CECIL & CARL
An award-winning LGBTQ+ documentary short about partners coping with a diagnoses of advanced dementia and the decision to seek the help of a nursing home.
Directed by Elvis León & Gastón Yvorra
Produced by Elvis León & Sasha Milonova
An award-winning LGBTQ+ documentary short about partners coping with a diagnoses of advanced dementia and the decision to seek the help of a nursing home.
READ OUR INTERVIEW WITH ELVIS
Tell us a bit about yourself and your filmmaking background.
Since I was a kid, I always had a tough time expressing myself. This changed when I discovered film school and a few years later, I graduated with a Film Producing and Screenwriting degree in 2013. Making movies has given me an outlet, and I feel lucky to have found a passion that keeps me marching forward. My career has taken me to massive productions such as Fast and Furious: Hobbs and Shaw and adverts for high-profile name brands, but my focus lately has been to complete my first feature documentary film called, We Are Lions. It's a true crime story about my family's pursuit of justice.
Tell us about the genesis of Cecil & Carl. How did the project come about?
A few years ago, we were working on a comedic web series project written by Elvis called Charlie’s. The story was about a straight bar owner that attempts to open a gay bar. The production took place in a gay bar in Denver, Colorado. On one of our production visits, we encountered a group of around 50 elderly gay men, gathered around tables having lunch. We soon found out that the group of men was in fact a club called The Primetimers. They meet every Wednesday.
Our first impression was that there were a lot of stories in that place. We also imagined what it was like for these men to be gay 30 or 40 years ago, in a society less open [compared] to the one that exists today. We felt the need to learn these stories. One day, we asked the Primetimers group if there was anyone who would be interested in participating in a film project that would take their story and turn it into a visual portrait.
We had a lot of people approach us that day, but long story short, Cecil Bethea was the first one to step up and open up to us. We eventually learned his story and that of the relationship he had with Carl Shepard — we were immediately hooked. On a side note, after completing the Cecil & Carl documentary, Cecil volunteered to do a cameo appearance in Charlie’s. He has a memorable five seconds in the film!
How did you get access to such a personal story and what was your relationship like with your subjects? What obstacles did you overcome while in the making of this film?
Gaining Cecil's full trust was the biggest challenge. This required going to many coffee meetings prior to and between filming days, where Cecil would tell stories and smoke a pack of cigarettes in one sitting. Cecil and Carl love to smoke, as you will see in the film. It took us a few weeks before he gave us permission to enter his home. We weren't sure where this documentary was going, but once he opened his doors to us and showed us pieces from their 40+ year relationship, it changed the course of our film. After we wrapped filming, Cecil and I would still meet for coffee and cigarettes. This film became a highlight of his life, and it was an honor to tell Cecil and Carl's story.
Tell us about the journey of getting this film to audiences.
Our film festival journey began with 20 festival rejections in a row, and we thought we made a terrible film. Everything changed when it Toronto picked us up, and then Cecil and Carl took off like a rocket. We have been fortunate enough to have screened at 50 festivals and some of the most recognized LGBT film festivals, such as the Gaze International in Ireland, Vancouver Queer Film Festival. We were nominated for the prestigious Iris Prize that takes place in Wales and at the New Orleans Film Festival in the Documentary Shorts section, which is an Academy Award qualifying competition.
Now that you're working on a feature, in your experience what's been the biggest or most surprising difference about making a feature vs a short. Is it just the difference between a sprint and a marathon, or how much does the craft change?
A 3 month film process on this project still took about a year to complete. With no budget, it was tough recruiting a team to help us edit and score the film. Making a feature is a different animal. I'm working on a story about my father's kidnapping and his quest to get closure the legal way, but when that fails, he considers taking matters into his own hands. This being a personal family story requires you to be more patient and delicate when it comes to trying to be a neutral storyteller when the subject is your father. When I began filming, I had no idea that I would be working on this film for over seven years. Principal photography has been completed and we still have a few months of editing to go! Not all features will take this long, but just keep in mind that the more complex the story, the longer it will take. Whatever you think it's going to take, double that time period.
What do you think is the biggest challenge short filmmakers face trying to break into the industry?
There's no one way solution to make it in the industry. Some people don't go to film school and have incredibly successful careers, and others go to film school and end up finding a "real" job. Filmmaking is about persevering through the challenging times in the name of telling a story only you can tell. The biggest challenge is finding your voice as a filmmaker, the thing that will separate you from the rest. Finding mentors and collaborates can also be really tough, so a lot of networking needs to be done to find your tribe. You can't do this alone, so look for assistance in any way that you can.
Any film recommendations that we should add to our watchlist?
The Fire Within: Requiem for Katia and Maurice Krafft by Wernor Herzog! One of the most visually satisfying documentaries that I've ever seen. It's an incredible story of a married couple that research and visit the most dangerous volcanos around the world.
Interested in getting your work selected?
TRUE VALUE
A university student with an unusual part-time job collides with her tightly wound client in this beautifully dark crime thriller.
Directed and Produced by Alix Austin
Written by Keir Siewert
A university student with an unusual part-time job collides with her tightly wound client in this beautifully dark crime thriller.
Winner of the Bruce Millar Graduate Fellowship in 2015, the film was funded and shot in January 2016 by a talented crew in Scotland, comprising of award-winning Director/Producer Alix Austin and shot by Scottish New Talent BAFTA winning Director of Photography Alan McLaughlin. Starring Red Madrell (Kidulthood, Skins) and Stephen McCole (Barney Thompson, Rushmore).
READ OUR INTERVIEW WITH ALIX
Welcome back to our Short of the Week series. What have you been up to since we featured your film Retch last fall?
It’s great to be back and thank you for shining a light on True Value, it’s great to get the opportunity to show it to a wider audience!
Since last fall, I’ve wrapped post-production on my most recent horror short Sucker, which is about to celebrate its UK premiere at FrightFest.
I’m very pleased to say that Keir (Writer/Editor of True Value and Writer/Director of Retch) and I have started production on our first horror feature film called KILL YOUR LOVER, which we are co-directing!
Tell us about the genesis of True Value. How did the project come about?
I studied at RCS in Glasgow and upon graduating the Alumni are given the opportunity to apply for the Bruce Millar Graduate Fellowship.
I had made some 48hr film projects previously, but wanted to take my filmmaking to the next level and submitted my pitch. My filmmaking partner Keir had already written me an incredible short film script, so I onboarded a great team and packaged True Value as best I knew how.
To my delight we made it to the second round before winning a grant worth £5k to help us make the film and we were off to the races.
What obstacles did you overcome while in the making of this film?
This is a while back (2016), so I can definitely see how I’ve learned from this project. Casting was one obstacle I think I could have avoided. I decided I could handle it myself due to having done an internship by this point and it ended up taking A LOT of time - and I didn’t end up with my original choices.
I’m happy enough with how it turned out in the end, but I do wish I hadn’t put so much pressure on myself to cast ‘names’ in my project and think it can be a bit of a fallacy. I wish I’d spent more time on directing the project than casting it.
The other obstacle was actually after the film was finished. I knew how to make films, but not how to market them - and I hadn’t asked for support for this stage either. I just did my best and did what most filmmakers do when you don’t know as much: only submitted to BAFTA qualifying festivals.
I would recommend every filmmaker attends at least one film festival and watches a short film programme before submitting to festivals. It will teach you lots of things I learned the hard way (i.e. lots of rejections):
- Don’t make your end credits a minute long
- A running time of under 10 minutes is advisable, if you’re new (easier to programme. True Value was originally 13:32, which is a tough sell from someone no-one had heard of)
- Submit to a range of festivals, good spread of mid tier to BAFTA-qualifying.Your competition is going to be SO much higher at BAFTA-qualifying festivals and it's good to find festivals that champion independent filmmakers in particular - like Kino London of course and also Beeston Film Festival.
Tell us about the journey of getting this film to audiences.
As hinted at in my previous answer, True Value’s festival run didn’t go as well as we hoped. We were fortunate to be nominated at Underwire Film Festival in its 5th year, which led us to being a part of the Women of the World Festival at the BFI the next year.
Apart from that we were an Official Selection at the London Independent Film Festival and that was about it.
We were approached by an online platform (whom I shall not name out of politeness) to licence the film and distribute it online non-exclusively for 3 years - but they didn’t inform me of the release date and it went out without much fanfare.
So needless to say I learned *a lot* from the experience and could have done with asking more people for help and advice once post-production was completed to create a festival plan.Simply put: I was pretty burnt out by the time the film was finished and didn’t give myself enough time to recover or consider next steps with a clear head.
Now that you're working on a feature, in your experience what's been the biggest or most surprising difference about making a feature vs a short. Is it just the difference between a sprint and a marathon, or how much does the craft change?
I think depending on the scope of the short, they can be marathons just as much as feature films are to be honest. So much of the process feels similar from that front so far. Though the feature is fast becoming a triathlon, as Keir and I are taking on so many of the roles: Co-directing, co-writing and having had a big hand in the pre-production.
The main difference for me personally has been a shift in awareness - I know we’re looking to sell KILL YOUR LOVER, whereas short films are more low stakes. So - clearance has become a big word for us on this, crossing our T’s and dotting our I’s, because the likelihood of the film going to streaming is very high and there are a lot more eyes out there than we can fathom.
We’re also benefiting from our choice to shoot the film in two blocks, as we want the actors' hair to grow out and help them change up their looks, to show the passage of time - which is only possible because we’re indie enough and working off our own schedule.
That being said, Line Producing and Directing at the same time (which I’ve been doing so far) is quite the Tightrope walk.It's the drama of 'Blue Valentine' meets body horror of 'The Fly'! You can check out and support our ongoing crowdfunding campaign here:
https://greenlit.com/project/kill-your-lover
What do you think is the biggest challenge short filmmakers face trying to break into the industry?
I would have said the cost-prohibitive nature of it all, but more than that I think it's a lack of support and community that can get to you way before that.
There are institutions in place that would have you believe that you shouldn’t be making films without full financing, but that’s just not the reality that most of us live in.
I think a lot more could be done by gatekeeping funding bodies to support the growth and development of talent, rather than funding short films and hoping for the best. There should be more shadowing opportunities to connect and open the industry up more on a whole.
Any film recommendations that we should add to our watchlist?
If you haven’t already: I personally adore ‘Everything Everywhere All At Once’
Lynne Ramsay’s ‘You Were Never Really Here’
Tony Scott’s ‘Man on Fire’
Rob Reiner’s ‘Misery’ (based on the Stephen King novel)
and John Fawcett’s ‘Ginger Snaps’
As you can probably tell, I like Thrillers, Action and Horror, haha.
Interested in getting your work selected as Short of the Week?
Talk Radio
Pauline and Barry are a seemingly happily married middle-aged couple. That is until Pauline tunes into relationship hour on Talk Radio and thinks she recognizes the nameless voice that's relaying a lifetime of regrets live on the radio.
Written & Directed by Ben S. Hyland
Produced Adam Gregory Smith
Pauline and Barry are a seemingly happily married middle-aged couple. That is until Pauline tunes into relationship hour on Talk Radio and thinks she recognizes the nameless voice that's relaying a lifetime of regrets live on the radio.
READ OUR INTERVIEW WITH BEN
Welcome back to our Short of the Week series. What have you been up to since the last time we featured your film Quiet Carriage?
I've mainly been writing. Trying to flex that muscle as much as possible. The idea is moving towards a feature film so I've been developing a couple of ideas with my producing partner, Adam Smith. Having said that, I've just wrapped a short called BLEEP, which has already had a couple of selections on the circuit and I'm shooting another short called The Snip in September/October.
What inspired you to make Talk Radio?
The seed of the idea came from listening to late night/early morning Talk Radio. You get some really weird and wonderful characters coming out of the woodwork. I just had the idea that it would be funny if I heard a voice i recognised which is a basic premise of the film. So that was the framework from which I built the story.
What obstacles did you overcome while in the making of this film?
I think the biggest thing was the speed of the shoot. It was a one day thing. We had to be done by 4pm because of Julia's availability and that was quite challenging. Luckily we were able to access the location the night before and do some set dressing. I think without that we might have struggled.
Tell us about the journey of getting your film to audiences.
I suppose after the success of Quiet Carriage we had an idea of how to navigate the festival circuit. We changed strategy and went from volume to really specific fests. Targeting the BAFTA/BIFA/OSCAR fests as a priority. We had a good run but it was mainly online as the film was released during lockdown. After the festival run we submitted to Omeleto and was selected for that platform so managed to reach quite a large audience from that.
Once again, you have another hit on your hands. You always seem to have tremendous success in the festival circuit. How much rejection does it take to actually make any headway with festivals and what advice would you give to filmmakers burnt out on the festival circuit?
It does feel a little bit like you're throwing shit at the wall to see what sticks. Talk Radio wasn't my first film so I had a clearer idea where it might fit. That's always the hardest part I think. Knowing that some festivals really like a comedy to break up all the drama and also having relationships with festivals so they want you to submit your next film. It's never a guarantee and of course you don't want to restrict yourself to festivals that you feel safe entering. I suppose it's more about knowing which festivals to not enter and trying to be honest with where the film you've made sits on that spectrum. That will mean some rejection along the way but I no longer worry about that side of things. Someone didn't like my film and I just move on.
You've also come on board as a programmer at the Kino London Short Film Festival. How has programming short films affected your own filmmaking?
I enjoy watching shorts and being part of the programming for Kino. It's fun to see what else is out there and it can be inspiring when you connect with a filmmaker's work. I think as a filmmaker you will always benefit by watching films. It stands to reason and is probably a really obvious thing to say but if you want to make shorts then it makes sense to watch as many as you can. They're a different beast to longer form formats. You can easily identify what you think works, maybe on occasion what doesn't work and transfer those observations across. I for one feel like I'm a better filmmaker for watching more shorts.
What do you think is the biggest challenge short filmmakers face trying to break into the industry?
I suppose it depends on the definition of breaking in and ultimately the definition of success. It's absolutely okay to make films for the love of making them with no end goal. It doesn't have to be a route to TV or features. The biggest challenge that seems to remain regardless of the level is money and getting something made at all. Finding people that will back you whether that's financially or with their time is important.
Any film recommendations that we should add to our watchlist?
I'm going to be watching the shorts at Frightfest so hoping to find some gold there.
Interested in getting your work selected as Short of the Week?
LOVE YA LIKE POISON!
After attending university abroad, Louise returns to NYC and is reunited with her firecracker of a Jewish mother. When she reveals news of her engagement, old wounds are reopened as her mother reveals secrets about her own failed marriage.
Directed by Max Azulay & Rosie Yadid
Written by Rosie Yadid
Produced by Sarah Epstein & Rosie Yadid
Twenty-something Louise returns to NYC after university abroad. She is reunited with her firecracker of a Jewish mother, Nadine, and their relationship seems to pick up right where it left off.
While Nadine wants her back for good, Lou is desperately trying not to get too comfortable. When she reveals news of her engagement, old wounds are reopened as Nadine reveals secrets about her own failed marriage.
READ OUR INTERVIEW WITH ROSIE
Tell us a bit about yourself and your filmmaking background.
I’m a multidisciplinary artist and native Nu Yawker living in London. I started out acting and began writing as a way of re-empowering my creativity after discovering how disenfranchising the life of an actor can be, and I have been working on developing a TV series about my delightfully dysfunctional Jewish family for the past who knows how long. Love Ya Like Poison! was the first big step in that process.
What was your inspiration? Why did you decide to make Love Ya Like Poison!?
My mother, force of nature that she is, has a saying: every family is dysfunctional, yours is just rearing its ugly head now. I wanted to tell this story because I am deeply familiar with the complications that are baked into our closest relationships, and I don’t believe anyone walks away unscathed; we love each other, we hurt each other. What is interesting to me is the way this dynamic develops over time— especially on the threshold of adulthood.
What obstacles did you overcome while in the making of this film?
It was a mad rush to get the thing made before I moved back to London for a time, I pulled together a team and just said yes, I couldn’t think too hard or I’d have backed out. Raising the funds was a real struggle. I adapted the pilot I had written to just scenes between mother and daughter, we filmed in my mom’s apartment— I had to kick her out before we started filming! Producing is such a hard job, and not my personal forte, but somehow we made it happen.
Tell us about the journey of getting your film to audiences.
It’s been amazing hearing that the story resonates with people, especially young women who have complicated relationships with their mothers, their bodies, their skin, to food. I’ve touched on a lot of themes that have been personal sticking points for me in my process of learning to love myself and my history.
Words of wisdom. What advice would you give to other filmmakers?
As Nora Ephron said, everything is copy! I find the stories I end up telling are divinely gifted, I walk away from situations thinking, okay okay, I’ll write it down! Life is so absurd, find out what makes you laugh, makes you think, chances are you aren’t the only one.
What are you working on now?
I’m currently on the West End in my dream role, in a play called Bad Jews (very on brand), we’re playing through til Sept 25, come see it if you’re in London! And of course developing the show, working on our pitch and looking forward to whatever happens next!!!
Interested in getting your work selected as Short of the Week?
JAHANNAM
A Palestinian detainee goes on a hunger strike after being separated from his daughter and incarcerated without trial or charge.
Written & Directed by Hamza Pool
Produced by Elena Queally & Daisy Ward
A victim of Israel’s use of administrative detention, a Palestinian detainee goes on a hunger strike after being separated from his daughter and incarcerated without trial or charge.
Inspired by recent cases, "Jahannam" tackles the issue of administrative detention and Israel's use of this practice to imprison thousands of Palestinians for lengthy periods of time. The film also explores the use of hunger strikes by detainees as a form of protest, and how the Israeli prison system punishes such resistance.
READ OUR INTERVIEW WITH HAMZA
Tell us a bit about yourself and your filmmaking background.
I grew up council housed in a middle-to-upper class area. So because everything around us was quite expensive, while we were poor, I spent a lot of my time indoors with my eyes glued to the TV. I knew I wanted to work in film when I was a kid, but it wasn’t until the age of 9 that I figured out the function and role of a director.
Since then, I’ve been honing my skills, expanding my taste, and defining my style with every single project.
We know the unfortunate real life inspiration behind Jahannam, but why were you personally inspired to make a film on this topic?
When it comes to picking my projects, I’m always drawn to people and topics that aren’t given the attention they deserve. At the time I felt the issue of administrative detention fit into that category, and unfortunately, it still does.
I’d known about the Palestinian occupation for years, but never found a topic that I could do justice within a 10-minute limit at university. It wasn’t until my friend Leila made me aware of this issue that I got inspired, as I felt the topic cinematically could communicate the wider implications and issues related to the conflict, while also being achievable within a small budget and runtime.
What obstacles did you overcome while in the making of this film?
Far too many to mention, but the one that stuck with me the most was the editing process. Me and co-editor Tyrone had to do post-production remotely as Covid had just hit, and because of this, the process as arduous. I was living with my (large) family at the time, which is perhaps the most distracting environment to edit in. And I was stuck there. It wasn’t actually until the film was submitted to university in a rough and longer form (that was good enough just for the grade), that the film fully started to take shape.
Tell us about the journey of getting your film to audiences.
We did a small festival run and now that the film is publicly posted will try charity organisations and public film events.
We had some financial backing which was incredibly helpful.
Words of wisdom. What advice would you give to other filmmakers?
Film is all about collaboration. The most important skill to learn if you want to be a filmmaker is being easy to work with. Especially as a young filmmaker.
Keep watching films (of all decades, nationalities, and styles) and soak in all the inspiration possible. If you just watch the basics / what they tell you “need to see”, your films will feel like lesser versions of other famous directors' films and you won’t find your own lane and style. Expand your taste.
What are you working on now?
Right now, I’m producing an album for a rapper called Reckz Capo based out of West London: I’m also planning to direct music videos for the album.
I’m going to be pitching a television show too so hopefully, all goes well with that!
Any film recommendations that we should add to our watchlist?
No particular film. But please start watching films outside the confines of Western media. And not just the big films either. Mubi, Kino Lorber and Criterion are incredible sources of lesser-known films from around the world that could have a huge impact on your style.
Interested in getting your work selected as Short of the Week?
EVERYTHING IS COMPLETELY FINE
Izzy's unusual habit of smiling at her own reflection before turning off the light each night is an attempt to capture a positive image to end the day, like taking a photograph. But pop psychology tricks like smiling to make yourself feel better can only do so much when something genuinely terrible has happened...
Written & Directed by Andrew Stevenson & Joseph Bisat Marshall
Izzy's unusual habit of smiling at her own reflection before turning off the light each night is an attempt to capture a positive image to end the day, like taking a photograph. But pop psychology tricks like smiling to make yourself feel better can only do so much when something genuinely terrible has happened...
READ OUR INTERVIEW WITH THE FILMMAKERS
Tell us a bit about yourself and your filmmaking background.
Joe is a production designer, so has a lot of experience in that area, while Andy has been writing for a few years. We’ve been pretending to like each other since we were about six years old and, having finally run out of things to talk about, we started writing together. We finished the script for our first short (estimated budget: £100k) then a few attempts later had one that didn’t require selling any kidneys (leaving a very disappointed buyer). Once that was written it felt like directing it made the most sense – we wanted the opportunity to have full creative control.
What was your inspiration? Why did you decide to make Everything is Completely Fine?
Joe mentioned that he used to smile at himself in the mirror before turning the light off before going to bed, because he wanted the last image of the day to be a positive one. Obviously that's the behaviour of a psychopath, so we thought it would make an interesting film.
The film is about the limits of what we can do to help ourselves feel better when we're going through a traumatic period in our lives. Pop psychology tricks like smiling to make yourself feel better can only do so much when something genuinely terrible has happened to you – we thought there was something darkly funny about the attempt. It also feeds into the discussion that's become a lot more prevalent with the intrusion of social media into so much of our lives: photographs and images of ourselves are part of a fiction we create with even those closest to us, and ourselves. This story is our way of taking a momentary step back from that to admire its ridiculousness.
What obstacles did you overcome while in the making of this film?
The main obstacle is just the sheer number of things you have to organise to make a film of any size. Producing is a whole job for a reason. Restrictions are helpful etc. etc. but when your budget is that low, what’s really hard is that creative challenges can become administrative ones very quickly.
In terms of the writing, we wanted it to have a proper arc despite its duration. There's a tendency for shorts to be narratively ambiguous, which sometimes feels like a good use of the format, but often feels like there just wasn't enough time to tell a complete story. We challenged ourselves to write a structured narrative with one actor (ish), in a single setting, in just over three minutes.
Tell us about the journey of getting your film to audiences.
We've mostly gone down a fairly traditional route of submitting to film festivals. There's a decision whether to wait to make it available online or to get it out there straight away; a lot of festivals won't accept submissions that have had an online premiere. We made the decision to just get the film out there – it was always intended as a way for us to jump into the deep end of directing and to learn as much as we could.
Words of wisdom. What advice would you give to other filmmakers?
Nothing can really replicate the learning experience of actually making a film. If you're someone who's been writing for a while and sending scripts off to contests that ignore you before starting your next, just do it. Go all Shia LaBeouf. I mean, don’t. Obviously don’t do that. But make something. Anything.
Also, don't forget Talent Release Forms. Blake Snyder never mentions those.
What are you working on now?
We're currently in the process of securing funding for our next short, about two friends who apply to be among the first settlers on Mars.
Any film recommendations that we should add to our watchlist?
We're constantly recommending American Animals. It's an incredibly astute dive into the psychology of the American dream via a really original style of filmmaking.
Interested in getting your work selected as Short of the Week?
JOURNEY
When life couldn't get any worse, Jack realises his flight is from Glasgow and not Gatwick. Attempting to catch a last minute train from London, he is confronted with his stage in life by his fellow passengers.
Directed by Panji Kaonga
Written & Produced by Stephen Maddox
When life couldn't get any worse, Jack realises his flight is from Glasgow and not Gatwick. Attempting to catch a last minute train from London, he is confronted with his stage in life by his fellow passengers.
Everyone is Jack. We all need Iris.
READ OUR INTERVIEW WITH STEPHEN
Tell us a bit about yourself and your filmmaking background.
PANJI: I grew up in Zambia, in South Central Africa, where we have a strong folktale culture. As early as primary school, we’d have time slots to stand in front of the class and tell a story. That was always a highlight for me. Couldn’t afford equipment early on but got creative with whatever I had, which meant getting electric shocks a few times :)
STEPHEN: I grew up in Chicago watching films and TV with my dad. In university I made my first short film SLEEPING WITH YOUR EYES OPEN and a TV pilot BACK ISSUE. In 2010, I fell heavy into screenwriting; completing feature scripts, short film scripts, and promos. Upon moving to London in 2017 I founded my film company “southside films” (named after my punk band from university) and our debut short was JOURNEY. Since then, I’ve made LUCID (short film) a best screenplay winner, ‘TWAS THE NIGHT BEFORE CHRISTMAS (poetic short film), A WALK TOGETHER (micro short), one of the producers on a feature film and an informational piece on human trafficking, wrote and directed two documentaries, and two Christmas specials with music videos, and still more works in the pipeline.
What was your inspiration? Why did you decide to make Journey?
STEPHEN: When first moving to London a station was clearing out and I found out someone had jumped in front of the train. After trying to find the story in the news later in the day, I realised how common it was in London and around the UK. Later a friend visited from the US and was very frustrated with their stage in life and that led to the blending of both stories into Journey.
We wanted to make Journey to encourage people to reach out when feeling lonely or hurting and for all of us to talk to those near us to check in and make sure people are doing okay. Whatever we can do to help stop suicide and those feeling alone.
PANJI: Journey is a relevant story today and one I can relate to. I’ve been in Jack’s position before and it’s great when you have the chance to meet someone who shifts your perspective.
What obstacles did you overcome while in the making of this film?
STEPHEN: We weren’t success for BFI funding and the first round of crowd funding was a flop, so we lost our original cast. The second round of funding happened because of a ton of people chipping in what they could afford and then two large donors came in the end. The original story started outside the station and through the station. After trimming the budget back it meant the story was to be done in a day and in one setting.
PANJI: Finding the right location and conditions was challenging. Had to adjust the script a little to work with what was available within our budget. We shot on a static train and had to be creative with lighting and fake rain.
Tell us about the journey of getting your film to audiences.
PANJI: Right from the start we included the festival run in the budget. Stephen, the writer, and producer did such a great job researching and shortlisting potential festivals and audiences we could target. We’ve taken advantage of networking opportunities and have enjoyed meeting other filmmakers and sharing experiences.
STEPHEN: We went through festival rounds and sharing it with anyone and everyone. Ultimately a streaming company IVOX+ saw it at the Aspen Film Festival market and asked to put it on their streaming site as well.
Words of wisdom. What advice would you give to other filmmakers?
STEPHEN: Make projects, keep collaborating, and keep going. This isn’t a sprint, it’s a lifetime marathon. Keep writing, keep shooting, but finish the damn thing. Nothing worse than stories dying on hard drives. Ask for help, see what people think, keep experimenting, but just keep typing and keep shooting. Each project hones your skills and makes you a better storyteller and filmmaker. We need everyone’s story. In a day when it’s content overload the main thing is picking the right concept and working with a premise that’s unshakeable, but every story matters.
PANJI: Don’t wait for the right moment and conditions to start, use whatever you’ve got and keep making films. Keep practising and make great connections with creatives along the way.
What are you working on now?
PANJI: I have a couple of films in post-production but also writing a short thriller on cyber-crime.
STEPHEN: Finishing up a micro budget/micro short to compete in that category. Developing a music video/short film with an independent artist that starts shooting in August. Writing a feature script with a writing partner with aims of it being a debut feature film for 2023. Developing a documentary on human trafficking that films at the end of the year. Really want to shoot a project on film soon.
Any film recommendations that we should add to our watchlist?
STEPHEN: I’m too much of a fanboy to narrow it down, I just love cinema. I love classics and early works from artists like Chinatown, Casablanca, Sunset Blvd., Memento, etc. For me it’s just watch films. Figure out why they shot it certain ways, why did the cast make the choices they made, why does the story move you.
PANJI: Catch Me If You Can, Eternal Sunshine of the Spotless Mind, and Inception.
Interested in getting your work selected as Short of the Week?
THE LAST CONFESSION
On his deathbed, a Nazi calls a Priest to confess his darkest secrets.
Directed by Dustin Curtis Murphy
Written by Kev Hopgood
Produced by Kev Hopgood & Marius Smuts
A dying old man summons a priest to his bedside. The old man seeks to undergo the rite of the last confession. He's abrupt and cynical, and he confesses to a litany of transgression, from being a cold father to cheating on his wife to being a guard at a Nazi concentration camp. But as the priest listens, the old man shares the one redeeming thing he's done with his life.
As a guard, he saved a young Jewish woman from the gas chambers, who managed somehow to stay alive despite the fatal gas. He hides the woman and keeps her alive, until one day she disappears mysteriously. But as he confesses, he reveals her fate -- as well as his reward for his act of goodness in his life.
ABOUT THE FILM
Screenwriter/producer Kev Hopgood brought a draft of THE LAST CONFESSION to a Kino writer’s group held spring 2019 where he met director Dustin Curtis Murphy. They joined forces and the film was shot summer/fall of 2019. Once released it was a Golden Stake Award Winner at Shockfest and Nominated for Best Short Film at Unrestricted View Horror Film Festival, both in 2021, before being released on Omeleto in summer of 2022. Omeleto hosted the film on their channel for 6 months, earning roughly 20,000 views, and the film is now hosted on our Kino Short Film YouTube channel.
ABOUT THE FILMMAKERS
Dustin (director) is no stranger to the Kino community. He is an award-winning writer, director, and producer creating work at the crossroads of social impact and commercial crowd-pleasers. His work focuses on character driven narratives with relevant social themes and tightly structured plots, often working in blended genre. Loves a good twist.
Dustin has produced 2 web-series, 1 feature film, and 9 short films that have been recognized by Academy Award, BAFTA, and BIFA qualifying film festivals.
Filmography highlights include:
COYOTE - a dystopian sci-fi starring Therica Wilson-Read (Netflix's The Witcher), Borislava Stratieva (Luther: The Fallen Sun), Ailish Symons, (The Widow) and BIFA Winner Ruhtxjiaïh Bèllènéa (The Last Tree).
SAMARITAN - Selected for the Climate Story Lab run by Exposure Labs, BFI Network and Doc Society. Winner: Best International Short at the Sedona International Film Festival and the Grand Prize at The Weather Channel's #EarthFilmChallenge; Semi-Finalist at the Academy Award Qualifying Flickers’ Rhode Island International Film Festival. Distributed via Omeleto.
Kev (screenwriter & producer) started his comics career in the mid-1980s, working as a penciller on the Marvel UK strip Zoids. Work for various titles followed, including Action Force, Doctor Who and 2000 AD, where he co-created the series Night Zero. He went on to a three year stint as penciller for Iron Man for Marvel in the US. During his tenure he co-created the character War Machine, who has spawned numerous spin-offs and made major appearances in the Iron Man movies. Past and current clients include Marvel Comics, Games Workshop, Oxford University Press, DC Thompson, BBC Worldwide, Macmillan, 2000 AD, Franklin Watts, Pearson, Barrington Stoke, Real Reads, Cambridge University Press, Eaglemoss, Usbourne and Badger Publishing.
Kev currently divides his time between working in comics, the wider world of children's illustration, and for pleasure he enjoys making short films.
READ OUR INTERVIEW WITH DUSTIN
Tell us a bit about yourself and your filmmaking background.
My name is Dustin and I’ve been making films since I was a kid in the backyard using my parents home video camera. My debut was a western with double-sided tape and paper mustaches, stick horses, and starring a 10 year old version of myself.
Being raised in California I was lucky enough to have video production taught at my Junior High and High School, and quickly became teachers pet, over delivering on film project homework. My dad bought me college level film curriculum that I studied long before it was time to put in college applications and I began touring festivals at the age of 14 with my student shorts which leaned heavily into one of my favourite influences - The Twilight Zone.
In my senior year I won Shriekfest in Hollywood with my short film Repossessed - about a serial killer that intentionally doesn’t pay his month car bills in order to lure repo men as his next victim, steals their identity, and repeat. The same year I optioned my first feature screenplay and entered the industry as a production assistant, so I decided to start getting real world work experience instead of going to a film school that would put me in debt for the rest of the my life and make me sit in a classroom for my first two years learning theory. I’m a big advocate for learning to make films by actually, well, making films!
I’ve also worked a lot in theatre and learned so much there about the creative process and working with actors, which if you’ve seen The Last Confession makes sense - it’s style and structure is very theatrical and I could easily see this scene being performed on stage.
While my first screenplay fell out of option un-produced I continued to write, direct, produce and edit my own short form content including a 50 episode web-series and several short films - my most successful being Samaritan (2020) which won the Weather Channel’s #EarthFilmChallenge and Best International Short at the Sedona Film Festival, among other festival successes, and eventually premiered on Omeleto - the largest YouTube channel for short film.
I’m currently a working director, producer, writer and editor living in London and daily doing the hustle.
Tell us about the Genesis of The Last Confession?
The script for The Last Confession first came to my attention at a Kino writer’s group at a pub in London. Kev pitched his idea and the following day I reached out to him via email to tell him that I was interested in directing if he’d have me. He said yes and we quickly wrangled preproduction shooting the film in late 2019.
What obstacles did you overcome while in the making of this film?
Typically, I also produce the short films that I direct. With The Last Confession is was nice to have Kev and Marius handle the logistics so I could focus on the creative.
From what I hear, the hardest part was wrangling the location for the gas chamber. You’d think a dank old basement would be easy to find in London, but many of those type of filming locations wanted a fortune. We were lucky enough to find a theatre in Kent that had a basement they were willing to let us film in on the cheap.
So the takeaway for any producers out there reading: Travel costs can sometimes be lower than paying for a location in your area (but maybe not anymore with the freaking gas prices).
Tell us about the journey of getting your film to audiences.
Okay, so I’ll be honest, this film totally tanked on the festival circuit. We played at two festivals - Unrestricted View Horror Film Festival in London (where we were nominated for Best Short Film) and Shockfest (which gave us a Golden Stake Award - sounds fancy, but hey give out about 90 of those awards every month). Anybody whose had their short on the festival circuit, and is willing to be honest about their experiences, will tell you that they receive more rejections than Official Selections. It can really wreck havoc on your mental health if you let it.
But… film festivals aren’t the only way to get your short film seen. Some filmmakers aren’t too keen about getting their work online. They’d rather be in a cinema at a festival because it’s always great to play to a live audience. But even the biggest festival audience typically gets less eyeballs on your film than the most modest online premier.
Perhaps you think a big successful festival run is needed to land distribution on a big online shorts platform, but that’s not always the case. It’s fine to skip the festival circuit altogether if you’d rather avoid a headache, and sometimes you’re just sitting on a brilliant film waiting for a year of rejection to pass by before getting it online - why not just release straight online if you can?!
In my case, relationships help. Omeleto had previously premiered my short film Samaritan. After that I’ve got them involved in Kino and, as a curator of short film myself for the Kino London Short Film Festival, I’ve sent other great shorts I’ve come across in Omeleto’s direction. When I approached them about The Last Confession, I was honest about its failings on the festival circuit and fully prepared for them to say “Thanks, but no thanks.” But to my surprise, they liked it and gave us our premier.
Words of wisdom. What advice would you give to other filmmakers?
I’ve seen too many aspiring filmmakers spin their wheels because they want their first film to be a masterpiece. It’s definitely the right idea to strive to make a film to the best of your ability, but no one is going to grow as an artist without practice. So… don’t be afraid to fail.
If you start writing and the script isn’t turning out the way you want it to, then don’t give up by shelving the script. Get some feedback from an experienced writer whose work you respect and a write a couple drafts. BUT… it’s also important to not end up in an endless feedback loop of rewrites. Incorporate the feedback that resonates with you and discard the feedback that doesn’t. Whatever you do, don’t chase your tail trying to please everyone by incorporating everyone’s contradictory notes. Know what your film is. Know what your film isn’t. And listen to the people who want to make your film the best version it can possible be. Don’t listen to people who want to highjack your vision and turn your project into something else. I personally think that every writer can get where they need to go in no more than 5 drafts. Iteration for a short film should take no longer than a couple of months.
Once your script is ready, get it into production any way that you can. Sure, aim for that DOP with a cinema camera and that producer who won a BAFTA, but when they ghost you (as happens with most cold call emails) then it’s time to get the film into production yourself. Shoot on a DSLR or iPhone if you have to. Just get the project made. Don’t wait for perfection. An imperfect, but completed, film is better than a perfect film that only lives in your head.
Once you’ve shot and edited the film, chances are you’re gonna be so over saturated with watching it that you’re not gonna be in a position to accurately assess how good/bad your finished project is. Like with your screenplay, get some feedback and just keep moving on to the next step which is: getting your film seen (by any means necessary).
You may be embarrassed to show your film because it didn’t turn out the way you’d hoped, or you may just want to get into production on another film because you’re not a natural marketer. BUT… the experience of watching your film with a live audience will help you grow as a filmmaker. Feeling the vibe of the room when screening your work helps you understand which aspects of your film work and don’t work.
AND… it’s not about chasing festival laurels. There are so many festivals out there that aren’t really festivals, but they’ve give you a .png file to make you feel good because the big boy festivals are brutal with machine-gun spraying rejection letters. A good middle ground is aiming for mid-tier festivals. Not only because your chances are higher in a smaller submission pool, but also because mid-tier festivals typically have a passionate team behind them who oftentimes are filmmakers themselves. I’ve found that curators who have filmmaking experience tend to truly care about curating the best quality films. Some of the bigger festivals receive an overwhelming amount of submissions and oftentimes their programers aren’t people with filmmaking experience so they tend to prioritise films with relevant social trends vs craft filmmaking. I know you want that Academy Award qualifying laurel on your poster, but honestly at the end of the day it doesn’t make that much of a difference. I’ve chatted with BAFTA nominated short filmmakers who you think would have found the keys to the pearly gates of feature filmmaking via their short form success, but the truth is no one is really knocking down doors to provide a plethora of opportunities for short filmmakers at the top of their game. You have to knock down your own doors.
And finally… let’s say that you get rejected from festivals. Screw ‘em. There’s other ways to get your film out there, like Kino’s Short Film Open Mic, sharing it online with friends and family in the hopes of getting in trending, sending it to short film blogs and websites, or even using your short film as a calling card when direct emailing potential future collaborators.
What are you working on now?
I’m currently in post-production on my debut feature film, COYOTE, a dystopian sci-fi about how newly developed teleportation technology affects the refugee crisis. It star Therica Wilson-Read (Netflix’s The Witcher), Borislava Stratieva (Absentia), Ailish Symons (The Widow), and BIFA winner Ruhtxjiaïh Bèllènéa (The Last Tree). We’re going to market with it this year and aiming for a top tier distributor to help us with a wide release in 2023.
Any film recommendations that we should add to our watchlist?
Some of my favourites I’ve watched lately:
THE WAVE (2020) a great indie feature starring Justin Long. Think FEAR AND LOATHING IN LAS VEGAS meets AFTER HOURS meets time travel.
tick, tick, BOOM! (2021) is simply one of the best films ever made about what it’s actually like to be a creative trying to get your big break.
THE EYES OF TAMMY FAYE (2021) was one of my favs from last years award season. Got way too much hate/indifference. Andrew Garfield should have won Best Supporting Actor for his performance, but he wasn’t even nominated. (Granted, he was nominated for Best Actor in a Leading Role for tick, tick, BOOM! and I still haven’t seen CODA which actually won Best Supporting Actor.)
Not a film, but current series that I think are worth the watch:
OUTER RANGE - Part western, part sci-fi. Great cast! Josh Brolin just as good as ever and Imogen Poots gives her best all time. Also great to see Lili Taylor again in a major release after all these years (“Joe lies.”)
SEVERANCE - Stylish sci-fi with Ben Stiller at the helm giving his career best (off-screen). John Turturro and Christopher Walken have a thing for each other!
Apply to get your short selected as our Weekly Pick
VISKAR I VINDEN
A feisty forensic investigator gathers evidence at the murder scene, but suddenly the corpse start to posthumously communicate to her through decaying farts.
Written & Directed by James Newman
Matilda is a forensic investigator gathering evidence at a crime scene, where an elderly man's body lies dead, gruesomely murdered by an unknown person.
It seems just another day on the job, and Matilda is told by the detective to get things done, though Matilda seems eager to take the detective role herself. When the corpse decides to communicate posthumously with the investigators in an unusual, decidedly earthy way, Matilda takes it upon herself to do some investigation on her own.
Tell us a bit about yourself and your filmmaking background.
I grew up in Reading, Berkshire. After a University Degree in filmmaking, I moved to London to pursue a career in Film & TV. I worked as a runner and production assistant at Post-houses and Production houses in Soh, whilst writing on the side. My first writing credit was the multi-award-winning micro-short 'The Chop" (Dir. Jennifer Sheridan). Most recently has co-written the unproduced screenplay feature "God Damn Evil Beasts." which was a semi-finalist in the Fade-In Horror Screenplay Awards and at Filmquest. Viskar I Vinden is my directorial debut, alongside my brother Harrison, the Co-Producer and Director of Photography.
What was your inspiration? Why did you decide to make Viskar I Vinden?
I'd been to Film Festivals and noticed how many of the films are issue-based dramas. I wanted to do the opposite. I was also thinking about resource and how we could stand out from the crowd, so this film was made with Film Festivals in mind. We landed on a crime scene investigator (as their costumes were cheap) and we could shoot the film in one location. I wasn't incredibly sold on the idea until my brother and I were joking around about making it a Scandi Noir. We then decided it was funnier as a Scandi Noir.
Why the decision to make the film in a foreign language?
The decision to make it a foreign language was because it was much funnier. The idea in English just felt a bit crass -- as in I know it's still a crass idea but I wanted to lean into the art crowd and Scandi Noir seems to be more well respected than British procedurals. So it rested on being a low-brow comedy dressed as a high-brow crime drama.
What obstacles did you overcome while in the making of this film?
I didn't speak a word of Swedish, so that was the biggest obstacle. I really relied on Kim (Harrison’s Swedish partner) and the Swedish actors (who were amazing) to guide us through. We would go for a general tone and they would change the script to fit what's true to how you would say it in Swedish -- they could’ve said anything and I would’ve nodded and told them it was a great take.
Tell us about the journey of getting your film to audiences.
We’ve been on the film festival circuit for about seven months. We’ve focused on the UK film festivals, and we’ve been approached by a couple of American film festivals to screen there, so we’ve screened at two festivals there. Off the back of the festival we’ve had a couple of distribution deals and hosted on Omleteo.
Words of wisdom. What advice would you give to other filmmakers?
Don't make a serious issue-based drama - enough people are making them. I know you probably have something interesting to say but find a creative way to say it. Cram your dementia film into horror, sci-fi, or thriller. I've seen so many blocks where they're depressing films after the next - an easy way to stand out is to do the opposite of what everyone else is doing.
What are you working on now?
I've just finished my first issue-based drama... well not really a comedy about cheating and art - it’s called Do Not Touch we wrapped last weekend and we’re currently in post production. I’m really glad how it’s turned out given its out first film in English.
Any film recommendations that we should add to our watchlist?
Features: Everything Everywhere All at Once, Sorry to Bother You, Some Like it Hot, Game Night, Get Out.
Interested in getting your work selected as Short of the Week?
ONLY FOOLS RUSH IN
A conversation about tea drinking unravels a world conflicted by the rush of everyday life.
A film by Jack Turner
Poetry written and performed by Cat Hepburn
A conversation about tea drinking unravels a world conflicted by the rush of everyday life.
In 2018, I visited a small tea shop in Hong Kong where a man told me the taste of his tea tells him how he feels. An introspective and experimental short more about the little things in life than drinking tea.
Tell us a bit about yourself and your filmmaking background.
I’m a multi-disciplined director based in London who works across commercials, music videos, documentary and short film. Alumni of the National Film and Television School, I’ve directed for Rag ‘n’ Bone Man, Alfie Templeman and Zipcar.
What was your inspiration? Why did you decide to make Only Fools Rush In?
Only Fools Rush In was born from a conversation. I was in Hong Kong for a film job and it was my last day. I ended up in a tiny tea shop and spent almost 4 hours there, sat down with the owner, drinking tea and talking. At the time I never had any intention of making a film, but the conversation really stuck with me when I travelled home and I genuinely couldn’t stop thinking about it.
Did you source the film footage or actually travel to get all those beautiful shots in various locations?
I had already planned to go travelling, but the idea of this film came so close to it that I decided to shoot it in each of the countries I went to. I wrote a (very) rough outline of what I wanted to capture, thinking of simple contrasts that would begin to form my world. Shooting on Super 8mm provided an energy to the edit with its natural blemishes and texture, but most importantly it made me consider each shot. I went out with various stocks and filmed very much as an observer, no setups, no real planning. I always had the story in mind, but the process felt organic. Side note: I kept all my receipts, leaflets, cuttings and left over bank notes. They all ended up being used as texture in the transitions between the Super 8mm and 2D animation.
What obstacles did you overcome while in the making of this film?
As with a lot of passion projects one of the biggest challenges is keeping that momentum. Money isn’t on the line, time and deadlines are quite literally in your hands. It was definitely hard work to keep coming back to this one because the freedom meant you constantly tweaked and tweaked. Working with a small group of friends and collaborators really helped by giving their time to keep the energy, focus and bring new ideas and opinions to the table. Without them I think I’d still be editing now…
Tell us about the journey of getting your film to audiences.
It was a case of constant revisions, taking on opinion and comment from others. Like I mentioned before it was definitely a challenging process but I learnt so much about not hiding away with your own ideas and thoughts. When you finally feel you are in a position to share the film feels so much bigger than it ever could’ve been - a product of collaboration no matter how small the team is.
Words of wisdom. What advice would you give to other filmmakers?
I think what I’ve found over the past year or so is that spreading the wings far and wide is a massive help to your growth as a director. Don’t box yourself. Don’t set unobtainable targets or get yourself in a twist about what others are doing. Find your own path, take opportunity to meet and work with new people and form a network around you that makes you happy. Talk to people, offer to review work and share your own when you can - it gives you so much more value to film than just delivering the final product.
What are you working on now?
Pitching on music videos, commercials and developing a new short. I’m also in the midsts of delivering a sports documentary I directed. It’s going to the channel soon so more details to come!
Any film recommendations that we should add to our watchlist?
Some things you may not of watched; Parasite in black and white, completely different experience! Only God Forgives is one of those films that cemented what I wanted to do. It’s bold but it illuminated so many boundary-breaking things in cinema to me. Did I mention that Succession is the greatest TV show of all time?
Interested in getting your work selected as Short of the Week?
MIJO
Mijo is a young dreamer, suddenly blessed with the gift of King Midas. However his ability has a unique twist: whatever and whoever he touches is stylishly pimped up.
Written & Directed by Mazdey Snob
Shot in the uncharted streets of Mexico City, Mijo is a colourful and fun fashion film inspired by the pachucos fashion from the 40s. The film is a collaboration with independent local artists, showcasing traditional Mexican tailoring, fashion, music and illustrations all in one project. Channelling the city's edgy and urban spirit, Mijo reinterprets the myth of King Midas through a modern Mexican lens.
Tell us a bit about yourself and your filmmaking background.
I studied graphic design, but I always wanted to work on audiovisuals. So when I discovered the fashion film I fell in love with the genre and the freedom that it has to tell stories - I then I started making fashion films in 2014. Almost all of my work as a director has been done with designers, artists and fashion brands. It has been great to be able to create with them, since it has been a very personal process, managing to create artistic films with commercial projection and achieving that balance. And also being recognized at festivals like yours, which makes me very proud.
What was your inspiration? Why did you decide to make Mijo?
My idea was for Mijo was to be a Mexican fairy tale, created with the elements of our culture and our streets. I decided to take the myth of King Midas and appropriate it to turn it into something that happens in Mexico. Instead of turning things into gold, his gift was to stylize everything that “Mijo” touches, to give it a fashion twist. All of this is told in the language of comedy. I wanted it to be something fun to watch and I wanted to give it a lot of moments during the story that you can treasure as a viewer, like the encounter with the puppy, his walk, or his daydreams.
Mijo's clothing is inspired by the style of the Pachucos of the 40's, it is a style that has caught my attention since I was a child. This fashion represents a lot in Mexico and has also been a symbol of resistance of migrants in the United States. Something that is important to me is the positive representation for us Mexican/Latino people with brown skin. In Mexico, curiously, being brown, black or dark-skinned is a stigma and in “Mijo” and in other of my works I have tried to combat that.
What obstacles did you overcome while in the making of this film?
It's a very detailed production that we had to accomplish on a tight budget, so we had to be very careful with the shooting schedule and how we distribute the expenses. It was a slow process of searching for each prop in the city's popular markets, which was also part of the spirit of the film.
Another difficulty was that we had limited time to record on location, we did not have the benefit of any institution since in Mexico it is difficult to have government support for independent productions. We put up the street decorations ourselves and we asked the people of each house for permission to do so. The cars that appear belong to private individuals and I found them searching the streets. I mean everything was local and independent, many people participated and trusted us and what we were going to create.
Tell us about the journey of getting your film to audiences.
Bringing “Mijo” to the public has become a very great experience. It has been selected and nominated at several festivals and has also received several awards such as “Best Glam” at LA Fashion Festival, “Best Actor model” at UK Film Fashion Festival, “Cinema Femme Short Film Fest Phenomenal Woman in Film award” and the “People's choice award” at ASVOFF.
But the best part is that I have received messages from people through social networks to tell me how much they like “Mijo”, how fresh they find the film and the positive representation. Being able to connect with people through my work is really rewarding. I have to give a special thanks here to Niccolo Montanari who has handled the distribution and is really wonderful to work with.
Words of wisdom. What advice would you give to other filmmakers?
In my experience so far, I think it is important to be aware that the system is very complex and does not provide equal opportunities for all. So it does not always mean that our work is bad. If the opportunity presents itself, you have to hold on to it or create the opportunity yourself. Of course it is very difficult, but it is about betting on what we do despite the fears and uncertainties that arise along the way. There are always those who believe in you and your work (which I appreciate very much) and also the audience can identify with what you have to say and your vision. So keep going and don't let go.
What are you working on it now?
I received an invitation from various platforms to give conferences and workshops about fashion film in the coming months and also the invitation from the GRRL HAUS Cinema festival in Berlin to carry out specialized curatorship on the subject. I am now a permanent resident in Spain and I recently directed a music video in San Sebastián, Basque country, so I am excited for the projects to come and always looking and open for agencies and people who want to work with me.
Any film recommendations that we should add to our watchlist?
The “Namesake” and “Queen of katwe” by Mira Nair , “The Roof” by Vittorio de Sica, “The Tale of the Princess Kaguya “ and “Pompoko” by Isao Takahata, “My Happy Family” by Nana Ekvtimishvili, “Noche de fuego / Prayers for the Stolen ” by Tatiana Hueso, “A Cop Movie” by Alonso Ruizpalacios, “Tangerine” by Sean baker. And I just saw “The 7 Lives Of Lea” on Netflix and I loved it.
Interested in getting your work selected as Short of the Week?
EMBERS
Alice sits alone at a restaurant, waiting for her date to arrive…
Written, Produced & Directed by Tom Ganley
Alice sits alone at a restaurant, waiting for her date to arrive… Doesn’t sound like an interesting synopsis, but don’t be fooled by it. Embers is an emotionally complex film, winning multiple awards at film festival this past April for best screenplay, best performance in a drama & best first time filmmaker.
Tell us a bit about yourself and your filmmaking background.
I've always had a deep love for filmmaking.
Growing up as a teenager, I'd spent most weekends with school friends shooting silly, self-shot shorts - everything from a Reservoir Dogs Remake: Reservoir Cats to our iconic superhero franchise Lycra Lad.
As you'd expect, they were mostly terrible, but looking back now it was innocent, creative expression in its purest form. A gaggle of stupid kids thinking they were Spielberg and having the best time doing it.
Between then and now I'd filmed the odd bit here and there, as well as writing a handful of scripts which never saw the light of day. But with Embers, I knew I had something different.
What was your inspiration? Why did you decide to make Embers?
The idea first formed in the wake of the loss of my wonderful Grandmother. She was a truly angelic force and her passing affected people around us in so many ways. It was coming to terms with this and seeing how family and friends around me also tried to cope.
Once the core concept began to form, I became pretty obsessive, writing out the first draft script over a couple of days - it flowed out of me in a way I'd never had with any script I'd written before, so I knew I was onto something. I shared the piece with a group of close friends – this kick-started a snowball effect that attracted and inspired an incredible team of friends, cast and crew, committed to bringing this story to life on a shoestring budget.
This self-funded film was in many ways a step into the unknown. What began as a passion project became something bigger and more meaningful. Something that brought people together with a common creative focus in a time when COVID called the shots.
What obstacles did you overcome while in the making of this film?
Embers was the first 'proper' film I'd made with a crew and talent, so there were a fair few logistical elements to get my head around as a first-time filmmaker. Then a pesky pandemic rocked up and made things somewhat more challenging.
There were many moments where it felt like the world didn’t want this film to happen. COVID lockdowns led to three shoot cancellations and I was on the cusp of shelving it altogether...
But it was the enthusiasm, passion and drive of the amazing team around me who made sure it could happen. A group of friends, some old, some new, making something for the sheer love of making something.
Tell us about the journey of getting your film to audiences.
Using Film Freeway it was all pretty smooth. Embers is now coming to the end of its run on the festival circuit and has just launched on Klipist, following an intro at the Kino People's Film Festival.
While I'm on the subject, I couldn't let this moment pass without giving a massive shout out to Dustin and the team at Kino.
It was truly a magical festival experience and has already spawned some exciting opportunities. It's festivals like this that truly connect audiences and filmmakers and enable them to take those all-important next steps.
Words of wisdom. What advice would you give to other filmmakers?
Make sure to surround yourself with kind, passionate people. People who care about each other and creating something together.
What are you working on now?
I've got a couple of new ideas in the works, but it's very early days. Watch this space!
Any film recommendations that we should add to our watchlist?
Right now, I'd have to say Everything Everywhere All At Once & The Worst Person In The World. Obviously Bo Burnham: Inside if you've not seen it already!
Interested in getting your work selected as Short of the Week?
Kino London Short Film Festival 2023 - Submissions Now Open
Submission are now open & we’re changing the way we operate our film festival. Find out more.
Submission are now open for the 2023 edition of our Kino London Short Film Festival & we’re changing a few things.
OPENING OUR £1000 SHORT FILM FUND TO ALL OFFICIAL SELECTIONS. Previously, we’d nominate 9 Official Selections to compete for our film fund, however a number of filmmakers passed on this opportunity for a variety of reasons including, not having another short film ready to pitch or moving on from shorts to features. The goal of this fund is to support the short filmmaking community with another funding opportunity in a competitive market with few options. That is why this season ALL submissions will have the opportunity to pitch their next short film project for consideration. This funding opportunity is at no additional cost to filmmakers, included with the price of festival submission.
CHANGING THE NAME OF OUR FESTIVAL. Many already refer to our festival as the Kino Short Film Festival, Kino London Film Festival, etc. While we love the meaning behind “The People’s Film Festival”, we’ve decided to unify our brand with our other Kino offerings. We run the Kino Short Film Open Mic, Kino Short of the Week series, & now we’ve changed our name to the Kino London Short Film Festival.
CHANGING TO AN ANUAL ONLY COMPETITION. Previously we’d announce Finalists, Semi-Finalists & Official Selections every month leading up to our annual festival event. Now, all Official Selections will be announced after submissions close. We’re making this change to reduce admin duties in order to help make our festival sustainable.
WHAT’S STAYING THE SAME?
Every filmmaker that submits to our festival gets FEEDBACK regardless if they win or not.
Our categories are based on BUDGET, so micro-budget shorts don't have to compete with fully funded films.
We build into the winning filmmaker's future by funding their next short film project with our £1,000 FILM FUND.
BULLDOG
After spending the night in a cell, a rough sleeper has a score to settle.
Written & Directed by Kieran Stringfellow
Produced by Tasha Williams
After spending the night in a cell, a rough sleeper has a score to settle.
Tell us a bit about yourself and your filmmaking background.
My filmmaking background, like most, comes from a pure love of cinema. As a child, I was transfixed by movies, they formed much of my earlier years. However, a career in movies was something, if I’m being honest, that I never knew existed until I dropped out of college and started googling different career paths. As soon as I came across filmmaking, I knew it was for me, and I’ve been working at it ever since.
For now, I’m moonlighting as a filmmaker whilst working a full-time job.
What was your inspiration? Why did you decide to make Bulldog?
I made Bulldog partly out of a necessity to make something, and partly due to being inspired by the new city that I had moved to at the time. I had just graduated and found myself at a bit of a crossroads – I was keen to make something, but didn’t have the kit, support, and peers that I had been accustomed to at university. So, I knew I needed to make something within my means, but without compromising on the cinematic quality.
At the same time, I was living and working in the centre of Manchester, which unfortunately has a large homeless population, especially compared to the city’s relatively small size. I was particularly disappointed by my initial reaction, and how I was quick to judge these people, assuming their circumstances were a result of their own actions. Bulldog formed my response to these assumptions, leaning into stereotypes and genre tropes to make something that would confront audiences with their own pre-conceived assumptions.
What obstacles did you overcome while in the making of this film?
Budget, time, weather, the list could go on. We didn’t really have any money, and it was just a few of us running around Manchester with a small camera, most likely breaking every filmmaking rule. Thankfully, we had a really clear vision for what we wanted to capture, and in this instance, the storyboards proved more important than the script.
But the biggest obstacle for me was probably post production. To keep costs down, I took on the edit, and it was a difficult process to say the least. With the films lack of dialogue and an obvious structure, and not to mention the fact I was editing without sound, I often struggled to make sense of what I was making. The vision that had been so clear throughout the shoot disappeared, and I was constantly doubting whether the film worked or made sense. It wasn’t until I received the score and sound design from my amazing sound designer Brian Lane, that I could be certain that we had made something of worth.
Tell us about the journey of getting your film to audiences.
Me and my producing partner had some experience of the festival circuit with our graduation short, and with Bulldog, our approach was the more the merrier. We just wanted to get the film as far and wide as possible, and with the film being a lean six minutes and featuring no dialogue, we felt it was very programmable. Unfortunately, the pandemic coincided with our festival release which meant all the festivals we got selected for transitioned to online events. But that said, it did enable us to watch so many more short films and establish relationships with people that we would never have otherwise.
Words of wisdom. What advice would you give to other filmmakers?
Be selective with the films you make. I think it’s so easy to go down the route of making anything and everything, but often that can result in work that never gets seen. For me, I found it’s more useful to let any ideas sit before I reach for the keyboard. Really deliberate and scrutinise your ideas, does it demand to be made? Because every film takes a Herculean effort to bring to screen and there’s no point in going through all that pain to make something that even you’re not 100% sure about.
What are you working on now?
Me and my producer have just boxed off our latest short which was backed by BFI Network. The film’s called Tow Truck, and we’re both excited and nervous to release it out into the wild.
We’re now in the script stages on our next short, as well as chipping away at some long-term feature length projects. Whilst a feature film is the dream, I still feel I have lots to gain from short filmmaking, and I’m keen not to rush the process.
Any film recommendations that we should add to our watchlist?
These are my go-to’s:
Distant Voices, Still Lives (Terrence Davies) – best film about dysfunctional families.
Beau Travail (Claire Denis) – best film about toxic masculinity.
The Headless Woman (Lucretia Martel) – best film about class divide.
Dust Devil (Richard Stanley) – best acid western.
Phoenix (Christian Petzold) – Just mint.
Interested in getting your work selected as Short of the Week?
2022 FESTIVAL: Award Winners
Congrats to all the Officially Selected, Nominated, and of course Award Winning filmmakers.
And that’s a wrap on the 2022 edition of Kino Short Film presents “The People’s Film Festival”. We hope you’ve had a great time over the past week, whether that be with us in the cinema or streaming online. Last night the festival came to its climax with our Awards Gala. Congrats to all the Officially Selected, Nominated, and of course Award Winning filmmakers.
Audience Awards
Grand Prize Winner
James Newman (Viskar I Vinden)
Recipient of our £1000 Film Fund
Best Micro-Budget Short
OUT OF ORBIT
directed by Jess Kay & Dann Emmons,
written by Jess Kay
produced by Jess Kay, Dann Emmons, Raghav Mukerji, & Charlotte Hardick
When Esme’s mum dies, her world falls apart. She struggles to navigate her day to day life until she gets an idea, fueled by their mutual love of space, which may lead to the relief she so longs for.
Best Low Budget Short
VISKAR I VINDEN
written & directed by James Newman
produced by Harry Newman & James Newman
A feisty forensic investigator is gathering evidence at the murder scene. Until the corpse posthumously communicates with the investigators through its decaying farts. They must conduct a most unusual interview to catch the killer.
Best Sponsored Short
STANDSTILL
written & directed by Katia Shannon
produced by Gareth Brown & Katia Shannon
A fight to get through the gridlock becomes a fight for survival for Amanda as her body comes to a standstill.
Audience Award
Myrtle
directed by Patricia McCormack
written by Megan Barker
produced by Shaheen Schleifer
Myrtle, a trailer park Mom from Indiana, cooks dinner for her son. But something's not quite right. This kitchen is anonymous, industrial, and Myrtle's working to a deadline. As her composure unravels, we realize that 21 grams is all that separates life from death.
Jury Awards
Best Drama Short
PORTRAIT
written & directed by Keir Siewert, produced by Alix Austin
'Based on real accounts, a model takes matters into her own hands
to expose a serial predator in the photography world.'
Rhetta, an industrious model, sets up a shoot with a predatory photographer, notorious for his coercion tactics and aggressive actions. However, little does he realise that Rhetta has orchestrated this meeting as a sting to expose his inappropriate behaviour on an online video live stream.
Winner of the Genera grant, Portrait is a tense drama built on research from interviews with 21 models about their experiences overcoming the abuse of power in the photography world.
Best Comedy Short
THANK YOU SO MUCH
written & directed by Tomasz Frymorgen
produced by Brianna Ferguson & Tomasz Frymorgen
During the UK's Thursday evening clap for healthcare workers, an over-virtuous neighbour is challenged by the nurse next door. His only way to avoid public humiliation is to crush the heretic before him.
This short satirical film searches for the line between encouraging virtue and enforcing submission in pandemic Britain. It’s about class divides, witch hunts and the darkness beneath our most righteous performances.
Best Horror Short
#NOFILTER
written & directed by Nathan Crooker
produced by Nathan Crooker & Maya Korn
#Nofilter addresses the ever-growing issue surrounding Body Dysmorphic Disorder through the eyes of Beth, an insecure twenty-something, who becomes obsessed with an insidious filter, leaving her to question true beauty. It is a cautionary tale for all those obsessed by "likes," being flawless, and thinking that somehow social media is the magical cure-all for happiness. The film stars Kelly Lamor Wilson and Misha Osherovich from Blumhouse's "Freaky."
Best Documentary Short
FINDING BEAST
written & directed by Olivia Accardo
produced by Will Mason, Sofia Snyder & Kristen Politis
Best Animated Short
MEMENTO MORI
directed by Paul O'Flanagan
written by Paul O'Flanagan & Laura O'Flanagan
produced by Louise Ní Chonchúir
A storm brews over Victorian Dublin as post-mortem photographer, Mr.Huxley, returns to his hallowed practice within the gloomy townhouse in which he resides. His latest subject is a recently-deceased young woman, whose presence conjures the demons of Huxley's character - compelling him to confront the narcissistic life he has chosen to lead.
Best Performance in a Drama
Olivia Dowd in EMBERS
Best Performance in a Comedy
Graham Dickson in THANK YOU SO MUCH
Best Director
Kier Siewert, PORTRAIT
Best Original Screenplay
Tom Ganley, EMBERS
Best Cinematography
Derek Branscombe, STANDSTILL
Best Editing
Keir Siewert, PORTRAIT
Best Original Score
Zac Mcfadzean, FISHWIFE
Best Production Design
Jess Kay & Dann Emmons, OUT OF ORBIT
Best First Time Filmmaker
Tom Ganley, EMBERS
2022 FESTIVAL - Opening Night Screenings & Party
Come watch 15 amazing short films, party & network with filmmakers.
April 2 | 8:00pm | Whirled Cinema, London
A torrid affair with the Moon… A Palestinian detainee on a hunger strike… A woman’s estranged cousin arrives unannounced after a breast cancer diagnosis…
Join us at one of London's coolest indie film arthouse for the opening night bash of The People's Film Festival. Come watch 15 amazing short films.
Afterwards, party with the filmmakers and industry professionals. And who knows… you may just find your next collaborator.
Location: Whirled Cinema
259-260 HARDESS ST
LOUGHBOROUGH JCTN
LONDON SE24 OHN
What’s On
NYC! SOUND (BACK) ON
directed by Gilad Avnat & Stav Nahum, produced by Hannah Janal
Celebrate New York's reopening with this audio-visual homage to the greatest city in the world.
900+ sounds sampled. 6 days of shooting. Countless days of editing. As New Yorkers eagerly await a full reopening, the Bonamaze directing duo celebrates the spirit of the city with the release of their new short, “NYC! Sound (back) On.” The goal of this creative, audio-visual homage is to capture the heartbeat of the Big Apple like never before, with a special emphasis on sound that brings the city’s diverse culture to vibrant life. Selected as Vimeo Staff Pick - Best of the Month and winner of Best Unscripted and Best Use of Sound & Music at Berlin Commercial 2021.
NYC! SOUND (BACK) ON is an Official Selection in our Micro-Budget Category.
LIFE SKILLS
written, produced, & directed by Gino Evans
Life Skills tells the story of Nathan, a former soldier who is struggling with life after serving in the armed forces. When Nathan’s world is collapsing and he is at his lowest point, he seeks respite by taking a unique path to try to overcome his problems.
LIFE SKILLS is an Official Selection in our Low Budget Category.
ON THE COUCH WITH MY DEPRESSION
produced & directed by Angharad Gladding, written by Paula Harris
Full of excited anticipation, a poet plans to go to a book party. Then along comes depression. A film about yearning simply to be able to clean your teeth and leave the house.
Based on the poem "I was going to go to Dorothea Lasky’s book party in Brooklyn, but instead I stayed on the couch with my depression, not crying" by Paula Harris
ON THE COUCH WITH MY DEPRESSION is an Official Selection in our Micro-Budget Category.
JAHANNAM
written & directed by Hamza Pool, produced by Elena Queally & Daisy Ward
A victim of Israel’s use of administrative detention, a Palestinian detainee goes on a hunger strike after being separated from his daughter and incarcerated without trial or charge.
Inspired by recent cases, "Jahannam" tackles the issue of administrative detention and Israel's use of this practice to imprison thousands of Palestinians for lengthy periods of time. The film also explores the use of hunger strikes by detainees as a form of protest, and how the Israeli prison system punishes such resistance.
JAHANNAM is an Official Selection in our Low Budget Category.
TINA AND PETER
directed by Dan Hodgson, written by Adam McNicol & Tracey Collins, produced by Brainwrap Comedy
Long-time Tina Turner enthusiast and tea expert, Tina T'urner Tea Lady, runs a greasy spoon café with Peter Longbody, Sheffield's disappointing answer to Alan Sugar. But in this brave new world of skinny macchiatti and pumpkin spiced lattes, how will these old school oddballs fare?
TINA AND PETER is an Official Selection in our Mirco-Budget Category.
MILK
written & directed by Celia Jaspers, produced by Celia Jaspers, Auriga Martin & Juanita Deely
When she sees an old man unable to pay for his milk, a young girl has a change of heart.
MILK is an Official Selection in our Micro-Budget Category.
MORE JUICE
written & directed by Gabriel Thibodeau, produced by Colton Mooney & Gabriel Thibodeau
Tess avoids her breast cancer diagnosis while housesitting her childhood home. When her estranged cousin arrives unannounced to “comfort” her, it's clear he has unresolved issues of his own.
MORE JUICE is an Official Selection in our Low Budget Category.
Intermission
YOSHI FUNABASHI
written & directed by Mattia Ramberti, produced by Martina Abbado
A stylised portrait surrounding Yoshi Funabashi, founder of Studio Ypsilon: a luxury atelier designing Italian classics with a Japanese touch. By mixing his sophisticated heritage with a fascination for Italian music, Yoshi’s character becomes the embodiment of the “Opera Connoisseur”.
YOSHI FUNABASHI is an Official Selection in our Low Budget Category.
FEAST
directed by Gillian Harker, written by Brian Coyle & Gillian Harker, produced by Curzana Productions
A woman reverts into self-loathing and food abuse after her actions cause a relationship to fail - the fallout documented in voice notes and lack of responses.
FEAST is an Official Selection in our Low Budget Category.
I HOPE THIS FILM ISN’T ABOUT ME
directed by Harry Plowden
An animation sort of about nightclubs.
I HOPE THIS FILM ISN’T ABOUT ME is an Official Selection in our Mirco-Budget Category.
THE PITCH
written & directed by Eno Freedman Brodmann, produced by Gon Tarragona
The Pitch is a satirical short film that spoofs the advertising industry by imagining a potential collaboration between chicken nuggets and bluetooth speakers. Starring Lourdes Hernández, it follows a call between an agency creative and director trying to one up each other on the most important product of the year...vegan chicken nuggets. Ridiculous, absurd, yet only too real, The Pitch is a commentary on the agony of the creative process until it all becomes a mess.
THE PITCH is an Official Selection in our Low Budget Category.
ALONE TOGETHER
written & directed by Aglaja Filipovic
produced by Alisa Radovanac
Returning home, under the strange circumstances, two strangers must share a hotel room for one night.
ALONE TOGETHER is an Official Selection in our Micro Budget Category.
MYRTLE
directed by Patricia McCormack, written by Megan Barker, produced by Shaheen Schleifer
Myrtle, a trailer park Mom from Indiana, cooks dinner for her son. But something's not quite right. This kitchen is anonymous, industrial, and Myrtle's working to a deadline. As her composure unravels, we realize that 21 grams is all that separates life from death.
MYRTLE is an Official Selection in our Sponsored Category.
THE GOSSIP
written & directed by Rolfin Nyhus, produced by Tara Trangmar & Rolfin Nyhus
A young woman's self-esteem shatters when her best friend launches into a tirade.
Set in Margate, a coastal town in the South East of Britain, The Gossip explores the moral and interpersonal effects of gossip between two best friends.
Careless talk and gossip occur in all walks of life and can create rifts in the closest of relationships. Repairing this damage requires compassion and understanding. Traits that are often most needed when they are least accessible. Healing a once loving relationship can be the hardest task of all.
THE GOSSIP is an Official Selection in our Sponsored Category.
THE LAST DELIVERY
directed by Alessio Ciancianaini, written by Alessio Ciancianaini & Irene Fraschetti, produced by Rifugio Produzioni
Vera orders pizza for dinner, but her date doesn't show up. She asks Giulia, the delivery girl, to stay for dinner. Between mouthfuls, the two women talk about their lives.
THE LAST DELIVERY is an Official Selection in our Low Budget Category.
Opening Night Networking Party
After the screenings stick around for the Afterparty and our Late Night Grindhouse which features our best Horror, Sci-Fi and flat-out freaky Official Selections.
2022 FESTIVAL - Late Night Grindhouse
After our Opening Night Party, stick around for our Late Night Grindhouse which features our best Horror and flat-out freaky Official Selections.
April 2 | 11:30pm I Whirled Cinema
A post-mortem photographer haunted in the night… A heroin addict pursued by a menacing figure… A selfie filter that isn’t all it seems…
After the official Opening Night Party, stick around for our Late Night Grindhouse which features our best Horror and flat-out freaky Official Selections.
Grindhouse-Only tickets available, but if you buy a ticket to the full Opening Night festivities the Grindhouse is included.
Location: Whirled Cinema
259-260 HARDESS ST
LOUGHBOROUGH JCTN
LONDON SE24 OHN
What’s On
HUNGER
written, produced, & directed by Mark Dollard
A heroin addict is pursued by a menacing figure.
HUNGER is an Official Selection in our Low Budget Category.
#NOFILTER
written & directed by Nathan Crooker, produced by Nathan Crooker & Maya Korn
#Nofilter addresses the ever-growing issue surrounding Body Dysmorphic Disorder through the eyes of Beth, an insecure twenty-something, who becomes obsessed with an insidious filter, leaving her to question true beauty. It is a cautionary tale for all those obsessed by "likes," being flawless, and thinking that somehow social media is the magical cure-all for happiness. The film stars Kelly Lamor Wilson and Misha Osherovich from Blumhouse's "Freaky."
#NOFILTER is an Official Selection in our Sponsored Category.
MEMENTO MORI
directed by Paul O'Flanagan, written by Paul O'Flanagan & Laura O'Flanagan, produced by Louise Ní Chonchúir
A storm brews over Victorian Dublin as post-mortem photographer, Mr.Huxley, returns to his hallowed practice within the gloomy townhouse in which he resides. His latest subject is a recently-deceased young woman, whose presence conjures the demons of Huxley's character - compelling him to confront the narcissistic life he has chosen to lead.
MEMENTO MORI is an Official Selection in our Sponsored Category.
PETER THE PENGUIN
written & directed by Andrew Rutter, produced by Joanna Caldwell & Ashley Gardiner
Nigel is on his way to meet his partner's daughter Emily for the first time. With high expectations in tow, he's hoping to make a great impression.
PETER THE PENGUIN is an Official Selection in our Low Budget Category.
THIS IS ZOE
directed by Stephen Gallacher, written & produced by Hayley Reeve
Zoe's reserved nature speaks volumes when her familiar, unwanted inner critic comes out to play.
Off Competition Selection
2:15
written, produced, directed by Matteo Valentini
A girl running for her life finds out that the monster she is escaping from, could be closer than she thinks.
Off Competition Selection
THE LAST CONFESSION
directed by Dustin Curtis Murphy, written by Kev Hopgood, produced by Kev Hopgood and Marius Smuts
Franz – an old, dying man, and former Nazi, calls a priest to his bedside for his last confession. But Father Kramer finds him chillingly unafraid and unrepentant. The story Franz tells, and what happens next, will go beyond the darkest imaginings of his confessor.
Kino Original - Off Competition Selection
BAINNE
written & directed by Jack Reynor, produced by Lara Hickey & Emer O'Shea
In the last year of The Great Famine in Ireland, a stoic farmhand survives working for the local landlord. When he encounters a ghostly figure stealing milk his morality is questioned, and is beguiled on a journey of faith.
BAINNE is nominated in our Sponsored Category.
Show Up Early for More Great Films
(and to party with filmmakers)
Swing by earlier for the opening night bash of The People's Film Festival. Come watch 15 amazing short films. Afterwards, party with the filmmakers and industry professionals. And who knows… you may just find your next collaborator.
April 7 - Short Film Open Mic
Our Short Film Open Mic is a great place to showcase your work non-competitively for free in front of an audience of fellow indie filmmakers!
April 7 | 7:00pm I Candid Arts Trust
Our Short Film Open Mic is a great place to showcase your work non-competitively for free in front of an audience of fellow indie filmmakers!
Both industry professionals and first-timers bring their shorts to Kino making the quality of cinema screened at each event both diverse and entertaining. And with such a broad spectrum of new work being screened, each event is a genuine reflection of the current output of UK based filmmakers.
Rules:
One film per filmmaker per Open-Mic.
Register in advance to screen your short film.
Filmmakers must present to introduce your film.
Films are accepted on a first-come, first-screened basis.
Our preference is for films 6 minutes and under, but we do reserve two slots for films that are 6-10 minutes.
Film exceeding 10 minutes are ineligible.
2022 FESTIVAL - Afternoon Screenings
Come watch 12 amazing short films and networking with filmmakers.
April 9 | Doors: 4:00 PM | Show Starts: 4:30 I Whirled Cinema
A Medieval soldier’s plea for peace… A mission to rescue the ghost of a cat… Neighbours attempting to one-up each other during the weekly lockdown clap…
Join us at one of London's coolest indie film arthouses for some afternoon film viewings as part of The People's Film Festival. Come watch 12 amazing short films.
Location: Whirled Cinema
259-260 HARDESS ST
LOUGHBOROUGH JCTN
LONDON SE24 OHN
LINEUP
CLOUDS
written & directed by David Yorke, produced by Phil Beastall
A young boy struggling with depression navigates through his daily routine, while being followed by a grey cloud.
CLOUDS is an Official Selection in our Micro Budget Category.
SHALLOW
directed & produced by Paul Ashton, written by Joe Johnsey
Barry and Larry dig deep into society.
SHALLOW is an Official Selection in our Low Budget Category.
PELICANS
directed by Ellie Heydon, written by Toto Bruin, produced by Lydia Bland & Ellie Heydon
Pelicans are a symbol of the process of letting go. They are birds who gather together in order to overcome struggle with the knowledge that they are most likely to succeed as a combined unit. Our story follows 5 grieving teenagers trying to comprehend and navigate their personal loss. The film is an aesthetically driven piece set against the vast expanse of the British coastline. It finds the friends in a slightly comedic limbo between denial and acceptance. The film is structured around the changing tide, moving in waves and healing our group of misfits until finally they are able to head from the bizarre purgatory of their seaside sadness back into the real world.
PELICANS is an Official Selection in our Sponsored Category.
UNWRAPPED
written & directed by Eva Gauley, produced by Oli Falcon & Will Bradbury
An uncomfortable encounter during a video call.
UNWRAPPED is an Official Selection in our Sponsored Category.
SHE
written & directed by Matt Greenhalgh, produced by Ryan Bennet
A frantic young woman struggles against an unforgiving inner voice that battles against all logic, rhyme or reason... Compelling her to endure a physical, mental journey that takes her right to the very edge.
SHE is an Official Selection in our Sponsored Category.
FINDING BEAST
written & directed by Olivia Accardo, produced by Will Mason, Sofia Snyder & Kristen Politis
While Olivia’s parents prepare to sell their NJ home and relocate to Florida, Olivia puts her life in LA on hold to embark upon an important mission – she must rescue the ghost of her childhood cat from her family’s home before it’s too late.
FINDING BEASTis an Official Selection in our Sponsored Category.
Intermission
BLINKERS
written & directed by Sophia Capasso, produced by TUTTI TUTTI Productions
Two young women, their lives meticulously intertwined, are each on a fast paced journey to very different destinations.
BLINKERS is a short film about the cracks we don’t see splitting in the rollercoaster that is modern life and how two experiences of one night can be drastically dissimilar.
BLINKERS is an Official Selection in our Low Budget Category.
DUNDERWHELP
directed & produced by Jasper Valentine, written by Mark Little & Jasper Valentine
Two soldiers have fled the field of a viscous and bloody battle, only to be confronted by each other in this clash of the cowards.
DUNDERWHELP is an Official Selection in our Low Budget Category.
WANK
written, produced, & directed by Christian Gordine
A man is tortured by the memories of a relationship that ended as he spends his days alone during lockdown.
WANK is an Official Selection in our Low Budget Category.
SOGGY BISCUIT
written & directed by Emma Jesse, produced by Oli Falcon
A group of soldiers travelling through a war torn British countryside take cover for the evening ... they decide to play a bizarre and unsettling game.
Soggy Biscuit is a short dark comedy exploring toxic masculinity, men's mental health and how so often peer pressure, humiliation and brutality acts as a substitute for emotional vulnerability and support.
SOGGY BISCUIT is an Official Selection in our Sponsored Category.
EMBERS
written, produced, & directed by Tom Ganley
Alice sits alone at a restaurant, waiting for her date to arrive...
EMBERS is nominated in our Low Budget Category.
STICK AROUND FOR OUR AWARDS GALA & BEST OF SHOW SCREENING
Starting at 7:30 we’re screening the 9 Nominees of our £1000 Film Fund. After the screening the filmmakers will pitch their next short film to the audience. Then the audience gets to decide who wins!
2022 FESTIVAL - Awards Gala & Afterparty
Watch our 9 Nominees for our £1000 Film Fund. After the screening the filmmakers will pitch their next short film to the audience. Then the audience gets to decide who wins!
April 9 | 7:00pm | Whirled Cinema
We’re screening the 9 Nominees for our £1000 Film Fund. After the screening the filmmakers will pitch their next short film to the audience. Then the audience gets to decide who wins!
Location: Whirled Cinema
259-260 HARDESS ST
LOUGHBOROUGH JCTN
LONDON SE24 OHN
OUT OF ORBIT
directed by Jess Kay & Dann Emmons, written by Jess Kay, produced by Jess Kay, Dann Emmons, Raghav Mukerji, & Charlotte Hardick
When Esme’s mum dies, her world falls apart. She struggles to navigate her day to day life until she gets an idea, fueled by their mutual love of space, which may lead to the relief she so longs for.
OUT OF ORBIT is nominated in our Micro-Budget Category.
PORTRAIT
written & directed by Keir Siewert, produced by Alix Austin
'Based on real accounts, a model takes matters into her own hands
to expose a serial predator in the photography world.'
Rhetta, an industrious model, sets up a shoot with a predatory photographer, notorious for his coercion tactics and aggressive actions. However, little does he realise that Rhetta has orchestrated this meeting as a sting to expose his inappropriate behaviour on an online video live stream.
Winner of the Genera grant, Portrait is a tense drama built on research from interviews with 21 models about their experiences overcoming the abuse of power in the photography world.
PORTRAIT is nominated in our Micro-Budget Category.
TOTAL ECLIPSE OF THE HEART
directed by Elliot Taylor & Liam Francis, written by Liam Francis, Elliot Taylor, Dann Cooper & Lucy Hilton-Jones, produced by Lucy Hilton-Jones
A listless Luna makes big life changes by leaving her boyfriend for the Moon. But when communication breaks down and the world is up in arms, she wonders how she can get him back into orbit, and her own life back on track.
TOTAL ECLIPSE OF THE HEART is an Official Selection in our Mirco-Budget Category.
A TREE FELL TODAY
directed by Oliver Crawford, written by Oliver Crawford & Rob King, produced by Simone McIntyre
Elise revisits the traumatic memories of her lover Jessica committing suicide due to the catastrophic death of their child, struggling to escape the eternal circle of anguish and misery she tries to move forward but she is stuck in an endless loop.
A TREE FELL TODAY is an Official Selection in our Low Budget Category.
LOVE YA LIKE POISON!
directed by Max Azulay & Rosie Yadid, written by Rosie Yadid, produced by Sarah Epstein & Rosie Yadid
Twenty-something Louise returns to NYC after university abroad. She is reunited with her firecracker of a Jewish mother, Nadine, and their relationship seems to pick up right where it left off.
While Nadine wants her back for good, Lou is desperately trying not to get too comfortable. When she reveals news of her engagement, old wounds are reopened as Nadine reveals secrets about her own failed marriage.
LOVE YA LIKE POISON! is nominated in our Low Budget Category.
VISKAR I VINDEN
written & directed by James Newman, produced by Harry Newman & James Newman
A feisty forensic investigator is gathering evidence at the murder scene. Until the corpse posthumously communicates with the investigators through its decaying farts. They must conduct a most unusual interview to catch the killer.
VISKAR I VINDEN is nominated in our Low Budget Category.
FISHWIFE
written, produced, & directed by Beth Park
In wild 18th century Britain a lonely woman discovers that her menstrual cycle is of interest to a stranger.
FISHWIFE is nominated in our Sponsored Category.
STANDSTILL
written & directed by Katia Shannon, produced by Gareth Brown & Katia Shannon
A fight to get through the gridlock becomes a fight for survival for Amanda as her body comes to a standstill.
STANDSTILL is nominated in our Sponsored Category.
THANK YOU SO MUCH
written & directed by Tomasz Frymorgen, produced by Brianna Ferguson & Tomasz Frymorgen
During the UK's Thursday evening clap for healthcare workers, an over-virtuous neighbour is challenged by the nurse next door. His only way to avoid public humiliation is to crush the heretic before him.
This short satirical film searches for the line between encouraging virtue and enforcing submission in pandemic Britain. It’s about class divides, witch hunts and the darkness beneath our most righteous performances.
THANK YOU SO MUCH is an Official Selection in our Sponsored Category.
The Big Pitch
All 9 Nominees will each give a 1 minute pitch of their next short film project. The audience will then narrow it down to the top 3 films - 1 Micro Budget Film, 1 Low Budget Film, and 1 Sponsored film.
Intermission
Drink + Mingle
Awards
Presentation
Award Nominations are split into two categories:
Honorary Awards (which are decided by the festival jury)
Film Fund Qualifying Awards (which are decided by the audience)
Audience Choice Spoiler
Audience members will have voted at all previous screenings leading up to the Awards Gala. The film with the highest audience vote will be chosen to compete with the top 3 nominees. The audience will have a moment to chat with the filmmakers before making their final decision on who wins the £1000 film fund.
Afterparty
Network and drink! Nuff said.