Guest User 12/17/24 Guest User 12/17/24

ATLFF Alumni Spotlight: Jenna Kanell

Man, there are moments when I have the greatest job in the world. I’ve seen films and then realized I was sitting next to one of the stars (SING, SING, and Clarence Maclin). I’ve even met iconic filmmakers who’ve made a few of my favorites, and I’m sure some of yours, too (Francis Ford Coppola and Bill Duke).

And I’ve interviewed Jenna Kanell

And I’ve interviewed Jenna Kanell.

First, true story: we had to push this interview several times due to scheduling conflicts and my son getting sick. The night before the interview, Georgia was about to be hit by Hurricane Helene. I emailed Jenna asking if we could reschedule because my son would be with me, and conducting an interview with a two-year-old isn’t exactly conducive to an in-depth conversation. Fortunately, Jenna could not because she was leaving the next day for quite a long time. I say fortunately cause it forced me to make it work. And I am glad I did.

Why?

Well, here is my conversation with the sensational writer, director, producer, and kick-ass action star Jenna Kanell!

–

Keith

Hi! Everyone, and welcome once again to the Atlanta Film Festival Alumni Spotlight with me, your host, Keith Hannigan.

I am here today with a very special guest. All our guests are exceptional, but this one is extraordinary because of what we've been through.

So, ladies and gentlemen, boys and girls, and children of all ages, I would love to introduce my guest today. She is an Atlanta Film Festival alumnus from last year's festival for her film FACELESS AFTER DARK, which she co-wrote and starred in. I give you Jenna Kanell. Jenna, welcome to the Atlanta Film Festival Alumni Spotlight.

Jenna

Thank you so much, Keith. I'm excited to be here.

Well, thank you for your infinite patience with all the anxiety-fueled emails you have received from me. Speaking of anxiety, my son is watching INSIDE OUT 2 for the third time in 12 hours. What movie have you seen more than any other?

There is a science fiction film. It's a low-budget, high-concept film called COHERENCE. I could watch that thing again and again. It is so good. It's very low in production quality, but the story is so good that it doesn't matter. And I'm a total fanboy of it. I love it so much; it's so well done.

Keith

Why?

The story is incredible. A lot of it is improv. I've read a lot about how it was shot and listened to a lot of interviews with the director, Jim Byrkit. I've actually reached out to him because I really want to work with him, and we've corresponded a little bit. But my favorite thing about it is that it accomplishes so much in terms of conceptual ideas without any special effects. It doesn't rely on CGI.

It's sci-fi. But all of that is based in the story, and it's so cleverly done. It's a masterclass in what you can accomplish without breaking the budget. It shows that a good story will make up for a lot of things.

Your script is the foundation for the entire world you'll build. There’s a saying that you really can't fix most things in post; you should fix them in pre.

Well, speaking of storytelling, you're a hell of a storyteller. That is one of the reasons why you're here, my friend.

Speaking of which, can you tell me how you came to do FACELESS AFTER DARK? What was it like to be part of the Atlanta Film Festival? And what has happened since then?

This was my second time having a film at the festival. The first time was early in the pandemic, when it (the festival) was at the drive-in, which was a lot of fun but obviously a totally different experience.

It was fun, but I did miss the sense of community I got from the festival. I directed a short film called BLISS IS ORANGE, a romantic comedy Sci-fi that played several years ago. But this one (FACELESS AFTER DARK) was more like the festival experience.

FACELESS AFTER DARK was a ton of fun. I became involved because Raymond Wood, the director, approached me. He told me that he had a financier who came to him and said, “If you can make a thriller or a horror clown movie, I will fund it.” So Ray came to me, and the writer I co-wrote this with, Todd Jacobs, and asked if we could write him a clown movie. If you know anything about my body of work, my initial instinct was another one. Really? I don't want to get stuck doing clown movies. You know? I'm proud of the ones that I have done. But there are other lanes I want to be in. I'm referencing TERRIFIER. I'm the protagonist in the original.

But Todd and I asked each other, "How can we approach this as a fun challenge and write a clown movie that we would want to see and enjoy? That's different from any of the ones that we've seen?" So we approached it as a thriller rather than a straight horror, especially because Ray is a huge fan of David Fincher. We wanted it to have a lot of these meta elements. We wanted to draw from things I'd experienced and observed about the culture around some of these things.

On top of that, we wanted a story that is a descent into madness, where you're watching the protagonist become the antagonist. I joke that my pitch for the film was as though Travis Bickel, from TAXI DRIVER, was the protagonist of PROMISING YOUNG WOMAN.

So, it flips everything on its head. It starts in one direction and then takes it in a completely different one. If anyone listening or watching is going to watch it, I don't want to say too much more because it's more fun when you have no idea what you're walking into.

The festival experience was fantastic. We sold out the house and packed the main theater in the Plaza (Theatre). It was a enthusiastic crowd of new friends, old friends, peers, and colleagues. And everyone was really responsive.

It was a great and fun experience because it premiered at FrightFest in London last year, which was also incredible. There were 50-foot IMAX screens and over 700 people in the theater. It was nuts. And we played all over the world after that. And so it was this nice button towards the end of our festival experience to celebrate it with our community and all the people who helped make it, from development to principal photography to post-production. It was all done here in Atlanta. So it was nice to celebrate it with everyone who helped make it happen.

And what was the response afterward?

People really loved it. It's not what people are expecting, and it's different from what a lot of people think they're going into. I've noticed this in a lot of people's feedback and reviews that I've read. Everyone either absolutely loves it or absolutely hates it, which is, in many ways, the best response you can possibly have to a film. I would rather someone hate something I've made than feel apathetic towards it because if I've made you feel anything, I've done my job as an artist. So, the responses have been very divisive. It's been fun to watch.

I love that because it’s an artist's job to make you feel. It doesn't matter what you're feeling or experiencing; I just need to get you to emote. Then I've done my job.

It's like having an antagonist you despise. Because if they got you to feel that strongly, they did one hell of a job.

Exactly. And even if it just makes you think, I’ve seen films where I felt like I didn't like them after turning them off. But I keep thinking about them for days. Even if I didn't love this film, they did their job.

This is why we adore this medium, why people are watching it, why people go to the movies, and why AI will never take over filmmaking. They can't do what we do.

Yeah, AI don't have trauma.

Keith

That's a great response. I’m gonna steal that!

You're more than welcome to! And you're absolutely right. I don't just make films; I'm a huge fan of films. I love watching films and when I'm drawn to feeling and having this collective experience. This is why we consume art.

And speaking of you, you just went to Mexico.

Yes, so that was actually our last festival.

What was that like?

I had so much fun. It was amazing. They are huge genre fans down there. It was in Mexico City, and they loved it. A lot of them are TERRIFIER fans. A lot of them are RENFIELD fans. And they balled so hard for this movie. It was just a very welcoming, enthusiastic, friendly community. It was a great way to sort of end the experience.

So, as you can see, there will not be any chronological conversation because I'm going to jump way back.

Nonlinear storytelling. Let's do it.

I'm sure there was a moment when you watched something, whether on a small or big screen, and you were just captivated, like, "I wanna do this." For me, it was the movie GOODFELLAS. It may be half Italian in me. Who knows? There was a point when I wanted to be a member of the Mafia with the nickname Keithybagodonut. It's weird, whatever. I’m just glad it wasn’t BOOGIE NIGHTS. Which I adore. But what was it for you?

I remember one of the early ones. I mean, I've been telling stories in some form or another my whole life, and I've always been curious about people and the world.

But I remember two films stand out as early on, sort of like you're saying the initial sort of spider-bite of it all. One of them was the FELLOWSHIP OF THE RING—Peter Jackson's first film in the LORD OF THE RINGS TRILOGY.

I remember feeling so swept up in this world. I have read books, but obviously, the books are so vast and fantastical. I remember there was a comedown. It felt like coming off of a drug, where, after I left the theater, the real world was a letdown after what I had just been through.

So that was the first time I felt like, "I want to." I want to cheat. I want to live more lives than I'm going to get in this one life. I want more experiences than I can in the real world. I remember seeing it with my Dad. He made us get to the theater 40 minutes early because he was so excited and made me pee five times before it started. So that I wouldn't miss anything. And so it was also the bonding experience between him and me.

The other one was a couple of years later. I remember seeing EDWARD SCISSORHANDS for the first time. Similar, but in a different way. I remember I was kind of depressed for a couple of days after I saw that film. And I must have been 13 or something, and. I just remember feeling so much. It's what we were talking about, right where it's this one-and-a-half-hour experience that strangers can bring out of us and remind us how alive we are. I remember that that didn't leave me alone.

By the way, my wife would love you. You just mentioned two of her favorite things in the world: Tim Burton and Peter Jackson. So, where did you go from there? How did you get into this world?

As a little kid, I told stories before I could even write. My brother has several disabilities and special needs, so he requires a lot of extra therapy and care. So, when he was younger, I spent much time alone, which I filled with telling stories and entertaining myself. I had these little animal figurines that I would tell stories with. Once I learned how to write, I started writing, and I got a writing scholarship to Pace University in New York, where I was going to attend. I didn't end up going to school at all. Instead I jumped into the deep end of all of this. But in high school, I remember being an extra on a film for the first time.

I remember feeling more of a sense of belonging than I ever had in school because I deeply value education. But I consider myself an autodidact. I like to learn by doing. I like to learn by teaching myself, reading, and doing piecemeal education rather than in a classic classroom. I have more trouble in that sort of one-size-fits-all setting.

(My son made a loud crashing sound, and I had to check on him)

So, yeah, I remember looking around. And it was this big studio film. And I was just at the bottom of the totem pole. And I remember looking around and thinking, here is this Army working for a common goal. And everyone's job is so specialized. And if you haven't been in a film, you don't realize how many jobs and opportunities there are, and it was so cool to be in the circus.

After that I went to Los Angeles, and I got a ton of training. I did improv training at the four big schools out there and took acting classes. I just got into the world, experienced life, and started working as an actor.

Funny though was the fact I’d been doing martial arts my whole life and continued that out there. Someone pointed out I’m actually doing stunts, which I'd never thought of. I thought I had to be on fire falling from a hundred-story building to do stunts, and you don't realize how many things are technically stunts. So, I started doing that specific training, and I ended up rebranding myself as an action actor who does their own stunts. Then, a couple of years later, I got into the production side of things. So, I made my directorial debut in a short film called BUMBLEBEES. I did a TEDx talk about it if anyone's curious.

I made it with my brother. It ended up doing well, playing all over the place, and winning a lot of awards. We ended up speaking at Harvard Medical School together, and I remember thinking, maybe I should do more of this. This was fun and rewarding, and I am proud of the story we told together. I have a voice that can contribute to the directing world and the writing world. So then, to learn more about doing that, I spent several years as a 1st Assistant Director. I got a ton of experience and tried to learn how the whole machine worked.

Since then, I have directed about 17 short projects. I'm now prepping to direct my first feature.

Well, you're the first person I've ever talked to who has actually given a TED Talk. So now I'm more intimidated by this. But it's fine, I will persevere.

I believe in you.

Appreciate you. Is there a preference for writing, producing, or acting?

I genuinely don't have one. I love all of them. It depends on the project. There are some characters with so much meat to them, so much Vegan meat in my case, that I want to just sink my teeth into who they are and what their story is, and I don't want to be in charge of the entire vision. And then there are other stories where I do. I want to have more autonomy regarding how the story is told and a specific voice. So it depends on the project, but I love all of it so much.

Is there a piece of advice you would give anybody looking to start, whether they want to be a writer, producer, or action actor? And what is something you would tell them never to do?

That is great, especially the latter half of that. I haven't answered it before, so I'll answer the easier part first. You should get on set any way you can. Everyone should have to do at least one to several extra jobs as a background actor or many production assistant jobs. Everyone should have to work in that capacity. If you're at the bottom of the hierarchy and still love it, that's how you know love is real. It's also a great thing to do because then you get a fuller picture of how everything actually works. I learned so much about directing from ADing.

Often, the people I find it most challenging to work with are the ones who have only been in their lane because they have less of an understanding of how everything works and are a little more entitled. Get on set in every way you can and soak it in. You can have a PA in whatever department interests you. My version of college was getting on set and just watching, learning, and taking it all in.

And then what would I say not to do? That's harder only because there are so many more answers for that one. Never lose your learner mindset. Regardless of how little or how much experience or schooling you have had, never lose your attitude of wanting to learn and be better because there will always be someone who is more experienced than you and who knows more than you do, which is a gift. Don't be defensive.

That's a wonderful piece of advice. Don’t let hubris, arrogance, or ignorance take over. Always choose to learn. I do have to ask you, what is the dream? You’re a dreamer, so what is your dream?

I love that because it's true. Everyone on set, from the the grip and electric team to the set builders to the construction workers to the pagers to transpo: We're all in this cause we're dreamers. I dream of continuing to level up as an action actor and becoming like Keanu Reeves or Tom Cruise, but slightly more female. I want to have an interesting and fun career in addition to acting and telling stories that I care about and think are important to people whose voices I value and want to uplift.

At the same time, I want to continue writing and directing stories that I care about. I like switching back and forth between independent film and studio projects. I really like having both because each world offers a different kind of freedom, and I value what both offer.

Is there a preference between the studio and independent films?

No, it really depends. On studio films, you have more money and time, but there're also a lot more cooks in the kitchen, and there's a lot more oversight, and everything is much more specialized. It's also safer. It's better paying. I mean, I love having health insurance. Plus, you get to work with people you've admired for a long time.

As you know, an independent film costs less money and time. But you have a lot more say; everyone has more say. There's a lot more autonomy. And so it's it's a trade-off. And I really, really do love going back and forth.

If I had a dream role, there are two. One would be in the unnecessary, inevitable remake of the original ALIEN. I want to be Ripley. And the other is when they one day remake the original MUMMY, I want them to gender-flip the roles, and I want to be Brendan Fraser's character.

Love that. You only have one sibling, your brother.

Yes.

Older or younger?

He's my baby brother. I say, baby, he's a foot taller than I am. He's in his late twenties, but. He's my baby brother.

What is it like to work with your brother?

I love working with him. He's a really talented guy, a really good person, and so unique. Like I said, the first short I ever made that I wrote and directed was with him. It's called BUMBLEBEES.

We made it for the Disability Film Challenge, and it ended up playing all over the world and being incorporated into many specialty education programs and curricula. I'm so proud of it. Since then, I've directed a ton of stuff. But the most recent is a short film called SPRAY BOTTLE, which comes out next year. That one is very different, but I also made it with my brother, and it's been so long—almost a decade since we made BUMBLEBEES. It's cool to work with each other again, and he's not an actor. He doesn't care about acting, which makes him an excellent actor. And this one, I, after having directed for years and years, was actually in front of the camera at the same time. So, on SPRAY BOTTLE, I wrote and directed it. I'm one of the producers, and I also acted alongside my brother and, of course, did my own stunts as usual.

That was my first time on both sides of the camera, and it wouldn't have been possible without our fantastic team. I do not recommend anybody start out doing that. You should train in both lanes before you do them both at once.

But it was so much fun working with him. I wrote the role for him. In the film, we play siblings, and I think we're pretty believable in casting and chemistry. It's an action comedy. It's totally different from what we made before, and it's much more like the early Edgar Wright style. It's HOT FUZZ meets GOOD TIME: the Robert Pattinson, A24 movie with the Safdie Brothers. My brother trusts me a lot, which I don't take for granted. I don't think he would necessarily be as comfortable on a set if I wasn't there, and he trusts me being in charge. And he’s just willing to walk into battle with me. And obviously, that means a lot to anyone who's ever worked on any set I've run. It means a lot when people are willing to walk into battle with you, but especially for him because, among many of his other challenges, he has, he's very autistic.

A set is a nightmare in terms of sensory overload and overstimulation. It's a lot to ask of somebody, and obviously, we were extremely considerate, thoughtful, and mindful about how we approached that. We adjusted how we shot and worked with him to make it more sensitive to his experience, which is not hard to do. It's super important to me that when you have a disabled character, they should be played by a disabled actor. And I feel strongly about that. It’s not that we molded someone to the role but that we molded the world for him. And there's a scene in it where we, he and I, are in a car and do a 180-degree spin. In the beginning, he was not having it. We had to do it seven times, and in the end, he asked to do it again. And now, whenever the film comes up, he talks about how cool that part was.

It meant a lot that he was literally and figuratively along for the ride.

I love that you're living your dream and doing it with your family. I don't know how that feels, but I can imagine.

Thank you.

So cheers to you and bravo, and I'm sure your brother just loves his big sister.

He does. He thinks I'm way cooler than I am. And I appreciate you saying that because it does mean a lot. And it's also funny because, you know, nepotism is everywhere in film and in general. I don't have any family members in the business, but I got to do a nepotism, which was fun.

You mentioned a couple of things that you're working on now. What's going on with you these days?

Yeah, so FACELESS AFTER DARK has been distributed. It's under Dark Sky Films. You can buy it on Blu-ray or stream it on Amazon Prime or PlutoTV.

SPRAY BOTTLE comes out next year. We won the Vanishing Angle Post Grant. They're a fantastic production company out in Los Angeles, and I've been working with them. I'm in their writers' lab and working with them on developing the feature version.

I'm working with Thang Ho on getting this lower-budget sci-fi feature off the ground. If you're into this sort of thing, I act and do stunts in BAD BOYS: RIDE OR DIE. So, there’s that. I have a tiny role in RED ONE, The Rock and Chris Evans movie. But I don't know if I made the cut yet. Hopefully, I did. In the meantime, there's all this other stuff to get excited about.

I'm gonna ask you a lame question and forgive me. Who's your favorite movie star that you've worked with thus far?

My answer is so easy that I instantly know: Nicholas Cage. It's been a dream of mine to work with him, and I love his work. Regardless of your thoughts, he's so committed to anything he's ever done. That guy goes for it, makes strong choices, and is always entertaining and exciting to watch.

So I worked with him on RENFEILD, the Chris McKay-directed movie with Nicholas Hoult about Dracula and codependence. I acted and did stunts in that, and it was a ton of fun. And yeah, I just remember I met Nicholas Cage at the table read, and they sat me next to him, and I was just trying so hard to be cool about it.

I was jumping out of my skin because I was excited to listen to him try on the voice and watch him play because he's so experimental with his work. It was a masterclass in and of itself. I had to remind myself that I was also on camera and needed to be acting. I couldn't just be, you know, watching him the whole time.

Jenna, what would you be doing in your life if you weren't doing this?

If I had, you know, fallen on my face, I still could, figuratively and literally, I would be in the field of forensics. I studied forensics in high school. I went to four live autopsies. Forensics is fascinating. And it's because it's essentially storytelling in reverse. Forensics is, here's the ending. How did we get here? You know, it's like an early Chris Nolan movie.

Keith

So, were you a big CSI fan?

Jenna

No, I wasn't a big CSI fan. I watched a lot of the First 48, which is like the real deal, much more grotesque and harder to watch. But I loved it. That and a show called Dr. G. Medical Examiner. It was also a show that was on, like a documentary style.

Is there anything that you would like to share with any of us?

It's important to remember that no film is made in a vacuum; no film is made alone. Filmmaking is a team sport. It's better when we work together, respect each other, collaborate openly, and hire inclusively.

We have to remember that it's a collaborative medium. At the same time, while art is incredibly important, creating media of any kind in society carries a big responsibility And it’s not brain surgery. It's never worth someone getting hurt. It's never worth completely losing yourself over.

Take it seriously, but not too seriously, like life.

That's perfect. For anybody who wants to stay current with you, is the best way to follow you on Instagram?

That's right. Yeah, @Squidthusiast. I'm that on Twitter (X) and Threads as well, but I'm the most active on Instagram.

Thank you so very much for everything you just shared with us. Thank you for being extremely patient with me. I’m so blessed to have had this time with you. When we meet people like you, I really want the audience to understand this. The person I'm talking to right now is a good person—clearly, a good person—and some of us unfortunately know that not everybody in this industry is.

So we have to lift up, not tear down. We have to find people like you to look up to, emulate, and aspire to be. So,again, thank you for being you, and keep on keeping on!

Keith, you're going to make me cry. It's only noon on Thursday, and you come like, "Oh, my gosh, thank you!" Thank you so much.

Keith

Thank YOU, Jenna! This has been another edition of the Atlanta Film Festival Alumni Spotlight.

If you’re a filmmaker who has been a part of the Atlanta Film Festival, I would love to interview you and try to make you cry.

You can email me at keith@atlantafilmfestivalcom.

You can follow us at the Atlanta Film Festival on YouTube, Instagram, and Facebook. And please contribute to our Seed & Spark campaign to help us support independent films and independent filmmakers. There are so many stories out there that, when told to you, will inspire you, move you, and do everything you never thought imaginable for you. We just need to have a platform for them. And with your contributions, the ATLFF promises to be that for as long as they let us!

To be continued...

Cheers,

-k

Guest User 11/26/24 Guest User 11/26/24

ATLANTA FILM FESTIVAL LAUNCHES OUR ANNUAL SEED & SPARK CROWDFUNDING CAMPAIGN

The Atlanta Film Society is proud to announce the launch of our Annual Atlanta Film Festival Seed & Spark crowdfunding campaign!

ATLANTA, GA (November 25, 2024) —The Atlanta Film Society is proud to announce the launch of our Annual Atlanta Film Festival Seed & Spark crowdfunding campaign!

ATLFF is a vibrant celebration of independent cinema, showcasing diverse voices & innovative storytelling. As we look to 2025, your support is crucial! In a world craving connection & creativity, ATLFF amplifies emerging filmmakers, fosters dialogue, & inspires audiences. Join us in making magic!

Mission Statement

The Atlanta Film Festival aims to celebrate independent filmmakers and diverse storytelling, fostering an inclusive community through innovative films and engaging discussions. By promoting artistic expression, the festival strives to inspire audiences and connect people through the power of cinema.

The Story

After struggling out of COVID to then being hit by the strikes, the overall instability of the film industry as a whole was a lot to overcome. We were so blown away by the love and support, and for all those who showed up and showed out to represent and support filmmakers at Atlanta Film Festival 2024. Being surrounded by thousands of independent film lovers seemed like a dream. For 10 days, the world felt normal. And it was the most spectacular feeling! As we head towards our 50th year in 2026, we are excited to continue to grow and support local filmmakers and continue to make them feel seen and heard.

To all those who attended, sponsored, worked, volunteered, and, of course, created the spectacular films - thank you. Thank you for allowing the Atlanta Film Festival to exist. And thank you for allowing us to entertain you. There is a saying, “It takes a village.” Traditionally, this statement is reserved for those bringing a child into this world. But, for us, it’s appropriate. Because we are nothing without our community. Our tribe. And because of you, ATLFF’24 was a smash hit.

When you’re one of USA Today’s 10 Best Film Festivals and also Moviemaker Magazines' 25 Coolest Film Festivals - people are going to not only submit, but the stars are going to want to show up! ATLFF’24 had over 6,000 film and screenplay submissions from over 200 countries across the world. And films from people like Michael Showalter and Bill Duke were not only worthy of being screened but attended! And they weren’t alone - over 20,000 people flocked to the ATLFF to see what films were selected from those submitted.

And at the ATLFF, we make sure voices are heard, and all stories are told. That’s why we had:

47% BIPOC Directed
49% women + non-binary Directed
23% of the total lineup programmed from submissions are Georgia films

We also have specialty tracks at the ATLFF, which include New Mavericks, which highlights strong female filmmakers or lead roles; Pink Peach, which shines a spotlight on LGBTQ narrative features, documentaries, or short films; and ¡CineMás!, which highlights Latin American programming, and Noire, which highlights films led by Black filmmakers.

ATLFF’24 had 17 Marquee Screenings, with our Opening Night film “The Idea Of You” kicking things off with Director Michael Showalter in attendance, and A24’s “Sing Sing” closing things up with Filmmaker Greg Kwedar and cast members Clarence 'Divine Eye' Maclin, John ‘Divine G’ Whitfield, Sean 'Dino' Johnson, and Jon Adrian ‘JJ’ Velazquez in attendance for a live Q&A. We also had our 14th Annual Creative Conference with both in-person and virtual panels.

But none of this would have been possible without all of the support from all of you!

At ATLFF, we pride ourselves on championing the voices of independent filmmakers. Whether they’re from our home state of Georgia or from one of the 30 countries that submitted to ATLFF’24 - we showcase stories of all sizes and colors. It’s our mission to empower the independent film community and to launch film careers. And thanks to our supporters, we’ve been able to do that for over 48 years!

This means winners of our animated short, documentary short, and narrative short jury awards may qualify to be on a shortlist for Oscar® nominations.

Only a handful of film festivals are Academy Award®-qualifying in all three shorts categories, and we are honored to be one of them. And at the 94th Academy Awards, thanks to winning the ATLFF’21 Jury Award Winner for Best Narrative Short, THE DRESS was nominated for Best Live Action Short. More recently, our ATLFF’24 Georgia Short Film Award and Short Audience Award winner, MAKAYLA'S VOICE was picked up by Netflix.

We will be announcing details of the upcoming festival with each new goal reached!

As we said before, Georgia has become the powerhouse in production (Top 3, as a matter of fact), but you can’t have film & TV productions without the people who make that happen: the filmmakers themselves. For nearly 49 years, ATLFF has been a platform for empowering filmmakers.

Many of you give just as a way to give back. And many of you are a backer because it includes some impressive benefits.

We’re a judgment-free zone, so why you give is totally up to you; just know we appreciate you. That’s why we will provide some pretty sweet perks, from your name on the big screen to special VIP treatment. So, if you are definitely planning to attend the 2025 festival? Pledge today and save more on your pass than at any other time of the year. Year-round member? Pitch in $85 and get your 2025 membership to the Atlanta Film Society, which comes with all kinds of year-round perks, like invitations to free advance screenings, member-exclusive events, and more.

If we don’t raise 80% of $20,000, we don’t get a single penny pledged.

This is our 12th year running a crowdfunding campaign, but the pandemic followed by strikes and the state of the film industry as a whole has created new challenges for us to overcome. COVID-19 and the strikes has impacted us financially, limiting our impact on the film community. ATLFF has made some astonishing accomplishments over the last four decades, and the success of this campaign could play a big part in what we're able to do in the future.

Additionally, it is easier than ever to be an Atlanta Film Society member or to buy a badge for the Atlanta Film Festival, meaning some people who have done so through previous campaigns may already be set for 2025. We also face the challenge of trying to raise this money while the whole nation is going through an economic crisis. Now more than ever, we need your help to continue to do what we do best: support independent filmmakers.

We know you have a choice of organizations to support, and we are so thankful to be considered!

We succeed by our ability to help our community grow! Please share the social media copy below with your networks to help promote this campaign and get the word out there. Your help means so much to us, and the independent filmmakers in Georgia that we support!

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Guest User 10/1/24 Guest User 10/1/24

ATLFF Alumni Spotlight: Landon Ashworth

When you meet Landon Ashworth, you know quickly that you won’t forget him. ATLFS Community Engagement Lead, Keith Hannigan, sits down with the actor, writer, director to discuss their upcoming project and their journey leading up to the 2023 Atlanta Film Festival to now.

When you meet Landon Ashworth, you know quickly that you won’t forget him. I met Landon at ATLFF’23. He was introduced to me as the winner of that year’s screenplay competition in the TV Pilot category. In the very same category I submitted my script but was disqualified because I took a job with the Atlanta Film Society shortly after submitting. I understood why, but of course, I hated him. I’m kidding. Why? When I met this tall, handsome man wearing a cowboy hat, I could tell there was something quite special about him.

What was it? I didn’t find out until I sat down with Landon for our next edition of ATLFF Alumni Spotlight a couple of weeks ago. And boy, was I right…

Oh, and when you get to the end, I’ll tell you a story that didn’t make the interview.

Keith Hannigan

Hey, folks. I am Keith Hannigan from the Atlanta Film Society and the Atlanta Film Festival. I’m here for another episode of ATLFF Alumni Spotlight. Today, the spotlight shines on the man who won the ATLFF’23 Screenplay Award. By the way, that is the award over his shoulder he won for his pilot script, The Space Suit.

Ladies and gentlemen, I give you Randy Ashworth. Hello, Landon.

Landon waves appreciatively to the crowd to his adoring fans

Landon Ashworth

Hi. Sorry for all of the fans.

It's all good and understood. If you haven't, you should definitely check out Landon's IMDB because he has a lot going on in his world, including one that is slated to start tomorrow. Landon, what is starting tomorrow for you, my friend?

I'm heading out to New Mexico to direct a feature that I wrote after basically 20 years of being told no by Hollywood.

What's the name of the feature?

GO ON.

Where in New Mexico?

Near Las Vegas, New Mexico. As the crow flies, it's about to 50 miles east of Santa Fe.

Outstanding. We’ll talk more about that in a second because I need to mention that beautiful Phoneix beside you. Which, of course, is the ATLFF’23 Screenplay Award you won for your pilot script, SPACE SUITS. What was that script about, and how did it come about?

It is about the female bra makers of Playtex who won the contract to make the Apollo spacesuits. And they weren't even invited to compete. They just kind of showed up against the military-industrial complex. They were fighting for the contract against a bunch of military people, and they weren't invited to join.

But they learned about the competition a couple of weeks before it happened. All the other teams had six months to a year to prepare their prototypes. Not only did they win the contract after just making bras for a living, but they destroyed the competition.

I wrote the story for several reasons. Number one, I spent my young adult life trying to become an astronaut.

I was a pilot—a civilian test pilot. But then they decided they would only hire military test pilots, even though I had all my hours to apply. So, that degree ended up becoming useless. Then, they said they would slate a mission to Mars and send somebody from the arts community because NASA is a boondoggle, and they must raise public funds.

I'm autistic, and I had therapists who encouraged me to get into acting classes to learn how to mask my autism because I was bullied really, really, really, really bad growing up. So I had already been an actor basically since I was a young kid. And so I applied to conservatories, and I got into one. Then I got my MFA in filmmaking, and they scrapped the Mars mission.

So now I have two useless degrees. Then my academic advisor from undergrad said, "Well, now you got to go back and get your Ph.D. or your M.D.” But medical school was too long. So I got my Ph.D. in astrophysics, and on my dissertation defense day, Obama put a ten-year hiring freeze on astronauts, which made all three degrees useless.

So I sat in my car and cried for a bunch of hours. And then I thought, okay, well, I got to pivot. What am I going to do? I could go back to being a test pilot. Too dangerous. I didn't want to do that. I knew I didn't want to teach physics at university, so I was like, I'm going to try to use this MFA and make a career as a filmmaker. So I packed up my car and drove straight to L.A.

I knew one person out there, a buddy from undergrad who owned a 22-foot sailboat, Marina Del Rey, and moved on to his sailboat because no one was on it. And the person on the sailboat next to mine was the casting director. And the casting director happened to be casting a big commercial. So, my very first commercial audition was for American Airlines. Funny enough, I got the part, and then they aired that commercial for about two years, and it paid a lot.

That was back when commercials paid a lot of money. And so I made a gargantuan amount of money for that. I didn't have to have any side jobs, which was lucky. And then, after I booked a commercial, she said, "You know, there are no A-list actors who don't have their own production companies, so you need to start making your own stuff now that you're kind of set financially."

I wasn't rich, but I took 80% of my earnings and bought film equipment: camera lenses, lights, and sound equipment. Every time I got cast as a costar on a TV show, I would talk to the department heads to learn how to do sound really well.

I would be with the crew asking every single question while the other actors were hanging out and bullshitting with each other. I'd go to the cinematographer and say, I just bought these lights. What do I do? How do I set it up?

This is all stuff I learned during my filmmaking degree. But like, I want to learn because you're on set. I treated it as a master class to be around professionals, doing it for a living, to learn how to do it myself. What I wish the casting director would have told me was,” You need to learn how to network and make things with other like-minded people..” But being artistic and taking things very literally.

Instead, I started making my own stuff and only my stuff. I started writing and directing comedy sketches because comedy kind of comes naturally to me. I don't think that I'm funny, but other people do kind of unintentionally. So I just started writing comedy sketches and then shooting comedy sketches, and that's what I spent all of my free time doing, shooting.

Then I met some actors and then I put them in my comedy sketches and then basically I was not getting ahead from my comedy sketches because they were like, really weird, esoteric, autistic kind of what I consider smart. Smart humor. And smart humor is not made for social media. It's made for BBC. But I am not the BBC.

So basically at the end of of having 200, 300 comedy sketches filmed, I finally was like, screw it. I need some advice. So the next show that I was on, I went up to the showrunner and I said, I've shot all of these things, but nobody's hiring me to direct or write. What would your advice be?

They advised me, and I followed it to the Nth degree. No success. So then the next costar I booked, I'd go up to the showrunner and say, I need help. I followed this advice, and they said, “That showrunner is an idiot. This is what you should do.” So I did that and got no success.

The next costar, go up to that showrunner; “Those guys are idiots. This is what you should do.” So basically, after five or six times of doing every single thing that these showrunners told me to do and getting no success from it whatsoever, I was like, alright, well, advice is really not helping me.

The very last bit of advice that I got was, “You need to do a topical comedy sketch that goes viral.” So I did that. It went viral, but nothing happened for my career. The next bit of advice was, “You need to make a short.” So then I made a short. The next person asked, “Did you put it short in film festivals?” And it was like, no, so I put it in film festivals.

I put it in film festivals, and it was a really weird short that was smart but not something that normal people would like. Then the next advice was, "Well, you got to make it topical. It's got to be something that people want to watch, and it's got to win awards." So then I made something that I thought was smart that people would want to watch, and then it won about a dozen Oscar-qualifying film festivals.

But I didn't go to any of the film festivals because I have crippling social anxiety, so I didn't network at all. So then the next bit of advice that I got was you need to write a pilot and put that into festivals and win awards. And then when I got into the Atlanta Film Festival, I told when I won the award I was like, can you just mail me the award?

And they're like, “You need to come here and network, and we'll protect you and kind of put you under our wing.” And so that's what happened with the Atlanta Film Festival. I wrote the SPACE SUITS. I sat down and wrote it in one day. It was my first draft, and I sent it out to film festivals. Then, it won five or six film festivals for best unproduced and best pilot screenplay, which kind of led me to where I am today.

So, what happened after you won the Atlanta Film Festival?

After I won the Atlanta Film Festival, I met people from several different producers who were part of the festival and several lit agents. The Lit agents told me, “ Nobody's buying historical dramas. Congratulations on your win.” For the producers that I met said, “We can sell this. Let's stay in touch.” I stayed in touch with them. They never emailed me back.

The next TV show I booked was THE RESIDENT, and the showrunner said,” You need to build a really big social media following based on topical stuff. Once you have a big following, there's nothing that you can't do because people want to put butts in seats. If you have a million followers, you're good to go.”

So then I started writing topical sketch comedy, which is the bane of my existence. I hate topical stuff. I like stuff that nobody else likes. So then I started writing topical stuff. In six months, I gained a following of 2 million followers, and then the next bit of advice I got was write a feature and try to get it made, crowdfund it.

And I was like, no, that's the one thing that I will not do. I have friends that have crowdfunded their features, and they have these awful, awful features for 25 grand and I'm not going to put out crap. I'm not going to make a feature if I'm the only one that believes in it.

I'm not going to crowdfund. I'm going to do it the Hollywood way because I've done it the Hollywood way for 20 straight years. And I really believed in the Hollywood way. I believed in you write a script, a producer that does this for a living says, “I like your script. I know how to make movies. I've made movies. I believe in the economic viability of your project. I'm going to make it.”

So I let pride get in my way for a very, very long time because I was never going to make a TV show or a movie that I was the only one who believed in. In one year, I sent about 1100 emails to producers, agents, directors, showrunners, developmental executives, whatever.

I got three responses back in that year. I went back and counted them all, and all three were, “We do not take unsolicited submissions.” So the best answer I got was no. The rest of the 1097 people just ignored it. So finally, I'm like, well, my career is never going to move forward.

And so in January of this year, I was going to quit. I was going to be done with the industry. I won Best Pilot and a dozen other Oscar-qualifying film festivals for Best Short. And I'm like, I'm never going to make it. And that's fine and I'm done.

So I woke up on January 1st, and the first thought in my mind was, "You've done it everybody else's way your entire career. Why don't you try your own way?"

You know, casting directors during casting director workshops were like, “Don't go up to A-list stars and bother them on set. It'll make you look bad. Don't talk to producers and ask them for anything. Just show up, do a good job, and go home.

”I was like, you know what? I'm going to do it my way this year, and if I don't make it, who gives a shit? I've already not made it. I've spent an entire career not making it.

Yeah, I've done a bunch of costars on TV shows, but that's not making it. That's going from job to job where you don't go from costar to guest star to series regular.

That's just, you know, I spent one to four days on set saying my lines, being polite, going home, doing a good job. Every time I would go up to the showrunner at the end of the show, they’d say, “You're great, you're great. We'll keep you in mind in the future.”

They did not keep me in mind in the future. They got the one to five lines out of me, and they would never see me again. People don't keep you in mind unless you're friends with them. And I never networked. So, I said I would do it my way this year. So, I started doing it my way, and I decided the very first thing that I was going to do was stop masking my autism.

I was going to be me, unapologetically me. And by doing that, I gained an even bigger social media following. And I'm like, okay, cool. And then somebody said, “You know what? Now is the time for you to raise money for a movie.” And I was like, well, I've never written a movie that would cost less than 10 million bucks.

And they're like, “Well, then you need to sit down and write a movie you can make for half a million.” And I was like, I don't know anybody with a half a million bucks. That's a movie producer. And they're like,” Just write a movie.” So I sat down and I wrote a movie in two days. I didn't change a single word of it.

I sent it to ten people who had no reason to be nice to me, and all ten of them were like, “Go make this movie right now.” And I was like, well, I don't know any producers. They're like, “Crowdfund, dude, you have 2 million social media followers.” So I was like, okay, this makes me sick to my stomach, but I'll do it.

So I raised $170,000 in donations, just straight up donations in a month. And I was like, okay, I'm going to have to give all of this money back because this is not even close to enough money to get my movie made. And then when I was asking all of the people at the fund raising things, how do I give this money back?

And they're like, but you have enough to make something. I was like, no. I'm going to make this movie or I'm not going to make anything. I'm very passionate about this project for numerous reasons. And they said, “Well, this this is the process that you go through to return all the money.” So I was researching that, and on the same day three weeks ago, I got two emails from two very wealthy individuals and they said, “We believe in you.”

“You've raised this much money so other people believe in you too. We're writing you a blank check, whatever you need, go make your movie.” That was three weeks ago. And now tomorrow, I start to head out to New Mexico to make this feature. So for the past three weeks, it's been a firehose. I hired two producers because I had a budget for the movie, and we've just put it together. We're going to make this movie out in the mountains.

I've got Vincent Kartheiser, a series regular on Mad Men, and Laura Slade Wiggins, a series regular on Shameless, to be in It, and off we go.

So, first of all, congratulations, man. And I'm not talking about all the awards from your entire life. You have pivoted, proving beyond a shadow of a doubt how resilient you are. So everybody watching at home, please grasp one thing from this: Landon has given you a masterclass of listening to people and having that not come true and saying, alright, I'm either going to go this, I’m doing it my way. And if I'm done after that, I know I did everything within myself to do it.

And thank you more than anything for being vulnerable and sharing that you’re autistic.

I told you I was in New Mexico a couple of weeks ago at a writer's retreat, and I had the honor of speaking to some very acclaimed writers, showrunners, and other such people.

One question I love to ask is simply stating that I, like you, have this in common: that we're dreamers. We dream differently, but we dream, and we don't want to let go of those dreams because we keep chasing them with the understanding that our dreams are not going to chase us. So, ultimately, what has been your dream?

Is it standing in front of an audience receiving an Academy Award or an Emmy or anything like that? Is it saying thank you to your mom for everything she's done for you? What is the dream for?

I've only had five dreams, and I had one, which was to be an astronaut, and that door was slammed in my face. And then when I started this career in Hollywood, I set four goals:

One be a series regular on a TV show, which has not happened yet.
Second was to sell a TV pilot that gets made, not to sell a pilot because a lot of people saw pilots and they never went into production.
Third was to get a musical that I wrote about the space race to Broadway.
The last was to write a feature, get it funded, and direct it. That journey starts tomorrow.

God bless you, man. Thank you for achieving your dreams. Because unless people out there knowing right now watching can see you achieve yours, then I can achieve mine… If I work my ass off.

Yeah, you got it. You got to scrape it out of pure marble with your fingernails. I moved to Hollywood knowing no one in the industry. And I mean no one in the industry. I didn't know a P.A. No one has helped me. No one has had my back other than the people at the Atlanta Film Festival. Literally, they're the first people who were like, "We will protect you."

We're going to help you collect your award and help you start conversations. They're literally the only organization that's ever helped me. So I'll do anything for the Atlanta Film Festival. But thank you God. You know, I appreciate you more than you'll ever know. But realize this out there if you want it, it's out there in the fucking dirt.

Go dig it up.

Love it. And speaking of that, before you go out into the dirt and direct your movie, what is it about, man? Was this the story you're going to tell us?

So the logline—I have to go to IMDB because I wrote it—is better than anything I'm ever going to, just like improv. The logline is that two people are forced to confront their past on a remote forest fire-burned mountain. So that's the logline the film is about. I had a cousin, and I went to visit his family out in Texas, and he had two twin boys.

They were on the spectrum, and one of them I really, really resonated with. He's going through some heavy stuff, and I felt like I was one of the only people who really could help other people recognize it. But I felt that I could help. So I invited him to come to my home here in Georgia because I was like, anytime you want to come, just come, and we'll do whatever you want.

Literally, if you want to rob a bank, we'll rob a bank. You want to go steal a car? We'll go steal a car. You want to eat sushi every single meal for a week straight will do that. And I knew that he was going to say no. And I flew back home and then I got a call from his mom and she was like, “So he hasn't stopped talking about him coming out here. Were you serious?”

I was like, my God, please send him. So it blew my mind. The 16-year-old kid said yes. So I got him at the airport, and it was just a week of saying yes to anything he wanted to do. We did. And we talked about literally everything in life. And fame was very important to him at the end of the week. Becoming famous.

And at the very end of the week, he would not tell me why fame was so important to him. And as I was dropping him off at the airport, he turned to me and said,” I just want to matter.” And then he got out of the car, and I was like, okay, I have made an impact. I know how to help him.

Then, a few days later, I got a call from his mom that he had died by suicide. And so I sat down and I wrote this movie in two days. I had no idea where the movie was going. I just went on a journey with these characters. I sent it to ten friends and asked them what they thought.

All ten of them said, “If you don't go make this movie right now, we're going to steal, and you can just deal with suing me. But this movie needs to be made.” And so that's when the fundraising campaign started. So it's in my cousin Landon Bellingham's honor. I just imagine the story is about him being stuck somewhere, or in real life, being stuck somewhere.

He had no way out. And it's two characters at war, trying to help each other where neither wants to give nor wants to take. So that's what the film's about.

So, I think I can speak for everybody watching when I say there isn't a soul out there who isn't rooting for you. Thank you for being you.

Well, everyone else was taken.

I'm never going to forget this conversation. That's the highest compliment I can give.

Please keep telling your stories. Have a wonderful, safe, amazing, life-changing experience, my brother. We can't wait to see what happens, and we can't wait to see what happens next.

So I hope it comes to the Atlanta Film Festival and wins Best Picture.

There we go, brother. There we go. So, I want in to wrap things up. Just keep. How can we keep in touch with you? Can we follow you on any social media?

So, my handle on Instagram is @LandonAshworthdirects. I have a million followers on Instagram and a million followers on TikTok. I check every day and write back to every single one.

It's a compulsion I have got. God bless you, autism. But yeah, so I've got I got a million followers, but I'll still still write you back.

You may have a million followers, but you're one in a billion, my friend. And I have to tell this story about Landon before I take off.

I met Landon at the Atlanta Film Festival in 2023. We had an after-party. I don't know if it was an after-party or a hangout. I can't remember what it was. It was basically something away from the film festival itself in that it was in a building. The building that we were at was called the Illuminarium, and they had a presentation devoted to outer space.

And I saw Landon walk in, and I, I, I'll tear up thinking about it because knowing what you've been through and what dreams you had. I saw a look in this man's eyes like, my God, I'm here. It was wonderful.

Afterward, I reached out to him and said, "I've got a Space Race musical. We should partner." This was another cold email that went unanswered.

I love that, though, you may have apprehensions, but you have a fearlessness about you. You just say, fuck it, I'm going to put it out there. And the worst thing you can ever say to me is no. And trust me, that ain't the worst thing that's ever happened to me.

So, Landon, thank you so very much. If you're watching this and would like to participate, please email me at keith@atlantafilmfestival.com. You can also follow us at the Atlanta Film Society on Facebook, Twitter, Instagram, LinkedIn, and YouTube.

This interview will be posted on the Atlanta Film Festival YouTube page. You can also follow us on our Atlanta Film Festival, Instagram, Facebook, Twitter or X, or whatever you want to call it. So, thank you again, Landon. I wish you the best.

I really do. And please, my brother, stay in touch with me. Stay in touch with us. We want to celebrate. Even though you don't believe in many celebrations, we will take care of that for you and we will celebrate everything you do because you are a part of the family and we love you. And thank you for everything.

God bless you, man. Al right, brother. Take care, and I will talk to you soon.

A right. Thank you for your time. I appreciate you.

Landon reminded me of the shitty parts of your best friend that only your best friend can be. The person who will fire tomahawk truth missiles to your sternum. Not because they suck. But because they care. And Landon truthfully cares about people not having to go through what he’s been through and he will tell you exactly why.

Speaking of hard truths, I have to tell you that you only got half of our conversation. I only had about an hour with him, and we were going back and forth for about half an hour before the call dropped. This was only a few days after I ordered high-speed internet from a company that rhymes with AT&T. I was white hot.

However, during that first half, we discussed how he would do it his way and not listen to any more advice. “Keith, if Denzel Washington was across the street, I’m going up to him!” I instantly asked him what he would say. Landon said, “I would go up to him and say I have a fucking script that will change your life!”

I believe in my bones Landon would do just that. And I have to tell you, meeting him has undoubtedly changed mine.

-k.

Watch the full interview on our Youtube channel and checkout our interview with Don-Dimitri Joseph from ATLFF ‘24

Guest User 8/8/24 Guest User 8/8/24

ATLFF Alumni Spotlight: Don-Dimitri Joseph

was scrambling from the Plaza Theatre to the Tara Theatre and all the parties and hangouts in between. And every time I saw Don, he threw me a grin and asked if it was a good time to talk. I told him to give me a beat, and I would as soon as possible. Finally, when the tides went in a bit, I finally did something I should have done sooner but was glad I waited to give it the proper time he deserved, and I spoke with the Director, Producer, and star of the ATLFF’24 Episodic Short, Last Option.

Don-Dimitri Joseph gets it. I don’t remember when I met him. Truthfully, my memory of the ATLFF’24 is a blur. But I’m fairly sure it was the first night. I was stalking. My eyes were staring at the badges hanging around everyone’s neck. Looking specifically for one’s reading “Filmmaker.”

The ATLFF Marketing Team, which I’m a proud member of, had a mission: Find filmmakers and talk to them about their film on camera. And when I met a fella named Don, I don’t even think I finished my question before Don replied, “Absolutely!”

Now, despite not remembering when I met Don, I do remember not being able to conduct the interview at that moment. So I told him I would catch up with him. He flashed that smile that graced movie and television screens worldwide, and we parted ways.

For the next few days, I was scrambling from the Plaza Theatre to the Tara Theatre and all the parties and hangouts in between. And every time I saw Don, he threw me a grin and asked if it was a good time to talk. I told him to give me a beat, and I would as soon as possible. Finally, when the tides went in a bit, I finally did something I should have done sooner, but was glad I waited to give it the proper time he deserved. I spoke with the Director, Producer, and star of the ATLFF’24 Episodic Short, Last Option.

Fast-forward to a couple of weeks ago. The Marketing Team had a new mission: Talk to ATLFF alums and find out what they were up to.

I knew who I needed to talk to. Here is a transcript from my interview with Don-Dimitri Joseph. It happened the night that his latest acting release, the Apple TV show…Well, you’ll see.

Keith Hannigan

Hi, everybody. I am Keith Hannigan, the Community Engagement Lead for the Atlanta Film Society and the Atlanta Film Festival. Tonight, I have the privilege and honor of speaking with Atlanta Film Festival 24 #ATLFF24 alum Don-Dimitri Joseph, whose film Last Option was shown during our Episodic Showcase at this year's festival. Don. Welcome. Thank you for your time.

Don-Dimitri Joseph

No, thank you. Thank you for having me, bro.

It's an absolute pleasure. I loved your film. It was great. Or I'm sorry. I loved your pilot. And you tell me now, Don, you're an actor, producer and director.

DDJ

Yes. Yes. I am an actor, producer, and Director. I started off as an actor and then transitioned into producing because we were like others who made our own projects. After that, it was my first foray into directing last year.

Okay. Well, we'll talk about your acting quickly because, folks, tonight at midnight, something huge is happening for Don. Don, I give it to you.

DDJ

Yeah. Lady in the Lake comes out on Apple TV, directed by Alma Har’el. She is a visionary director. She directed Honey Boy as a feature, and this is her first foray into showwriting a TV show. She's, you know, phenomenal working with on set. I play a character named Johnny in the first two episodes. Byron Bowers who plays Slappy Johnson, his crew. And we had a really good time on set in our first episode. A lot of it was just doing a lot of improv, which was interesting and fun. The second episode was just us having a good time together. Yeah.

Well, Don, you didn't mention the star of the show.

DDJ

Natalie Portman.

An Academy Award-winning actress. Natalie Portman, correct?

DDJ

Yes. Yes.

Did you have any scenes with her?

DDJ

I didn't have any scenes with her, but I had scenes with Moses Ingram, and she's a phenomenal actress.

Now, I did some extensive research on you, which means I went to your IMDB page. You've acted in 32 pieces, correct?

DDJ

I mean, I don't remember the number.

It’s 32, trust me, I counted. What was the most popular thing you've done?

DDJ

Probably Lady in the Lake, the one that's coming out now. I mean, I've done Gotham Knights, Gotham Knights was pretty cool. Opposite Misha (Collins) from Supernatural. That was a great little time. And then, yeah, I'm not sure, really. I guess BMF. People are familiar with that show. I was in an episode, and it was fun as well. But also, at the same time, the projects that we've made, you know, I love those projects, and those are some of my most favorite projects that I've ever done.

Well, that's a beautiful segue, my friend, because we'll discuss Last Option. I love it. My wife loved it. You not only acted in it, you not only produced it, but you also directed it. Now, tell me what that was like.

DDJ

Yeah. It's so awesome when you get to make projects with your friends. My friend, A.J. Fitzgerald, wrote the script. We've known each other for close to a decade, and we've been making movies for close to that amount of time together. And I remember there was a movie I was able to be a part of. He got inspired, and we knew that we wanted to make a fun movie. And he wrote Last Option in 15 minutes. He had the script written down in 15 minutes! The guy is brilliant to me. I always say he has a brilliant mind, and I just love working with him. And even more than that, I love our friendship. The funny thing with this project (Last Option) is that he wrote it years ago. I want to say about like 2018, 2019 around that time. But we basically shelved it because we were working on other stuff. And then we were like, yo, we're going to shoot a project that I ended up writing, which was Bonnie. It's like a project about a foster care kid, and I was trying to raise money for that, but the money didn’t come through because I actually ended up booking Lady in the Lake. So, I had to fly out to Baltimore, and the traction for the money that I was raising fell apart. So we're like,” What can we do for a little bit of money and that we can just, you know, make it happen?” And we brought up Last Option. We shot that for $1200 in three days.

And yeah, we were able to put that together in a fun way. We brought together some of our friends, Candice Marie Singleton. I have been friends with her for close to a decade, and she moved up here to Atlanta from Miami. And that's where we all met. And it's just been awesome. Just, you know, making projects with your friends and the friendships that we're able to build on set, too.

And like with my DP Cam Nails, he is going to be DP for the next project that I'm shooting next month, which is called Heart To See. It is just beautiful to see how we can enjoy these working relationships and friendships. You know what I mean? I think it's always fun when you get to work with people who bring their A-game, but are also excellent at what they do.

I do. And I'm glad you brought up Heart To See. We’ll get to that shortly because my friend here is doing a crowdfunding campaign on Seed & Spark. I want you to donate to his film because he's a brilliant filmmaker. And for those who haven't seen Last Option, well, what is it about?

DDJ

Yeah, it's about a guy named Daniel who can see into the future, and he uses those abilities to commit burglaries. It’s a sci-fi buddy comedy. It's an adventure film, you know. It's a film that wanted to tackle the platonic relationship between him (Daniel) and the lead, Josie. Josie’s like this eccentric homeless person, and she's breaking into the same house he's breaking into.

But it's a fun project, and we're looking to expand it. We're trying to shop around and get the funds to make that project as well.

DDJ

Well, I have to ask you. I mean, I work for the Atlanta Film Festival. So what did you think? You were a part of the festival this year, and it was huge. What were your impressions?

DDJ

Yo! I love the Atlanta Film Festival! Atlanta Film Festival is the best film festival. Do you know what I mean? From the way everything was curated to the way they treated the filmmakers, to the parties, to the get-togethers, to the way every single aspect of the film festival was run, it was top-notch. The people that I was able to meet were amazing, the food was great, you know, every aspect of the film festival was phenomenal, and connecting with you was great. Do you know what I'm saying? So it was just pretty cool meeting great people throughout the festival from day one to literally the end and even at the launch party. The Launch Party was phenomenal. You know? So I love it. I love it, I love it, I love it! The hope is that we get the actual green light for Last Option, that that would be like the premiere, you know, for us, you know what I'm saying? So, yeah.

Well, it's awesome too, because we celebrate independent film. We support and celebrate independent film. And independent filmmakers are a community. And one thing that we try to do at the festival is bring everybody together. I'm a writer, you know, I want to be around other writers. I want to be around other visionaries. I want to be around other filmmakers. We all, at one point or another, got that chill moment, that goosebumps moment while watching a film, whether we were little kids or adults or all the space in between. And sharing that common bond, whether you're an actor, a producer, a director, a writer, whatever the case may be, because they're all their folks. You go to the Atlanta Film Festival, and you're surrounded by them, like at the Launch Party, which was off the hook. It kind of took us back. My God, this is way bigger than we thought it would be. But it was awesome, too, because it was just like, wow! This is really showing you that the independent film industry is just bursting at the seams with these amazingly talented, gifted, passionate, and driven folks such as you.

So I say that to ask you something. What was it that grabbed you? What film just grabbed you, whether you were an eight-year-old at the theater or watching a TV show, and you were like, my God, I need to do this?

DDJ

You know, I think it's interesting, right? Because it's like growing up, I wasn't necessarily ever thinking that I'd ever be in this industry, I'd ever be in this world of filmmaking. But I remember there was one time, even as a kid, just watching Blade, I was like, wow! A black man is on screen as a vampire. That's pretty cool, you know? And I was really young just seeing it and just enjoying it. And then fast forward to seeing all the different films such as Remember the Titans and, you know, seeing these performances that were just so alive and rich was just like, wow, this is pretty cool. And then there was one day I was in middle school. I was getting ready for school. I looked in the mirror and wondered if I wanted to be an actor. It was just a thought, but I remember I had that one thought, and then it was just like, I don't know.

But it was later, I was in high school just doing my thing, and my guidance counselor ended up putting me in Drama 2 randomly. And my mind is just like, I've never taken a drama class in my life. And the funny thing is, literally, we're in class, and we're doing all the exercises, and one of them, they're like lay down on the floor, close your eyes. Imagine this scene is happening. But next thing I know, I'm falling asleep, and I'm just like, yeah, this isn’t for me. So I'm not even doing the exercise. I'm just sleeping in class because I didn't really know what this was.

But later on, around my freshman year of college, my friend and I went to an audition at church, and it was for a play called Jesus of Nazareth. And he was like, do I want to audition? And I was like, sure, I guess. I really have nothing to do. And then, I went to the audition, and I got the role that I auditioned for. Ever since then, I have been doing theater, being alive in front of people, and just experiencing the project and the play and just everything with the audience. It was so powerful it created the acting bug in me and the passion to just keep going with this art of creating films and being a part of moving stories.

So that’s the first time you smoked the drug, for lack of a better phrase. I know for actors in particular, if you ask them what world they would love to live in, I think the majority of them say stage because there's such a rush that comes from performing in front of a live audience every night. So, what got you into film?

DDJ

Let's make movies, you know? Let's make our own projects. Let's shoot stories that we want to tell. Because there were times when I wanted to do plays… But at the same time, I saw the opportunity with film and TV to reach even more people with stories that can change lives.

And I feel like I'm in this world to change lives, to impact lives, to help somebody have a better day, you know? But if somebody was dealing with something and they felt bad and they came in and watched a movie that I was part of or helped make, and then their days uplifted, that right there makes me feel like, wow! That right there is amazing; you know what I'm saying?

I love that answer. I know you were saying it means so much to you to have a community. You know, a lot of people say you've got to be a part of a community. You have to start your own community, find people around you, find others, work with writers, find writers' groups, etc. I mean, if you ever see the Steven Spielberg documentary, you find out who his friends were when he was first making films, and it's like, he was friends with Martin Scorsese, Francis Ford Coppola, Brian De Palma, and George Lucas.

You're like, okay, well, I saw his clique of people. How do I find my clique? How did you find your community? How do you find your clique?

DDJ

I will say Facebook.

Really, how?

DDJ

For example, AJ is one of the first people to come to mind. I met him at a church event, and we just connected there, and then we added each other on Facebook. But fast-forward one day, and I was like, “Hey, I'm setting up a writer's group. Does anybody want to join?” He responded to it, and then a couple of other people responded.

And then, from those people who responded to it, we started going to Starbucks weekly and reading up and, you know, working on different prompts and creating different short stories and scripts and all that. And then there were certain friends I also met at auditions. I met Candice at an audition. I met a friend of mine named Adebiyi at a Home Depot audition.

So, another friend, Isaac, and I met him at an audition. So, like actors, I've met at auditions. Writers, I've met at different places and Facebook, and then just knowing that, like, I feel like I'm a vision-filled person, and I have a lot of vision in terms of like, what is possible and what can be accomplished in the projects that we can tell and the stories that we can create to change people's lives.

Certain people definitely draw to it, and I'm drawn to it, and then I'm drawn to their vision as well. And I think, you know, we gravitate towards one another, and we know that we want to just make fun and impactful stories. And we're not in it to be famous or anything.

We're in it to change people's lives. We're in it to make an impact. We're in it just because we love it. There's this love for this craft. This is love for film, love for acting, love for storytelling. And I feel like I gravitate towards those people who know that they're doing this, you know, for purpose, and then are enjoying it, have fun with it.

That’s beautiful. It's funny; you made me think of the movie America Fiction. Have you seen it?

DDJ

No, no. With Jeffrey Wright?

Yeah, it's sensational. And I watched it, and as soon as I'm done watching it, I'm telling everybody, I'm telling my wife, I'm like, I will watch it again right now with you if you watch this with me. That night, I'm reading the script because you're like, I got to see how this all started.

And the reason why—and I don't know if you feel this way—is that there is no medium on Earth that gets you, moves you, speaks to you, and sings to your soul like cinematic storytelling. So, I have to ask you, since you’re attracted to visionaries, what do you see for the future of cinematic storytelling?

DDJ

Future of cinematic storytelling…

Is it shorter films? Is it in the world of TikTok, where my 17-year-old has an attention span of less than 45 seconds?

DDJ

Yeah, Yeah. No, that's a great question, man. Honestly, I think it's independent storytellers and independent filmmakers. You know, so many articles came out literally specifying how there's been a 40% drop in productions that are being made and people who have lost their jobs and now have to do other work outside of the industry because of the lack of productions being shot.

Meanwhile, independent filmmakers are rising up. I think I even saw something about Netflix saying that now they will be branching out towards independent filmmakers and considering their projects to be brought onto their platform. And I think that's a beautiful thing because, as an independent filmmaker, if I can shoot a feature film for $25,000, I will make the best movie that we can possibly make as a team.

And honestly, even with TikTok, I've seen some cool things happen. But I will say, though, I think they tried to test a three-minute service that was out for a while and shut down because people still want to go to movies. People actually enjoy a cinematic masterpiece. People want to be able to go to the cinemas. I think the future is independent filmmakers telling stories at a budget level that isn't necessarily a blockbuster, you know?

Great answer. And I want to point out something you mentioned earlier about how you found your community on Facebook. One of the classes that we offer at the Atlanta Film Society is Genre Feature Screenwriting, and we have one coming up.

Ruckus and Lane Skye, two accomplished filmmakers and screenwriters, teach the class. After you finish the class, you have a page devoted just to all the people who attended it.

Another community builder is using the Atlanta Film Society. Every third Tuesday of the month, shameless plugging right now, every third Tuesday of the month at Manuel's Tavern, we have Eat, Drink, and B-Indie, which we always have a theme for the night, but immediately thereafter words, we have about an hour for everybody to network.

And there are people like Don who go there. So whether you’re an actor, producer, director, or writer, it doesn't matter. They're all there. Anybody watching (or reading) this right now, use us. Use the Atlanta Film Society, use the Atlanta Film Festival, and let us help you achieve your dream.

At least we can put you in front of people who are like you. And speaking of people like you, I have to ask you something. Given where you are now, what would you say to you ten years ago? Would you want to speed up the process if you could give yourself a piece of advice that would possibly get you further along in the process at a faster rate?

Or would you be like, you know what, kid, take your time? You need to experience some things.

DDJ

Yeah, I definitely would allow myself to still take that time. But at the same time, experience life at a rate where you’re taking in everything around you. And I say that because I know there are moments where I wanted to learn how to play an instrument, and I didn't do it when I should have. And I think that would have benefited me. Not to say, I still can't do it, which I still can't. But I think I would have told myself, “Hey, Don, you know, yo, learn as much as you can, get better at the craft in your life that you love, but at the same time, don't necessarily let the acting be everything.”

You know what I mean? Because everything else around you helps develop the acting. And if I'm a better musician, I'll be a better actor. I can take that into the acting. I can take on a character who knows how to, you know, play the piano. La La Land is one of my favorite movies. Ryan Gosling kills it as a pianist and jazz musician. You know what I'm saying?

So, I think I just experience life and learn as much as I possibly can, enjoy every single moment, and enjoy the people around me. I lost my grandma a couple of years ago; I just wish I had spent more time with her, you know?

So spend more time with the people around you, learn from them, and hear their stories. And I think, yeah, it wouldn’t even necessarily be about the acting, but it'd be about the people that you love and the experiences that you are able to experience.

Beautiful. I was chatting with the writer, not the writer of the book Fight Club (Chuck Palahniuk), but the writer of the screenplay Fight Club (Jim Uhls). And I asked what one thing in your life helped you become a better writer. And he goes, I took acting classes, and I was like, no kidding. Aaron Sorkin, who is usually everybody's screenwriting’s favorite writer, was an actor who started out as an actor. So, just be well-rounded.

But I have to ask you, whether it be a kid watching or an adult who has stories to tell, what would be a piece of advice you can give them to help them get to where you're at today?

DDJ

Don't be afraid to tell those stories. You know, I'm the type of person that I really need to make it happen. If you can implement that in your life to make it happen, that will help you get further than you would have thought. Because I think about it like this, with Last Option, that was a film that we made, but if we didn't make it, I wouldn't be in this interview with you. You know what I mean? I wouldn't be sitting here right now having this conversation with you. I wouldn't have been able to be at that film festival and have that on my resumé now, and not only for me, but every single person who worked on that film wouldn’t have had it on their resumé.

For example, I know AJ's life has benefited from being a part of that festival. The people that he's been able to meet, especially as a writer, and the connections that he's been able to make as a writer have been a blessing because we decided to make that movie. So it's like for anybody who's watching and is afraid. Hey, if you have to do it afraid, do it afraid. But know that you’re taking that first step; that's what matters.

That’s all that matters. Like the crowd watching your film, right? And speaking of crowds, let’s talk about the film you're crowdfunding for, which is Heart to See. Now, you're not playing one role because God forbid you only play one role in a film you're making or being a part of. Usually, you're wearing multiple hats. So, what roles are you playing in the film?

DDJ

I ended up writing the script, and I'll also be producing, directing, and starring in the film.

Look at you. Now, this is your first time writing.

DDJ

First official time. I'd say that we're actually getting a project out that I really put some time into writing. Yeah.

You told me something earlier. Tell everybody what you did. You kind of experimented with storytelling to get to where you are now with your TikTok, right?

DDJ

Yes. Yes. So it's very funny because it was before I wanted to test something out and build an audience. And I was like, I was seeing what was happening on TikTok, how people were, you know, just building crowds at such an audience at such a fast rate. I was like, I wonder if I could do that with the project, you know?

So I wrote a one-minute episode series. I was doing some funny videos and some creative and talking videos, encouraging videos, I ended up gaining a good amount of followers in a little bit of time. And then I just lost traction.

But then for that series, I started building a little bit too, but then the part that did suck, though, was that at the time, I didn't really know how to edit as well, so I was paying for an editor, and I was like I don't have $750 to pay for the rest of this stuff.

So, only a couple of episodes are up. I just wanted to test it out and see if I could build the audience. But at the same time, I learned how storytelling on social media platforms can go as well. And I'm proud to say I did it. You know what I'm saying? It wasn't the greatest writing. But I'm proud of the fact that I was able to do it, put myself out there, and do that.

But now, with this project, Heart to See, I believe with some of my best writing. I've grown as a writer and I've grown as an artist since then till now. And I'm just thankful that I’m doing it. I was afraid but I did it. And I'm proud of the fact that we are here now.

And a lot of people have read the script for Heart to See so far. They're really digging it. There are some things that we're still tightening up, but for the most part, it's a pretty solid story.

What is the story about?

DDJ

Iit's about this guy named Zack on his 30th birthday. And his aunt shares with his mom how he looks like his dad. So that opens up Pandora's box for him. But the only thing is he's never met his dad. And he wants he wants to meet him for the very first time before he goes blind. So it's a heartfelt family drama.

And yeah, I think it's a proof of concept for a feature as well. We have an amazing cast and crew. Markuann Smith and Christina Horn are involved in the project. Christine, she's an amazing actress. She leads Hollywood Bound Actors. She's been in BMF. So many amazing projects as well. Snowfall. She's great. When I say she's one of the best actresses I've ever seen, I'm super thankful that she decided to be a part of this.

And Markuann Smith, he's he actually created this one show called Godfather of Harlem that’s on Epix and stars Forest Whitaker. So he's part of this project, and I'm thankful that he's a part of it, too.

And we just got some really cool people because, of course, they’re Korstiaan Vandiver, Dario Harris, and the homie Corwin Tuggles. So it's just some amazing friends as well because I love working with the same people, too, you know. And people I know are going to put in great work.

Well, you have a Seed & Spark campaign going right now?

DDJ

Right now.

Where can people get more information?

DDJ

Yeah, if you go to our Instagram page, HeartToSeeFilm, and click the link in the bio, the link, and it'll take you directly to the page. On that page, you can choose whichever incentive you want, whether that be $10, so you know, $1,000, or even if you want to give $5.

But there are many incentives that you can get with the giving towards the project. And yeah, man, so we are aiming to raise this film by the end of August, and going into production next month.

Awesome. Congratulations. Thank you. Not only for being who you are, which is a hell of a man, but also for being an Atlanta Film Festival ‘24 Alumnus, for being a working actor, and for trying to inspire people via your stories. So, if they want to keep up with what you're up to, how can people follow you on your social handles?

DDJ

Yeah, thank you, bro. Don- Dimitri Joseph and that's on Facebook, Instagram, Twitter (X).

More than anything, I want to say thank you for your time. And before we go, we all have to say congratulations to you, by the way, on being a newly married man.

Welcome to the world of Till Death Us Party. I have one last question: Is she a fan of your work?

DDJ

She is, man. When I say she is, she's amazing. I mean, this. This woman is amazing, as is the case with Last Option. I will tell you this, she watched that movie with me at least a thousand times when I was editing, and I was like, does that sound good? Is that cut too quickly? Like, does that work? Does that flow good? Like, I just fixed the audio, can you hear the white in the background?

She literally sat and watched the whole film from beginning to end in my editing. And man, just her support. I love that woman so, so much. And yeah, I'm thankful that she chose to marry me because, man, she. She's amazingly beautiful.

Well, thank you again, my friend. I appreciate you.

DDJ

Thank you.

And for any filmmaker watching, whether it be the Atlanta Film Festival ‘24 or any years prior, and you would like to be part of this series, which we will be doing with our alums, you can email me at keith@atlantafilmfestival.com. You can check out everything we're doing at the Atlanta Film Society by going to atlfs.org. And, of course, the 49th Atlanta Film Festival is coming next April.

You can check that out on atlantafilmfestival.com. On those pages, you'll find all of our social handles if you want to follow us, see what's going on, and see what classes we're offering. As I mentioned, we have these free networking events every month, EDBI. I really suggest people, you go to them. You'll not only learn things, but you'll meet people.

Wonderful people like my friend. So again, thank you. And take care, everyone.

So, what does Don-Dimitri Joseph “get”? I’ll pull this quote for you again:

“We're in it to change people's lives. We're in it to make an impact.”

He gets why he’s doing what he’s doing. He gets that it’s not about him; it’s about the people who come and spend their money and, more importantly, their time watching him do what he does. It’s about making them think, laugh, cry, whatever takes their minds off their bills, their kids' grades, the job they hate… He gets it.

And he gets that he’s not done, not by damn sight.

Written by Keith Hannigan

Laura Williamson 6/17/24 Laura Williamson 6/17/24

Moonshine Post Finishing Grant Unveiled at Atlanta Film Festival 2024: Empowering Georgia's Independent Filmmakers

Moonshine Post Production, in collaboration with the Atlanta Film Festival (ATLFF), is proud to announce its latest initiative: the Moonshine Post Finishing Grants.

In an industry that has navigated a global pandemic, followed by industry strikes, Moonshine Post and its partners are dedicated to empowering filmmakers and supporting their creative endeavors. The Moonshine Post Finishing Grants provide crucial assistance to filmmakers, enabling them to bring their visions to life.

Atlanta, GA — Tuesday, May 14, 2024 — Moonshine Post Production, in collaboration with the Atlanta Film Festival (ATLFF), is proud to announce its latest initiative: the Moonshine Post Finishing Grants.

The 2024 Post Finishing Grants were awarded to the Best Georgia Short and Best Georgia Feature at the 2024 Atlanta Film Festival. The grants are intended to provide color finishing for independent filmmakers that go through the Atlanta FIlm Festival official lineup. The first grant, valued at $4,000, will be awarded to a filmmaker who requires finishing for their short film; the second grant, valued at $25,000. The filmmakers who were awarded these grants were selected by the Atlanta Film Festival.

Past recipients of the grant, such as Kayla Johnson, 2022 ATLFF official filmmaker of the short, “I Am Jalaiah”, have praised Moonshine Post for its professionalism and dedication to nurturing emerging talents. Through initiatives like the Finishing Grant, Moonshine Post continues to uphold its commitment to fostering a vibrant and inclusive film community in Georgia.

Jenna Kanell and Raymond Wood (who won Best Georgia Feature for their film “Faceless After Dark”), along with Julio Palacio (who won Best Georgia Short for their film “Makayla’s Voice”) were awarded the grants on May 5, 2024 during the Atlanta Film Festival’s Filmmakers’ Brunch.

“Receiving the Georgia Film Award at the Atlanta Film Festival — an event I’ve been attending as an avid cinephile for nearly 20 years now — along with this Finishing Grant from Moonshine Post — another organization I’ve admired since (literally) day one — is an incredible honor, and one that I do not take lightly given the many talented filmmakers in the Southeast who are equally deserving of this level of support. As someone devoted to promoting inclusivity and equity both on-screen and off, I know that grants like these are crucial to helping us tell the kinds of stories that need to be told, and we are endlessly grateful for Moonshine’s continued support of homegrown, grassroots, independent filmmaking,” recent finishing grant winner, Raymond Wood, said.

Drew Sawyer, founder and Managing Partner of Moonshine Post, emphasizes the importance of community support in nurturing Georgia's creative economy. "I wouldn’t be here if my mentors and colleagues didn’t pay it forward," Sawyer said, highlighting the collaborative spirit that defines Georgia's film industry.

Christopher Escobar, Executive Director of Atlanta Film Society and ATLFF, echoes this sentiment, emphasizing the role of grassroots initiatives in nurturing local talent. Through year-round programming and events like the Atlanta Film Festival, the Atlanta Film Society serves as a cornerstone of Georgia's filmmaking community.

The unveiling of the Moonshine Post Finishing Grant at the 2024 Atlanta Film Festival exemplifies Atlanta’s commitment to supporting its filmmakers and fostering a thriving creative ecosystem. As Georgia continues to dance through challenges, Moonshine Post remains dedicated to pouring back into the community and supporting the next generation of Georgia filmmakers.

For more information about the Moonshine Post Finishing Grant and other initiatives, please contact Brooke Sonenreich, Events and Education Director at Moonshine Post.

Media Contact:

Brooke Sonenreich

brooke@moonshinepost.com

(305) 298-5785

About Moonshine Post Production

Moonshine Post Production is a leading post-production company based in Atlanta, Georgia, dedicated to providing high-quality services to filmmakers of all backgrounds. With a commitment to nurturing local talent and fostering a vibrant creative community, Moonshine Post is proud to support the next generation of Georgia filmmakers.

About Atlanta Film Festival (ATLFF)

The Atlanta Film Festival (ATLFF) is one of the largest and longest-running film festivals in the United States, celebrating the best in independent cinema from around the world. Founded in 1976, ATLFF showcases a diverse range of films and hosts industry events, workshops, and networking opportunities for filmmakers and enthusiasts alike.

Laura Williamson 5/18/24 Laura Williamson 5/18/24

ATLANTA FILM FESTIVAL + CREATIVE CONFERENCE ANNOUNCES 2024 AWARD WINNERS AND EVENT RESULTS

The 48th annual Atlanta Film Festival + Creative Conference (ATLFF) is proud to announce the award winners for the 2024 festival, which took place from Thursday, April 25 - Sunday, May 5, 2024.

ATLANTA, GA (May 17, 2024) — The 48th annual Atlanta Film Festival + Creative Conference (ATLFF) is proud to announce the award winners for the 2024 festival, which took place from Thursday, April 25 - Sunday, May 5, 2024.
Today’s announcement recognizes filmmakers in 15 categories for their achievements and cinematic excellence. Winners of the Narrative Short, Animated Short and Documentary Short Jury Awards not only proudly took home their awards, but now also qualify for the 2024 Academy Awards®. Now in its fifth decade, ATLFF is one of only a handful of film festivals worldwide that is Academy Award-qualifying in all three categories (live-action short, animation short, and documentary short subject).

Most award winners were chosen by distinguished jurors from all backgrounds across the film industry. The Audience Awards were determined by in-person attendees.

This year, Michael Showalter, director of “The Idea of You” was presented with the Rebel Award. The Rebel Award honors someone who has shunned the typical industry expectations and paved their own path, in defiance of both norms and naysayers. This award is inspired by Atlantans who haven’t been afraid to break the mold, speak out and create change.

Additionally, Bill Duke, Director of “DEEP COVER” was honored with the Ossie Davis Award for Innovation in Filmmaking. Named in honor of one of Georgia’s most beloved and distinctive film talents, this award recognizes creative excellence and dynamic contributions to the art of cinema while also promoting human dignity and social justice.

With 118 countries represented in the selections, more than 24% of films had ties to Georgia filmmakers. The 142 total creative works from submissions featured diverse filmmakers who continue to uplift voices and stories from around the world. Of the selections, 49% are directed by filmmakers who identify as female or non-binary, and 59% are Black, Indigenous, or People of Color (BIPOC). Eleven Marquee screenings combined Hollywood star power with the best of independent film.

Continuing with a hybrid model of in-person screenings and digital screenings, the 2024 event drew in over 20,000 total attendees. Over 16,000 people attended 153 screenings, panels, and events held primarily at The Plaza Theatre and Tara Theatre with select events at the Atlanta Contemporary Art Center, Fox Theatre and Fulton County Airport in addition to a variety of restaurants and bars across the city, during the 11-day festival. An additional nearly 4,000 people streamed screenings from ATLFF’s virtual catalog of 142 films and 13 virtual Creative Conference workshops, panels, or Masterclasses.

With over a dozen of the in-person screenings selling out, the virtual presentation of the film catalog also proved to be a success. More than three months’ worth of content was streamed during the festival, with viewers in 32 U.S. states, and 10 countries across four inhabited continents.

A full list of jury members with brief biographies is included below, as well as film information for all award winners and honorable mentions.

The 48th annual Atlanta Film Festival + Creative Conference took place from April 25 - May 5, 2024. ATLFF is currently accepting submissions for the 49th annual festival, which is confirmed to take place April 24 - May 4, 2025.

More information can be found at https://www.atlantafilmfestival.com/submit.

2024 ATLANTA FILM FESTIVAL AWARD WINNERS

SPECIAL AWARDS

The Rebel Award:

Presented ToWinner: Michael Showalter, Director of “The Idea of You”

Ossie Davis Award for Innovation in Filmmaking:

Presented ToWinner: Bill Duke, Director of “DEEP COVER”

JURY AWARDS

Best Documentary Feature:

Special Mention: HAPPY CAMPERS, dir. Amy Nicholson

Winner: AMAKKI, dir. Célia Bousebaa

Best Narrative Feature:

Jury Special Mention: ATIKAMEKW SUNS, dir. Chloe Leriche

Winner: THE BATTLE, dir. Vera Egito

Best Animated Short:

Winner: THE SUN IS BAD, dir. Rachel Mow

Best Documentary Short:

Winner: GOODBYE MORGANZA, dir. Devon Blackwell

Best Narrative Short:

Jury Special Mentions:

ONE HAPPY CUSTOMER, dir. WATTS (Jenna & Tripp Watt)

MR. BOLD, dir. Aiman Mimiko

Winner: SHUT UP AND FISH, dir. Raul Sanchez & Pasqual Gutierrez

Best Cinematography (Presented by Panavision and Light Iron):

Jury Special Mention: THE BATTLE, Cinematographer - William Etchebehere, dir. Vera Egito

Winner: ATIKAMEKW SUNS, Cinematographer - Glauco Bermudez, dir. Chloe Leriche

Georgia Feature Film Award:

Winner: FACELESS AFTER DARK, dir. Raymond Wood

Georgia Short Film Award:

Jury Special Mentions:

DEFINITELY NOT A MONSTER, dir. Brea Cola Angelo

PRELUDE OF A STORY, dir. Ashley Salman

Winner: MAKAYLA’S VOICE, dir. Julio Palacio

AUDIENCE AWARDS

Feature Audience Award:

Winner: THE SOUTH GOT SOMETHING TO SAY, dir. Tyson Horne, Ryon Horne

Short Audience Award:

Winner: MAKAYLA’S VOICE, dir. Julio Palacio

SCREENPLAY COMPETITION

Feature Screenplay:

Feature Screenplay Winners: “Belonging” by Liz Fields, “HEARTRACE” by Will Bermender, and “Lo & Em” by Claire Audrey Aguayo

Pilot Screenplay:

Pilot Screenplay Winner: “Gallatin” by Ryan Skinner

Short Screenplay:

Short Screenplay Winner: “Handle With Care” by Allison Orr Block

JURORS

Narrative Feature Jury:

Jessica Chriesman, Director of Education - Sidewalk Film Festival

Jessica Chriesman is an award-winning filmmaker based in Birmingham, Alabama. She has worked as a director, producer, researcher, and/or cinematographer on projects for Twin Cities Public TV, Southern Foodways Alliance, Vox Creative, Alabama Public Television, Dirty Robber and more. She is the Director of Education and Outreach at Sidewalk Film Center and Cinema where she plans learning opportunities through the lens of film and media. In 2021, Jessica was named a Morgridge Acceleration Program Fellow working with the Jane Goodall Institute on their storytelling strategies. She has served as a grants panelist for the National Endowment for the Arts and the Alabama State Council on the Arts and as a juror and programmer for film festivals across the South. Most recently, she programmed the Mississippi Made films for the 2024 Oxford Film Festival. She has led storytelling and filmmaking classes and workshops at UAB, Georgetown, and the University of Florida, and for the Jane Goodall Institute Africa Programs staff in Kigoma, Tanzania. Her films have screened across the United States and internationally.

Ryan Prows, Director, Writer

Ryan is a filmmaker, a gentleman, and a bon vivant par excellence. Or as Jason Bailey of The New York Times puts it: “Prows has a singular, gonzo energy and delirious sense of cinematic style.”

He won a Student Academy Award for NARCOCORRIDO, his thesis film at the American Film Institute, and his cult debut feature film LOWLIFE was hailed by audiences and critics alike. “The lean, brutal, surprisingly affecting package of Ryan Prows' feature debut LOWLIFE is a seriously nasty treat.” - The Hollywood Reporter.

LOWLIFE was released through IFC Midnight, and made several Best of the Year and Top Ten lists, drawing favorable comparisons to PULP FICTION and the early work of Quentin Tarantino. Tarantino himself called the film “a real stroke of genius” and praised its writing and originality. Seriously.

V/H/S/94, a recent entry in the wildly popular horror franchise, was a New York Times Critic's Pick, named on Variety's list for Best Horror Movies of 2021, and was a blockbuster hit for Shudder as the service's biggest premiere ever. TERROR, Ryan’s segment, was named the #1 V/H/S segment across the entire franchise's six film history by Dread Central. “TERROR is a playful, lo-fi lark directed with humor and visual invention by Ryan Prows.” - New York Times

Ryan resides in Inglewood, CA with his lovely wife Megan and his absolutely perfect baby Marvel.

Jermaine Johnson, Manager / Academy Award Nominated Producer - 3 Arts Entertainment

Jermaine Johnson is a manager and Academy Award-nominated producer at the Beverly Hills-based 3 Arts Entertainment. Originally from New Jersey, he graduated from Rutgers and has spent over ten years building an impressive client roster in Los Angeles, New York, and Chicago (and is currently spearheading 3 Art’s expansion into Atlanta). He was featured in The Hollywood Reporter’s 35 Under 35 Next Gen 2020. Jermaine was an Executive Producer on the Image Award-nominated series FROM SCRATCH, currently streaming on Netflix, and is a Producer on Cord Jefferson's TIFF Audience Award winner and Academy Award-nominated film AMERICAN FICTION starring Jeffrey Wright.

Jermaine represents a wide variety of writers, directors, journalists, and comedians from many different backgrounds. Amongst these clients are Attica Locke (FROM SCRATCH, LITTLE FIRES EVERYWHERE, award-winning author of BLUEBIRD, BLUEBIRD), Azie Dungey (UNBREAKABLE KIMMY SCHMIDT, SWEETBITTER, TWENTIES), Cord Jefferson (Academy Award Winner for AMERICAN FICTION, Emmy award winner for WATCHMEN, SUCCESSION, THE GOOD PLACE), Julia Bicknell (YELLOWJACKETS, THE HAUNTING, 13 REASONS WHY), Justin Hillian (THE CHI, SNOWFALL), Jia Tolentino (TRICK MIRROR), Leann Bowen (WGA and Emmy winner for TED LASSO) and more. He prides himself on finding fresh voices in places where others don’t often look and giving them a platform to share their unique points of view and opinions.

Documentary Feature Jury:

Alexandra Fredricks, Non-Theatrical Distribution & International Sales

Enthusiastic about functioning as a bridge between creators, industry, and audiences — Alexandra Fredricks handles Non-Theatrical Distribution and International Sales at Oscilloscope Laboratories, a Brooklyn-based independent film distribution company founded in 2008 by Adam Yauch. Previously, she held the positions of Programming and Operations Senior Manager at Metrograph and Film Screening Operations Manager at the Doha Film Institute (DFI). She has over 15 years of international experience in film exhibition organizations and festivals in New York, Qatar, Canada, Australia and The Netherlands, and has served over the years on a number of Jury and Screening Committees, and as a talent liaison for New York Film Festival (NYFF).

Darcy McKinnon, Documentary Producer

Darcy McKinnon is a documentary filmmaker based in New Orleans, whose work focuses on the American South and the Caribbean. Recently released projects include A King Like Me and Roleplay, premiering at SXSW 2024, Commuted (PBS, 2024), Algiers, America (Hulu, 2023), Under G-d (Sundance 2023), Look at Me! XXXTENTACION (SXSW, Hulu, 2022) and The Neutral Ground (Tribeca, POV, 2021), recipient of LEH Documentary of the Year 2022. Current projects in production include Jason Fitzroy Jeffers’ The First Plantation, A King Like Me, Abe Felix’s Turnaround, CJ Hunt’s Unlearned and Suzannah Herbert’s Natchez. Her work has been on POV, Reel South, LPB, Cinemax and Hulu, and has screened at Sundance, Tribeca, SXSW, CPH:DOX and more. Darcy is an alum of the Impact Partners Producing Fellowship and the Sundance Institute Creative Producing Fellowship, and a recipient of American Documentary’s Creative Visionary Award in 2023.

Larisa Apan, Programming Director

Larisa Apan is the Director of Programming for Montclair Film + The Clairidge. Originally from Romania, she currently resides in New York where she has been involved in the film industry for over a decade, including positions as a Senior Programmer for Hamptons International Film Festival and Sarasota Film Festival. Prior to that she worked on several award-winning shorts that screened internationally at festivals, including: Tribeca, TIFF, Austin, and SXSW. For several years she worked with Academy Award®-winning documentarian Murray Lerner, helping to manage his production company as well as overseeing the digitization of his archive for the Library of Congress. She has also collaborated with both Hamptons International Film Festival and I.F.P. (now Gotham) to select the screenplays for the HIFF Screenwriters’ Lab and I.F.P.’s Emerging Storytellers Lab.

Narrative Short Jury:

Adesola Thomas, Filmmaker, Festival Programmer, East Coast Producer at Letterboxd

Summer of 2023, Adesola wrote and directed Ola Ola (9 min), a comedy short about a surprise reunion between two queer Nigerian cousins that’s been distributed by indie-streamer, No Budge and screened by Millenium Film, Southern Fried Queer Pride, and Deeper Than Movies in London. Adesola is a 2024 Bleecker Street BIPOC Mentorship Fellow, a 2024 Sundance Press Inclusion Initiative Fellow, and a proud member of the New York Script Supervisors network. She enjoys 1st AD’ing music videos, dancing at parties, and swimming with friends.

Jen Lynch, Director/Writer

Jen Lynch has been writing and directing film and television for more than two decades. Features, Boxing Helena, Surveillance and Chained, garnered attention and awards both in the States ans Europe. Jen has directed television for 15 years and is thrilled by it. From multiple episodes of the Walking Dead to four episodes of MONSTER: The Jeffrey Dahmer Story, Jen plays with dark notes. In multiple other shows, 911, Jessica Jones, Daredevil, American Horror Story, (seasons 6-12) she has been able to explore comedy and drama, while enjoying the world of stunts and visual effects. Jen authored a novel, The Secret Diary of Laura Palmer, for the series Twin Peaks, and In the documentary DESPITE THE GODS Jen’s struggle to make and ultimately lose a film in India is chronicled. Jen is 56 this April, and considers her daughter, Sydney Lynch, to be her finest production to date.

Documentary Short Jury:

Adam Harris Engelhard, Head of Production, Buffalo 8 | Producer

Adam Harris Engelhard is a film producer & former literary manager with over 10 years of industry experience. Starting his career at ICM Partners, Adam worked in the MP Talent department where he cut his teeth in film packaging. From there he worked for Academy Award winning producer Dan Jinks at CBS Studios. In 2016 Adam founded Mailroom Entertainment where he managed a roster of 15 budding writers and directors. He graduated from The University of Alabama with a Bachelor of Science in Commerce and Business Administration. Currently he serves as the Head of Production for Buffalo 8.

Alexandra Kern, Filmmaker

She has produced commercial and independent acclaimed projects for artists such as Dua Lipa, Lil Nas X, and Kendrick Lamar. Her directorial debut, the short documentary Wild Magnolias, is currently on its festival circuit having screened at Oscar-qualifying festivals. The short was honored by a special screening at the New Orleans Jazz Museum where it was offered a permanent stay in their historical archive. The film premiered online on Short of the Week and is also available on Aeon Magazine.

Matthew Hashiguchi, Documentary Filmmaker and Associate Professor

Matthew Hashiguchi is a documentary filmmaker and Associate Professor in Multimedia & Film Production at Georgia Southern University. His most recent documentary, THE ONLY DOCTOR, had its world premiere at the 2023 Hot Docs Documentary Film Festival and was broadcast nationally on PBS Reel South. His previous documentary feature, GOOD LUCK SOUP, had a national broadcast on PBS World’s America ReFramed, and received a 2016 Documentary Fund Award from the Center for Asian American Media and the Corporation for Public Broadcasting. He is a recipient of a 2019 Gucci Tribeca Documentary Fund Award, a 2021 American Stories Documentary Fund from Points North Institute and CNN Films, and successfully installed an irrigation system in his backyard.

Animated Short Jury:

Lisa Ferrell, Filmmaker/Educator

Lisa Ferrell is a seasoned production professional whose background encompasses television series and film development and production/post production for television, film and digital content.

Lisa began her career as a Development Assistant in an Atlanta-based studio with a First Look Deal with a major network. She has gone on to has serve as Executive Producer for several of Atlanta’s foremost post production, motion capture and VFX facilities, including the Toronto-based SPIN VFX, and has helped create creative for some of the foremost advertising agencies and brands in the world. Most recently, Lisa worked with animation firm SLOTHIQUE as a Producer for the animated film MINE, which premiered at the 2021 Tribeca Film Festival.

She has also worked in series and tele-film development for such companies as CBS, Lifetime Television/Hearst Entertainment, NBC and TBS. While at motion capture studio Giant Studios/Profile, she was involved in the post production of films that include New Line Cinema’s “Lord of the Rings” trilogy and Sony Imageworks animated holiday feature “Polar Express” directed by Robert Zemekis and starring Tom Hanks. She was also instrumental in creating the pilot episode for the long-running “Ripley’s Believe It or Not!” series for TBS.

Lisa is a former President of the Georgia Production Partnership, serves on the Board of Directors for Film Impact Georgia and reimagineATL, is the Director of Education for the Milledgeville Eatonton Film Festival and serves on the Advisory Board of ASIFA South.

She is currently a Professor of Practice for Georgia State University’s Creative Media Industries Institute focusing on emerging technology.

Tiffany Kowalewicz, Production Manager

I have always loved art and animation and knew I wanted to be apart of that industry. I have worked in Production Management on film and television for the past decade or so. I studied at Savannah College of Art and Design where I received my BFA in Animation. Since then I have worked on multiple animation projects, working at multiples studios over the years including Laika, Blue Sky Studios and 9 Story Media Group. It’s always a wonderful experience to be apart of an animation project especially when you have such a passion for the artistry.

Marcus Rosentrater, Producer

Marcus Rosentrater is a two-time Emmy award nominated producer, director, editor, and animator with two decades of experience working in the film and television industries. For Floyd County Productions he has produced four seasons of “Archer” (FX Networks), two seasons of “Marvel’s Hit-Monkey” (Hulu), along with a number of pilots.

As an independent filmmaker he has produced and directed a feature film and directed, edited or produced over a dozen short films. Marcus’s versatility as a producer extends from development, to delivery, to launch. He is involved in the early stages of production, working with writers and writers’ rooms to dial in character, story, and make suggestions that will help production. Whether it be on set, in a studio setting, or in the voiceover booth, he has directed performances of the principal cast.

With experience producing live action and animation, Marcus has overseen projects with a variety of scope from those with multi-year schedules, international teams, crews in the 100s, and budgets in the millions; down to zero budget films based completely off found footage, and just about everything in between. These projects have brought a wide range of post-production experience from delivering to network television, streaming services, VOD, major festivals, and direct distribution online.

Through all this he is no stranger to navigating the terrain between the ambitions of various directors, show runners, and writers and the realities posed by production, network requirements, talent availability, etc. This hard work has earned Marcus numerous awards, including an Emmy win as the Animation Director of “Archer”, as well as an Emmy nomination for “Outstanding Animated Program” as a producer.

Georgia Shorts Jury:

Benjamin Wiessner, Producer, Vanishing Angle

Benjamin Wiessner is a producer and VP of Sales & Distribution at Vanishing Angle. He was named to Filmmaker Magazine’s 25 New Faces of Indie Film in 2012 as part of ornana films, where he began producing and distributing shorts and features with partners across the world. He has produced short films in both hand-drawn animation and live action, with awards at festivals including SxSw and Sundance. He has also worked on numerous features with premieres at Sundance, Berlinale, SXSW, Cannes, and Tribeca, including producing and self-distributing THUNDER ROAD (SxSw 2018 Grand Jury Prize). He consults, mentors, and consoles numerous early career filmmakers. Raised by educators, he frequently speaks about filmmaking, distribution, and film marketing at film schools, festivals, and conferences from Cannes to Kazakhstan. In 2018, he co-founded the Short to Feature Filmmaking Lab and in 2020 he helped launch the Vanishing Angle Post Grant for short filmmakers.

Deborah Riley Draper, Writer and Director

Her debut film Versailles ‘73: American Runway Revolution opened New York Fashion Week and Toronto Fashion Week in 2012, then debuted on LOGO TV. Versailles ‘73 is the first intimate look at the infamous Palace of Versailles fundraiser, which gave birth to American Prêt-à-Porter, led by Black models. The film won the HBO Best Documentary at the MVAAFF. Draper also directed the award-winning documentary Twenty Pearls: The Story of Alpha Kappa Alpha Sorority, Inc. in 2021 and the short documentary OnBoard: The Story of Black Women on Boards, which premiered at the 2023 Tribeca Festival.

Vivian Bang, Actor, Writer, Producer, Filmmaker

Vivian Bang is most recently in New Line’s Feature: “THE PARENTING” alongside stellar ensemble cast including: Parker Posey, Brian Cox, Lisa Kudrow, Edie Falco, Brandon Flynn for HBO coming soon. She is the Co-Creator, Producer & Lead of the feature film: “WHITE RABBIT” which premiered at Sundance Film Festival in 2018 and distributed by Gravitas. She played Jenny in Netflix’s hit rom-com “ALWAYS BE MY MAYBE” with Ali Wong, Randall Park & Keanu Reeves. She was a series regular for 3 seasons on Warner Bros/ TBS sit-com: “SULLIVAN & SON” as well as played ‘Sun’, a Private Detective opposite Peter Stormare & Keanu Reeves on PopTV & Viaplay series: “SWEDISH DICKS” for 2 Seasons. Her acting credits include episode of HBO’s “ROOM 104”, Apple TV’s reboot of “Amazing Stories”. Bang also recurred on ABC’s: “BETTER OFF TED” as well as guested on numerous TV series: “GET SHORTY”, “FAMOUS IN LOVE”, “ATOZ”, “KATH&KIM”, “NUMB3RS,” “MONK”, “BECKER”, “HOUSE” “HOW I MET YOUR MOTHER”, "SEX & THE CITY". Other earlier works are “YES MAN” with Jim Carrey, “LITTLE BLACK BOOK”, Hal Hartley's “HENRY FOOL”, and the Oscar nominated short “OUR TIME IS UP.”

NYU Tisch Graduate, Vivian Bang was original member of New York’s performance troupe: BIG ART GROUP & performed in renown art institutions and toured internationally with “SHELF-LIFE” & “FLICKER” including: Festival d’Automne à Paris, P.S. 122 (NY), The Walker Arts Center (Minneapolis), The Wexner Center (Columbus), Pan Pan Theatre Symposium (Dublin), Fresh Terrain/UT (Austin), The Warhol Museum (Pittsburg),Künstlerhaus Mousonturm (Frankfurt), Kaiitheatre (Brussels), Sommerszene (Salzburg).

Since moving to Atlanta over a year ago, she has started a performance group at the Plaza Theater called Performance Jam that has been used as development incubator for short films and have had performances all over Atlanta.

Georgia Feature Jury:

Chris Poche, Filmmaker

Chris Poché is a screenwriter with a hand in writing over twenty films for Paramount, Dreamworks, Sony, Fox/New Regency, and others, including work on Kung Fu Panda, Charlotte's Web, and Smallfoot. He also recently wrote and directed an indie feature, The True Don Quixote, starring Tim Blake Nelson (Watchmen, Oh Brother Where Art Thou?) and Jacob Batalon (Spiderman: Homecoming, Avengers: Infinity War), which opened in 2019 and is now available on major streaming services. A reformed architect, he stubbornly lives in New Orleans with his wife and three boys.

Genevieve LeDoux, Creative Producer

Genevieve LeDoux left her position as Vice President of a nationally and internationally known architectural firm fifteen years ago when she was recruited by a former executive of Warner Brothers. Since then she has developed and creative produced children's content overseeing original concepts through completion as well as rebranding, and redeveloping well loved intellectual properties. She was an integral part of the creative development team on some of the most popular and successful children's television series in the world including Hasbro Studios', MY LITTLE PONY, TRANSFORMERS, GI JOE, Wildbrain's YO GABBA GABBA and Mattel's BARBIE and MONSTER HIGH. She was also one of the main development creators on the updated content for Kids II's BABY EINSTEIN pre-school series overseeing the entire three years of development and production. Most recently, she produced and directed a mini-pilot with her husband for the creators of the legendary purple dinosaur Barney.

Genevieve helped create and structure dozens of children's TV series from the ground up and was part of the original creative team and the main producer for Amazon's first preschool series, TUMBLE LEAF. The celebrated series earned numerous awards including BAFTA, ANNECY JURY AWARD, 3 ANNIE awards and 14 EMMY awards. She received the EMMY for Best Children's TV Series.

A founding board member of Georgia Film Impact, Genevieve lives in Atlanta, Georgia with her husband and two boys. She continues to work regularly as a creative consultant to guide companies and individuals in developing and producing fun, smart, and quality entertainment for kids and families. Together with her talented partner, VFX supervisor husband, Chris

LeDoux (Owner of Crafty Apes VFX), numerous animators and concept artists and composers, she is developing over a dozen of her own original series and owns and manages her own production company, Silver Comet Productions.

LJ Simpson, Film/TV Acquisitions Executive

LJ Simpson is an Atlanta native with nearly a decade of film/TV industry experience working in content acquisitions and programming strategy. Having worked at Turner Broadcasting--across the entertainment networks (TBS, TNT, TruTV, Cartoon Network, Adult Swim, and TCM)--HBO Max, HBO, and Tubi, LJ is highly acquainted with all genres of content and distribution formats.

Cinematography Jury:

Charlie Fisk, Director/Cinematographer

Growing up an isolated queer kid in the Catskill mountains, Charlie found solace in her imagination and began storytelling at a young age. An ex-Army sergeant turned Emmy award-winning filmmaker, she won the Audience Award at the ATLFF and Best Doc at LCFF for her documentary, THE FOUNDERS. She followed that film with four award winning short films LIMERENCE, THE LICK, RIDESHARE and THE MOTH. She directed the Emmy winning web series INTERSECTION and most recently she directed network episodes for Discovery and TLC. Her talents aren't confined to the director's chair, she also co-produced and edited MARGARET MITCHELL American Rebel for PBS, the feature film MAN MADE about trans bodybuilders and the short film HOME FIELD which premiered at Tribeca. As a cinematographer she has lensed shows for Magnolia Network, Discovery, Disney, ESPN as well as several short films and a web series. As a writer, her scripts have been selected for Stowe Story lab, Southern Producers lab, Cinestory lab and garnered recognition from Screen Craft and the Austin Film Festival. Beyond her professional achievements, Charlie remains a steadfast advocate for Atlanta's independent film community, generously supporting local filmmakers and the organizations that foster its vibrant creative environment. She believes deeply in the transformative power of storytelling both in practice and in consumption and sees it as a catalyst for profound change and connection within communities.

Matt Clegg, Cinematographer

Matt Clegg is a cinematographer from Richmond, VA. His love for visual storytelling has brought him all over the world lensing films, documentaries and commercials. Over the years he has had films premiere at Sundance, Venice, Toronto, and Tribeca film festivals. When not on set he is biking, gardening, or walking in the woods.

Victoria K. Warren, Filmmaker

Victoria is a Filmmaker and Cinematographer based in Atlanta, and working on projects from small independents and documentaries, to blockbusters worldwide. She is an ATLFF alum (V/H/S, Talk Show), and excited to explore & celebrate this year's selects in cinematography.

Headshots and additional details for the 2024 Atlanta Film Festival can be found here.

Laura Williamson 4/30/24 Laura Williamson 4/30/24

ATLANTA FILM FESTIVAL RED CARPET SCREENING OF “THE SOUTH GOT SOMETHING TO SAY”

The 48th annual Atlanta Film Festival and Creative Conference will host a red carpet Marquee presentation of “THE SOUTH GOT SOMETHING TO SAY” on Wednesday, May 1, 2024. Pulling footage from an archive spanning the first fifty years of hip-hop as well as new interviews with Atlanta icons and genre luminaries (Killer Mike, Arrested Development, Goodie Mob, Lil Yachty, Jermaine Dupri), “THE SOUTH GOT SOMETHING TO SAY” tells the ongoing story of Atlanta’s undeniable impact on hip-hop.

WHAT: The 48th annual Atlanta Film Festival and Creative Conference will host a red carpet Marquee presentation of “THE SOUTH GOT SOMETHING TO SAY” on Wednesday, May 1, 2024. Pulling footage from an archive spanning the first fifty years of hip-hop as well as new interviews with Atlanta icons and genre luminaries (Killer Mike, Arrested Development, Goodie Mob, Lil Yachty, Jermaine Dupri), “THE SOUTH GOT SOMETHING TO SAY” tells the ongoing story of Atlanta’s undeniable impact on hip-hop.

The screening is part of the 11-day film festival and educational conference that kicked off Thursday, April 25 and will continue through Sunday, May 5, 2024 at the Plaza Theatre and Tara Theatre in Atlanta and virtually.

WHO: Media are invited to participate in red carpet interviews and photos immediately prior to the screening.

The Horne Brothers (Directors), Speech, Zaytoven, Jordan Victoria, Pastor Troy, Jason Orr, Dr. Courtney A. Hammonds, and Princess are expected to participate in red carpet photos and/or interviews prior to the screening.

WHEN: Wednesday, May 1, 2024

Media Check In Opens: 6:00 PM
Carpet Opens: 6:15 PM
Screening Begins: 7:00 PM

WHERE: The Plaza Theatre, 1049 Ponce De Leon Ave NE, Atlanta, GA 30306

MEDIA RSVP: Please contact ATLFF@ssmandl.com with your interest in covering on-site or in advance.

* * *

ABOUT ATLANTA FILM FESTIVAL AND CREATIVE CONFERENCE

The Atlanta Film Festival is the annual centerpiece of educational and enriching film programming that is provided year-round by its parent organization, the Atlanta Film Society (ATLFS). Now in its fifth decade, ATLFF is one of only a handful of film festivals worldwide that is Academy Award-qualifying in all three categories (live-action short, animation short, and documentary short subject). The film festival and 14th annual Creative Conference, which is the festival’s educational programming, will take place Thursday, April 25 - Sunday, May 5, 2024 at the Plaza Theatre and Tara Theatre in Atlanta and virtually.

This year’s lineup of 142 selected will feature diverse filmmakers who continue to uplift voices and stories from around the world, representing 118 countries with more than 24% of films with ties to Georgia filmmakers. Among the highlights of the festival are Opening and Closing Night Presentations, as well as 9 additional Marquee titles that combine Hollywood star power with the best of independent film.

The 14th annual Creative Conference, ATLFF’s popular educational programming extension, returns Tuesday April 30 - Friday May 3. The Creative Conference offers educational programming for upcoming filmmakers, festival goers, newcomers and members of the greater community alike to learn from industry experts. There are 32 in-person panels and 12 virtual panels planned during the 11-day festival.

ABOUT “THE SOUTH GOT SOMETHING TO SAY”

Pulling footage from an archive spanning the first fifty years of hip-hop as well as new interviews with Atlanta icons and genre luminaries (Killer Mike, Arrested Development, Goodie Mob, Lil Yachty, Jermaine Dupri), THE SOUTH GOT SOMETHING TO SAY tells the ongoing story of Atlanta’s undeniable impact on hip-hop.

Directed by: The Horne Brothers

Screenwriter: Ernie Suggs, DeAsia Paige, The Horne Brothers

Producer: The Horne Brothers, DeAsia Paige, Ernie Suggs

Executive Producer: Leroy Chapman, Andrew Morse

Cast: Killer Mike, Raphael Warnock, Arrested Development, Goodie Mob, Jason Orr

Cinematographer: Tyson Horne, Ryon Horne

Editor: Ryon Horne

Trailer

Schedule and tickets now available at www.AtlantaFilmFestival.com

Full lineup can be found HERE.

To apply for press credentials, click HERE.

Press materials and assets, including press releases, logos, and film stills, click HERE.

Contact ATLFF@ssmandl.com for additional requests or questions.

Laura Williamson 4/25/24 Laura Williamson 4/25/24

48TH ANNUAL ATLANTA FILM FESTIVAL RED CARPET SCREENING OF “POWER”

The 48th annual Atlanta Film Festival and Creative Conference will take place Thursday, April 25 - Sunday, May 5, 2024 at the Plaza Theatre and Tara Theatre in Atlanta and virtually.

Media are invited to attend the red carpet Marquee screening of “POWER” on Sunday, May 5, 2024.

WHAT: The 48th annual Atlanta Film Festival and Creative Conference will take place Thursday, April 25 - Sunday, May 5, 2024 at the Plaza Theatre and Tara Theatre in Atlanta and virtually.

Media are invited to attend the red carpet Marquee screening of “POWER” on Sunday, May 5, 2024.

About “POWER””: In the United States, police have been granted extraordinary power over our individual lives. The police determine who is suspicious and who ‘fits the description.’ They define the threats and decide how to respond. They demand obedience and carry the constant threat of violence. Thousands of these interactions play out in our cities and towns every day, according to real and perceived ideas of criminality and threats to social order—as decided by the police. Police make the abstract power of the state real.

“POWER” traces the accumulation of money, the consolidation of political power, and the nearly unrestricted bipartisan support that has created the institution of policing as we know it. The film offers a visceral and immersive journey to demonstrate how we’ve arrived at this moment in history, from the slave patrols of the 1700’s and the first publicly funded police departments of the 1800’s to the uprisings of the 1960’s and 2020’s. "POWER" premieres May 17 on Netflix.

Directed by: Yance Ford

Executive Producers: Jon Bardin, Dan Cogan, Liz Garbus, Anya Rous

Producers: Yance Ford, Jess Devaney, Sweta Vohra and Netsanet Negussie

Starring: Wesley Lowery, Keeanga-Yamahtta Taylor, Paul Butler, Julian Go

WHO:

Director Yance Ford is expected to participate in red carpet interviews prior to the screening.

About Yance Ford: Ford is an Oscar-nominated director and producer based in New York City. His feature documentary film STRONG ISLAND premiered at Sundance in 2017 to critical acclaim winning a Special Jury Award for storytelling. The film was nominated for the Best Documentary Feature at the 90th Academy Awards, where Ford made history as the first openly transgender director nominated for an Oscar. STRONG ISLAND received the Primetime Emmy for Exceptional Merit in Documentary Film, the Gotham Award for Best Documentary, and the Black Film Critics Circle Award for Best Doc; was nominated for a George Foster Peabody Award; and won for Best Direction, Best Debut, and Best Feature at the Cinema Eye Honors.

WHEN:

Sunday, May 5, 2024

Carpet Opens: 6:00PM
“POWER” Screening Begins: 6:30PM
Q&A with Yance Ford: Immediately following the screening

WHERE: The Tara Theatre | Jack Auditorium | 2345 Cheshire Bridge Rd NE, Atlanta, GA 30324

MEDIA RSVP:

Please contact ATLFF@ssmandl.com with your interest in covering on-site or in advance.

For information on Opening and Closing Night red carpet screenings, please click here.

* * *

Schedule and tickets now available at www.AtlantaFilmFestival.com

Full lineup can be found HERE.

To apply for press credentials, click HERE.

Press materials and assets, including press releases, logos, and film stills, click HERE.

Contact ATLFF@ssmandl.com for additional requests or questions.

Laura Williamson 4/25/24 Laura Williamson 4/25/24

48TH ANNUAL ATLANTA FILM FESTIVAL OPENING AND CLOSING NIGHT RED CARPET PRESENTATIONS

The 48th annual Atlanta Film Festival and Creative Conference will take place Thursday, April 25 - Sunday, May 5, 2024 at the Plaza Theatre and Tara Theatre in Atlanta and virtually.

Media are invited to Save The Date(s) to participate in Opening Night and Closing Night red carpet screening events on Friday, April 26, 2024 and Saturday, May 4, 2024 respectively.

WHAT: The 48th annual Atlanta Film Festival and Creative Conference will take place Thursday, April 25 - Sunday, May 5, 2024 at the Plaza Theatre and Tara Theatre in Atlanta and virtually.

Media are invited to Save The Date(s) to participate in Opening Night and Closing Night red carpet screening events on Friday, April 26, 2024 and Saturday, May 4, 2024 respectively.

WHO & FILMS:

Opening Night Presentation of “THE IDEA OF YOU”

Director Michael Showalter is expected to participate in red carpet interviews and will receive the Atlanta Film Festival’s “The Rebel Award” in an on-stage presentation prior to the start of the film.

About: Solène, a 40-year-old single mom, begins an unexpected romance with 24-year-old Hayes Campbell, the lead singer of August Moon, the hottest boy band on the planet.

Directed by: Michael Showalter

Screenplay by: Michael Showalter and Jennifer Westfeldt, Based Upon the Book by Robinne Lee Produced by: Cathy Schulman p.g.a., Gabrielle Union p.g.a., Anne Hathaway p.g.a., Robinne Lee, Eric Hayes, Michael Showalter, Jordana Mollick

Starring: Anne Hathaway, Nicholas Galitzine, Ella Rubin, Annie Mumolo

Closing Night Presentation of “SING SING”

Filmmaker Greg Kwedar and cast members Clarence 'Divine Eye' Maclin, John ‘Divine G’ Whitfield, Sean 'Dino' Johnson, and Jon Adrian ‘JJ’ Velazquez are expected to participate in red carpet interviews.

About: Divine G, imprisoned at Sing Sing for a crime he didn't commit, finds purpose by acting in a theatre group alongside other incarcerated men in this story of resilience, humanity, and the transformative power of art.

Directed by: Greg Kwedar

Executive Producers: Raúl Domingo, Michael Heimler, Michael Heimler, Larry Kalas Starring: Colman Domingo, Sean Dino Johnson, Clarence "Divine Eye" Maclin, Paul Raci

WHEN:

Opening Night Presentation of “THE IDEA OF YOU”

Friday, April 26, 2024

● Red Carpet Check In Opens: 5:45PM - 6:00PM

● Red Carpet Interviews: 6:00PM - 7:00PM

● Pre-Screening Presentation of “The Rebel Award” to Michael Showalter: 7:00PM

● Screening Begins: 7:10PM

● Q&A with Writer/Director/Producer Michael Showalter: Immediately following the screening

Closing Night Presentation of “SING SING”

Saturday, May 4, 2024

● Red Carpet Check In Opens: 5:45PM - 6:00PM

● Red Carpet Interviews: 6:00PM - 7:00PM

● Screening Begins: 7:00PM

● Q&A with filmmaker and cast members: Immediately following the screening

WHERE: Both screenings will take place at The Plaza Theatre, 1049 Ponce De Leon Ave NE, Atlanta, GA 30306

MEDIA RSVP:

Please contact ATLFF@ssmandl.com with your interest in covering on-site or in advance.

* * *

Schedule and tickets now available at www.AtlantaFilmFestival.com

Full lineup can be found HERE.

To apply for press credentials, click HERE.

Press materials and assets, including press releases, logos, and film stills, click HERE.

Contact ATLFF@ssmandl.comfor additional requests or questions.

Laura Williamson 4/12/24 Laura Williamson 4/12/24

2024 ATLANTA FILM FESTIVAL ANNOUNCES CREATIVE CONFERENCE PROGRAMMING FOR 48TH ANNUAL EVENT

Today, the 48th annual Atlanta Film Festival (ATLFF) announced its lineup of Creative Conference panels, workshops, and conversations that will take place from Tuesday, April 30 - Friday, May 3, 2024. This will be the 14th year that ATLFF has curated a robust lineup of educational programming, known as the Creative Conference, as part of the annual film festival. This year, the Creative Conference will offer 32 in-person panels during the 11-day festival and 12 virtual panels post festival.

The educational workshops, panels, and conversations taking place virtually and in person from April 30 - May 3 will feature industry experts from across the country

ATLANTA, GA (April 11, 2024) — Today, the 48th annual Atlanta Film Festival (ATLFF) announced its lineup of Creative Conference panels, workshops, and conversations that will take place from Tuesday, April 30 - Friday, May 3, 2024. This will be the 14th year that ATLFF has curated a robust lineup of educational programming, known as the Creative Conference, as part of the annual film festival. This year, the Creative Conference will offer 32 in-person panels during the 11-day festival and 12 virtual panels post festival.

The Creative Conference serves to educate, entertain, engage, and enlighten festival-goers by pulling back the curtain on film and television production. Festival filmmakers share how their projects got made, and industry professionals discuss their craft and the future of the industry. While offering a wide variety of topics, the conference spotlight is on acting, directing, and producing in Georgia.

“This year’s Creative Conference explores building community, developing homegrown projects, and supporting emerging filmmakers from development to post production.” said Linda Burns, a 30-year industry veteran and Creative Conference Director. “We’re excited to offer interactive events with Art of the Pitch and Crowdfunding to Build Independence from Emily Best at Seed&Spark, Improv: Learning to Pivot while Producing from Dad’s Garage, and the wildly popular and epic literary battle Write Club will wrap up the Creative Conference on Friday afternoon.”

Panels feature revealing conversations with some of the most admired and sought-after artists in their respective fields. Highlights include a discussion on the Art of Casting with Casting Society members Erica A. Hart (We Strangers, A Black Lady Sketch Show, That Damn Michael Che), Kate Geller (Bob Trevino Likes It, Molly and Max, Shiva Baby), and Rori Bergman (Powerbook III: Raising Kanan, Rabbit Hole, Retribution). Additionally, Production Designer Christopher Glass joins Molly Coffee, the Creative Director of Film Impact Georgia, for a 1-on-1 conversation about his career, his process, and how he gets the look that defines his projects including Ms Marvel, Amazing Stories, and The Jungle Book. SAG Actors Nelson Bonilla (Sacrifice, Ozark, Buried in Barstow), Mike Pniewski (Hightown, The Good Fight, Madam Secretary), Sharon Conley (Perimeter, NCIS: New Orleans, Rectify), Christina Kari (Law & Order: Organized Crime, The Walking Dead: World Beyond, Queen Sugar), Kurt Yue (Will Trent, Haunted Mansion, General Hospital) and Donielle Hansley (Don’t Tell Mom the Babysitter is Dead, BMF, Terror Lake Drive) share career advice, how they got their start, and how to build long term relationships in the industry. And panelists Nikka Duarte (Netflix’s The Liberator, Jeb Stuart’s Takeover, George RR Martin’s Night of the Cooters), and Glen Owen (Signing Day) will explore how to develop, pitch, raise funds, and sell original stories produced in Georgia.

As with the lineup of 142 selected works and Marquee screenings, the 2024 Creative Conference programming will highlight underrepresented filmmakers and stories. Panel topics will explore Animation and African Filmmaking, The Journey of Making ‘Color Book’ - Our First Feature - Sponsored by MPA, The Intersection of AI and Cinema: Innovations, Ethics, and the Future, Documentary Funding with ITVS, Cutting Edge Creativity: Voices from the Black & Queer Community, Mental Health and Parenting While Filmmaking, The Directing Challenge, and Latinas in Media among others.

All Creative Conference content, other than in-person panels, will be available for streaming worldwide during the entire 11 days of the festival. In-person panels will not be offered virtually. Festival badges are on sale now at www.AtlantaFilmFestival.com or by clicking here.

The full list of programming for this year’s Creative Conference can be found below. As previously announced, ATLFF’s 2024 lineup of 142 selected works, presented in person or virtually, can be found on the festival’s website here.

Applications for press credentials for ATLFF 2024 are now open and can be submitted here. Press materials and assets, including past press releases, logos, and film stills can be found here.

2024 CREATIVE CONFERENCE LINEUP

IN-PERSON PROGRAMMING AT THE HISTORIC PLAZA THEATER

Tuesday, April 30, 2024

The Rej (Upstairs) - 11:30am - 1:00pm

Animated, Music Video, and Experimental Filmmaker Roundtable

Festival Filmmakers discuss their approach to these projects - the process, art, challenges, and joys of making these types of films.

Moderator: Director/Writer Hannah Patterson (Late to the Party)

Panelists: Texas Smith (Yes! Yes! A Thousand Times Yes!), Sebastien Abou-Chakra (VAINGLORIOUS), Anna Winter (Islets of Langerhans)

The Mike (Upstairs) - 11:30am - 1:00pm

Producing Low Budget Features

Indie producers, working in the under $1M budget range, share their struggles and tips for successfully developing, fundraising, producing, and distributing work with limited budgets.

Moderator: Creative Conference Director Linda Burns

Panelists: Luke Williams (Hold the Fort, The Murder Podcast, A Band of Rogues), Leanna Adams (Christmas with Jerks, The Worst Couple), Tim Reis (Adult Swim Yule Log, Hold The Fort, Bad Blood), Michelle Riviera (Blurred Lines), Diego Silva Acevedo (Hunting Souls)

The Lefont (Downstairs) - 12:00pm - 1:30pm

Casting Call

Join Fox 5’s Casting Call host Tess Hammock as she discusses all things casting from extra roles to guest starring, recurring, and series regular speaking parts with casting directors, an agent, and an extras casting company.

Moderator: Tess Hammock - Fox 5

Panelists: Jen Kelley and Rita Harrell - Big Picture Casting, Sam Ikhwan - People Store, and Rose Locke - Rose Locke Casting

The Rej (Upstairs) - 1:30pm - 3:00pm

The Future of Indie Film in ATL

Local filmmakers discuss the challenges of making art, paying the bills, and building the financial infrastructure in Georgia to keep indie filmmaking sustainable.

Moderator: Camilo Diaz - Producer/Writer/Director (The Old Lady & The Boxer)

Panelists: Kristina Arjona (Christmas with Jerks, Mi Casa, Max), Glen Owen (Signing Day - State Line Films), Cash Robinson (Uncle Honker, Nobody Wants to Be Here, Nobody Wants to Leave), Molly Coffee (Come Correct, Jenna Gets an Abortion, Fear Haus)

The Mike (Upstairs) - 1:30pm - 3:00pm

Post Production In The Age of AI & Remote - Sponsored by Moonshine Post-Production

Join Moonshine Post as they discuss creative approaches and techniques across the full post pipelines of feature, series and advertising. Emerging technologies and the remote landscape demand that artists and producers embrace innovation, and upskill their collaboration tool kit to maintain the craftsmanship and apprenticeship that propels our industry.

Moderator: Drew Sawyer - MPP, Co-Founder, Moonshine Post-Production

Panelists: Gennifer Allen - Social Media Strategist, Kristina Kromer - Editor, Grant Reynolds - Colorist, Chris Nicholson - Sound Mixer, Caleb Wood - Post Producer

The Lefont (Downstairs) - 3:00pm - 4:30pm

The Art of the Pitch

Founder and CEO of Seed & Spark, Emily Best, shows you how to frame and pitch your story effectively and efficiently to showcase your project in a way that grabs attention.

Moderator: Emily Best - Founder and CEO of Seed&Spark

The Rej (Upstairs) - 3:30pm - 5:00pm

At the Intersection of Race & Sexuality: Bringing Authenticity To Our Work

Exclusively featuring Black and Queer voices, this panel delves into the complexities of maintaining authenticity while working in commercial and industry spaces while navigating independent and personal projects. It explores the unique challenges and strategies for Black and Queer creatives to stay true to themselves in an industry that often demands conformity.

Moderator: Jazelle Foster - Actor, Acting Coach & Media and Marketing, Specialist

Panelists: Ava Davis - Transwoman (The Duchess of Grant Park, What is Art?, Holy Irresistable), Onyx Keesha - Producer (Fatal Attraction, For My Man, The Calling)

The Mike (Upstairs) - 3:30pm - 5:00pm

Short Filmmaker Roundtable (1 of 3)

Festival Filmmakers discuss writing and directing shorts, and how they got their projects made.

Moderator: Jonathan Banks - ATLFS Filmmaker-In-Residence (Young Kings - Best Georgia Short Film at the 2023 ATLFF)

Panelists: Neal Reddy (Barely Breathing), Dominick Cormier (Don't Wipe Your Tears), Thang Ho and Danielle Nebeliuk (The Last Black Dinosaur), Joshua C. Okwuosa (OKEM), A. Kate Espada (I Could Just Die, and That Would Be All Right)

WEDNESDAY, MAY 1ST

The Rej (Upstairs) - 11:30am - 1:00pm

Film Impact Georgia - Grant Winner Roundtable

Past grant winning short filmmakers discuss the submission process, the support the program provides, and how the grant helped push their project over the top to get made.

Moderator: Melissa Simpson - Education Director, ATLFS and ED, Film Impact Georgia

Panelists: Sabrina Saleha, Erika Miranda, Ciera Thompson, Shandrea Evans, Jeremy Thao, Andrew J. Lee, Hannah Patterson

The Mike (Upstairs) - 11:30am - 1:00pm

Podcast to Film: How Podcasting is IP Gold for Hollywood

Three screenwriters / producers from the film world discuss their success in the podcasting realm, how they got started, and how they hope to or have converted that success into a big budget deal.

Moderator: Mykal Alder June (Stones Touring Party, Too Much Information, Where Were You In ‘92?, TENDER BLOODSPORT)

Panelists: Jeff Keating (Fight Night: The Million Dollar Heist, PeeWee Gaskins Was Not My Friend), Dan Bush (Tomorrow’s Monsters, The Mantawauk Caves, The Passage), Nick Tecosky (13 Days of Halloween, 12 Ghosts, The Mantawauk Caves)

The Lefont (Downstairs) - 12:00pm - 1:30pm

Lenders, Investors and Other Financial Animals - Sponsored by Fieldpoint Private

Hang out with a panel of experts to explore the challenging world of film finance. Learn terminology, different ways to fund projects, what is needed for funding, and successful best practices. Panelists also discuss small business loans for anyone looking to purchase gear, vehicles or warehouse space.

Moderator: Creative Conference Director Linda Burns

Panelists: Film Finance Segment - Russell Holland - President & Chief Executive Office (Fieldpoint Private), Charles Andros - Founding Partner, President & Chief Investment Officer, Producer (Bay Point Advisors), Andrew Kotliar - Partner, Producer (MEP Capital), Deborah Moore - Freelance Film Production Executive, Producer

Personal and Small Business Bootcamp Segment - Russell Holland - President & Chief Executive Office (Fieldpoint Private), Neill Kelly - Consumer Lending Manager (Fieldpoint Private), Amanda Price - Chief Risk Manager (Fieldpoint Private), Derek Grayson - Managing Director, Banking Advisor (Fieldpoint Private)

The Rej (Upstairs) - 1:30pm - 3:00pm

Improv: Learning to Pivot while Producing

Producers constantly have to shift their plans and mindset while putting out fires and solving problems. The only sure thing on set is that something will go wrong. Improv is all about turning problems and mistakes into something wonderful if you're willing to roll with whatever is thrown at you. Members of Dad’s Garage teach you how to use improv skills to seamlessly pivot while producing.

Moderator: Jon Carr - Executive Producer, Dad’s Garage

Panelists: Kevin Gillese (How to Ruin The Holidays), Ron Emile - former Dad's Garage Artistic Director (My Spirit Told Me), Megan Dahl (Lily’s Mirror, The Arbalest)

The Mike (Upstairs) - 1:30pm - 3:00pm

Comics to Film: How Graphic Fiction Is Shaping Hollywood

Comics have taken Hollywood by storm. Panelists discuss seeing their work adapted for the screen, making the jump from the comics to the world of film and TV, the differences between the two mediums, and the challenges the writers have faced when writing a film and TV script as opposed to a comic book.

Moderator: Nathan Cabaniss - Writer and Filmmaker

Panelists: Writer Van Jensen (DC Comics + various other publishers; his debut novel Godfall was recently acquired by Ron Howard and Imagine TV); Writer / Director / Actor Paul Jenkins (comics veteran with a near forty-year career working for every major publisher, in addition to shepherding various film, TV, video game and new media initiatives); Writer Robert Venditti (longtime DC Comics writer; his indie comic The Surrogates was adapted into a Bruce Willis movie in 2009)

The Lefont (Downstairs) - 3:00pm - 4:30pm

Crowdfunding to Build Independence

Seed&Spark has the highest crowdfunding campaign success rate of any funding platform in the world. They share 100% of the information you need to build a successful campaign, as well as a career-long action plan most likely to create a lasting, flourishing, direct relationship with your audience. You’ll learn how to find and activate your audience, structure your crowdfunding campaign and pitch video, pick the right goal and incentives, and much more beyond marketing the campaign itself. Because after all, it isn’t just about crowdfunding: it’s about career building.

Moderator: Emily Best - Founder and CEO of Seed&Spark

The Rej (Upstairs) - 3:30pm - 5:00pm

Short Filmmaker Roundtable (2 of 3)

Festival Filmmakers discuss writing and directing shorts, and how they got their projects made.

Moderator: Seth Adam Wilder

Panelists: Moon Lee Ferguson (Skettel), Paras Chaudhari (the girl with the om tattoo), Jenna D’Angelo (I Didn't Mean To Say I Love You), Carlos Aviles (Rainbow Sun), Brea Angelo (DEFINITELY NOT A MONSTER), Giovanni Tortorici (Buster's Onion)

The Mike (Upstairs) - 3:30pm - 5:00pm

CineCampATL: Meet the 2023 Class of Youth Filmmakers

ATLFS CineCampATL program breaks students into small groups, and with guided instruction and collaboration, they complete a 1-5 minute film. Former students talk about the program and what they learned from the process of creating their film “Squeaky Clean”.

Moderator: Melissa Simpson - Education Director, ATLFS

Panelists: Jaira Wingfield-Green 12th grade at Druid Hills High School, Keatin Monaghan - 11th Grade at North Atlanta High School, Micah J. Gary - 12th Grade at School of the Arts at Central Gwinnett HS, Madison Hatfield - Pre-production Instructor

THURSDAY, MAY 2ND

The Rej (Upstairs) - 11:30am - 1:00pm

ATLFS Filmmaker-in-Residence Program

Learn about the Atlanta Film Society’s Filmmaker in Residence Program and meet this year’s filmmakers. Learn about the projects they hope to accomplish and how the program hopes to help them succeed.

Moderator: Melissa Simpson - Education Director, ATLFS

Panelists: Crystal Jin Kim and Jonathan Banks

The Mike (Upstairs) - 11:30am - 1:00pm

Documentary Filmmaker Roundtable (1 of 2)

Documentary Directors discuss their projects, their process for documenting their stories, and the challenges and joys of shooting documentaries.

Moderator: Jazmine Hudson - Media Industries Scholar, GSU

Panelists: Caroline Josey K (Seven Acres and a Church), Demetrius Lewis (Map to the Sirens), Lev Omelchenko (Olive)

The Lefont (Downstairs) - 12:00pm - 1:30pm

The Directing Challenge

Using the same actors, but different props, wardrobe, and back stories, see how uniquely each director in the challenge can offer you completely dissimilar versions of the same screenplay.

Moderator: Creative Conference Director Linda Burns

Panelists: Directors Janlatae’ Mullins, Lou Simon, and Carrie Schrader, Actresses Rose Bianco and Suehyla El-Attar

Screenwriter: Nick Tecosky

The Rej (Upstairs) - 1:30pm - 3:00pm

Content Creation & Filmmaking: Blurring Lines, Shaping Futures

Content creators and filmmakers, who either specialize in one field or straddle both, focus on the evolving landscape of content creation, its impact on the traditional film and television industry, and what this shift means for actors, directors, and filmmakers. They address the changing perceptions around content creation and its role in shaping the future of entertainment and storytelling.

Moderator: Jazelle Foster - Actor, Acting Coach & Media and Marketing Specialist

Panelists: Tony Talks - Content Creator, Elisee Junior St Preux - Filmmaker & Community Artist (Sour Peaches, Before We Had Insomnia, Lorikeet), Shayla Racquel - Director / Writer (Keke Palmer's KeyTV Series Heaux & Tell, The Cuzzin M Show, The Off-Brands) Raquel M R Thomas - Creator / Director / Producer /Writer (TRANSworld Atlanta, Below the Rim), Kristina Arjona - Director / Producer (Christmas with Jerks, Mi Casa, Rumspringa)

The Mike (Upstairs) - 1:30pm - 3:00pm

Documentary Filmmaker Roundtable (2 of 2)

Documentary Directors discuss their projects, their process for documenting their stories, and the challenges and joys of shooting documentaries.

Moderator: Robyn Hicks - Assistant Professor of Film & Digital Media at University of North Georgia

Panelists: Majiye Uchibeke (I Am More Dangerous Dead), Kasey L. Martin (A Synonym for Art: Rodgric J.), Ashley Salman (Prelude of a Story), Conner Hall - Editor (Citizen Sleuth)

The Lefont (Downstairs) - 3:00pm - 4:30pm

Developing Features and TV Shows in Georgia

Panelists explore how to develop, pitch, raise funds and sell original stories that will shoot in Georgia. They'll showcase projects they have in development as well as the features and TV shows they’ve successfully produced.

Moderator: Creative Conference Director Linda Burns

Panelists: Nikka Duarte (Netflix’s The Liberator, Jeb Stuart’s Takeover, George RR Martin’s Night of the Cooters), Glen Owen (Signing Day - State Line Films)

The Rej (Upstairs) - 3:30pm - 5:00pm

Latinas in Media ATL: Keeping the Conversation Moving Forward in Film & TV

Journalists, Actors, and Executives discuss how to expand representation and inclusion in the media, film and television landscape, the importance of cultural storytelling, and how to overcome typecasting.

Moderator: Daniela Cintron - Journalist, Editor, and Producer highlighting underrepresented communities

Panelists: Rose Bianco - Actress (Cobra Kai, Minx, The Sandman), Lina Ramirez Mills - Head of Commercial Department at People Store, Erik Francisco Medina - Moxie Collective, Operations and Marketing Lead, Roger Payano - Actor (Manhunt, Celia, P-Valley), Richard Perez - Director and Screenwriter (It Stays With Us)

The Mike (Upstairs) - 3:30pm - 5:00pm

Key Elements of Impact Campaigns

This interactive workshop will glean from 25 years of learning and innovation from Working Films, one of the very first organizations created to connect documentaries and social change. The session will cover key elements of impact campaigns.

Moderator: Hannah Hearn - Impact Coordinator and Fellowships Lead, Anna Lee - Director of Learning and Development

FRIDAY, MAY 3RD

The Rej (Upstairs) - 11:30am - 1:00pm

Meet the ATLFF Programmers

Come meet the ATLFF film and screenplay competition programmers to learn a little about them as fellow humans, what they love about their jobs, common mistakes filmmakers make when submitting, and what they look for when screening films and reading screenplays.

Moderator: Creative Conference Director Linda Burns

Panelists: Jon Kieran, Jennica Carmona, Astin Rocks and Melissa Simpson

The Mike (Upstairs) - 11:30am - 1:00pm

Writing Character Driven Films

Writers / Directors Lane and Ruckus Skye discuss how they develop and write story through character.

Moderators: Lane and Ruckus Skye (The Devil to Pay, Becky, Rattle the Cage)

The Lefont (Downstairs) - 12:00pm - 1:30pm

Acting for a Living

Actors with over 2 decades of experience with starring, recurring, and special guest credits will discuss where they started, how they developed their craft, and how to build relationships with directors, producers, and casting directors.

Moderator: Creative Conference Director Linda Burns

Panelists: Nelson Bonilla (Sacrifice, Ozark, Buried in Barstow), Mike Pniewski (Hightown, The Good Fight, Madam Secretary), Sharon Conley (Perimeter, NCIS: New Orleans, Rectify), Christina Kari (Law & Order: Organized Crime, The Walking Dead: World Beyond, Queen Sugar), Kurt Yue (Will Trent, Haunted Mansion, General Hospital), Donielle Hansley (Don’t Tell Mom the Babysitter is Dead, BMF, Terror Lake Drive)

The Rej (Upstairs) - 1:30pm - 3:00pm

Film Festival Strategy

Film festival strategy is integral to your success on the festival circuit. From choosing which larger, local, and smaller festivals to apply to, to researching what those festivals have played before, from marketing your screening when not traveling to the festival to how to make boots on the ground matter, this conversation will cover all this and more.

Moderator: Melissa Simpson - Education Director, ATLFS

The Mike (Upstairs) - 1:30pm - 3:00pm

Curating Classics

There's never been a better time for repertory programming and Atlanta's film audiences are enjoying a wealth of opportunities to enjoy the communal experience of watching films together. Join local experts who are part of the growth of classic programming happening locally to hear about the resurgence and importance of classic and niche programming.

Moderator: Greg Bishop - Creative Manager, The Plaza Theater

Panelists: Rocco Shapiro and Sean Valdivieso - Wax & Wane, Matthew Booth & John Robinson - Videodrome, Richard Martin - Programming Manager, The Plaza Theater

The Lefont (Downstairs) - 3:00pm - 4:30pm

Write Club: Festival Edition

High Octane Brain Boxing at its Finest. WRITE CLUB is the world's greatest combative philanthropic literary bloodsport, featuring only the most audacious and fearsome of writers and performers. Started in 2010 at the Hideout in Chicago by Our Illustrious Overlord Ian Belknap, WRITE CLUB has been operating in Atlanta since 2011. WRITE CLUB is: 3 bouts of 2 opposing writers arguing 2 opposing ideas for 7 minutes apiece. Audience picks a winner.

Viceroy: Nick Tecosky

The Rej (Upstairs) - 3:30pm - 5:00pm

Narrative Feature and TV Pilot Festival Filmmaker Roundtable

Festival Filmmakers discuss their projects, how they were able to get them made, their experience while making them, and their hopes for the future.

Moderator: Crystal Jin Kim - Filmmaker in Residence, ATLFS

Panelists: Don-Dimitri Joseph (Last Option), Christian Meier (The Murder On Cape Melancholy), Win Marks (Do You Say What You Mean?), Jenna Kanell (Faceless After Dark)

The Mike (Upstairs) - 3:30pm - 5:00pm

Short Filmmaker Roundtable (3 of 3)

Festival Filmmakers discuss writing and directing shorts, and how they got their projects made.

Moderator: Vivi Chavez - Producer and Actress

Panelists: Sam Hahn (Billy & Mac), Melissa Bayer (The G-Spot), Samuel Laine (Free Lunch), Alice Barros (A Forgotten Place), Matthew S. Alaniz (Ten To One)

VIRTUAL PROGRAMMING

Available for viewing May 6th-12th

Animation and African Filmmaking

Join us for an exceptional conversation with the Annie award-winning filmmakers of Kazazi Moto: Generation Fire, a Disney+ animated shorts anthology. This action-packed sci-fi anthology presents 10 futuristic visions from Africa inspired by the continent's diverse histories and cultures.

Moderator: Sue-Ellen Chitunya, Producer

Panelists: Tendayi Nyeke - Executive Producer, Ng'endo Mukii - Writer / Director (Enkai), Shofela Coker - Writer / Director (Moremi)

The Art of the Assistant Director

DGA Assistant Directors discuss how they got their start, how they transitioned upward, the demands and joys of the job, what makes a great assistant director, and all the fun that comes with being an AD for film and television.

Moderator: JD Taylor, DGA 1st AD (Candy Cane Lane, American Underdog, Teen Wolf)

Panelists: Matt Rawls - 1st & 2nd AD (Abbott Elementary, Westworld, The Morning Show), Christophe Le Chanu - 2nd AD (Candy Cane Lane, Hawkeye, Coming 2 America), John Bonaccorse - 2nd AD (Flaming Hot, Tulsa King, Stranger Things), Ben White - 2nd AD (Blue Beetle, The Staircase, Red Notice), Jessie Sasser White - 2nd AD (They/Them, Safety, Watchmen), Steve Windle - 2nd 2nd AD (Barbie, Teen Wolf: The Movie, Rise), Nate Patterson - 2nd 2nd AD (The Color Purple, Doom Patrol, Swagger), Nate Galesic - 2nd 2nd AD (Pain Hustlers, Blue Beetle, Ghosted)

The Art of Casting (CSA)

Casting can make or break your production. Join members of the Casting Society to learn about the fascinating Art of Casting and how you can make choices that are the best fit for your next production.

Moderator: Creative Conference Director Linda Burns

Panelists: Erica A. Hart (We Strangers, A Black Lady Sketch Show, That Damn Michael Che), Kate Geller (Bob Trevino Likes It, Molly and Max, Shiva Baby), Rori Bergman (Powerbook III: Raising Kanan, Rabbit Hole, Retribution)

Production Design with Christopher Glass

Molly Coffee interviews Production Designer Christopher Glass about his career, where he got his start, his process, and how he gets the look that defines his movies, TV shows, and commercials.

Moderator: Molly Coffee

Panelist: Christopher Glass (Ms Marvel, Amazing Stories, The Jungle Book)

The Journey of Making ‘Color Book’ - Our First Feature - Sponsored by MPA

The Atlanta Hometown team of writer/director David Fortune and producer Kiah Clingman competed amongst four other finalists to win the highly competitive 2023 AT&T Untold Stories Award worth $1 million dollars and year-round mentorship to produce their feature film. They share their production journey and the story of a devoted father learning to raise his son — who has Down Syndrome — following the passing of the family matriarch. The Atlanta-set picture is like Fortune’s prior films in that it finds power in normalizing the themes of compassion and intimacy set in inner-city communities.

Moderator: Sue-Ellen Chatuyna, Producer

Panelists: Director David Fortune, Producer Kiah Clingman

Exploring the Intersection of AI and Cinema: Innovations, Ethics, and the Future

Join us for a groundbreaking panel discussion that delves into the dynamic intersection of generative AI and the cinematic world. This panel will explore how emerging AI technologies are reshaping filmmaking, from scriptwriting to post-production, and will address the profound ethical questions they raise. We will start with a look at historical milestones of AI in cinema, such as the early days of CGI in films like 'Tron' and 'Jurassic Park,' and progress to current innovations like deepfake technology and real-time CGI generation.

Moderators: Laila Harrison - Experimental Filmmaker and Harim Leon - Producer

Mental Health and Parenting while Filmmaking

Being a parent is hard enough, but being a parent and a filmmaker is a huge challenge. Panelists discuss how they strive for a work life balance, share resources for support, and explore ways to keep their mental health in check as filmmaking parents.

Moderator: Erin Bernhardt - Director of Common Pictures, The Edward E. Haddock Jr. Family Foundation

Panelists: Keoni TeTawa Bowthorpe - Director / DP, Aloha Cinema, Tchaiko Omawale - Tchaiko of House Omawale, Second of Her Name, Mother of Flame, Seeker of Truth, Breaker of Chains, Nomadic Fairy Inc., Amanda Edwards - Mental Health Coordinator and Intimacy Coordinator

Documentary Funding and Production - In Conversation with Royd Chung from ITVS

Do you love documentaries? Have a great idea for one? Join us for an engaging conversation to learn about how documentaries are funded and produced for public media. Royd Chung, Vice President of Production of ITVS, the largest co-producer of independent documentaries in the United States, shares open calls for funding, the types of projects they support, best practices for applying to their programs, and their distribution platforms, as well as the disruptions ITVS has seen in the distribution landscape.

Moderator: Creative Conference Director Linda Burns

Panelists: Royd Chung - Vice President of Production of ITVS

Cutting Edge Creativity: Voices from the Black & Queer Community

This panel showcases the diverse and innovative perspectives of Black and Queer artists across different mediums. It emphasizes the richness and originality within the Black and Queer community, often the unsung inspirations in mainstream culture. Panelists will discuss their unique paths in the industry, the challenges of intersectionality, and their vision for a more inclusive and evolving creative landscape.

Moderator: Jazelle Foster - Actor, Acting Coach & Media and Marketing, Specialist

Panelists: Raquel M R Thomas - Creator / Director / Producer / Writer (TRANSworld Atlanta, Below the Rim), Tony Talks - Content Creator, Adrianna Cherelle - Screenwriter, Reality TV Producer (10 Years in 40 Seconds, Black Ink Crew), Tery Wilson - DP / Editor (Push, New Gotham)

Southern Film Festival Roundtable

Senior film festival representatives as well as southern funders will converse on nurturing Southern filmmaking talent. They’ll discuss the spectrum of opportunities and challenges in the SE, and speak on fostering creative environments where artists can excel and go to the next level.

Moderator: Jen West

Panelists: Chris Escobar - ED, Atlanta Film Society, Dan Brawley - ED, Cucalorus Film Festival, Jessica Chriesman - Education Director for Sidewalk Film Festival, Kimel Fryer - ED, Indie Memphis Film Festival, Clint Bowie - Artistic Director, New Orleans Film Society, Patricia Ferguson - ED, A Pecan Pickling Short Film Festival, Molly Coffee - Production Designer and Co-Founder / Past Creative Director, Film Impact Georgia, Christopher Everett - Artistic Director, Southern Documentary Fund

Black Women Forging Their Own Paths

Join a group of emerging and mid-career black women filmmakers for a candid conversation sharing their respective journeys in an industry that often isn't easily welcoming to them. They'll share their experiences of how they have fiercely navigated the industry to champion stories that are dear to them while also maintaining their integrity.

Moderator: Sue-Ellen Chatuyna, Producer

Panelists: B. Monét - Director, Producer, Writer (Black Girls, Ballet After Dark, Phases of the Moon), Idil Ibrahim - Producer, Director, Writer (The Bad-Ass Librarians of Timbuktu, In Her Element, Little America), Jamila Jordan-Theus - Producer (Fantasy Football, Turning the Tables with Robin Roberts, Dreamland: The Burning of Black Wall Street)

How to Start Work as an Extra in Film and Television

Working as an Extra is a great way to start your acting career, learn about how a film set works while getting paid, or to make a little extra money as a retiree. Learn about what makes a great extra, how to find work, what is expected of you, and how to get hired back.

Moderator: Creative Conference Director Linda Burns

Panelists: Patrick Ingram - Extras Casting Atlanta

Join us

Atlanta Film Festival 2025