ACT 1 - DISCIPLE: EPISODE I OF THE HARMONY SAGA, 26min., USA

Directed by Brad Reinhold

The first act, reinterpreted by the director, of the award winning feature film Saga screenplays. Disciple; Episode I of the Harmony Saga is set 80,000 years after the disappearance of Earth. A Galactic Church rules the galaxy, enforcing dogma. Freedom fighters seek liberation. Samantha Sacre, a disciple of the Church, encounters something that will change the course of history forever, and must reconcile what she has learned with how she was taught and raised. This is only the beginning, and, as Sam says, "The best is yet to come." This mythopoetic journey into the far future challenges us to look beyond the surface of our realm, through the lens of a future civilization, and ask, "what does it all mean?"

https://www.instagram.com/brad.reinhold

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Wukong Couriers, 15min., USA

Directed by Peter Gabriel Gagnon

An unwitting bicycle messenger is chosen as the mystical hero to save the city from an ancient horror.

www.instagram.com/wukong_couriers

Hannah Ehman chats with actor Kage Yami on the making of the award-winning film. Instagram: https://www.instagram.com/kageyami11/

Follow Interviewer Hannah Ehman on Instagram: https://www.instagram.com/ehmanhannah/

Watch Hannah’s commercial spots: https://www.ispot.tv/topic/actor-actress/bP8/hannah-ehman

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A broken home, a broken mind. Will love overcome the difficulties Alyssa and Richard face?

Conversation with the Film Team of the Horror Film “TRIpolar”

Director Rogelio Robles, Actor Paul Fisher, DP Matthew Miller

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Watch the Screenplay Reading: https://www.youtube.com/watch?v=Cz6Xi_bkTbE

When a troubled teen’s wish to make everyone disappear comes true, she risks losing them permanently and must rely on an unlikely ally to save her town – the school bully.

Get to know the writer:

What is your screenplay about?

It’s about a teenage girl who gets bullied at school and is in a very dark place at the beginning of the story. She gets in a fight with her mother and in the heat of the moment, she wishes everyone would disappear. Little does she know that her wish instantly becomes true. She has to navigate through her new world and come to terms with herself and the other people in her life before she can move on.

What genres does your screenplay fall under?

coming of age, fantasy, drama

Why should this screenplay be made into a movie?

I think a lot of young people can relate to the feelings of isolationism, grief, and trauma early in life that this movie presents. The lead character also deals with a lot of loneliness. Sometimes that loneliness is desired and wanted and sometimes it makes her wish for someone to be with her. It shows that our feelings are changing on a daily basis and don’t evolve in a neat linear pattern. I think ultimately what this movie expresses is that having these feelings is normal and takes time to sort out. Hope is around the corner even in our darkest hour.

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Watch the best scene reading: https://www.youtube.com/watch?v=g6h3AqETajg

Inspired by the Great Fire of Chicago 1871 following the investigation of Mrs O’Leary, a woman the newspapers blamed for starting the fire that spread all the way to Lincoln Park.

Get to know the writer:

1. What is your screenplay about?

My screenplay is about Catherine O’Leary, the Irish milkmaid unjustly accused of starting Chicago’s “Great Fire” of 1871. As she fights to clear her name, she discovers the true culprit of the fire and faces an agonizing choice.

2. What genres does your screenplay fall under?

Historical fiction; thriller.

3. Why should this screenplay be made into a movie?

“Mrs. O’Leary” should be made into a movie because it’s about a 19th-century “cancel culture” that 21st-century audiences would recognize. The story transcends region and period. “Mrs. O’Leary” is set 155 years ago, and yet the Chicago world of 1871 isn’t so diffrent from our own — a world where vulnerable people are “othered” due to their homeland or accent and where they can wither under stronger forces that are determined to cast blame for a social problem.

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Melbourne Hopak is part of the Lehenda Film series. The origins of Lehenda’s film series can be traced back to the global Covid-19 lockdowns—a time when theatres were dark, stages silent, and traditional forms of cultural expression temporarily out of reach. Faced with the absence of live performance, we turned to film as a new medium to preserve and express our identity as Australian Ukrainians.

What motivated you to make this film?

The idea for the Lehenda film series was born in during the Covid-19 lockdowns—a time when theatres were dark, stages silent, and our traditional forms of cultural expression temporarily out of reach. Being based in Melbourne, which was said to be the most locked down city in the world we turned to film as a new medium to preserve and express our identity as Australian Ukrainians.

Our first project emerged from the golden wheat fields of Avoca, Victoria—a quiet yet powerful setting that echoed our connection to land, heritage, and memory. What began as a necessity quickly evolved into something much deeper: a cinematic exploration of who we are, and what it means to carry Ukrainian culture in an Australian landscape.

Moved by the response to that initial work, we expanded our vision. We chose to reimagine Hopak, Ukraine’s most iconic and spirited dance, within the urban heart of Melbourne. This contrast between the rural and the metropolitan, between tradition and reinterpretation, became the cornerstone of our approach.

These films are not just documents of performance—they are cultural artefacts. They preserve memory, convey identity, and explore the dualities that shape our diasporic experience.

From the idea to the finished product, how long did it take for you to make this film?

We revisited the idea when we were in a bit of a creative slump earlier this year (2025) and we filmed it in late June. A lot of the pre work we had done in 2021 when we tried to film it, but the COVID restrictions still didn’t allow us too. We ended up starting with a rural piece which was achievable at the time, and we picked up where we left off with this film in April this year.

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Temporal Takedown, 8min., Norway
Directed by Martin Sofiedal
A woman with mysterious time freezing powers infiltrate a dirty car workshop in hopes of gaining information about a nefarious gangster. The mechanics are not compliant to her request and an epic and time-bending fight ensues.

https://www.instagram.com/directorsofiedal/

Get to know the filmmaker:

What motivated you to make this film?

I love action, especially close quarter hand to hand action (The Raid-films are a big influence). I want to do a proper action film in that vein, but prior to this short film I had only dabbled in action set-pieces. I wanted to challenge myself and really spend alot of time to do a really proper action set-piece. It is always easy to say you want to do a an action film, but if you don’t have any experience with it it is harder to sell yourself as an action-director. So I wanted to do this short film as a sort of proof-of-ability in a sense, mostly proving to myself that I am able to do it. If I succeeded is another story, I will have to let the audience decide that part

From the idea to the finished product, how long did it take for you to make this film?

From inception to finished film it took roughly two years, but it must said that this was a major side project for everyone involved, so we had to work on the film whenever everyone had time. Had it been a fully financed film I imagine the time would be significantly shorter.

How would you describe your film in two words!?

Temporally kickass

What was the biggest obstacle you faced in completing this film?

Scheduling. When you do a film like this, with big ambitions but basically no budget, you have to rely on peoples time, which is challenging when you work with talented and busy people, both in front and behind the camera

What were your initial reactions when watching the audience talking about your film in the feedback video?

It was really fun, it is always great to hear people respond positively to your work, and here you get to hear specific things people respond to. A compliment is always nice, but a specific and analytical compliment is even better. You feel even more seen that way, since you put some much time and effort in details whenever you make a film, and to hear people see those details and explain how it made the film experience greater because of them is really lovely.

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Conversation with the co-writer/co-director and star of the award-winning short film MEMORIA OBSCURA. Connor takes a deep dive as his experiences working as an actor in Los Angeles and auditioning for roles, and how he collaborated with co-director David Christopher Nelson on this film.

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Memoria Obscura, 5min., USA
Directed by David Christopher Nelson, Connor Ryan
In a world where memory erasure is a legitimate industry, the underground black market known as Memoria Obscura serves as a hub for stolen and repurposed memories.

Get to know Connor Ryan

What motivated you to make this film?

My motivation comes from multiple aspects. I’ve always wanted to collaborate with Dave, which was a major reason. Beyond that, I want to create films I believe are currently missing in the industry and bring back the 80s–90s cinema I grew up with.

From the idea to the finished product, how long did it take for you to make this film?

About a year and a half.

How would you describe your film in two words!?

Connor: Bad Ass

What was the biggest obstacle you faced in completing this film?

Connor: The biggest challenge was the final scene. Dave and I spent months refining it to get the look and ending just right. Once Dave composited the background, everything clicked, and we successfully landed the ending.

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Nothing Sticks, 1min., Netherlands
Directed by Roze Elisa, Kuba Szutkowski

What motivated you to make this film?

I wanted to make something funny that we can all relate to – awkward dates and missed opportunities. I signed up for a 1-min film challenge, got selected and developed the awkward dance between the two along the way.

From the idea to the finished product, how long did it take for you to
make this film?

About 2 months. The actual sourcing a crew, filming, editing and making it ready only took a month.

How would you describe your film in two words!?

Missed opportunity

What was the biggest obstacle you faced in completing this film?

Getting the perfect crew in the timeline we had: a month. I wanted this to be as good as it could be, and we all know that the crew makes the movie. I ended up with incredible people, and I am very grateful.

What were your initial reactions when watching the audience talking
about your film in the feedback video?

So fun!! Really glad to hear the words “relatable” and “funny”. That was actually what we wanted and seeing that people can relate is a blessing and a curse (we all want you to have good dates!).

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Come the Nightfall, 23min,. USA
Directed by Tom Michaels
A wealthy licentious offers a lift to a beautiful femme fatale in the middle of a deserted road with a shocking aftermath.

http://www.orzelfilms.com/

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My project, “Pieces of Me”, is a self-reflection of my emotional journey from self-doubt to self-acceptance. There are always moments in life where we feel confident we can complete something, but then encounter an obstacle and feel self-doubt. Eventually, we accept the weaknesses in ourselves, overcome the obstacle and gain confidence again.

What motivated you to make this film?
Coming from a medical background, it took a tremendous amount of effort to transition into the design and animation field. There were many moments when I struggled to keep up with other artists and questioned
whether I belonged in this industry. That emotional vulnerability during periods of transition is what inspired the film. It became a way for me to express how self-identity can shift, break, and ultimately reform through
personal experiences—showing that every struggle contributed to shaping me into the stronger person I am today.

From the idea to the finished product, how long did it take for you to make this film?
Took me quite some time! I illustrated and animated the textures, and this part of the process required the most effort. Overall, the film took about three months to complete.

What was the biggest obstacle you faced in completing this film?
I guess the biggest challenge was figuring out the transitions. I designed each frame individually based on the script, so connecting them in a way that felt coherent and emotionally fluid was difficult. I ran into
several technical hurdles when animating, which added to the complexity.

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Film Synopsis: After serving time in prison for a crime that shattered her family, a mother returns to reconnect with her estranged daughter for the first time in fifteen years, only to realize that her daughter is on the verge of moving overseas to start her own family.

Project Links

•  Instagram

1. What motivated you to make this film?

It initially started with me, wanting to challenge myself to craft a short film with emotional depth and compelling characters. As a director, I am always interested in exploring relationships on-screen in unconventional settings. I also had almost nothing to show for my work before that other than a short 3-minute scene I directed during COVID, so I was eager to prove myself. After brainstorming, I became interested in exploring the theme of forgiveness and the relationship between a mother and a daughter. As the script developed, I felt a deep connection to the story, and that further pushed me to make the film.

2. From the idea to the finished product, how long did it take for you to make this film?

The screenplay itself took me almost 10 months to write and re-write. The pre-production and production were about 6 months due to so many scheduling conflicts, and post-production for about 6 months. So almost two years! 

NAFKOT - YEARNING, 70min., Israel, Documentary
Directed by Malka Shabtay
An Israeli Anthropologist traveling throughout Amazonia to meet the descendants of the Moroccan Jews who immigrated to this region since 1810. Together they are sharing their unique story of resilience and persistence in this special part of the world, as well as their daily lives and their deep feelings towards their Jewish origins, which sometimes still exist only in their hearts.

Get to know the filmmaker:

What motivated you to make this film?

I worked with the community two years before we did the film. i did my research to understand their story..and after two years they were ready to share their story with the world.

From the idea to the finished product, how long did it take for you to make this film?

Since we started the shooting until completing it took very intensive two years.

How would you describe your film in two words!?

Life mission

What was the biggest obstacle you faced in completing this film?

The biggest obstacle is to do a film with a hidden community, oppressed and full of fear. to get their trust and collaboration and belief that the film will help in their struggle.

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Watch the best scene reading: https://www.youtube.com/watch?v=Ttk712qLnB0

When a bitter nobody becomes convinced that Tom Hanks is the cosmic reason his life sucks, he drags a new friend on a chaotic cross-country mission to confront destiny-and maybe punch America’s dad in the face.

Conversation with Evan Neill on screenwriting, and the art of storytelling.

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An insecure Korean-American woman struggles with old resentments against her beautiful best friend, exposing the impossible beauty standards that caused them.

https://www.instagram.com/iwishiwere_pretty/

Conversation with actor/director Hanah Chang & Producer Quand C. Robinson

Director Statement

I Wish I Were Pretty is not just the title, but also a phrase I have constantly thought since I was old enough to understand that with beauty comes power. Many of the elements included in this story are inspired by my personal experiences. One of my constants while growing up was hearing my mother say to me that I would be prettier if I had “ssanggeopul” (double eyelids). I will never forget the drunk customer from my bartending days who asked me to bring him a pretty server. And more recently, when my father saw a K-Pop music video and asked if that is the kind of thing I want to do, his then-girlfriend said “that is for the young and beautiful.” These experiences were painful, and I wanted to redeem them by turning them into part of my art.

The struggle to feel that we are enough is felt across all genders. As I was revising the script, I sent it to a family friend in the film industry in Korea, only to find out he had just recently undergone plastic surgery. I both hate that he felt that he had to make that choice and understand it. After all, I can understand how much emotional turmoil he had to suffer for him to decide to permanently alter his physical appearance.

Because I know how important representation is both in front of and behind the camera, I hope this film will be inspiring specifically for folks who work in the industry. I am so proud to state that I made this film with a crew of mostly womxn/people of color from beginning to end!

For these reasons and more, I believe this film will be impactful, influential, and monumental. There are already many Korean dramas and movies about beauty standards, but the story typically begins after the protagonist undergoes plastic surgery. My intention with ‘I Wish I Were Pretty’ is never to judge anyone who chooses that, but to provide a fresh take and a different way to deal with what we have internalized. And my hope is that we will learn to be kinder to and more accepting of ourselves as we are.

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Director Locky Boaretto, Co-Writer Loki Acciarito, & Actor Tom Simpson join the podcast to talk about their “Jumping at Shadows” series.

In a world secretly at war with an ancient alien race, a teenage girl discovers a crash landed alien, and uncovers shocking truths about her estranged father… After teaming up with a pair of rebel brothers, she uncovers a galaxy-wide conspiracy and an impending alien invasion. When one of the brothers is captured, the team must risk everything to rescue him from the alien mothership before it can begin its invasion of Earth. Amidst explosive battles and impossible odds, she must face her family’s dark past and rewrite their legacy in order to save the future.

https://www.instagram.com/lochnesslegendsproductions/

http://www.youtube.com/@lochnesslegends

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The conventions of documentary, musical theater, and magical realism are combined and subverted to address issues of personal, national, and artistic identity through the eyes of a composer desperate to pull off one final backer’s audition whilst hounded by a disdainful documentarian named Charon.

Feature Film: Musical, Meta-modernist, Documentary, Meta-fiction, Bardo, Opera, Musical Theater

https://instagram.com/americasinging

https://www.americasinging.art/

Director Statement

This film is the final installment of a project called "The Bardo Trilogy," which begins with "Orson Rehearsed," and continues with "9/10: Love Before the Fall." In the trilogy of features I explore, from the stance of an auteur composer-director-screenwriter-editor, the concept of "operafilm" -- a fusing of the procedures and tropes of lyric theater and cinema in a comprehensively correlative fashion in order to achieve a new form of "gesamtkunstwerk.,

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Vapor Trails, 11min., USA

Directed by Matt Jenkins

Mandy has just given Jethro an ultimatum, quick vaping or else. His friend Chuck thinks its going to be easy to quit.

https://www.instagram.com/misfits_of_film/

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Change - Kramon - Music Video.

The unconscious self and conscious self meet.

• Website

• Instagram

• Interview with star/director Meredith Adelaide on the making of the video.

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ALL EYES ON YOU, min., UK

Directed by Ted Clarke

Paranoid couple Adam and Claire move to the peaceful countryside for a fresh start, but quickly become unsettled by a series of sinister interactions with their new neighbours, putting their trust - and relationship - to the test…

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