in New Life.

In the competitive world of film festivals, having access to the best equipment can make a significant difference in the quality of the final product. By utilizing film equipment hire services, filmmakers can ensure they have the latest technology and tools at their disposal. Whether shooting on location or in a studio, these services offer flexibility and convenience, allowing filmmakers to focus on their creative vision.

The availability of specialized equipment like the Van Cherry Picker enables directors and cinematographers to achieve high-angle shots and unique perspectives, adding depth and visual interest to their films. This access to professional-grade equipment helps emerging talents like Julian Thedford bring their stories to a wider audience and make a lasting impact in the industry.

"Being with him in that moment was a really scary experience. Something could have happened to me, something could have happened to him," Thedford told NFMLA interviewer Carolyn McDonald. "Dealing with that emotionally was a little challenging, so I went home and wrote a poem about it. But I'm not much of a poet at all."

Modesty aside, he knew he had something important to express. So he shared the poem with Brianna Mottey, who used it as inspiration for the script for "When I Wake."

The film is about a high schooler, Amiri Wright, who loses his best friend, Malachi, at the hands of a gunman. He goes through all the stages of grief. But when the identify of the gunman becomes known, Amiri and Malachi’s mutual friend Khalil sets out to get revenge. The film raises questions about the proper way to deal with loss.

Recently named one of the HBCU filmmakers of the year by the National Black Movie Association, Thedford is a recent graduate of Howard University who shot "When I Wake" with a two-person crew, self-financing the entire film. He is the film's director, cinematographer, producer and editor. You can follow him on Instagram at @jt_shot_that.

Watch the NFMLA interview with Julian Thedford, director and producer of “When I Wake”:

"When I Wake" was part of NFMLA’s March film festival celebrating up-and-coming female talent in front of and behind the camera. The program included two shorts programs, along with award-winning filmmaker Dawn Jones Redstone’s debut feature, "Mother of Color."

Also Read: Making a Film? MovieMaker Production Services Can Double Your Budget

The day began with InFocus: Female Cinema Shorts I, a collection of films that explore motherhood, fertility, birth, and reproductive choice from a wide range of perspectives. The programming continued with the Los Angeles premiere of “Mother of Color, and the night concluded with InFocus: Female Cinema Shorts II, an eclectic mix of short form work from emerging talent, whose stories explored body image, intimate relationships, work and its many struggles.

NFMLA showcases films by filmmakers of all backgrounds throughout the year in addition to its special InFocus programming, which celebrates diversity, inclusion, and region. All filmmakers are welcome and encouraged to submit their projects which will be considered for all upcoming NFMLA Festivals, regardless of the InFocus programming. 

Main image: "When I Wake"

The film, which just played the Fantasia Film Festival and has been picked up for international distribution by Raven Banner, is kind of a live-action cartoon — shot in black and white, with no dialogue — about a frostbit fur trapper, struggling to survive and maybe find love, in an unforgiving winter wonderland, bedeviled by wily critters played by people in animal costumes. No review could possibly do it justice, so please, just watch the trailer:

Hundreds of Beavers wears its influences on its furry sleeves, from Benny Hill to Tex Avery's Bugs Bunny and Woody Woodpecker and other Looney Tunes cartoons. We follow the trapper, played by co-writer Ryland Brickson Cole Tews, as he is forced to say goodbye to happy days of swilling applejack — a highly alcoholic, frothy beverage — and instead contend for survival by capturing beavers. There's no double entendre in the title, though the film has many other sly dirty jokes — just part of its wild but charmingly sincere internal logic.

Like Elmer Fudd, Yosemite Sam and everyone else in a cartoon who dares do battle with a rodent, our hero — or is he an antihero? — is foiled at almost (but not quite!) every turn. We soon get used to the idea that if there's any opportunity for him to fail, he will. In one of the darkest, silliest jokes, he achieves one of his only few early successes as an unintentional result of self-harm.

Also Read: In the Fantasia Premiere Where the Devil Roams, Desperate Carnies Travel 1930s America

Tews and the film's director and co-writer, Mike Cheslik, started making films together in high school in Milwaukee, and shot Hundreds of Beavers in subzero temperatures in the snows of Wisconsin and Michigan, in 12 weeks of shooting over four years. The film has over 1,500 effects shots, yet the filmmakers very impressively make everything look effortless.

It pulls you into its vividly imaginative world, where behind every tree lurks zaniness or melancholy, and your guesses about which it will be are almost always wrong. It's their second feature after the the similarly bizarre and inventive Lake Michigan Monster.

Hundreds of Beavers reinvents many wonderfully dumb rules of old cartoons — for example, male animals can be seduced by female copies of themselves, built of snow and affixed with human-seeming bosoms — but also acknowledges modern realities. Every time the trapper does the wolf whistle that that unsavory cartoon predators of yesteryear used to express sexual interest, he is punished by a woodpecker repeatedly conking him in the head.

If I have to find fault with anything about Hundreds of Beavers, it's that those short Tex Avery cartoons have trained me and everyone who grew up with them to absorb these kinds of antics in short doses. At an hour and 48 minutes, it feels a little long. Then again, Tews and Cheslik have pretty much cornered the market on the completely unique thing they do, so maybe they deserve every minute. And maybe people will appreciate the runtime more if they happen to be deep in some applejack.

Hundreds of Beavers is now making the festival rounds.

I do. The film, now playing at Montreal's beloved Fantasia Film Festival — a festival that isn't remotely afraid of bold and even divisive programming — follows a family of three played by real-life filmmaking family Zelda Adams and her parents, John Adams and Toby Poser. The trio wrote and directed the film, and dad and daughter deservedly picked up Fantasia's jury award for best cinematography, and Tubi just announced that it has purchased the film for streaming.

The Adams Family

The Adams have one of the best backstories in filmmaking: Based in rural New York, John and Toby began making films with daughters Lulu and Zelda years ago, earning especially wide acclaim for their seventh feature, 2021's Hellbender, a story of family ties and witchcraft . That film, like this one, is propelled by a heavy metal soundtrack performed by the family band, H6LLB6ND6R.

Hellbender was a success by any measure — after premiering at Fantasia, it aired on Shudder, was featured on the cover of Rue Morgue Magazine, and was ranked No. 1 on Rotten Tomatoes list of the best horror movies of 2022. The New York Times wrote a profile. We interviewed Zelda Adams. But for all the film's achievements, taking it on the road helped inspire a story of a less-thriving family of entertainers.

Set during the Depression, as carnivals struggle and die out across the United States, Where the Devil Roams follows a humble carnie family including dad Seven (John Adams), a shellshocked World War I doctor; mom Maggie (Poser), who plunges easily into violence; and dark-angel daughter Eve (Zelda Adams), a singer.

It may take you a moment to realize you're in a period piece because the facial piercings and goth-like makeup of some of the carnies feels Marilyn Manson inspired. But tattoos and piercings were as possible then as now, and ultimately, who cares if it might be an anachronism? It plays.

The paint-smudged faces add to a mood of faded desperation — Look at us! — but no one will. Not only have audiences stopped buying tickets, but the corrupt and well-to-do of America have stopped seeing the anguish of the underfed people chugging down their backroads.

Building Where the Devil Roams Out of Discarded Antiques

Appropriately enough, decades of benign neglect in the real America helped fuel the making of the film. As the Adamses explain in their production notes, they began assembling Where the Devil Roams while driving across America in the summer of 2021 during Hellbender's festival run.

"We began hitting every secondhand and antique store we passed," they wrote. "America is filled with stuff people don’t want — and we wanted it."

They began collecting an assemblage of evocative items — "a lonely unpaired baby shoe, a rusty-toothed broken saw, an antique porcelain dead-eyed doll."

By the time they returned home, they had their costumes and props. Home itself was their set.

"Fortunately, we live in a place that is in many ways a ghost town. Our tiny rural spot in the Catskill Mountains of New York is haunted with the rust of farming days past," the family wrote.

As the title suggests, the Bible and the devil are strong guides for various characters, though God is hard to locate on snowbanks and dead farms they encounter on their journeys. Maggie has a quick eye for sussing out the real (and sometimes imagined) sinfulness of the people they meet, and punishing them for it. Eve helps keep her father in the dark.

The family's targets in the film could have avoided their dark fates by paying a little attention — and a little kindness.

In real life, no harm will come to those who ignore the Adams family's work. They'll just be missing out.

Where the Devil Roams premiered July 27 at the Fantasia Film Festival and is coming soon to Tubi.

Main image: John Adams, Zelda Adams and Toby Poser in Where the Devil Roams, courtesy of Yellow Veil Pictures.

The film is comprised of several vignettes designed to several people captivatingly front and center to offer a closer look at the many subcultures of Black people in Dallas. Townsend's works take a minimal approach with calculated production and intensive design in various mediums. "SALLAD" combines music and a wide range of Dallas residents — some of whom he knew beforehand and some of whom he didn't — to reflects the many experiences of the city.

"This is an inclusion of ingredients that create a formidable recipe of excellence," says the film's logline.

"Originally, the film started off as a as a magazine idea I wanted to do. It was supposed to be like a print thing... just doing art and graphic design and everything," Townsend says. He decided to switch to film when a watch company, JBW, agreed to put money into the film, which required him to incorporate the company's watches into the project.

Watch the NFMLA interview with Tramaine Townsend, director and producer of “SALLAD”:

You can follow Townsend on Instagram at @misadventures.

"SALLAD," was among the films celebrated in February at NFMLA's annual InFocus: Black Cinema program, spotlighting Black stories and emerging Black talent in front of and behind the camera across two shorts programs and a spectrum of genres, along with the feature documentary “On The Line: The Richard Williams Story” directed by Stuart McClave.

Also Read: Making a Film? MovieMaker Production Services Can Cut Your Expenses in Half

The day began with InFocus: Black Cinema Shorts I, a program that weaved together nuanced stories of friendship, place, perspective taking, family, loss, and joy. It continued with On The Line and concluded with InFocus: Black Cinema Shorts II, an exploration of connection, community, identity, mental health, climate activism, and motherhood through a range of genres, including movement, comedy, coming of age, sci-fi, experimental, and drama.

NFMLA showcases films by filmmakers of all backgrounds throughout the year in addition to its special InFocus programming, which celebrates diversity, inclusion, and region. All filmmakers are welcome and encouraged to submit their projects which will be considered for all upcoming NFMLA Festivals, regardless of the InFocus programming. 

Main image: A still from "SALLAD"

Or so she thought. The documentary "Safe Place," now playing at the Indy Shorts film festival in Indianapolis, recounts how instead of keeping Draper safe from himself and others, his jailers tortured him while failing to give him the medical attention he needed. One jail employee tased him seven times in 15 minutes.

That employee's job title? Nurse.

"Those small town jails, man — I have no idea why the nurse would have a taser," director Samuel-Ali Mirpoorian told MovieMaker at the festival on Saturday. "They could have saved his life."

Mirpoorian describes the film as a "microcosmic take on rural and small-town jails."

"Those cops don't get the training and the resources, so they're just like going in there in their twenties and thirties without any training," he added.

"Safe Place" has already received some of the best press attention a short-form documentary it can receive — it spent several days on the front page of the New York Times as part of the paper's Opinion Video series.

Its screening at Indy Shorts represented a sort of homecoming for the story: The Indianapolis Star first highlighted inmate deaths in its investigative series "Death Sentence." And Mirpoorian grew up in Indianapolis.

The 20-minute film uses court records, interviews and jail footage of Draper's final moments to reconstruct how he died. It also includes VHS footage of his childhood, and interviews with his mother and ex-wife to illustrate some of the heartbreaks and struggles that led him to drug use.

Draper, 40, told at least one jail official that he was under the influence, and the film makes a convincing case that he should have been given medical treatment. Instead, the jail officials focused on restraining him. The Harrison County Jail ultimately settled a lawsuit filed by Draper's estate for $1 million, which went to his teenage daughter.

The film reports that jail footage and other evidence was handed over the FBI and other federal authorities, but that no charges have been filed in the case.

The Indy Shorts festival, one of our 25 Coolest Film Festivals and 50 Film Festivals Worth the Entry Fee, continues through Sunday.