BFF FILM & FESTIVAL BLOG

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: Splendido! by Sophie Mager

Welcome to the Bushwick Film Festival Q&A series, where we introduce you to the incredible filmmakers behind this year's lineup. Each of these talented storytellers has crafted a unique vision, reflecting diverse perspectives and powerful narratives that resonate deeply with audiences today. In this series, you'll get an inside look at what inspired their work, the challenges they faced, and the creative processes that brought their films to life. Through candid interviews, they share their thoughts on the impact of their films, the themes they explore, and their hopes for how audiences will connect with their stories. Whether you're here for drama, comedy, documentary, or experimental films, these filmmakers are sure to inspire you with their dedication and passion for the craft. We hope you enjoy getting to know the voices behind this year's festival as much as we have enjoyed bringing their films to our screens. Let’s dive into their stories!

Splendido! - The American Dream and the generations it feeds off.

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SPLENDIDO! is a poignant documentary short that explores the evolving American Dream. This world premiere documentary short reveals a 63-year-old workshop in Brooklyn, where owner Vinnie, now 87, contemplates letting go as gentrification encroaches. A directorial debut by Sophie Mager, the film captures the intersection of legacy, devotion, and community transformation.

What inspired you to create this film, and how did the initial idea come to you?

The moment I walked into Vinnie’s iron works I knew I had to document it. The walls are covered in years of dirt, sweat and metal and hundreds of faded photographs. I have walked past their gates every day for 10 years and never know anything about them. When Vinnie started telling me his story it read like the perfect American Dream. And yet when I spoke to his son all was not what it seemed. And it didn’t seem perfect at all. I became intrigued by the dynamic of Father and Son and their roles in creating and maintaining their American dream.

Why does this story need to be told now?

I joined Vinnie’s story at a pivotal moment for the family. Having founded the business and worked uninterrupted for 63 years Vinnie was at the end of his journey. Aged 88 he couldn't carry on. Developer's were circling their prime double lot in the heart of Cobble Hill. I felt an urgency to tell their story before the walls were stripped and bulldozed and this little piece of American history was lost forever.

How do you want people to feel after they see your film?

My hope is that people watch this film and get a sense of Vinnie and his life and the sacrifices that were made for his family. And in turn the sacrifices that they have had to make to keep their father’s dream alive. It is a tale that is both inspiring and sad. Devotion to money and loss of freedom.

What was a big challenge you faced while making this film?

The language barrier was hard to overcome. Vinnie speaks in a mix of English, Italian and Spanish. It makes for a very unusual sound and took quite a long time to piece together.

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

Something I was taught that I try to keep reminding myself: if a shot is not moving the story forward - however much you might love it - lose it. I’m still working on this.

Films are lasting artistic legacies; what do you want yours to say?

I want this short film to be a testament to a man’s dedication to his craft, his family, to money and building a better life. He came from jail in Sicily to being a multimillionaire in New York. And yet heavy is the weight of the dreams he has carried. But I hope this film can pay a small tribute to a giant of a man whose story might otherwise go unheard.

If you weren’t a filmmaker, what would you be doing?

I’d be doing a few more school drop offs for my 3 children. You can’t have it all.

Early bird or night owl?

Early bird.

What three things do you always have in your refrigerator?

Milk, wine and kefir.

Thank you for joining us for this special Q&A with the filmmakers of the Bushwick Film Festival. We hope this conversation has given you insight into the artistry, dedication, and heart that went into bringing their films to life. Each of these creators represents the spirit of independent filmmaking—fearlessly telling stories that reflect the complexities of our world and the personal experiences that shape us. As you continue exploring this year’s lineup, we encourage you to dive deeper into these works and discover the powerful messages, emotions, and perspectives they offer. Whether you're a long-time supporter of indie films or a newcomer to the festival, your engagement and curiosity make all the difference in uplifting these voices. Stay tuned for more filmmaker spotlights, and we look forward to seeing you at this year’s screenings. Let’s continue celebrating the magic of storytelling together!

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: The Big Raise by Angelina Lee

One summer and one fall at La Grande Raisandière, or “The Big Raise, ” a small vegan permaculture farm in central France that repairs soil quality through innovative techniques.

Q&A WITH DIRECTOR ANGELINA LEE

Why does this story need to be told now?

Increasingly, people are learning of environmental degradation, and naturally ask, "What can we do?" Permaculture is one answer -- one that employs an entirely new way of thinking, and can do a lot with little land.

How do you want people to feel after they see your film?

Hopefully, enchanted by the rhythm of the seasons, which was a major part of the film's narrative. I hope people feel that there's a lot of things we can do here, right now, to lessen our impact on the environment.

What was the biggest inspiration behind this film?

The expressive, visually breathtaking documentaries "Honeyland" and "Bitterbrush" inspired this film. I wanted to tell the story through images.

Can you tell us about the central themes of your film? What message or emotion did you hope to convey?

It takes a different way of thinking to create a reciprocal relationship with our immediate natural environment. That can only lead to abundance. When we actively support our local pollinators and little critter neighbors, our own harvest can increase tenfold.

BIOGRAPHY

Angelina Lee was named an Obama Fellow at Occidental College’s Barack Obama Scholars Program to produce a documentary about regenerative agriculture, “The Big Raise.” She worked as the writer, director, VFX artist, and editor for short fiction film “Quercus,” Research Assistant for the PPE Portrait Project, producer for feature film “Let's Meet Halfway,” cinematographer for “At Last Deserted,” producer for “Miss Metadata,” and sound recordist for “It Was Nothing.” Her feature-length documentary "Making a Mini-Forest" comes out in winter 2024, which covers the emerging international movement of planting “Tiny Forests,” or “pocket forests” to restore native forests.

Angelina Lee, director of *The Big Raise*

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: The Boyfriend Sweater

In Nikki Mezaros’ directorial debut film, The Boyfriend Sweater, a textile artist faces the fallout of “the sweater hex” — the belief that making someone a sweater leads to a breakup before it's finished.

Q&A WITH NIKKI MEZAROS:

NIKKI MEZAROS is an LA-based queer writer and director from New Jersey who has worked on multiple TV shows, including as a staff writer for HBO. She's developing a feature with Lauren Miller Rogen attached to direct and LYLAS Pictures producing. Her short film, THE BOYFRIEND SWEATER, marks her directorial debut. Nikki is represented by Delaney Morris and Tracy Kopulsky at Grandview.

What inspired you to create this film, and how did the initial idea come to you?

My girlfriend Ellie is a textile artist and a firm believer in the sweater curse- has she yanked hair out of my head and stitched it into things she's knitting for me before? Maybe (definitely.) I loved the idea of playing off the lore of the hex and flipping it, having Jessie use it a means to a very toxic end. I've always been so interested in Ellie's art, an artform not a lot of people appreciate enough, but also the culture around knitting, too- the community of older women she talks to online for help, her vintage eighties knitting machine she has to troubleshoot herself, and the amount of time these artists have devoted to learning it.

Why does this story need to be told now?

"The Boyfriend Sweater" is, unfortunately, not a gay rom-com. It is, however, the story of a queer relationship, made by a predominantly queer cast and crew. I wanted it to feel real and funny and (sort of) sweet. I hope that we start to see more queer films being made in all genres, featuring characters who are allowed to be imperfect and stories that aren't forced into boxes.

What do you hope audiences will take away from watching your film?

I really wanted people to see the slow process of how something is made. Miya (Jessie) really values the craftsmanship of Ellie's textile work, and spent time learning how to properly use the machine. Everybody wears sweaters, but few people think about the time, hard work, and artistry behind them.

What was your favorite part of making your film? Memories from the process?

Everybody involved. This was my first film I've directed, and our producers Ella and Phoebe have been so incredibly helpful and supportive. The cast and crew are truly amazing. It may only be a 12 minute film, but there were a lot of set-ups, and only two and a half days to shoot it. Everybody really came together to get it done and brought so much to it that led to what it is now. Liz Charky, our DP, is endlessly creative and excited about filmmaking. Miya Folick is not only an incredible lead, but also made an original song for the film that I think is really essential to the ending. Paula, Penny, and Mike are all so funny and perfect. Ellie made what is probably the world's largest sweater (do not fact check). By the way, Paula (Margot) would like to set the record straight that she is not actually five-foot-two. She's just an incredible actor!

How do you approach storytelling in your films? What’s your process for developing a script or concept?

You can have a good logline, but I think the characters are what make people really fall in love with a film. What I love about filmmaking is creating worlds that people want to be in and less-than-perfect characters you want to root for anyway. My favorite part of writing is always dialogue. Sorry, I love banter!

How do you feel about your film being screened in front of a festival audience?

I'm so excited that our film is having its world debut at Bushwick. It feels kismet. We may have made this film in LA, but I'm from Jersey, and there will be a lot of people there in the Brooklyn audience who have endlessly supported both me and our film that I am so grateful for. It's also very sweet to be playing with so many other amazing queer films.

What’s the last film you watched?

The Substance and Will & Harper! Sorry, that's two.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: Or Something by Jeffrey Scotti Schroeder

Two strangers show up at the same Brooklyn apartment to collect cash they’re both owed. Forced to spend the day together on a journey through New York City, the pair reveal intimate details about their lives. One of them happens to be hiding a harrowing secret.

Q&A WITH DIRECTOR JEFFERY SCOTTI SCHROEDER

What inspired you to create this film, and how did the initial idea come to you?

Kareem Rahma and Mary Neely partnered together with the intention of making a low budget independent film. Meeting up once a month for almost a year, the pair purposefully chose a storytelling structure that would allow for a lot of talking. They would pick a topic and talk about said topic before transcribing it into dialogue for the script. Their intention was to tell an honest story without holding back.

Why does this story need to be told now?

A lot of people think the opioid crisis is a thing of the past, but it's not. Many people still struggle with addiction in this same way and a lot of those who are affected are not the "bum" or "derelict" stereotype many imagine. Addicts take any shape and size, just like Olivia.

What was your favorite part of making your film? Memories from the process?

Our shoot was six days of mostly exteriors in the freezing cold. The crew really came together and brought levity to the process, making it a very memorable shoot.

Were there any films or directors that influenced your approach to this project?

The "Before" Trilogy (anything Linklater), "My Dinner with Andre," "When Harry Met Sally," "What Happened Was..." (Tom Noonan), The Duplass Brothers, Joe Swanberg

How do you feel about your film being screened in front of a festival audience?

We're so grateful to have our film on a big screen in a room full of people, especially fellow movie lovers.

Early bird or night owl?

Night Owl!!

Jeffrey Scotti Schroeder is a New York-based Producer, Writer, and Director. Jeffrey has directed projects for A$AP Rocky, Kit Kat, Clario, Kanye West, Jordan Brand, Travis Scott, DJ Khaled, and Tony Hawk to name a few, and was nominated for AICP's Best Regional Director. His TV directing credit includes SAME TIME NEXT WEEK. His feature directorial debut is OR SOMETHING. He is a proud member of the invite only Mushroom Identification Forum on Facebook.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: You're Invited to Tuscan's 5th Bday Party! By Lee Eddy

When her only son's birthday party is ruined by a runaway pony, a stressed mother deals with the comically chaotic aftermath.

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Lee Eddy is an Austin, Texas-based writer, actor, and first-time filmmaker. Her recent acting credits include a lead role in Richard Linklater’s ‘Apollo 10 1/2: A Space Age Childhood,’ and supporting roles in Mo Amer’s A24/Netflix comedy series ‘Mo,’ Amazon Prime’s series ‘Panic,’ Martin Scorsese’s ‘Killers of the Flower Moon.’ Upcoming credits include featured roles in Macon Blair’s ‘The Toxic Avenger,’ and starring in her directorial debut with the original short film 'You're Invited to Tuscan's 5th Birthday Party!'

Q&A WITH DIRECTOR LEE EDDY

What inspired you to create this film, and how did the initial idea come to you?

I am a mid-40s mother of two kids, ages 10 and 6. (Yay!) After my second child was born, I was diagnosed with postpartum anxiety (Boo.) So, I began therapy. (Yay…?) When I learned the term disenfranchisement grief in a session -- it’s “when you feel a loss that is not supported by society as something to publicly grieve” -- I was inspired to tell the story of my own Mom Life Crisis. I sat down and wrote it in a day and a half. It first existed as a 30-minute one-woman show that I performed at a couple of local theater festivals. The response I received from audience members (not just parents) was overwhelming and after ended up in tearful exchanges.... so I knew it was something that resonated with others.

How do you want people to feel after they see your film?

It is meant to be a comedy piece, but writing comedy is a way for me to process Big Life Stuff. My hope is that with the (fingers crossed) laughter, the audience feels like can open up themselves a bit to receive the story. And once they're open to trusting where the story is going, then *the heart* of what's the main character confesses is more easily absorbed because we've been on a roller coaster with her and this is the final drop. But instead of leaving them with a gut punch, there's more comedy at the end so you feel like you got a delicious treat with a hard nut in the middle. (So many metaphors.)

What was a big challenge you faced while making this film?

I'm a first time filmmaker and broke lots of rules that you probably shouldn't do with your first film: work with animals, work with children, write/direct/producer/star in the piece, etc. I cried a bunch during the pre-production because it was a really big risk (emotionally/financially) to put my story into the world and Who The Fuck Did I Think I Was to make it? I got over that as soon as we were in production week and adored the entire process thereafter. (TL/DR: Self Doubt).

What inspired you to pursue a career in filmmaking?

I've been in front of the camera acting in other people's original works for over two decades. Finally, at my mid-40s, I realized, "Oh. Wait. I can make my own short film."

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

Being vulnerable and authentic feels like something I'll always strive for in my future films and scripts.

What’s the last book you read?

Surely You Can't Be Serious: The True Story of AIRPLANE -- an autobiographical telling of how the Zucker brothers and Jim Abrahams "got away" with making AIRPLANE.

Early bird or night owl?

Afternoon Anteater

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: ‘98 Honda by Christian Banda

Set on a sunny day in 2004, ‘98 Honda follows Michael, a charming weed dealer whose good intentions often leave him in disastrous situations. Tasked with taking his girlfriend’s cousin Sean to see Spider-Man 2, the reluctant stewardship blossoms into friendship.

Christian Banda is a Western Massachusetts native who spent the last 13 years in New York honing his filmmaking skills and fortifying his passion for all things TV & Film related. His credits include MTV, VH1, Comedy Central, Netflix, WNYC, iHeartRadio, and Billboard. Christian was most notably a Segment Producer for The Daily Show with Trevor Noah, which won the Emmy for 2023's Best Variety Talk Show. '98 Honda is his directorial debut.

Q&A WITH DIRECTOR CHRISTIAN BANDA

What was a big challenge you faced while making this film?

This is my directorial debut. Even though I've been in the industry for more than a decade, I've never directed anything before '98 Honda. Suddenly, I'm surrounded by this wonderful cast and crew looking for me to lead them. It's terrifying when you feel the weight of what you've been working on all in one moment. We ain't in the gym anymore, it's game time. And you know what? I found out I love having the ball.

What inspired you to pursue a career in filmmaking?

I grew up in an African household. My mom is Tanzanian. We weren't allowed to turn on the television during the week growing up. So naturally, I snuck downstairs when everyone was asleep and watched all of the tv shows and films I could get my hands on. Childhood first generation rebellion mixed with stubborn curiosity led me down the path of being a broke artist, and I wouldn't have it any other way.

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

You're always studying. Every show/film you watch. Every conversation you have. Every time the light hits the trees a certain way or your homie switches up intonation on a commonly used word, you're studying. Just realizing that made understand that everyone has an artistic reservoir to pull from. Knowing you have the reservoir, curating it, putting only the best things in there...I feel like that's when this whole filmmaking shit starts for real.

If you weren’t a filmmaker, what would you be doing?

I just started teaching high school. Not only are the kids hilarious, but they're so insightful. The joy of becoming a teacher has caught me completely by surprise but, if I wasn't hellbent on doing this, I'd probably be at the head of a high school classroom somewhere.

How do you feel about your film being screened in front of a festival audience?

This film didn't exist a year ago, and now I get to show it at Williamsburg Cinemas. My home theater. It's an honor. You dream about this shit when you're a kid. I saw Avengers Endgame, opening weekend, at Williamsburg Cinemas. Now I get to show something I made there? Unreal.

What’s the last film you watched?

Brooklyn starring Saoirse Ronan

What’s the last book you read?

The Message by Ta-Nehisi Coates

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: A Little Family Drama by Nadia Zoe

When a Mexican-American family's annual reunion turns into a full-blown food fight, secrets spill faster than the salsa, and the drama heats up hotter than the tamales.

Q&A WITH DIRECTOR NADIA ZOE

What inspired you to create this film, and how did the initial idea come to you?

We previously made a short film called Mariachi Madness many years ago when I was still in school and always wanted to make a feature. So, during the pandemic we decide to start throwing around ideas and ended up being able to shoot it. The film is very different from the short, but at the core both film are about a family working through grief through comedic moments in an attempt to come back together.

Why does this story need to be told now?

Film stories are always needed and important. This film is about a Mexican American family, but really it could be anyone. This film strives to show the universal nature of familial dynamics and issues. To show how we are all the same and maybe create more unity in the world instead of division.

Tell us an anecdote about casting or working with your actors.

I love working with the actors on this. Even though we had very little time to make this, 15 days, when we were on set we played with the characters and lines as much as possible. All of the actors brought so much to the table, but there is definitely one character that I had to keep it together when they were on set because I couldn’t stop laughing. At one point they had to put the director’s monitor far from the action because my laughter was too loud.

What inspired you to pursue a career in filmmaking?

As a diverse woman, I sought filmmaking because one, I love movies and second because I wanted to see more people like me out there. I wanted to share my stories with the world in hopes of providing some other little girl the ability to recognized themselves in the narratives that surround them.

Can you talk about the festival experience? How does it feel to have your film selected?

Making a movie often feels like a miracle, especially in independent film. So, getting the chance to have our film at a film festival and have the ability for people to see it is an invaluable opportunity and experience. We love the community that exists within the festival and the support that is so badly needed for small films like ours.

NADIA ZOE BIO

A Pakistani American filmmaker, originally hailing from the Southwest, Nadia Zoe cultivated a passion for character-driven films during her studies in acting before transitioning to a career in directing. A distinguished alumna of the Columbia University MFA Film Program, she holds a degree in screenwriting and directing. Post-graduation, she has played key roles in numerous collaborative projects, including her leadership in South Mountain, which celebrated its premiere at SXSW. Additionally, she produced and co-edited Last Ferry, which was lauded at its world premiere at BFI Flare. In her capacity as a writer and director, her contributions have garnered recognition in esteemed platforms such as the teleplay competition at the Austin Film Festival and the Chicago Latino Film Festival.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: A Plague of Wasps by Chloe Simone Crawford

On the eve of her son's wedding, a WASP matriarch becomes transfixed by the idea that her soon-to-be daughter-in-law, a black woman, is the devil.

Q&A WITH DIRECTOR CHLOE SIMONE CRAWFORD

What was a big challenge you faced while making this film?

The biggest challenge of making any film is making the film. I found it funny how while making a sympathetic movie about Satan, I was constantly left in awe of instances that I could only reason to be small acts of God. I am in no way a religious person but getting my actors and collaborators to agree to making this film with me, having our original location fall through after having paid for it only to then find the house we ended up shooting in a few hours later, and the owner having worked in film and being super supportive of the project, to getting every shot, to having my dog hit her marks and not biting my lead even though she’s never been in a film and isn’t fond of people, it made me think: the big guy upstairs must be a cinephile.

Tell us an anecdote about casting or working with your actors.

I had seen Zach in To Kill a Mockingbird on Broadway in 2022. A few months later, I was out for a walk spotted him with his groceries. I don’t know what came over me, but I proceeded to bravely, or psychotically, go up to him and gush about how much I enjoyed his performance. Thankfully he was incredibly gracious and indulged me in a conversation about acting, writing and trying to work and when we departed he said the thing that all kind actors say to young people with dreams: “write a part for me.” I assume it was a joke at the time, but I had been working on the script for this film, and from that point on I placed Zach on my vision board and wrote Chris with him in mind. I felt like it was a long shot andI never imagined he would actually be interested or remember our conversation, but when we began our process for casting, I got in contact with my college advisors who knew him and asked for her to connect us. A couple days later while I was on vacation I got an email in my inbox from Zach that simply said: “hey, tell me about this movie”…

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

My main take away from this process is that, many people say you make three films: the film you plan to make, the film you shoot and the film you edit- I disagree. I believe the film stays the same, it’s the filmmaker that changes. I wrote my film at 23, shot it at 24 and finished it at 25. I’ve grown and changed, my references and interests and goals have shifted but I believe growth is the most beautiful thing in the world. To talk about growing as an artist is just to allow yourself to grow as a person and bring that into the art you make. Honoring that change and the differing opinions you may have in the present and the past. Allowing yourself to prove yourself wrong and embracing the mistakes you thought were good ideas.

Films are lasting artistic legacies; what do you want yours to say?

I gave this answer in an interview a few years ago and the person interviewing me was not impressed but I stand by it: while I respect a cohesiveness in an artists work, I hope that my films, projects I work on or ideas I bring forth are not a monolith. Through filmmaking, I want to be able to metabolize my life as it grows with me: as I age, love people, loose people, make mistakes, live with regrets, become a mother etc… Vainly, I do hope that the one uniform thing is that they’re all good, but even that is impossible of the most skilled maker. I just hope that what I do and make is seen as my investigation into the life I lead, the ideas I have and the things I love and fear. Though I will admit, I hope they progressively get better.

How do you approach storytelling in your films? What’s your process for developing a script or concept?

My development of this script was somewhat different from my other films. It was the first short I had ever written and so my other screenwriting processes has been long and painstakingly tedious. In coming up with the idea for A Plague of Wasps, I had gone to see a show with my mom and was bored out of skull. But while I sat in the dark for two hours, I was forced to try to entertain myself and began daydreaming about the the plot for the film, it’s setting, characters and tone. When I got home that night, because I had spent so much time with the idea, I was able to write the entire first draft in an hour. Thank God for boring theater and the notes app.

What’s the last film you watched?

Harvest by Athina Rachel Tsangari

What three things do you always have in your refrigerator?

Olives, baby carrots (for my dog), truffle pecorino

Chloe Simone Crawford is a New York born and based filmmaker, writer and actor. Most recently, she’s had roles in various independent films, short form content and projects for HBO and NBC. She began screenwriting as a means to investigate her relationship with womanhood, queerness, mental illness, race, death and motherhood. Her first feature screenplay, Colored Actress, has been highlighted by The Black List for several awards; most recently 2024 Michael Collyer Screenwriting Fellowship Finalist and 2023 $100,000 GM x The Black List Writer Driven Shorts Shortlist. She was a student of Vassar College and Waterwell Theater Company’s PPAS Drama Program. A Plague of Wasps is her first film, for which she received the Panavision New Filmmaker Grant.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: BABA (爸爸) by Teresa Xie

Filmmaker Teresa Xie follows her little sister on their first family trip to China in six years.

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Q&A WITH DIRECTOR TERESA XIE

What do you hope audiences will take away from watching your film?

I hope that audiences will see the complexity of intergenerational familial relationships in immigrant families!

Can you tell us about the central themes of your film? What message or emotion did you hope to convey?

BABA (爸爸) is about my sister’s first trip to China in six years. The film unravels her reflections on our grandfather’s passing and relationship with our parents. I wanted to dissect the experience of feeling distant from places and people so integral to your family history and the complex emotions that come with it.

Were there any films or directors that influenced your approach to this project?

Sean Wang's shorts were definitely my biggest influences, particularly 3000 Miles! And also, Carol Nguyen's No Crying at the Dinner Table!

Can you talk about the festival experience? How does it feel to have your film selected?

I made this film for myself and for my family, so having the opportunity to have it screened in front of a larger audience feels surreal and super validating.

What’s the last film you watched?

War for the Planet of the Apes (lol)

Teresa Xie (she/her) is a Brooklyn-based filmmaker and journalist who reports on culture, politics, business — and the spaces where they intersect. She has written for publications ranging from Pitchfork to The Nation, worked on NPR’s Tiny Desk and Louder Than A Riot, and produced an audio story on the mispronunciation of Asian-American names as an AAJA Voices Fellow. Teresa is a member of independent filmmaker collective Filmshop, a 2024-2025 Bronx Documentary Center Films Fellow, and was part of BRIC’s 2024 Documentary Intensive Cohort.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: Searching For Satoshi by Paul Kemp

A worldwide investigation into the bizarre vanishing of Bitcoin’s billionaire creator, the secretive “Satoshi Nakamoto”

Q&A WITH DIRECTOR PAUL KEMP

What inspired you to create this film, and how did the initial idea come to you?

So why did I want to follow this story? From my perspective, when I heard of Bitcoin in 2009, 2010, 2011, it was in the media but I didn't really know what it was. I thought it was like Monopoly money. I thought it was just some crypto-weirdness that I didn't think had much staying power. But as the decade went on I started to realize people are still working on this thing and the name, Bitcoin, is everywhere. I saw ATM machines selling bitcoin. I saw vendors or stores accepting bitcoin. So I started paying more attention to it around 2018, 2019. Then I discovered that there was a guy named Satoshi Nakamoto who actually created Bitcoin. Everyone who knows anything about Bitcoin realizes he's the greatest mystery in technological history because nobody knows who Satoshi Nakamoto is. All they know is he could possibly be the richest person in the world in the years to come--because he’s vanished. He creates Bitcoin in 2009 and by 2011 he vanishes with a million Bitcoins, but no one has really asked the deeper questions about who he is and why he did do this? And so this is what this documentary sets out to do.

Why does this story need to be told now?

Because Bitcoin has become the 5th largest currency on Earth and is only growing. Its value has exploded--and with it so has the mystery of the guy who created it and vanished with extreme wealth

Describe who you want this film to reach.

Anybody who has heard the word "Bitcoin", but has no idea what it is or why its origin story is perhaps the greatest Tech mystery of all time.

What do you hope audiences will take away from watching your film?

That this is AN INCREDIBLE UNSOLVED MYSTERY that will only grow in mystery as time goes on.

How do you want people to feel after they see your film?

That Bitcoin is not only real, but that they need to know more about it--and that the founder of it was perhaps one of the most forward thinking people of all time. A Nobel Prize is next I bet.

What was the biggest inspiration behind this film?

Uncovering the genius of something that few understand and telling that story simple but with a human touch.

What was your favorite part of making your film? Memories from the process?

Traveling and learning that my presumptions of who Satoshi Nakamoto was, were all wrong--and being intellectually honest about what the facts were telling me.

What was a big challenge you faced while making this film?

Getting people to talk!

Tell us an anecdote about casting or working with your actors.

My film is a doc, so the key was finding people who could articulate crazy difficult ideas simply.

Can you tell us about the central themes of your film? What message or emotion did you hope to convey?

A passionate mystery that keeps people guessing.

Were there any films or directors that influenced your approach to this project?

Errol Morris

What inspired you to pursue a career in filmmaking?

I didn't pursue it. It found me.

Why is filmmaking important to you? Why is it important to the world?

Because great stories and grand narratives matter.

What role does technology play in your filmmaking process, and how has it evolved over the years?

Small crews. High production values. On lower budgets

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

Get the story clear--BEFORE YOU SHOO|T. I see doc makers blowing their brains out and their budgets because they can't make hard choices on what they are trying to say.

Films are lasting artistic legacies; what do you want yours to say?

In 50 years, I want my film to the "THE FILM" about this historic mystery and journey.

If you weren’t a filmmaker, what would you be doing?

Likely a track coach or politician...something I have done before.

How do you approach storytelling in your films? What’s your process for developing a script or concept?

Find stories and ideas before others do. Then write an amazing pitch deck and ACT structure, and then pitch, pitch, pitch to convince network execs or funders that I am their best choice as the filmmaker to do this story.

What’s the last film you watched?

Liberty: Mother of Exiles (odc on The Statue of Liberty)

What’s the last book you read?

Revenge of the Tipping Point (Malcolm Gladwell)

One thing people don’t know about me is _____.

I was a national level track athlete, and used to be a political reporter

Early bird or night owl?

Neither...I hate mornings but seem to do better in life by going to sleep earlier (which I hate)

What three things do you always have in your refrigerator?

Pale Ale, Smoked cheddar, Greek Yogurt

Paul Kemp is a multiple award-winning TV series and documentary Director, Writer, Show Runner, and Producer with over 100 projects under his belt. His films and TV series have been seen in over 160 countries, including: “Searching for Satoshi: The Mysterious Disappearance of the Bitcoin Creator”; “The Pretendians” ; “Nike’s Big Bet”; “The Rise of Jordan Peterson”; “GOING NATIVE” (39 x 30m); “Transformer”; “Village of the Missing; “Searching for Winnetou”; “Infestation” (4 x 60m); “Oh My God!” (20 x 30m) “The Science of Sin” (4 x 60m); “Secrets of the Dog Park” ; “The Plastic Fantastic Brain”; and "I Bet My Life" . Paul also works with TV distribution companies ALL3 Media, Gravitas Ventures, Abacus Media, Sideways Films UK, and ZDFE of Germany.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: But He's Gay by Michael Calciano

…Maeve kills the vibe when she confronts her ex-boyfriend at a party...

Q&A WITH DIRECTOR MICHAEL CALCIANO

What inspired you to create this film, and how did the initial idea come to you?

The actual catalyst for the idea came from experiencing a considerably less dramatic version of what unfolds in the film— A friend of mine who was seemingly still hung up on her ex-boyfriend (five years after the relationship) who is now out as gay. It sort of haunted me that she could still have this wound after five years. It caused me to reflect on my own high-school girlfriend and my uncomfortability with that era in my life before I came out. The blurry lines of the situation and the question of where the blame should lay and what/who caused the most harm came up and felt like a movie to me!

What do you hope audiences will take away from watching your film?

I hope they’ll leave unsure of exactly who to side with. We start by assuming we have a clear cut villain but we end up seeing lots of questionable behavior from both sides. The fact is, there isn’t an easy answer. I think the once-straight-now-gay-ex-boyfriend is an almost universal experience and I want the nuance of that to shine through - especially in a time where we are constantly demanded to take sides.

Films are lasting artistic legacies; what do you want yours to say?

Absolutes make me angry. I think a lot of my films deal with questions that don’t have easy answers. I am constantly on the fence about things and I like to make movies that in that in-between whether in genre, subject, or the questions the films are posing.

What’s your history with the Bushwick Film Festival?

I was involved in 2018 with a short I wrote, Come Be Creepy With Us. We had an awesome time and I'm psyched to be back as a writer/director this year!

What’s the last film you watched?

Queer

Early bird or night owl?

Night owl slowly morphing into the early bird. It's true, they really do get the worm.

Michael Calciano is a NYC based filmmaker and writer. Always playing with genre, he makes uncanny and surreal horror and comedy films but especially loves to play in the delicious in-betweens. His films as both a writer and director have played internationally at film festivals including: Fantasia Film Festival, Brooklyn Horror Film Festival, Picture Farm Film Festival, Boston Underground, Bushwick Film Festival and more. His film work can currently be seen online on Short of the Week and Alter.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: David Again by Adam Elliot

A lifelong New Yorker conquers addiction and finds redemption, with the help of a friend.

Q&A WITH DIRECTOR ADAM ELLIOT

What inspired you to create this film, and how did the initial idea come to you?

The subject of our film, David Dennis was actually my next door neighbor in New York City. When I first met him, I was instantly taken by his candor and wit, his unwavering humility, and his desire to share his story with me. His signature style also stood out to me. As two native New Yorkers, we connected on our shared love for our city. As I got to know David, I learned about his lifelong battle with drug and alcohol addiction, and his long road to recovery. I also learned who his best friend was: Jon Cryer. I learned that Jon’s character of Duckie from “Pretty in Pink” was actually inspired by David. Not only this, but Jon also wrote a film about his friendship with David called “Went to Coney Island on a Mission from God…Be Back by Five.” I realized the story of their friendship had transcended into the art world, which I found to be a rare and beautiful thing, and something well worth documenting.

Describe who you want this film to reach.

David was really excited about this film. I think it’s because he saw the film as a continuation of providing service, something he was deeply committed to in his own recovery. And in the months following his passing, I learned about all the people David helped in the rooms. The sentiment, “he saved my life” has come up several times. And knowing David like I do, that doesn’t surprise me at all. So I do hope the film reaches those who may have been impacted by addiction, either personally or through a loved one, and to know it really is never too late to ask for help.

What do you hope audiences will take away from watching your film?

I believe David’s story offers the promise that no matter what you may be struggling with, it is never too late to ask for help, or to ask for forgiveness. This is also a story about the power of friendship, and what it means to support those close to you so they can realize their unique potential.

What was a big challenge you faced while making this film?

When David passed away during the course of making the film, I wasn’t sure we would continue. But we were encouraged by David’s family and Jon to finish the project in any way we could. At that point, the biggest challenge for me in making this was in the question of: “How do we tell a story of survival when our subject has passed away?” What we discovered was that we could both honor that sad reality while also paying tribute to what David accomplished in his life. And that while David was no longer with us, his story of surviving addiction was still very much at the core of the story we were trying to tell.

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

I don't like to give advice (especially since I still have so much to learn about filmmaking), but I can speak from my own experience. Something I always keep in mind for myself is that filmmaking is all about collaboration. I am the beneficiary of the most incredible team of collaborators, who I am so blessed to know and work alongside of. And while it’s great to be ambitious, I want the whole team to succeed just as much as any personal ambitions I have for myself. As filmmakers, we are at our best when we find ways to support each other. And ultimately, if we succeed in lifting each other up, I think the work ends up being better as a result.

Can you talk about the festival experience? How does it feel to have your film selected?

What I like about festivals is they give us a chance to let go of the competitive nature of the film industry, and just enjoy being a part of the film community. We all have so much in common — we all share this dream of getting to tell stories. So it’s nice to take a break from all the noise and just enjoy each other’s work.

What’s the last film you watched?

"Strange Darling." Loved it.

A New York City-based filmmaker, actor and comedian, Adam Elliot’s short films and web series have screened all over the US and internationally. He served as a writer and appeared in the web series 'The Age of Insecurity' (Winner, LA Comedy Festival 2018) and 'Little Italy, Los Angeles' (Winner, HollyShorts 2018). His short documentary about his father, 'Harv' won the 2017 Greenwich Village Film Festival and 2018 Inwood Film Festival. He won Best Actor at the 2020 New York City Short Comedy Film Festival for his portrayal of The Agent in 'Adam Adamson: Licensed Realtor.' His short film, 'A Best Man' is a grant recipient of the inaugural Inwood Art Works Filmmaker Fund Award (Winner: Best Actor in a Short Film, New York CineFest 2022 and Midwest WeirdFest 2023). Winner of Gotham Comedy Club's 2022 New Talent Competition and Finalist of Stand Up NY's 2023 Comedy Mob Festival.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: Director's Cut by Don Capria

Excited to shoot their first music video, a punk rock band ventures into the woods of P.A. never to return.

Q&A WITH DIRECTOR DON CAPRIA

What inspired you to create this film, and how did the initial idea come to you?

I was shooting a music video in the heart of the pandemic in an abandoned location in PA. I was walking around the facility thinking about how we have no cell service and if someone wanted to - we could be butchered there and no one would ever know.

Why does this story need to be told now?

The heart of the story is about a band drama. It's a cautionary tale to the youth out there trying to "make it big." They really dont know who they are dealing with sometimes and dont take caution when they might need to. That is a valuable lesson for the youth of today.

Describe who you want this film to reach.

All young kids with dreams - but definitely artists in general.

What do you hope audiences will take away from watching your film?

Beyond the slasher element with some cool killers Ive created - I hope they take away a great story about a struggling band.

How do you want people to feel after they see your film?

Pleasantly surprised by a slasher film.

What was the biggest inspiration behind this film?

Music. I was a struggling musician - then a music manager and spent the majority of my life working in music. And while writing the script I listened to nothing but music !

What was your favorite part of making your film? Memories from the process?

Set.. It is intoxicating. So many people collaborating at the same time with the common goal of making one of the coolest mediums of art come to life.

Don Capria is most known for his true crime biography, Colombo: the Unsolved Murder based on the life of mob icon Joe Colombo. In 2014 Don Capria wrote and directed his award winning short film, Eulogy, and shortly after returned to work in music as an artist manager also directing and producing music videos and short form content. In 2019 he filmed the pilot for his scripted TV series, Abaddon, starring Erika Alexander. In 2021 he wrote and directed his award winning short film, Anecdota, a post apocalyptic horror starring 11-year old newcomer, Bella Grace. Now, Capria has written and directed, Director’s Cut, a horror / slasher that follows a young band going to shoot their first music video with a mysterious director. The film is set to hit theaters on Halloween.

What was a big challenge you faced while making this film?

SAG. We wet a small production and they really reminded us of how powerless we were during the process. lol.

Tell us an anecdote about casting or working with your actors.

I think the cast grew an amazing connection together during final call backs. They were in a. different room together while we brought groups in and I was told they really bonded with one another while waiting for their turn. That human connection is priceless and I know many of them even the ones that didnt get casted are now friends.

Can you tell us about the central themes of your film? What message or emotion did you hope to convey?

There is no such thing as a free lunch. - Really about doing your research - dont be so naive and quick to accept an offer.

Were there any films or directors that influenced your approach to this project?

Im constantly rewatching John Carpenter and Wes Craven - they are amazing in their craft and for me it never gets old.

What inspired you to pursue a career in filmmaking?

My first time on set was a music video and once I saw the operation I knew I wanted to do that as a career. Love at first site.

Why is filmmaking important to you? Why is it important to the world?

The ability to tell a story - share emotions and touch other people. It is the most mazing medium we have.

What role does technology play in your filmmaking process, and how has it evolved over the years?

I started shooting on 35mm - then watched the digital technology and lighting technology advance. We are spoiled today and im grateful for that - especially since I came up knowing how difficult it was before.

What is something that all filmmakers should keep in mind in order to become better cinematic storytellers?

Rewrites. It's never too late to polish it some more. Then you are ready to break out a camera and spend real money.

Films are lasting artistic legacies; what do you want yours to say?

That I connected with them. Gave them a moment that felt real to them. And they felt what they saw.

If you weren’t a filmmaker, what would you be doing?

Writing.

How do you approach storytelling in your films? What’s your process for developing a script or concept?

I write. And then overanalyze it. Send it to 3 trusted people. blend their feedback and rewrite. I like to take a week off to clear my thoughts before every rewrite.

What’s your history with the Bushwick Film Festival?

This is my first appearance.

Can you talk about the festival experience? How does it feel to have your film selected?

It's pretty amazing.Brooklyn is king. We did our wrap party in Bushwick and the majority of our cast and crew is New Yorkers. Im very grateful and excited about this selection.

How do you feel about your film being screened in front of a festival audience?

It's going to be very insightful - watching people as they watch your movie. Seeing what they like / dont like/ laugh at and get sacred over. I cant wait.

What’s the last film you watched?

last night - Friday the 13th part 3.. Watching horror all month.

What’s the last book you read?

The tipping point - My second time reading it.

One thing people don’t know about me is _____.

Im not as serious as I look.

Early bird or night owl?

Night owl..

What three things do you always have in your refrigerator?

Oatmilk Creamer , carrots, seltzer water.

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: Kid Nature by James Moutsos

Nature is Calling!

Q&A WITH DIRECTOR JAMES MOUTSOS

Why does this story need to be told now?

I’m only 23 so I haven’t spent a ton of time in the world, but I do feel like in the world we live in now, how much information we have and how the younger generation has so much access to everything good, horrible, and crazy weird going on right now, everyone just has to grow up much faster it feels like. And while I think that’s partially a good thing, it’s can also lead to you feeling cold, hardened, and just overwhelmed with everything. So I wanted to tell a story first off that was just really sweet and could make people happy, but also one that showed everyone the power of vulnerability, the power of being “dumb” and silly, and ultimately that it’s ok even when you get a math equation wrong.

Describe who you want this film to reach.

I want to reach both a younger audience who’s feeling overwhelmed with the constant pressures of everyday life, as well as an older audience who’s just gotten better at pretending they aren’t!

What do you hope audiences will take away from watching your film?

I was hoping the audience could walk away from the film feeling a childlike sense of wonder and appreciation for the world, but also that the film could instill a sense of hope and empower the audience to face the world head on, even if they have no clue what they are doing! Kip at the end of the story really learns nothing about math or anything technical, but what he does gain is the incredible power of simply just trying.

What was your favorite part of making your film? Memories from the process?

Stop motion animation is usually a very solitary endeavor, but I think what was so great was all the wonderful help and support I got from friends when I made it. From helping paint toilet paper rolls to look like trees, to just simply clicking the capture button for each frame of a shot, to just sitting and talking with me as animated at 4am. I feel like just getting to hangout with some of my favorite people while I really just got to play around and feel like a kid again was really such a fantastic experience that made what would be a grueling process actually quite lovely!

What was a big challenge you faced while making this film?

I made this film at college, and a big difficulty was finding a space to work and store my large forest set. It was the most ambitious film I’ve made, being a stop motion film with a few different detailed locations, I needed a space where I could build the sets and props and shoot for very long periods of time. This made the shoot very chaotic as I ended up needing to use a communal stop motion room to film most of it. Many of the students and professors were very kind and generous for letting me use as much of the room as I did, and for as long as I did! The biggest problems I ran into was having to stuff all of my supplies and sets into a grocery cart after I wrapped animating late into the night, and wheeling the cart back into my room, so the space was clean and ready for classes the next day.

How do you feel about your film being screened in front of a festival audience?

This is my first film festival I’ve ever been and before this screening I had only ever just been to smaller screenings or put up my short films on Instagram and YouTube. That was fun to show it to my friends and family members but I am a really excited and really nervous to see what random people will think! It will be quite surreal to see my work on the big screen!

James Moutsos is a Brooklyn based director and stop motion animator, who operates in the fantastical and the absurd! Just recently graduating with a BFA from Pratt Institute, James has already created a number of bold and imaginative works, including his newest short, Kid Nature, which won for the NBR Student Grant!

Eduardo Sobrino 10/14/24 Eduardo Sobrino 10/14/24

Filmmaker Profile: Lillo by Andrea Figueroa Chavez

After the death of his father, a little boy has to do the cornfield harvest on his own, overcoming his loss with the help of his imagination.

Q&A WITH DIRECTOR ANDREA FIGUEROA CHAVEZ

What inspired you to create this film, and how did the initial idea come to you?

The inspiration for "Lillo" was born from my own journey through grief after my grandmother's passing. As I cope with this loss, I was struck by my young cousin's ability to find joy each day, despite the pain. This observation led me to a profound realization: to understand his resilience, I needed to reconnect with my own inner child. This insight became the heart of my film, embodied in Lillo, a young boy facing his father's death while taking on the daunting task of the cornfield harvest. I set the story in my beloved hometown of San Miguel, Mexico, connecting my cultural roots into the narrative. By casting local farmers, including a young boy I've known for years, I sought to capture the authentic spirit of my community. Through "Lillo," I'm exploring how the innocence and wonder of childhood can guide us through grief, helping us find beauty and meaning in nature, memories, and the enduring connections of the soul. It's my visual philosophy, a vivid proof to the power of seeing the world through a child's eyes, even in our darkest moments.

Why does this story need to be told now?

Because my family and I needed it. It was a collective healing. Me putting the feelings into a narrative with symbolisms that are not only meaningful but my family or Mexican culture. "Lillo" brings us back to the earth, to community, and to the cycles of life. It reminds us of the healing power of nature and the importance of maintaining our connections to the land and to each other.The film's authentic portrayal of rural life and use of non-professional actors from the farming community also speaks to our current need for genuine, heartfelt stories that represent diverse experiences and voices.

What do you hope audiences will take away from watching your film?

That they honor death, in that way they will understand grief.

How do you want people to feel after they see your film?

I want people to feel a sense of peace and closure in their own experiences with loss. My aim is for the film to help viewers build a personal language with the universe, enabling them to recognize and understand the signs of their loved ones all around them.

Andrea Figueroa Chávez is a Mexican Director and Production Designer. She sees life through the most colorful, emotional, surreal and yet realistic way thanks to her Mexican roots.

She graduated from the New York Film Academy in 2022 and was part of the prestigious program "Gold Rising" by the Academy of Motion Picture Arts and Sciences (A.M.P.A.S). She collaborated with the Mexican Consulate of Los Angeles in Women in Film Initiatives.

The mountains, rivers, corn fields, and Magic that embraced her when she was growing up helped her to create from within, to create realities that are not only relatable but can be felt deeply in order to change, wonder and dream.

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…Maeve kills the vibe when she confronts her ex-boyfriend at a party...

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After the death of his father, a little boy has to do the cornfield harvest on his own, overcoming his loss with the help of his imagination.

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