WILDsound: The Film Podcast

Always and Forever, 22min., USA Directed by Johnny Thames An obsessive, controlling teenager kidnaps her boyfriend to play a bizarre, self destructive game. But things become complicated when the boy demands a stop. The film comments on how trauma if not confronted and resolved will lead to co-dependent and potentially destructive results, while providing enough empathy toward accountability. https://www.instagram.com/alwaysnforever_film Get to know the filmmaker: What motivated you to make this film? In all honesty, it was a couple of things: the main reason was the way we perceive trauma survivors and the way media depicts these types of stories. We either view them as calm and composed or emotional messes. Additionally, many stories often depict survivors as infantilized victims needing help or as inherent monsters. The point of the film was to show it's not black and white, it's usually somewhere in the middle of all of this. From the idea to the finished product, how long did it take for you to make this film? From development to post-production, about a year and a half on and off. How would you describe your film in two words!? Empathetic critique What was the biggest obstacle you faced in completing this film? The biggest obstacle was the casting of Jennifer Baufour as Janice: When I first saw her tape, it stood out to me; I thought she understood the character, so I opted to cast her. The only issue was that the role wasn't fully realized. In response, I wrote the epilogue that plays over the credits, leaning into the nuance the film was going for. Writing the monologue was almost instantaneous, showcasing a woman who had gone through the effects of unresolved trauma and was now trying to make up for the consequences while being the parent she should've been years ago. ———— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

After a concert flyer turned paper airplane lands into the laps of two kid sisters, they infiltrate the venue to find a mindless mosh crowding a supernatural bathroom. Music video for ‘Buddha Was A Rich Boy' by That Handsome Devil What motivated you to make this film? We all have friends that have ideas for films they want to direct. My friends not acting on their ideas after years of me cheerleading them led me to saying, “fuck it”, and maxing out two credit cards to make two music videos with That Handsome Devil in one weekend. There's no lead-up to our death. It's just going to happen one day to all of us. Anyone wasting the time we aren't guaranteed drives me crazy.  From the idea to the finished product, how long did it take for you to make this film? To keep up with the release of their album, Exploitopia, there were maybe 5 months tops on the calendar. In that 5 months, maybe two weeks of it was spent putting this baby together.  ———— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Don't forget to smile, 8min., North Macedonia Teacher that's teaching kids to smile in a post a dystopic school. Get to know filmmaker David Dulev: What motivated you to make this film? The initial motivation for this movie was the fact that i needed to graduate college and a short film was part of the final exam, that aside i felt like i wanted to give my thoughts on the pandemic and human emotions in general and i got lucky that my friend Onur had a script with that idea already built. From the idea to the finished product, how long did it take for you to make this film? Technically 3 and a half years since the first time i heard the idea, although a solid one and a half year was idle spent just thinking about it because of both me and Onur being busy with work, after that we discussed possible ideas for the final script for a couple of months and finally brought up the idea withthe rest of the crew. After a few more months in pre production we were finally ready to shoot. How would you describe your film in two words!? Absolute Cinema! =) ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=g6h3AqETajg Inspired by the Great Fire of Chicago 1871 following the investigation of Mrs O'Leary, a woman the newspapers blamed for starting the fire that spread all the way to Lincoln Park. Get to know the writer: What is your screenplay about? My screenplay is about Catherine O'Leary, the Irish milkmaid unjustly accused of starting Chicago's “Great Fire” of 1871. As she fights to clear her name, she discovers the true culprit of the fire and faces an agonizing choice. What genres does your screenplay fall under? Historical fiction; thriller. Why should this screenplay be made into a movie? “Mrs. O'Leary” should be made into a movie because it's about a 19th-century “cancel culture” that 21st-century audiences would recognize. The story transcends region and period. “Mrs. O'Leary” is set 155 years ago, and yet the Chicago world of 1871 isn't so diffrent from our own — a world where vulnerable people are “othered” due to their homeland or accent and where they can wither under stronger forces that are determined to cast blame for a social problem. ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Melbourne Hopak is part of the Lehenda Film series. The origins of Lehenda's film series can be traced back to the global Covid-19 lockdowns—a time when theatres were dark, stages silent, and traditional forms of cultural expression temporarily out of reach. Faced with the absence of live performance, we turned to film as a new medium to preserve and express our identity as Australian Ukrainians. What motivated you to make this film? The idea for the Lehenda film series was born in during the Covid-19 lockdowns—a time when theatres were dark, stages silent, and our traditional forms of cultural expression temporarily out of reach. Being based in Melbourne, which was said to be the most locked down city in the world we turned to film as a new medium to preserve and express our identity as Australian Ukrainians. Our first project emerged from the golden wheat fields of Avoca, Victoria—a quiet yet powerful setting that echoed our connection to land, heritage, and memory. What began as a necessity quickly evolved into something much deeper: a cinematic exploration of who we are, and what it means to carry Ukrainian culture in an Australian landscape. Moved by the response to that initial work, we expanded our vision. We chose to reimagine Hopak, Ukraine's most iconic and spirited dance, within the urban heart of Melbourne. This contrast between the rural and the metropolitan, between tradition and reinterpretation, became the cornerstone of our approach. These films are not just documents of performance—they are cultural artefacts. They preserve memory, convey identity, and explore the dualities that shape our diasporic experience. From the idea to the finished product, how long did it take for you to make this film? We revisited the idea when we were in a bit of a creative slump earlier this year (2025) and we filmed it in late June. A lot of the pre work we had done in 2021 when we tried to film it, but the COVID restrictions still didn't allow us too. We ended up starting with a rural piece which was achievable at the time, and we picked up where we left off with this film in April this year. ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

A woman who loves eggs but one day, she is haunted by an egg monster. What motivated you to make this film? My name is Bao and Eggsecution is a film born out of my love for eggs and eating eggs. My grandmother has always berated me for eating way too many eggs a human being could handle and often chided me for doing so, warning that one day i would gain an allergy from doing so. When i moved here to the states from Singapore, i was given free liberty to eat all the eggs i wanted since i was no longer living with my family. in that way, i was unleashed. But there was always a nagging feeling at the back of my head telling me that maybe theres some wrong in eating so many eggs a day. Hence, this film was born from that fear that was ingrained in me since young. And because  I love horror and genre so much, i decided to put a fun twist into both the visuals and story of this film.  From the idea to the finished product, how long did it take for you to make this film? The film roughly had a timeline of 6 to 8 months. Because of the support from American Film Institute., I was allowed access to shoot on 35mm film – the Panavision Millennium xl2, 3 perf and in addition, with the support and generous donation from Kodak, we shot on 50D celluloid film – which was an amazing opportunity. My facility head and mentors, Stephen Lighthill, Sandra Valde-Handsen and Sara Ross Samko were very supportive of the original pitch for my visual essay and we eventually had to tailor it down to smaller ideas and smaller spaces due to budgetary and location restraints. But i am still extremely proud of the team that managed to make this happen! Thank you for selecting Eggsecution as part of your line up in the Experimental Film Festival!  How would you describe your film in two words!? Disgusting and Delicious!  What was the biggest obstacle you faced in completing this film? One of the biggest obstacles i faced was budgetary restraints. Because this film was self funded and i knew i was not working at that time, i had to save and set aside a workable budget for my film. Though equipment was provided by AFI, it was still a big project considering that i wanted to use SFX and practical effects and costume changes, along with the build of the monster in the film. My costume designer – Kai Burns and my SFX artist – Daniel Sukara were the MVPs, coming down to AFI to do countless tests to make sure the colours of the wigs, gooey, eggs and monsters were of the right shades of colour and effects could work seamlessly.  ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Temporal Takedown, 8min., Norway Directed by Martin Sofiedal A woman with mysterious time freezing powers infiltrate a dirty car workshop in hopes of gaining information about a nefarious gangster. The mechanics are not compliant to her request and an epic and time-bending fight ensues. https://www.instagram.com/directorsofiedal/ Get to know the filmmaker: What motivated you to make this film? I love action, especially close quarter hand to hand action (The Raid-films are a big influence). I want to do a proper action film in that vein, but prior to this short film I had only dabbled in action set-pieces. I wanted to challenge myself and really spend alot of time to do a really proper action set-piece. It is always easy to say you want to do a an action film, but if you don't have any experience with it it is harder to sell yourself as an action-director. So I wanted to do this short film as a sort of proof-of-ability in a sense, mostly proving to myself that I am able to do it. If I succeeded is another story, I will have to let the audience decide that part From the idea to the finished product, how long did it take for you to make this film? From inception to finished film it took roughly two years, but it must said that this was a major side project for everyone involved, so we had to work on the film whenever everyone had time. Had it been a fully financed film I imagine the time would be significantly shorter. How would you describe your film in two words!? Temporally kickass What was the biggest obstacle you faced in completing this film? Scheduling. When you do a film like this, with big ambitions but basically no budget, you have to rely on peoples time, which is challenging when you work with talented and busy people, both in front and behind the camera What were your initial reactions when watching the audience talking about your film in the feedback video? It was really fun, it is always great to hear people respond positively to your work, and here you get to hear specific things people respond to. A compliment is always nice, but a specific and analytical compliment is even better. You feel even more seen that way, since you put some much time and effort in details whenever you make a film, and to hear people see those details and explain how it made the film experience greater because of them is really lovely. ----- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Jaz is an agency worker given a simple task, to stay overnight at a student housing accommodation. There are just two problems; the weird lighting, and the unexpected coworker. https://www.instagram.com/BarnabusWalsh What motivated you to make this film? I've been in love with horror films since I was far too young to be in love with them (namely A Nightmare on Elm Street, I got in young enough to consider Freddy's Dead a highlight of the series.) The full-length version of The Lights was born when I grew tired of horror protagonists never being believed in their films, and wanted to create something where they actually had a support network. From the idea to the finished product, how long did it take for you to make this film? From the original idea? It's probably been seven years, after I met the best leading lady you could ask for in Fern Taylor. For the short film itself, between one and two years. How would you describe your film in two words!? Weird Lights. What was the biggest obstacle you faced in completing this film? Our DoP/Cinematographer/Technical Boy Ash Betton is also in a pretty successful band and was called away to the other end of the country after the session musician his band was using dropped out. Thankfully we had a fairly long scene with a fairly simple set-up to shoot next and our Sound Operator Lauren Stokes knew Josh Bowker, who was more than happy to help out. There are 5 stages of the filmmaking process: Development. Pre-Production. Production. Post-Production. Distribution. What is your favorite stage of the filmmaking process? I think development was the only one without the looming threat of insanity or a mental breakdown so by process of elimination it would be that one. I like to wear a lot of different hats but if I could only do one part of the filmmaking process going forward, it would be writing. ----- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Conversation with the co-writer/co-director and star of the award-winning short film MEMORIA OBSCURA. Connor takes a deep dive as his experiences working as an actor in Los Angeles and auditioning for roles, and how he collaborated with co-director David Christopher Nelson on this film. ——- Memoria Obscura, 5min., USA Directed by David Christopher Nelson, Connor Ryan In a world where memory erasure is a legitimate industry, the underground black market known as Memoria Obscura serves as a hub for stolen and repurposed memories. Get to know Connor Ryan What motivated you to make this film? My motivation comes from multiple aspects. I've always wanted to collaborate with Dave, which was a major reason. Beyond that, I want to create films I believe are currently missing in the industry and bring back the 80s–90s cinema I grew up with. From the idea to the finished product, how long did it take for you to make this film? About a year and a half. How would you describe your film in two words!? Connor: Bad Ass What was the biggest obstacle you faced in completing this film? Connor: The biggest challenge was the final scene. Dave and I spent months refining it to get the look and ending just right. Once Dave composited the background, everything clicked, and we successfully landed the ending. ----- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Requital, 3min,. UK Directed by Ande Case A short Animation of how history repeats itself. Frustratingly. Get to know the filmmaker: What motivated you to make this film? The original idea was from my partner who talked about history repeating itself. We despise inequality, that people so wealthy they will never want for anything still end up being so cruel and disgusting. The worst of us. They have the ability to end hunger, disease, homelessness yet they always end up being fascists who only want to visit cruelty upon others. From the idea to the finished product, how long did it take for you to make this film? About 6 months from script to final version as Lucy, the animator, was very kindly developing this film in between all the other work she had on and, due to budget, we had to rethink some scenes and visuals. How would you describe your film in two words!? History Repeats. What was the biggest obstacle you faced in completing this film? Finance, it's always finance. I have reached a point where ‘funding streams' are some fairy tale old filmmakers tell newbies about how good it was in their day ----- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Terrence and Aisha hesitate to forfeit aspects of their relationship after a recent breakup. As their continued bond begins to threaten new relationships, they are forced to confront their willingness to move forward. What motivated you to make this film? I originally wrote and directed the first edition of “When It's Over” in 2019. While that short film was semi-autobiographical, I was intrigued by the idea of a narrative that focuses on how the characters deal with the aftermath of a relationship. With that central idea in mind, I crafted this version of the film to explore what happens when two exes refuse to cut ties completely and the different ways their decision could affect both them and the people around them.  From the idea to the finished product, how long did it take for you to make this film? I began plotting out the idea and characters in late 2018, and the film premiered in 2022.  How would you describe your film in two words!?  Sneaky Familiarity… What was the biggest obstacle you faced in completing this film? During post-production, I almost lost the entire film when the drive holding all of my files suddenly crashed. I was on the verge of a panic attack, as I was worried that all of the work I had done over the course of 4 years was swirling down the drain (not to mention all of the amazing contributions from the actors!). Luckily, I was able to salvage all of the files with the gracious support of the good folks at Best Buy's Geek Squad! In general, post-production and editing was by far the biggest challenge. The writing came naturally, and directing was fun because I already had a pretty clear vision in mind. Putting all the pieces together in post was taxing not only because it's tedious work, but because I felt a lot of pressure to get it right for the sake of all the work I'd already invested in making the film. In the end, though, a valuable lesson was learned: make sure you back up every file! ----- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

BEAUTIFUL DISASTERS, 14min., USA Directed by Trisha Lynn Furhman Of all people exotic dancers understand money can't buy happiness. So where does it come from? This question sets Robin on a personal journey that takes her deep inside her desires and across the country; encountering hurricanes and personal loss of people she thought were just clients and coworkers. These events cause her to accept some hard truths not only about herself, but also about her industry. Get to know the filmmaker: What motivated you to make this film? This story needed to be told to help remove the stigma from exotic dancing. Not everyone who dances is doing it as a side hustle to prostitution or to scam men out of thousands of dollars. We are performers in every sense of the word; we are here to entertain people in our magical world where problems and inhibitions are left at the door. Strippers are perfectly capable sales professionals who capitalize on gender roles while exploiting society's natural appetite for the female body and attention. Because of our job we are comfortable with nakedness and naturally shy away from honesty for the safety of ourselves and our families. This is out of the norm and incredibly intriguing to the outsiders, therefore my goal was to bring in outsiders and help them understand exotic dancers because I feel that if we all just took the time to listen to one another we would be able to grow closer and stronger. From the idea to the finished product, how long did it take for you to make this film? I started pre-production in May of 2020 and finished post-production June of 2025; 5 years and 1 month. How would you describe your film in two words!? Unhinged….Raw What was the biggest obstacle you faced in completing this film? I might be my biggest obstacle. Being a post production crew of 1 there was no one to be accountable to, no one was waiting on me to finish my part so they could do theirs. No investors asking for an update or pressuring me to provide a return on their investment. There was just me and the commitment I made to myself that everyday I'd do something to progress my film forward, one step everyday toward my goal. ----- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Nothing Sticks, 1min., Netherlands Directed by Roze Elisa, Kuba Szutkowski What motivated you to make this film? I wanted to make something funny that we can all relate to – awkward dates and missed opportunities. I signed up for a 1-min film challenge, got selected and developed the awkward dance between the two along the way. From the idea to the finished product, how long did it take for you to make this film? About 2 months. The actual sourcing a crew, filming, editing and making it ready only took a month. How would you describe your film in two words!? Missed opportunity What was the biggest obstacle you faced in completing this film? Getting the perfect crew in the timeline we had: a month. I wanted this to be as good as it could be, and we all know that the crew makes the movie. I ended up with incredible people, and I am very grateful. What were your initial reactions when watching the audience talking about your film in the feedback video? So fun!! Really glad to hear the words “relatable” and “funny”. That was actually what we wanted and seeing that people can relate is a blessing and a curse (we all want you to have good dates!). —- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Come the Nightfall, 23min,. USA Directed by Tom Michaels A wealthy licentious offers a lift to a beautiful femme fatale in the middle of a deserted road with a shocking aftermath. http://www.orzelfilms.com/ —- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

My project, “Pieces of Me”, is a self-reflection of my emotional journey from self-doubt to self-acceptance. There are always moments in life where we feel confident we can complete something, but then encounter an obstacle and feel self-doubt. Eventually, we accept the weaknesses in ourselves, overcome the obstacle and gain confidence again. What motivated you to make this film? Coming from a medical background, it took a tremendous amount of effort to transition into the design and animation field. There were many moments when I struggled to keep up with other artists and questioned whether I belonged in this industry. That emotional vulnerability during periods of transition is what inspired the film. It became a way for me to express how self-identity can shift, break, and ultimately reform throughpersonal experiences—showing that every struggle contributed to shaping me into the stronger person I am today. From the idea to the finished product, how long did it take for you to make this film? Took me quite some time! I illustrated and animated the textures, and this part of the process required the most effort. Overall, the film took about three months to complete. What was the biggest obstacle you faced in completing this film? I guess the biggest challenge was figuring out the transitions. I designed each frame individually based on the script, so connecting them in a way that felt coherent and emotionally fluid was difficult. I ran intoseveral technical hurdles when animating, which added to the complexity. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Cats Cradle is inspired by the Greek myth Ariadne and her journey from Crete to Naxos. Like The Fates, she is associated with the symbol of the thread, which she uses to help Theseus kill the Minotaur. Central to Ariadne's story is her deification, her transcendence from mortal to divine through a union with Dionysus. By revisiting this ancient myth, Cats Cradle invites viewers to reflect on how they navigate their own inner labyrinths of identity and transformation. https://www.instagram.com/allysonglennart/ https://www.facebook.com/allyson.glenn.1/ What motivated you to make this film? I was preparing for a solo art exhibition called Date with Hermes: Journeying between Dreams and Reality for the Vorres Museum in Greece (2024). The curator, Dr. Katerina Pizania, suggested I create an animation to connect the Greek myth themes. While the show focused on large-scale paintings and works on paper, the film became a companion piece to my series on Ariadne and Dionysus. From the idea to the finished product, how long did it take for you to make this film? I only had two months to develop the animation for the first exhibition, so the first version was more of an “outline.”Completing the film took a year and a half. How would you describe your film in two words!? Intense! What was the biggest obstacle you faced in completing this film? Time! As a full-time Associate Professor at the University of Saskatchewan, Canada, I worked on the animation during weekends with invaluable help from students and alumni. ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Film Synopsis: After serving time in prison for a crime that shattered her family, a mother returns to reconnect with her estranged daughter for the first time in fifteen years, only to realize that her daughter is on the verge of moving overseas to start her own family. https://www.instagram.com/heavensapartfilm/ What motivated you to make this film? It initially started with me, wanting to challenge myself to craft a short film with emotional depth and compelling characters. As a director, I am always interested in exploring relationships on-screen in unconventional settings. I also had almost nothing to show for my work before that other than a short 3-minute scene I directed during COVID, so I was eager to prove myself. After brainstorming, I became interested in exploring the theme of forgiveness and the relationship between a mother and a daughter. As the script developed, I felt a deep connection to the story, and that further pushed me to make the film. From the idea to the finished product, how long did it take for you to make this film? The screenplay itself took me almost 10 months to write and re-write. The pre-production and production were about 6 months due to so many scheduling conflicts, and post-production for about 6 months. So almost two years!  Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

NAFKOT - YEARNING, 70min., Israel, Documentary Directed by Malka Shabtay An Israeli anthropologist traveling to meet a hidden Jewish community in north Ethiopia. Together they telling their special story of survival Abera, a young artist joins to discover what has been hidden from him Get to know the filmmaker: What motivated you to make this film? I worked with the community two years before we did the film. i did my research to understand their story..and after two years they were ready to share their story with the world. From the idea to the finished product, how long did it take for you to make this film? Since we started the shooting until completing it took very intensive two years. How would you describe your film in two words!? Life mission What was the biggest obstacle you faced in completing this film? The biggest obstacle is to do a film with a hidden community, oppressed and full of fear. to get their trust and collaboration and belief that the film will help in their struggle. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Director Statement on HANDYMAN Handyman was born from a reflection on what it means to help others and still feel misunderstood. It's a film about strength, not the kind that dominates, but the kind that endures and gives. Children play a central role in that vision; they see people as they are, without judgment, and remind us what empathy really means. At its heart, Handyman is about the passing of the torch, the moment when resilience becomes legacy, and when care becomes connection. https://www.instagram.com/thomas_faccini_/ ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Turmoil – Chapter One, 6min., Lebanon Directed by Sary Andre El Asmar A young woman lives between two worlds: Europe, where she's built a life, and Lebanon, the home she can't stop longing for. Torn between memory and desire, she drifts back and forth, riding the emotional rollercoaster of exile, identity, and belonging. Get to know the filmmaker: What motivated you to make this film? What motivated me to make this film was the complex feeling of belonging and displacement that many Lebanese expats carry. I started filming randomly with no clear plan.When my friend, who lives in Germany, came back to Lebanon we spent many days together, and after that i began to sense the constant push and pull, the urge to return to her home but at the same time the desire to leave again. For me home is where your roots are, but it's also where safety feels uncertain. The film became a reflection of living between two places, two lives, and two versions of what “home” means. From the idea to the finished product, how long did it take for you to make this film? Well actually, I have been shooting randomly for about 1 year and a half. I am a sea lover and mountain lover. So I used to shoot randomly every time I went out. But the idea of putting those shots into the final product took me like 3 months. How would you describe your film in two words!? Wandering Roots What was the biggest obstacle you faced in completing this film? Emotional breakdowns There are 5 Stages of Filmmaking: 1) Development. 2) Pre-Production. 3) Production. 4) Post-Production. 5) Distribution.What is your favorite stage of the process and why? 4) Post-Production because this process is where the real story telling happens , where I can put all my emotions and meanings to start to take shape. ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Lana Tong, a tour guide who migrated to Hong Kong less than a decade ago, guides audiences through a post-pandemic Hong Kong undergoing rapid shifts in its political and socio-cultural landscape. Her journey is disrupted by two disembodied voices—native narrators steeped in Hong Kong's 80s to 00s ethos. Offering corrections rooted in a native perspective and drawing from their upbringing in Hong Kong's 80s to 00s milieu, they recount the city's geography and the values of freedom championed by earlier generations, paradoxically steering Lana to rediscover the city through their lens. Amid the tides of time, questions arise: Can a city's soul survive relentless tides of change? Will its people cling to inherited ideals, flee, or forge new meaning from the fragments? What motivated you to make this film?  This film was born out of a need to hold onto fleeting moments in Hong Kong, moments that felt especially fragile during the severe pandemic and political upheaval of 2021. Homebound with my partner, we found ourselves reminiscing about childhood and quietly mourning how the stories that shaped us seemed to be dissolving, not only through the passage of time, but also because of the shifting political landscape in Hong Kong. In response, I began filming the city's landscape and eventually created this short film.  From the idea to the finished product, how long did it take for you to make this film?  The script and dialogue were written at the very beginning, but the images were filmed gradually over four years—from the lockdown to the reopening of the city. I wandered with a handheld camera and sound recorder, capturing fragments of memory from crowded streets to the city's border, trying to sketch a map of change through rapidly shifting visuals and evolving soundscapes.  How would you describe your film in two words!?  Questioning identity.  What was the biggest obstacle you faced in completing this film?   The biggest difficulty lies in the relevance of the content over time. Since the text was written four years ago, some of the topics became outdated during production. I even considered amending or removing those parts. Interestingly, some of these outdated issues have now become cross-generational matters, so I decided to keep the original script.  ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Conversation with Abigail Espinal about her winning short screenplay MANTEL, and her winning film from the Under 5 Minute Festival, QUEER STUDY. Queer Study, 4min., USA A hopeless romantic tries to figure out if her best friend is gay in the worst ways possible. https://www.instagram.com/abigailespinal1/ ---- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=c35q4I1NZss When an unnamed virus begins to kill off human males, a family takes refuge on a sailboat in hopes they can escape the virus. Get to know the writer: What is your screenplay about? This story, like all of the stories I seem to write, is about my daily agony knowing one day I will have to say goodbye to my only Son, and figuring out how to make the most of the little things in life that bond us and my family. The story itself is about an unnamed, new virus that is causing a mass die-off of human males. A father takes his wife and young daughter to his own father's sailboat on the Atlantic Ocean to try and evade the virus. What genres does your screenplay fall under? Drama. Why should this screenplay be made into a movie? If I can pull this film off, it has the potential to be visually stunning, relying on the simplicity of a sailboat, human drama, moments of levity, grief, and elation. My attached actors, the stellar and criminally underutilized John Conway and a fantastic tiny powerhouse of an actress, Mila Rose, have the ability to push you far into the reaches of emotion. I am looking forward to working with a very intriguing, talented actor, Heidi Danea Crane who is also signed on. ——- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

In a near-future world ravaged by the memory-wiping virus X9, brilliant young scientist Andrea Santiago discovers a suppressed cure hidden by the powerful Biotech Pharmaceuticals. Having once been recruited into the system she now seeks to dismantle, Andrea grapples with betrayal, moral compromise, and the overwhelming cost of truth. https://www.instagram.com/sarantosmelogia Get to know the writer: What is your screenplay about? X9 explores what happens when the boundaries between human emotion and artificial intelligence blur. It's a sci-fi thriller wrapped around a deeply human question: what defines love, loyalty, and consciousness when technology begins to feel? Beneath the futuristic setting lies a story about redemption, sacrifice, and the fragile line between creator and creation. What genres does your screenplay fall under? It's primarily a sci-fi thriller with strong psychological and emotional drama elements. Think Ex Machina meets Blade Runner 2049, but with the emotional core of Her. Why should this screenplay be made into a movie? Because X9 reflects where we are right now — standing at the crossroads of ethics, emotion, and evolution. It's a visual and emotional experience that invites audiences to question their relationship with technology and each other. It's thrilling, thought-provoking, and cinematic in a way that blends spectacle with soul. ——- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://www.youtube.com/watch?v=Ttk712qLnB0 When a bitter nobody becomes convinced that Tom Hanks is the cosmic reason his life sucks, he drags a new friend on a chaotic cross-country mission to confront destiny-and maybe punch America's dad in the face. Conversation with Evan Neill on screenwriting, and the art of storytelling. ——- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Conversation with Co-Director/Co-Writer of the multiple award winning film “Memoria Obscura”, David Christopher Nelson, on the making of the film and filmmaking in general. Synopsis of film: In a world where memory erasure is a legitimate industry, the underground black market known as Memoria Obscura serves as a hub for stolen and repurposed memories. David Christopher Nelson is an award-winning filmmaker whose talents are as diverse as his projects. A native of Los Angeles, David has been working independently since 2015, shaping himself into a well-versed visual storyteller with a passion for editing, cinematography, and directing. He strives to bring each story to life with cinematic depth and emotional clarity. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

An actor faces the dilemma of going back to her roots in Austria in pursuit of her vocation and belonging or staying in the UK for love. ‘To be or not to be' is the question within the question: 'Is love as important as belonging?' https://www.instagram.com/alinejewell/ Conversation with director/actor Aline Jewell. Star Katarina Gerlich and co-star Alex Crockford. Director Statement With CHOICES, I delve into a character-driven story that explores the themes of belonging, language, love, identity, and self-assurance.—— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

An insecure Korean-American woman struggles with old resentments against her beautiful best friend, exposing the impossible beauty standards that caused them. https://www.instagram.com/iwishiwere_pretty/ Conversation with actor/director Hanah Chang & Producer Quand C. Robinson Director Statement I Wish I Were Pretty is not just the title, but also a phrase I have constantly thought since I was old enough to understand that with beauty comes power. Many of the elements included in this story are inspired by my personal experiences. One of my constants while growing up was hearing my mother say to me that I would be prettier if I had “ssanggeopul” (double eyelids). I will never forget the drunk customer from my bartending days who asked me to bring him a pretty server. And more recently, when my father saw a K-Pop music video and asked if that is the kind of thing I want to do, his then-girlfriend said “that is for the young and beautiful.” These experiences were painful, and I wanted to redeem them by turning them into part of my art. The struggle to feel that we are enough is felt across all genders. As I was revising the script, I sent it to a family friend in the film industry in Korea, only to find out he had just recently undergone plastic surgery. I both hate that he felt that he had to make that choice and understand it. After all, I can understand how much emotional turmoil he had to suffer for him to decide to permanently alter his physical appearance. Because I know how important representation is both in front of and behind the camera, I hope this film will be inspiring specifically for folks who work in the industry. I am so proud to state that I made this film with a crew of mostly womxn/people of color from beginning to end! For these reasons and more, I believe this film will be impactful, influential, and monumental. There are already many Korean dramas and movies about beauty standards, but the story typically begins after the protagonist undergoes plastic surgery. My intention with ‘I Wish I Were Pretty' is never to judge anyone who chooses that, but to provide a fresh take and a different way to deal with what we have internalized. And my hope is that we will learn to be kinder to and more accepting of ourselves as we are. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Director Locky Boaretto, Co-Writer Loki Acciarito, & Actor Tom Simpson join the podcast to talk about their “Jumping at Shadows” series. In a world secretly at war with an ancient alien race, a teenage girl discovers a crash landed alien, and uncovers shocking truths about her estranged father… After teaming up with a pair of rebel brothers, she uncovers a galaxy-wide conspiracy and an impending alien invasion. When one of the brothers is captured, the team must risk everything to rescue him from the alien mothership before it can begin its invasion of Earth. Amidst explosive battles and impossible odds, she must face her family's dark past and rewrite their legacy in order to save the future. https://www.instagram.com/lochnesslegendsproductions/ http://www.youtube.com/@lochnesslegends —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Terrific conversation with screenwriter/actress Bella Martinez, chatting about her multiple award winning film “Once More, Like Rain Man”. Beautifully directed by Sue Ann Pien, and also starring Matt Jones & Joe Mantegna. Synopsis: ‘It's up to you to make a future that has you in it…' We follow Zoe (Martinez) and her dad, Gerry (Jones) in a ‘day in the life' of an autistic actress running the gambit of stereotypes she has to deal with - and her dad's battle in supporting her forging that path for herself - in a funny, frustrating, painful and sometimes triumphantly sarcastic kind of way. https://www.instagram.com/omlrmovie http://www.omlrmovie.com/ —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch the best scene reading: https://youtu.be/anulab1E4xw Three interconnected teams - firefighters, police officers, and 911 dispatchers - face relentless emergenies in Indianapolis, balancing personal struggles with the split-second decisions that determine life or death. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch the Best Scene Reading: https://www.youtube.com/watch?v=B_fYb7My2Qk A young man attends the final session of his compensated work therapy program. The therapist remains ever oblivious as his lies begins to swallow the room whole. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

In Indiana in 1842, an unhappily married woman accuses a young, immigrant priest of raping her in the confessional. His vow to keep the Seal of Confession prevents him from speaking in his own defense. A climate of xenophobia and anti-Catholicism fuels a sensational trial and violent, shameful events that ultimately prove redemptive. Based on a true story. Get to know the writers: What is your screenplay about? A young, German seminarian comes to America to finish his preparation for the priesthood and enter the mission field. Upon ordination, the bishop assigns him to assist a pastor in southwest Indiana. An anti-Catholic, anti-immigrant climate poses challenges to his ministry. These come to a head when an unhappily married woman accuses him or sexually assaulting her in the confessional booth. The screenplay essays the accusation, the resulting trial, his conviction, incarceration, and ultimately his pardon and release from prison. What genres does your screenplay fall under? Historical Drama Why should this screenplay be made into a movie? O'Leary: This is a fascinating true story of how xenophobia, religious bigotry, racism, and misogyny plant deep roots in America's cultural fabric. These forces combine and erupt in a gross miscarriage of justice in antebellum Indiana—a state that less than a century later would become the stronghold of the KKK. McMullen: It reveals an often forgotten era of 19th-century American history, making it a compelling series for a general audience, while also exploring the depths of religion, law, and society in early American history. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

The conventions of documentary, musical theater, and magical realism are combined and subverted to address issues of personal, national, and artistic identity through the eyes of a composer desperate to pull off one final backer's audition whilst hounded by a disdainful documentarian named Charon. Feature Film: Musical, Meta-modernist, Documentary, Meta-fiction, Bardo, Opera, Musical Theater https://instagram.com/americasinging https://www.americasinging.art/ Director Statement This film is the final installment of a project called "The Bardo Trilogy," which begins with "Orson Rehearsed," and continues with "9/10: Love Before the Fall." In the trilogy of features I explore, from the stance of an auteur composer-director-screenwriter-editor, the concept of "operafilm" -- a fusing of the procedures and tropes of lyric theater and cinema in a comprehensively correlative fashion in order to achieve a new form of "gesamtkunstwerk., Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Herve Marcotte is back on the podcast chatting about his next experimental feature documentary. Without getting TOO flaky, Herve and Matthew take a deep dive into the meaning of life and the human psyche. Along the Threat of the Other synopsis: After my first long documentary, “Encounter with remarkable souls”, with focus on the meaning of life, I am exploring the concept of self-realization with two 25 years old young adults. The film is a quest for an unknown treasure that cannot be found alone. Like the red thread of a fulfilled life ! A tightrope walker, a physiotherapist, a sculptress, a researcher and several adults take turns talking about the inner life... and their relationship with others. Throughout the film, fictional scenes resonate with their words. The film is constructed in the manner of an adventure. Director Statement In my films, there's a symbiosis between the "actors" (not in the traditional sense) and the director, creating an authentic truth that would otherwise remain undiscovered by them. I enjoy incorporating elements such as animation, improvisation, experiments, games, self-thoughts. For examples, in "Encounter with Remarkable Souls," I incorporate scenes inspired by the emperor Marcus Aurelius, in "Fraternity is Contagious !" improvisational segments, in “Along the Thread of the OTHER" fictional scenes shot in black & white. Philosophical says constellate my films. I am meticulous in ensuring these elements resonate harmoniously with the documentary's themes, which originate from my thoughts but are never told during filming. My films, directly or indirectly, revolve around universal love, portrayed by young characters (either in age or spirit), who offer viewers another perspective. I plan to give even more space to the Divine in my future works. I film alone. All my documentaries, under small budgets, are of cinematic quality, edited with the assistance of a professional team, including professional editing, music composition, sound design, and mixing.Last but not least, all my films are films of faith. ——- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Al Chang is back on the podcast, chatting about his recent award-winning film CINDY. https://www.instagram.com/4lcfilm "An aspiring rapper takes a vague driving gig hoping for a quiet night to himself. Instead, he meets Cindy, a bubbly and unpredictable passenger who drags him into an absurd and unexpectedly heartfelt adventure."CINDY" is a quirky dramedy about connection, detours, and the strangers who change our lives." Director Statement Storytelling, for me, is about finding truth in unexpected places. I'm less interested in delivering a message than I am in creating a space where audiences can feel something genuine and walk away with their own interpretations. Every film I make is a chance to explore a new genre, to challenge myself creatively, and to discover how far we can push with limited resources.I've always believed that good filmmaking isn't about scale, but about intent. Whether it's a contained drama, a high-energy comedy, or a tense thriller, I approach each project with the same focus: building honest characters, crafting sharp visuals, and shaping rhythm in the edit until it feels alive. I like to leave room for humor, tension, and vulnerability—because that mix is what makes stories resonate.At the heart of it, I see filmmaking as community-building. Each project brings together people who might not have otherwise crossed paths, and in that collaboration, something greater emerges. My goal is to keep creating films that entertain, that spark conversation, and that remind us of the power of storytelling to connect us. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch script reading: https://www.wildsound.ca/videos/in-the-house-that-elle-built Elizabeth has her hands full with her two foster kids, a roommate and a new love interest that she's not sure can handle her lifestyle. https://www.instagram.com/lbe.hackney/ —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

After being kidnapped and forced into a brutal assimilation camp where the English language is used as control, two teenage girls from different countries must find a way to escape, before they are stripped of their identity. Conversation with director Felipe Marinheiro https://www.instagram.com/marinheirofelipe/ & actor/producer Carolina Liz https://www.instagram.com/caaliz/ —- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Simone is the last Greater Bamboo Lemur in Ranomafana, a protected rainforest in south-east Madagascar. After a happy start in life, surrounded by family, Simone finds herself alone, as members of her family disappear one by one. Three years on, and she's still alone - a social animal, a primate, just like us; how has this isolation affected her mental state? Through primatologist Dr. Patricia Wright and researcher, Alba Schielen, we witness Simone's desperate bid for companionship, as she takes a bold step for survival. At last Simone is happy again, but is all as harmonious as it seems? https://www.instagram.com/ct_wildlife/ Director Statement I had a chance encounter with the lemur featured in my film whilst trekking in the rainforest during my honeymoon in Madagascar in 2022. Upon hearing that this lemur was the last of her species in the area, I was eager to find out more about her and tell her story, which serves as a poignant reminder of how the global biodiversity crisis is affecting animals on a personal level. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

“The Planet That Doesn't Exist” is an 8-minute Animation film from Israel, based on the Graphic Novel by Navy Bird Revital Bronshtein. Navy Bird passed away at the age of 24 last year, caught in the midst of a terrorist attack. Her mother, Liora Bronshtein, brought a team of artists to make this film. You can watch the film here: https://youtu.be/2fKOtua6s1I?si=bvEzOPU1Afe2Sq0n Conversation with the director of the piece, Nadav Embon, on the making of the film. Synopsis: Professor Star l'Etoile set at her desk, her notes, were packed into spiral leather bound notebooks, stacked one atop of the other. They contained years and years of calculations, which sprung from her notebooks and rose up in a spiral, covering hundreds of desks and antique gold plated wooden boards, that covered the entire room. BIO: Nadav Embon is an Israeli director, animator, and multidisciplinary creator. His graduation film Talk About Samson screened at festivals in Japan, Russia, Romania, and Israel, and is taught in both academia and high schools as a tool for biblical studies. He later became Creative Director at Kan, the Israeli Public Broadcasting Corporation, and co-founded the global commemoration initiative Zikaron Basalon. Today he lectures at Bezalel Academy and Minshar College, leads a new digital content house at NMC United, and directs In Your Face, a portrait-drawing talk-show blending performance and illustration. His latest work is the animated short The Planet That Wasn't There, adapted from Navy Bird's graphic novel. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Vapor Trails, 11min., USA Directed by Matt Jenkins Mandy has just given Jethro an ultimatum, quick vaping or else. His friend Chuck thinks its going to be easy to quit. https://www.instagram.com/misfits_of_film/ Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Watch best scene reading: https://youtu.be/lFYy7OmYfPo Waking in a future with floating cities topping thousands of stories, run by radioactive intelligence, where imagination blends with machine, an amnesiac finds her destiny. —— Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Change - Kramon - Music Video. The unconscious self and conscious self meet. http://meredithadelaide.com/ http://instagram.com/meredithadelaide Interview with star/director Meredith Adelaide on the making of the video. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Black People Don't Tango, 13min., USA Directed by Robert Xavier Clark An African American man learns to tango after a trip to Argentina. Based on a true story. What motivated you to make this film? This short film Black People Don't Tango is adapted from a feature-length film script that I developed in 2019. That feature script is further adapted from a short story that I wrote in college. The primary motivation for the short film is to function as a proof of concept for the larger Black People Don't Tango idea. From the idea to the finished product, how long did it take for you to make this film? Roughly one month. What was the biggest obstacle you faced in completing this film? Scheduling and securing locations. The short film was put together and shot in a very tight timeframe. Also most of the people in the film are not professional actors, so getting everyone on the call sheet to show up on specific days was challenging. We also had some late talent and location changes happen, so we had to stay flexible and adapt. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Heal avec Delphine, 30min., USA Directed by Delphine Breyne Heal avec Delphine is a deeply personal docuseries that follows individuals navigating life after cancer, trauma, alopecia, and other challenges. Each episode invites viewers into a powerful journey of reconnection and renewal—beginning with an intimate look at the person's world, followed by a transformative beauty restoration at Delphine's atelier, and ending with a meaningful surprise to mark their new beginning. Through heartfelt storytelling, emotional connection, and light-touch artistry, the series introduces a new era of beauty and healing, where feeling truly seen becomes the start of renewed self-confidence, emotional healing, and personal transformation. https://www.instagram.com/delphineeyebrowcouture/ ——- Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Detectives & Dragons, 8min., Canada Directed by Lucas Candelino, Benjamin Kostecki, Evan McDowell A know-it-all detective is tasked with incriminating a murder suspect through a fantasy role-playing game by recreating the scenario of the killing. Tensions escalate when he goes off-script. https://instagram.com/candelino.jpeg https://www.wildsound.ca/videos/audience-feedback-detectives-dragons Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

ALL EYES ON YOU, min., UK Directed by Ted Clarke Paranoid couple Adam and Claire move to the peaceful countryside for a fresh start, but quickly become unsettled by a series of sinister interactions with their new neighbours, putting their trust - and relationship - to the test… Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

The Way Back Home is a two-minute poetic film that unfolds underwater, where a woman's expressive movements accompany a powerful monologue on identity, womanhood, and self-ownership — written, directed, and narrated by the filmmaker herself. As the performer drifts through silence and resistance, the voice rises against the weight of judgment and expectation — reclaiming scars, softness, and the right to become. A cinematic meditation on finding one's way back to the self. https://www.instagram.com/angyaklyjammal/ Director Statement The Way Back Home is a film I created from a place of deep honesty — not just as a director, but as a mother, a woman, and a human being who has lived through motherhood, silence, pressure, and transformation.After completing the film, I sat with my daughters and told them: “I want you to watch this film when you are 20, again when you are 30, and again when you are 40.” Because this is not just a short film — it's a piece of my story that I want to leave behind for them. A reminder that pain, scars, and growth are part of becoming. That they are allowed to own their voice, their truth, their transformation — no matter what the world tries to impose. With a single performer, a voiceover, and the silence of water as its backdrop, this film holds everything I wanted to say to them — and to the women who might need to hear it too. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

What's Locked Behind That Door?, 4min., USA Directed by John Gardner In the visually arresting music video for Lunavox's “What's Locked Behind That Door?”, a series of metaphorical doors open onto the full spectrum of human emotion, drawing viewers into a surreal journey through fear, desire, and obsession. These portals also frame the chilling descent of a scientist whose relentless experiments lead him into darkness. Guided by the song's pulsing rhythm, the two narratives intertwine as human vulnerability and scientific ambition collapse into a single vision of corruption and revelation. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

Versipellis, 26min., UK Directed by James Rigby In this spine-chilling horror film, a young girl, Sophia, faces the dilemma of choosing whom to trust when an imposter infiltrates her home. https://www.instagram.com/versipellis_film Get to know the filmmaker: What motivated you to make this film? I wanted to challenge myself by making my first horror film. I was curious about how to approach the story, its themes, and the craft of building fear in an audience. I researched the genre, studied other films, and asked myself: what do I personally find scary, and why do I react that way? That exploration shaped the direction of the film. From the idea to the finished product, how long did it take for you to make this film? The script was originally written and pitched during my time at Arts University Bournemouth. After taking a short break from it, I came back with fresh eyes, refined the concept, and pushed it forward. With the support of people around the world, we successfully crowdfunded £1,500, which allowed us to bring the project to life. Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod

FOR LUCIE, 12min,. UK Directed by Amy Louise Pemberton When a devastating family secret comes to light, Nick and Liz must confront painful truths that will change their lives forever. https://www.instagram.com/missamypembs/ https://en.wikipedia.org/wiki/Amy_Pemberton Subscribe to the podcast: https://twitter.com/wildsoundpod https://www.instagram.com/wildsoundpod https://www.facebook.com/wildsoundpod