Lost in a winter forest, a woman's search for her past becomes a fight for survival when she discovers a chilling truth - she is not alone in the woods.Director - Christopher John ReillyDirector StatementGAEA is a deeply personal project for me. Like Gaea, I lost my family when I was young, and the profound sense of confusion, isolation, and fear that followed has shaped both my personal journey and my creative expression. Through this film, I wanted to capture the visceral experience of navigating life without a sense of self, while trying to find connection in a world that feels devoid of it.From the beginning I knew I wanted to tell this story in an unconventional way. Memories are often bizarre, fractured, and sometimes unsettling, and that is the feeling I wanted to capture. The forest in ‘GAEA’ serves as a metaphor for her subconscious, and the circle of vines the doorway. Her inner child is trapped there, unable to process witnessing the execution of her family. By immersing the audience in GAEA’s disorienting and surreal experiences, I hope to evoke the raw emotion and vulnerability that come with confronting the darkest parts of ourselves.At its core, GAEA is not just a story of survival, but one of transformation. The choice to confront one's fears, or let it consume you, is a universal human experience. I hope to inspire others to confront their own struggles and remind us that we are all capable of finding light even in the darkest of places.

Contains some disturbing imagery and adult themes.

GAEA

English

Sent

<img src="https://filmfreeway-production-storage-01-connector.filmfreeway.com/press_kits/headshots/002/787/529/original/d565973c30-headshot.jpg?1716944546" width="239" style="display: inline; float: left; margin: 0px 1em 1em 0px;">Director Biography -&nbsp;Delia MorcheskyDelia Morchesky is a writer, character artist and storyboarder from Pennsylvania who graduated from Savannah College of Art and Design in Spring 2024 with a Bachelor of Fine Arts in Animation. Her focus is adult animated comedy. Director StatementThe subject of the film is near and dear to my heart: female athletes, a love of sports, and enduring sexism. Funny enough, the north star of this edgy adult comedy is a very serious quote from Gloria Steinem:“Whoever has power takes over the noun – and the norm – while the less powerful get an adjective.”My grandma was crazy athletic, but women of her generation had no opportunities to play sports in school. She was a cheerleader instead. My mother inherited my grandma’s athletic prowess. When she was in school, she was able to play basketball, track, and volleyball and received two D1 college scholarship offers for two different sports. She ended up running hurdles at Robert Morris University. I had even more athletic opportunities and hopefully the next generation of women will be even better off than I was. With athletes like Angel Reese, Cailtyn Clark, Simone Biles, and Coco Gauff in the spotlight, the hype for women’s sports is at an all-time high.Still, most of the incredibly talented women currently lighting up the national sports stage were known, at some point in their recent past, as a LADY something. How aggravating is that?My mom refused to call any team I was on the Lady anything. Lady Bearcats? Bearcats. Lady Highlanders? Highlanders. The women of my family taught me very early on that when it came to athletics, I wasn’t a girl athlete. I was an athlete. Knights. Lady Knights. The adjective matters.My mom was also a huge supporter of my love for adult comedy, which brings us here. With Tits was a blast to make. I had the most incredible crew of women, and some Gentlemen Knight allies, who did an amazing job bringing the vision to life. I just hope that the people watching this short have as much fun as my crew and I had making it.P.S. You may be wondering if there are really American high school sports programs with the Knight/Damsel mascot combination. The answer is yes. I was horrified to learn that one school takes it up a notch and goes by the Lady Damsels. I hope their version of Principal Lympdick sees our film and hangs their head in shame.

Contains adult language, visuals and themes.

With Tits

A kick-ass high school basketball team takes a stand against their sexist principal to get the name they deserve.

After moving to the United States, a young Mexican immigrant is faced with a deadly challenge: no Mexican food. <img src="https://storage.googleapis.com/eventive-static/8988fc242f3b32e416887b31e8541b9c.jpg" width="135" style="display: inline; float: left; margin: 0px 1em 1em 0px;">Director BiographyCarlos Lerma is an award-winning Mexican writer, director, and author from Monterrey, Mexico, who brings his unique touch to both the movie screen and the printed page. Best known for his collection of original live-action and animated films, he has directed critically acclaimed works such as "Lightning in a Bottle" (2024), "Faraway Fiesta" (2023), and the animated sensation "Treasure Haunt" (2023). Jumping between art mediums is what sets Lerma apart, from live-action to animation to books. Lerma is also a poet and illustrator of three best-selling Spanish-written poetry books and two new English-written poetry books. Lerma moved from Monterrey, México to Chicago, IL, in 2022 to pursue the American Dream in entertainment and literature. Director StatementNow, I'll start by saying I'm Mexican through and through. While I grew up with none of the customs of an American life, two years ago, I chose to come here to chase my dreams in entertainment and literature. It was a conscious decision to leave my hometown and country for a shot at a better chance at the very difficult life I want to have. Whether I like it or not, I have to adapt. I get very homesick, a lot, and very often. However, this place has a way of hugging you as well. I've met incredible people and discovered restaurants that have shown me the real magic of American food. Despite people saying America is "tasteless," there is some magic here too. So whoever says that, you're wrong. -- This short film is a time capsule. A moment in time for me to look back at the times when I was a newborn babe in a whole new place. And hopefully, a hug to all those people who chose to leave their city in the search of lost treasure.﻿

Don Chingón

Andrea has just discovered that he has terminal cancer. He wants to make his last wish come true, to see an old childhood friend Enrico again. <img src="https://filmfreeway-production-storage-01-connector.filmfreeway.com/press_kits/headshots/002/886/302/original/7a2f7364c2-headshot.jpg?1727390470" width="153" style="display: inline; float: left; margin: 0px 1em 1em 0px;">Director BiographyCarlo De Benedictis was born in Brazil on April 16, 1993 and, after being adopted, he grew up and completed his schooling in Italy. His passion for cinema was born during his middle school years, when he discovered coming-of-age films such as Jimmy Grimble, Stand by Me, The Wings of Liberty and many others.Carlo undertook a short course of study at the Griffith film school in Rome, but without completing the course. Subsequently, he completed a first-level curricular internship at the Cinecittà studios in the Color and Digital department. Here he specialized in the post-production sector, having the opportunity to assist in the making of important films, such as the latest work by Pupi Avati and other great directors of Italian cinema. During the internship, he formed a solid friendship with the colorist Andrea Gargano, who still remains a strong bond today, a year after the end of his experience.Carlo has had to deal with borderline personality disorder, panic attacks, and agoraphobia throughout his life. These obstacles limited him in the making of his short films, preventing him from feeling completely at ease and expressing his creative potential to the fullest. Currently, Carlo is being treated at the ASL Roma 2 Mental Health Center, where he is followed by a psychiatrist, a psychologist and a social worker. Recently, he started attending a day center for mental rehabilitation, with the hope of being able to overcome these difficulties and return to feeling better, continuing his path of personal and professional growth.

Il tempo di un ricordo

In the quiet confines of a church confessional, a young priest struggles with his desire to leave the church while confiding in an older bishop. However, as their secrets unravel, a powerful and unexpected revelation sheds light on the bishop, who now finds himself in the role of confessor. <img src="https://storage.googleapis.com/eventive-static/039bbcb0ab38fc48c8fe2a3f33dbf80e.jpg" width="159" style="display: inline; float: left; margin: 0px 1em 1em 0px;">Director BiographyNiccola Civita (Director): originally from Brazil he is a senior film student at Boston University. Niccola has been part of several professional film sets in Brazil, such as the Netflix show "Invisible City", learning from professionals in the international industry in both scripted and unscripted films. While he has participated in multiple BU short films, this project marks his directing debut. With a passion for cinematography, Niccola also delves into the world of writing and the creative process. Director StatementStudent Film (Directorial Debut)"Forgive Me Father" aims to shed light on the multifaceted issues of clerical celibacy, the burden of guilt, and the quest for identity within the rigid structures of religious institutions. It critiques the hypocrisy that can pervade these institutions, where those in power may grapple with the very same desires and moral dilemmas they preach against. This film also delves into the broader social implications of these issues, questioning how societal and religious expectations shape our lives and decisions.Through this story, I hope to provoke thought and conversation about the nature of truth, the possibility of redemption, and the complex interplay between duty and desire. "Forgive Me Father" is not just a narrative about a priest and a bishop; it is a mirror reflecting the struggles we all face in balancing our personal truths with the roles we are expected to play.

Contains adult themes and one instance of disturbing imagery.

Forgive Me Father

Elida once harbored a strong passion for dance, but was gradually worn down by reality to the point of almost compromising. Unexpectedly, she became an expectant mother. Would she return to a mundane life or completely break free from her bondage and pursue her dreams? She tried to express her wishes but was ignored and rejected. After being coaxed and deceived with sugar-coated bullets, she wavered and almost gave up on her aspiration to resign herself to the life her family and lover expected. However, when she uncovered the truth that she missed out on a role opportunity because of the obstruction of her closed ones, she became the protagonist on that abandoned stage. Using dance to bid farewell to them and the past, she also embracing a future，uncertain but firmly in her own hands. She changed into her imaginary dress and walked along the corridors of the hospital towards the consultation room at the end. <img src="https://storage.googleapis.com/eventive-static/6037ad2ab5e5a8fc6a97722f07146546.jpg" width="146" style="display: inline; float: left; margin: 0px 1em 1em 0px;">Director BiographyLin Xiaotong, born in 2003, is a student at the Department of Directing of the Central Academy of Drama, majoring in Theatre Directing. As a young director and actress, Lin directed the short film The Dancer in the Mundanity. She also served as the casting director of the short film The Lonest Day, starred in Rundown and so on. During her studies, she created theatrical works such as The Weight of the Mountain and Crimson, exploring the diversity of feminist representation. Her play Tashi Delek / Bless You discusses the life and death views of different ethnic groups based on Tibetan life. Additionally, her children's play Song of Eternal Belief uses the personification of cultural relics to present an epic love story, which was shortlisted for the Incubation Programme of Theatre &amp; Performing Arts for Young Audiences of Beijing Children Art Theatre and Incubation Programme for Young Talents of Beijing Poly Theatre. Wang Zirui, Non-binary, born in 2001, is a student at the Department of Film &amp; TV Art at the Central Academy of Drama, majoring in Film Directing. As a young director and screenwriter, Wang's focus lies primarily in narrative films, including the short films Escape Plan, The Evolution of Utopia, Dancer in the Mundanity, and Boyfriend’s Girlfriend. Meanwhile Wang also engages in the creation of commercials, documentaries, and experimental videos, include the short films The Birth of an Ape and the experimental short film The One. Additionally, Wang takes part in the direction of cinematographic critique on the CCTV6 program Movie Talk. Wang also serves as a playwright and director for theater productions, and works as a stage supervisor for the projects Harmonious Family, Best Before, Love Is Around, and Paranormal. Wang has received awards such as the Guangzhou Watermelon Theatre Golden Melon Award, The Second Youth Director Creation Support Program of National Theatre of China, Beijing Fringe Festival, the Aranya Theatre Festival Showcase unit and so on. Venturing into installation and performance art, Wang aims to achieve intertextuality in expression across various creative mediums, with his representative work Art Career of Shipping Crates presented in the parallel unit exhibition at the Central Academy of Fine Arts 2023 Graduation Season Exhibition Fresh Power, the 14th National Art Exhibition and so on. Director StatementAlong with the prosper of global economic and politics, especially with the rise of the women's rights movements that has been practiced by the people of all genders over the past century, feminism have also been under rapid development. However, in East Asia, influenced by thousands of years of patriarchy and autocracy, the development of gender equality has lagged behind, and the concept of gender inequality remains deep-rooted. A woman is expected to manage the household and raise her children, and many of them have to give up their careers and dreams. Even those women whose consciousness has awakened may find it difficult to let go of their bondages due to emotional entanglements. On one hand, there is oppression, and on the other, seemingly considerate care for these women and their fate, which actually creates a greater dilemma. Especially when the oppressors are their own family members and lovers, how should they choose? Many people have chosen to compromise. Such absurd and helpless situations take place every day. We hope that more people will unite, more voices will emerge, to bravely resist and choose the truth when facing the emotional oppression of sugar-coated bombs.Our story's protagonist, Elida, is a girl from China. She once majored in dancing and was frustrated after chasing her dreams. Under her parents' arrangement, she became a primary school art teacher, a women’s perfect profession expected by typical Chinese parents. Her parents are the "emotional oppressors" mentioned above. The pressure Elida faces is not only from her father but also from her seemingly gentle mother. Her mother once cared for and comforted her, but when it comes to the issue of children, she immediately changes her attitude to persuade her, this causes Elida greater harm and disappointment. On another level, the concrete opponent Elida is facing is her fiancé. He seems to be gentle and considerate, but when Elida proposes to try hard for her dream, he despises and wants to control Elida. The so-called protection is just a beautification of making one lose their independent personality.In terms of expression, we have chosen plain realism with a blend of theatrical effect in both form and story. After expressing clearly, we laid the plot and the transformation of the characters' hearts through events and relationships. For example, in the scene where the theatre setting appeared for the first time, Elida and her fiancé both had their own purpose in mind, and what they want to achieve is contradictory. How do they go from becoming surprised to anxious, then to estrangement when an accidental event breaks in? This almost dramatic narrative is also the direction of our efforts this time. We do not use structure and experimental images to escape the difficulties of telling a story, but express through the protagonist's key choices when facing key issues. Even when the theater setting appears, they stand on the abandoned stage, which also simulates an audio-visual language of drama. The connection between the movie and the play lies in the fact that our protagonist is named Elida, which is the same as the name of the heroine in the selected dance drama "The Lady from the Sea". This achieves a certain intertextuality. We used Handheld shooting method throughout the film to pursue a realistic texture. In addition, we have tried a long shot in a single scene twice to approach the true texture. The first scene and the last scene, the second scene and the penultimate scene have similar photographic angles to achieve structural contrast. At the same time, on the basis of reproduction, we add expressive elements. In the protagonist's dance, as the posture stretches, daily clothes become dance skirts. In the last scene of abortion which takes place in the hospital, she is still wearing the imaginary dancing costume. Whether or not this scene is true, whether she made this decision or not, we try to leave some ambiguous areas.

Dancer in the Mundanity

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