The Film Festival Doctor podcast is hosted by Festival Strategist Dr. Rebekah Louisa Smith. Her podcast focuses on all things film festivals to help you learn more about this part of the film industry.
In each episode she unpacks and demystifies with her guests the complex and very precise world of film festival strategy and programming.
In this episode, Rebekah speaks with the Emmy award winning Ashton Campbell. During their discussion, they discuss his career journey so far including co-directing the Oak Cliff Film Festival, the secret to being a great interviewer & the iconic Texas Theatre.
In this special episode of "The TMI Project Story Hour," host Eva Tenuto talks to guests Kat, Tina, and Raine to explore the ultimate TMI topic – menstruation. Get a sneak peak into TMI Project’s partnership with the brave students of Kingston High School’s Period Power! Club as they prepare for their upcoming performance and emphasize the challenges faced by those who menstruate, the impact of period poverty, and the urgent need for comprehensive education.
Our award-winning podcast, "The TMI Project Story Hour," features stories from more than a decade of live performances, profiling the brave souls who stepped on stage and shared the stories they were most afraid to tell. In the podcast, we take a deeper dive, and share the stories behind the secrets, and what happened next.
Experience a different Minecraft world in the mirror world. The world uses you as the window, is generated because of you and collapses because of you.
An asylum seeker begins a hunger strike to protest his indefinite offshore detention, which creates an ethical quandary for the Doctor tasked with keeping him alive.
The Green Lady of Caerphilly Castle, Wales, UK. A story of love, betrayal, and the afterlife.
Rui Barbosa is a historic person in Brazil that lived in the later 19th to the 20th century. Famous for being an abolitionist, jurist and politican from the late Empire and the new Republic. He is waiting for his wife to get dressed. They have a party to go soon. While he waits, help him fix a historic scanned car and find out more about his house (that would become a museum later on). This experience uses only hands as controllers to give the viewers an incredible immersive experience using Meta Quest 3. Put your seat belt and come back to the past!
The start of a series of videos showcasing London from the Road to the Sky.
<Prepared Video, Sound> is an experimental performance that seeks to apply the concept of the prepared piano, which has been popularized by contemporary musicians and artists such as John Cage and Fluxus, to the audiovisual media of video and sound (Klang). Prepared Piano is a musical instrument that is transformed by placing various objects (clothespins, glass, soil, etc.) inside a traditional piano. Just as the sound result of playing the Prepared Piano is not semi-intentionally prepared, the work starts from the question of what is the 'unplanned/unprepared direction' of a video, which is considered to be born within an inherently planned structure, as a 'prepared video'. The work also contains an exploration of whether a video (precisely, a video that contains only visual information with auditory information removed)cannot be utilized as an auditory information or experience ('video sound')like sound.
Through the work, I invite the viewer to question the notion of 'preparation' and to rethink the concept of time, linguistic categories, and sensation. Inheriting John Dewey's' art as experience', I provide the viewer with an experience that allows them to sensually experience the process as it is. It is a continuation of my research into 'sensualization of process and context', improvisation, and genre experimentation.
The most important component of the work is the 'video score'. The 'video score' is a linear, time-based score that provides abstract visual information for the performance by linking the live performance of the musicians with actual scores, texts, found footage, and graphic images. It is a video-evolutionary form of musical score utilized by Karlheinz Stockhausen, Stefan Prins, Nam June Paik, and others, which is closer to the language of the written word than the traditional pentatonic score or national musical notation.
There are genius pioneers who have created scores that are more advanced than those widely known to the public, or who have utilized scores in music. There were text and graphic scores by composers Henning Christiansen, Jorgen Lekfeldt, Henrik E Rasmussen, and Sejong Shin; mathematical score animations by motion designer Simon Russell; Alexander Schubert's use of the score (rules) itself as a synchronized audio-visual; scores composed of instructions written on paper, such as Nam June Paik's Fifth Symphony and Robot Opera; and visual listening scores by Rainer Wehinger. However, it has not been widely presented that the score is a video in digital form and the video acts as a component of the score. In this performance, I introduce a 'video score' that 'plays with time' and invites even the time being played to become a composition.
The 'video score' consists of a blue line, the Indicator, and a chronological sequence of images and videos. The Indicator calls for the musician to play, using it as the axis of the performance's rhythm (timing).
My 'video score' begins by distorting the score of Boulez's <Structure I> (1952) and utilizing asa source or 'note' the recordings Ligeti made when creating his work <Apparitions>(1959). This is not only an homage to Boulez and Ligeti's attempts to create scores and music in a gravity-free/weightless direction, but also an developmental/evolutionary alternative to Boulez's diagonal, mathematical musical form as a material, utilizing the time axis, which is a unique characteristic of video, to add a time axis to Boulez's musical axis. While the 'tape music' of contemporary music utilizes the concept of space to arrange the score in a linear fashion, the 'video score' goes beyond this and allows time itself to be played.
Since the output video is inherently chronological and linear in nature, if the output video acts as an element of the score - a note, if you will - then the musician cannot follow the indicator and play a first reading (looking at the score and playing it immediately) in the traditional sense. Notes have been consumed as 'set in stone', and when a musician reads a paper score, they naturally look and read from left to right. However, reading a video score requires (in a big way) Husserl's phenomenological exclusion. Simply put, it requires intuition, which is an attempt to break free from conservative dogmatism and improvise and intuitively embrace the notes and the score itself as a holistic experience. To observe is also to interpret. By taking the moving visual information for whatit is and 'interpreting' it, musicians can perform a video score that representsa performance of time. However, this is not intended to destroy the tradition of the score, but rather to present it as an inherited and evolutionary alternative.
The visual results of my ongoing series <Video-Music Jamming> were actively utilized for <Prepared Video, Sound>, including the ‘video score’. Inspired by the practice of improvisation among musicians, <Video-Music Jamming> is an attempt to experiment with the possibilities of “improvisation” between video artists and musicians, to “play” music and video in an unplanned, mutually inspired way, and to study the aesthetics of the process. By utilizing <Video-Music Jamming>,not only can we find fun in the improvisation of improvised videos as musical notes, but it also becomes an element that can approach the basic question of questioning and exploring the concept of ‘preparation’, which is what we want to express through <Prepared Video, Sound>, i.e., the prepared, preparing, and prepared results. In addition, the video of <Video-Music Jamming> is responsible for the organization of the existence of 'video sound', another important component of <Prepared Video, Sound>.
In <Prepared Video, Sound>, a musician plays in time while reading a 'video score' usingthe video source created by ‘jamming’, and the frequency, key, etc. of the sound played by the musician are corresponded to by the functions (logic) of a computer program to express the video. Only the system for receiving and transmitting information is set up, but since the auditory information coming through the system is anomalous, the resulting visual information is also anomalous. In this case, the anomalous audiovisual video is defined as 'video sound'. A “video sound” is a single note played. Through this, the audience is accompanied by the experience of perceiving visual information in a similar form to auditory information through a synesthetic experience. In other words,'video sound' presents an ambiguous process experience that is closer to an auditory experience than a visual experience. The meaning of the ambiguous concept is multiplied and expanded by the use of the resulting <Video-Music Jamming>.The time of the corresponding video ('video sound') is distorted or decontextualized, and the audience's sense of time and sense is tested through the final result, which reveals the rearranged context.
Each artist performs according to a strictly scored format, but if the score is abstract, the prepared abstract “video score” and the prepared performance by the prepared score invite the audience to explore the expansion of the concept of preparation andits ambiguity. If the same score is later “performed” by different artists, the results will be different, and in this case, the process precedes the result in meaning. Through <Prepared Video, Sound>, we hope to provide a creative reflection on the concept of preparation and a sensory experience of the process as it is.
Experience a different Minecraft world in the mirror world. The world uses you as the window, is generated because of you and collapses because of you.
A once-successful artist must revive his career in order to afford his domestic android.
Mrs. Zhao’s Hat
In the rural landscape of Zhejiang, a simple bamboo hat becomes the centerpiece of this work. Casually placed on the grass, its slightly curled edges and faded bamboo strips bear the marks of time and daily use. This is an ordinary object, presented in its natural state, without the need for excessive explanation.
This piece begins with a single concept, exploring the pure connection between form and meaning through extension and refinement. Inspired by the artist’s chance encounter with the bamboo hat and a discussion about "preserving the integrity of original creative ideas," Mrs. Zhao’s Hat intentionally avoids complex narratives or functional reinterpretations. Instead, it focuses on the object itself, evoking perception through its form and presence.
By employing the most fundamental visual and textual elements, the work emphasizes discovering possibilities within simplicity. It is an experiment that removes an everyday object from its context, offering it a new way of being observed and appreciated.
The Stork is a character driven comedy that follows well intentioned, but clueless, parents of a queer woman wanting to start a family via artificial insemination using Norwegian semen ordered online – a popular method for queer couples. However, typically, the receipts of said semen tend to sign for their important delivery but on this occasion they’re not in but, (un)luckily, one set of parents are! On delivery, there is a slight altercation that results in the sample being destroyed leaving the delivery driver and parents in a bit of sticky (or rather NOT sticky) situation that needs to be rectified before their daughter returns home. All three characters are on very different pages regarding their plan of action and have very different perspectives when it comes to understanding the queer community – supportive but not necessarily accurate. Through miscommunication and audience the short pushes moral boundaries, questioning how far would a parent go to secure their child’s happiness. We follow the trio as they stumble their way through learning about their daughter’s journey (despite their ignorance) and its complexities - from a place of love. It’s an uplifting, family centred story showcasing the importance of unconditional love of queer people.
"Goodbye To God" follows an Astronaut through the universe, grappling with loss and existential dilemmas. Amidst the beauty of the stars, he questions reality and searches for meaning. Through live action, animation, and music, the film delves into themes of death, identity, and the search for truth.
"Re-Vamped with Juliet Landau" is the First-of-its-kind BUFFY Rewatch Podcast with a cast member as the guide!!! This has never been done before!!!
"SlayIn It with Juliet Landau" has everything that fans love; heartfelt nostalgia, behind-the-scenes stories, in-depth interviews with cast & crew. It’s also a fresh evolution; a continuation with new content and new entertainment as well.
Each episode includes world-building segments:
-Interactions with Scooby Dru.
-A fun “missing scene” that could have been in each BUFFY episode.
-Fan engagement leading up to “The Battle of The Uber-Buffy-Fans” where selected contenders will “step into the metaphorical ring" by coming on the podcast for the ultimate BUFFY Trivia match.
-The Relatable Theme of each episode.
RE-VAMPED elicits belly laughs and poignant emotion. Listeners rollick, probe and reflect.
RE-VAMPED is funny, fun, touching and profound. The show takes the idea of the traditional podcast and evolves it!
Join us as we Re-Watch, Re-Vamp, Re-Invent with Re-markable you!
On a quiet evening in the South Wales valleys, Emma (Rachel Isaac) settles in for the night when she receives a call from her
son Dylan (Ffred Hayes), a nineteen-year-old student returning home after a night out in Cardiff. Their conversation turns to
fear as Dylan realises, he is being followed by some bullies who tormented him at school.
Across seven escalating phone calls, Emma and her husband Hywel (Huw Rhys) listen helplessly as her son’s situation spirals into danger as he’s pursued.
It began with disaster...
It's been one year since Dr. Anthony Harbor's experiment caused a blast that ruptured the foundations of MIT, destroyed his reputation, and cost him his life. Now, estranged brothers Ethan and Milo Harbor come together to uncover the mystery of their father’s work.
Weaving science fiction and spirituality, Leylines is an adventure across the globe as the Harbor brothers confront billionaires, the US government, and each other to save their father and Earth as we know it.
Tokyo 2020 was bid as a “reconstruction” olympic after The Great East Japan Earthquake and Nuclear Disaster. And in 2021, during the COVID-19 pandemic, it was enforced.
This film opens with a scene in front of the Tokyo Olympic Stadium on the day of the opening ceremony.
Despite the ongoing COVID-19 pandemic, no spectators were allowed at the ceremony. Instead, crowds of onlookers gathered outside the stadium. Meanwhile, in Futaba Town, Fukushima, residents had evacuated due to the nuclear disaster, leaving rows of homes deserted for years—this is the reality.
At that moment, a group of dedicated citizens used a VR live stream to connect Tokyo and nuclear disaster-affected areas.
There is a disconnection between the Tokyo metropolitan area, which has been consuming electricity from nuclear power plants that have melted down, and areas that have suffered major damage from the nuclear disaster. This disconnection reached its peak at the Tokyo 2020.
So, ordinary citizens with hope link Tokyo and contaminated areas as “True Torchbearers”.
Is it possible to engage in dialogue to unite forces between them?
Open your eyes and take a look.
Life in the Trees is Chapter 1 of Wild Sounds of Wales, an innovative orchestral and VR project uniting music, ecology and heritage. Composed by Owain Llwyd and performed by the Welsh National Opera Orchestra, with field recordings by Axel Drioli and visuals by Domonic White, the work surrounds the viewer with the living sounds and images of Dinefwr’s ancient oak woodlands.
At its centre is the story of one oak: a thousand lives sustained through the cycle of growth, decay and renewal. What appears as loss becomes regeneration, a portrait of resilience in the face of climate anxiety.
Directed by Jacinth Latta, Life in the Trees has toured from Tŷ Pawb in Wrexham and the National Eisteddfod of Wales to Bryn Seiont Newydd Dementia Care Home in Caernarfon, with a special showcase for MPs at the House of Commons. It is part of a wider coalition of leading Welsh institutions using music and sound as a catalyst to reconnect people with the landscape and inspire hope in the climate emergency.
Format: 8-minute immersive VR experience with 360° video and spatial audio.
A quotidian meditation on surveillance and the decay of modernity.
Kozie Moles is a children's radio show and podcast series aimed at 3-6-y/os. Each episode is a soothing, comforting space where time slows down, and we can all unwind together.
We follow the moles on their journey to new and interesting soundscapes, putting their mindfulness and problem-solving skills to use.
The Kozie family knows how to make anywhere feel homely; a bustling airport terminal, a calm college library, a waterwheel by a stream, or a packed sports stadium. It doesn’t matter where they are, as long as they have each other.
LOGLINE:
'More Lies' is an offbeat comedy thriller, a playful and timely satire on the nature of truth and trust.
SYNOPSIS:
'More Lies' is an offbeat comedy thriller – a playful hybrid of fiction, poetry and monologue – about a writer writing to stay alive. A timely satire on the nature of truth and trust, the novel opens with 'our hero' being held hostage in their New York apartment, forced to type to hide the manoeuvres of a femme fatale, holding a pearl-handled gun, and her brother, a small-time thug with big-time ambitions. Through a series of lies, backflips and alternative versions of this wild tale of assassination, lost gold, betrayal, passion and identity theft, the author moves from being a trapped hack, forced to prostitute themselves, to dazzling the world with the acrobatics of their imagination, to the heart of the matter: storytelling is all that is keeping them alive.
'More Lies' is available from Interactive Publications in paperback, eBook editions and as an audiobook, narrated by Richard James Allen and Jadzea Allen, with sound design and post-production by John Hresc of Sydney Sound Brewery.
Six people, six stories, one home. Pontypool. A small town in South Wales filled with derelict buildings and struggling business. However, six people, tied together with threads that connect their separate stories tell their lives and why they love their home town in this slice of life observational documentary.
Max Q is an animated 6DOF virtual reality film about a deep space survey team that finds their relationships pushed to the brink when they embark upon a dangerous search and rescue mission on an unexplored alien world.
The so called “F Roads” go deep into the heart of Iceland crossing many glacier rivers, winding through vast black sand territories.
Only accessible during the Icelandic summer, the Higlands of Iceland, is an oasis of tranquility and inspiration; unique landscapes inspire those who decide to explore this place.
Some of the attractions require hiking, some others are situated right by the roads. Climate and volcanic activity have shaped dramatic landscapes unlike anywhere else on Earth: craters, crater lakes, glaciers, glacier streams and rivers, waterfalls, canyons, vast black sand territories, mountains and magnificent geothermal locations.
Following the “F roads” deep into the Highlands of Iceland is a real adventure - due to the quickly changing weather, quite often, explorers have to make their way through strong winds, rain or fog.
To all people who are suffering but living with HOPE — Transcrisis traces the body’s inner conflict at the molecular level, where every cell negotiates life at the edge of survival every minute.
At the heart of the film is a reflection on cancer—not merely as a disease, but as a metaphor. It embodies the moment when the body turns against itself, when the codes of life misfire, and resilience becomes rupture, yet there is still HOPE. The film closes on Zen insights through an Ensō (円相), asking: While life itself is in perpetual crisis, can the social world also maintain balance and revise itself as the body does?
*The visual forms translating from the real architectures of proteins and genetic flows into poetic and futuristic imagery.
*Transcrisis is also a poetic invocation, weaving the language of genes—STAT, TFs, DNAP, EXO.
Jake Wright, fresh out of rehab, tries to acclimate back to normal life by going to his sister's girlfriend's party. There, he meets and starts a relationship with Mia Barrett. Things start smoothly, but as time progresses, Jake finds it harder and harder to stay sober. Running into his previous friend and fellow addict creates conflict and he fears losing everyone he loves. Jake knows he will need to make a choice between his love and staying clean or falling back into his addiction, leaving him at a crossroads of his fate.
‘Oceanus Nullius’ traces, through an immersive visual and audio ambient experience the fundamental cycles of the hydrosphere, the continuous circulation of water in the Earth-Atmosphere system around the globe that sustains the planet’s lifeforms.
'Nullius’ is a term relating to the notion of territory unclaimed or unowned, emphasising the significance that we humans are not owners, but merely co-tenants of the planet and the diverse riches and resources of its hydrosphere.
Filmed and photographed in the remote, wild and richly resourced highland, coastal and marine region of northwest Scotland, all fundaments of the hydrologic cycle are visibly highly active within this elemental landscape. Here geologic and rich fossil remains mark the divergent timespans of the globe’s aeonic evolution, including relics of the first aquatic organisms on the planet.
The visual narrative weaves still and moving image and ambient audio into hypnotically absorbing liminal sensations, evoking a state of reverie and wonder both for the essence and beauty of this crucial element of life of the Earth, and the fear, in our Anthropocene era, of the increasingly devastating disruption of climatic systems, pollution and destruction of habitat and species.
In a post-apocalyptic wasteland where survival is a daily struggle, one lone survivor refuses to settle for bland rations and desperation. Armed with scavenged scraps and sheer ingenuity, he transforms survival into an art form—cooking up gourmet dishes in the ruins of a broken world.
28 Days Later meets Jamie Oliver in this gritty, darkly comedic twist on the apocalypse—where hunger sparks creativity, and the kitchen becomes a battleground for hope.
Mrs. Zhao’s Hat
In the rural landscape of Zhejiang, a simple bamboo hat becomes the centerpiece of this work. Casually placed on the grass, its slightly curled edges and faded bamboo strips bear the marks of time and daily use. This is an ordinary object, presented in its natural state, without the need for excessive explanation.
This piece begins with a single concept, exploring the pure connection between form and meaning through extension and refinement. Inspired by the artist’s chance encounter with the bamboo hat and a discussion about "preserving the integrity of original creative ideas," Mrs. Zhao’s Hat intentionally avoids complex narratives or functional reinterpretations. Instead, it focuses on the object itself, evoking perception through its form and presence.
By employing the most fundamental visual and textual elements, the work emphasizes discovering possibilities within simplicity. It is an experiment that removes an everyday object from its context, offering it a new way of being observed and appreciated.
