APPREHENSION Short Film, Audience FEEDBACK from Experimental Festival March 2019

Directed by Ian McGillivray

A visual representation of a women’s anxiety in it’s day to day form.


Female Festival Best Scene Screenplay Reading of Dream by Randall Talton

FEEDBACK Female Film Festival

In this scene Elliott, overcome with guilt, has a dream about the child he abandoned. Anais, the child’s Mother offers no sympathy




Producer/Director: Matthew Toffolo

Festival Moderators: Kierston Drier, Shepsut Wilson
Casting Director: Sean Ballantyne
Editors: Kimberly Villarruel, Kyle Drier, John Johnson

Festival Directors: Mary Cox, Rachel Elder, Natasha Levy

Camera Operators: Hugh Fraser, Andy Camp, Aser Santos Jr., Zack Arch

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HIGHLIGHTS & VIDEOS: Experimental Festival – February 7, 2019

Experimental Film & Music Video Festival







Watch the Audience FEEDBACK Videos:

festival posterOF SILENCE, 6min., Belgium, Dance

festival poster“ROPPONGI BOYS” JET LAGZ, 2min., Poland, Music

festival posterPOSITIVE, 2min., France, Experimental

festival posterADORINE, 4min., Cyprus, Music

festival posterFRANCISZKA, 8min., Canada, Dance

festival posterSOMEWHERE IN THEIR HEADS, 13min., UK, Musical/Documentary

festival posterSTAR IN THE EAST, 2min., USA, Musical

festival posterDANCERS, 2min., USA, Dance

festival posterTHE DUCHESS, 7min., USA, Experimental

festival posterPERSON(A), 5min., USA, Dance

festival posterCAUGHT IN THE CHAMBER, 7min., USA, Dance

festival posterTHE NATURE OF CONSCIOUSNESS, 5min., USA, Dance

festival posterLOVE IS WILD, 2min, USA, Music

The theme of the February 2019 EXPERIMENTAL/MUSIC/DANCE Feedback Film Festival in Los Angeles was “Exploring Self Identity”.

Each film was about one exploring who they really are using many artistic elements and storytelling techniques.

The 2nd event of the Los Angeles festivals in 2019.

10 more festivals to go…

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Short Film: BALLERINA, 13min., South Korea, Dance

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“Until when do you want to dance?”

“I want to dance until my daughter Jion is old enough to remember my dancing”

This is the conversation I had, a year ago, with HaeJin Yoon who visited Korean National Ballet after a long time.
When I became part of the Korean National Ballet, HaeJin was already a principal dancer.
Afterward, she joined les ballet de montecarlo, but soon had to quit because of the injuries.

The life of dancers.
The moments on stages are beautiful yet short.

Throughout my career, I have seen many fellow dancers retire. Each of them had their own reason, but, surely, lack of passion for dance wasn’t one.

Even after the retirements, their passion ceaselessly dances in their hearts.

The video is about a ballerina’s comeback for her daughter and is made for all dancers who still remember and long for the moments on the stage.

Experimental Festival Testimonial – February 27 2019

I was nervous at first since you never know how people will receive your art, but after watching “Star in the East” play on the big screen, I was so proud of it and felt that the audience received it well.

Watch the Audience FEEDBACK Video:

Submit exclusively via FilmFreeway:

Short Film: STARLIGHT, 4min., UK, Experimental


A story of the beauty of nature.

Project Links
  • Film Type:
    Experimental, Short, Other
  • Runtime:
    3 minutes 53 seconds
  • Production Budget:
    2,000 USD
  • Country of Origin:
    United Kingdom
  • Country of Filming:
  • Shooting Format:
    Canon 5K raw stills
  • Aspect Ratio:
  • Film Color:

Director Biography – Martin Ponferrada (EVERYTHING IS UPSTREAM)

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Born in the provinces of Central Philippines, Martin Ponferrada was brought to Australia in the early 90s by his parents. While studying, he worked as a red carpet cameraman and upon graduation wrote and directed several spec scripts and self-financed indies which have been screened at festivals all over the world. Accomplishments include a first place genre prize at the StoryPros Awards, the Grand Prize at the California Film Awards, second runner-up at the Domani Visionfest and more. “Upstream” represents Martin‘s first creative endeavour into animated filmmaking.


Director Statement

I should start this director’s statement by giving you, those who are about to watch this strange film, a sense of what you are about to see. It is a film about dreams that also holds the inverse: a dream about film – and not only that, but sketch and newsreel too. For me, there has always been something oddly dreamlike about flickering newsreels on old projection screens. But whatever this is, it means the world to me. It is a sincere exercise of light and movement, which, like most art, takes as its concomitant the exposure of some kind of truth through the depiction of some kind of lie. Though in Buddhism, I quickly learned that the absence of truth does not make a lie. The absence of truth makes a dream – one we all live in and call truth. But we do not know we are in this dream for the same reason fish do not know they are in water. Awareness of the essential, no matter how obvious, is not so easily attained when perception is inevitably reduced by one’s various doings. Or something like that. Basically, we can no longer distinguish life from the tasks we present ourselves while living; but these tasks are no more life than they are attempts at grasping, and so we get stuck evaluating life by how well we grasp, attaching happiness on a measure of things grasped against things ungrasped. But this is not living. This is grasping. And if the grasp does not matter, then what of the things we grasp? They are formless. Like apparitions, they are without essence. They are empty and emptier still in our attempts to grasp them, and yet grasp we still do, and we call this grasp life.
So concrete is this state that to be aware of it is often said to be like waking from a dream… All the more alarming, then, that this is the air monks breathe. Studies have shown that Buddhist monks presented with optical illusions reacted with a higher level of clarity and were able to control the speed at which information entered their thoughts. This made them adept at sifting the reality from the illusory, that is, the living from the grasping. Learning this, I came to wonder what visuals would emerge were such monks to aim this clarity on themselves. Four interviews later, I had listened to four elegant dreams. Elegant not in their composition but in their spiritual review, their capacity for reflection, their lack of nonsense as would otherwise be expected from more cluttered minds (like my own). But there was also darkness. An undeniable bleakness that did not fit in with the idealized magic I originally set out to depict. Drownings, fallings, deaths – all dark and terrifying, yet the frankness with which this terror was communicated lent itself an air of stark balancing, like there was no difference between the dreams we experience in sleep and the state of perennial grasping we call life – and to be woken from each is to leave behind a world of highs and lows, the grasped and the ungrasped, and realize that none of it was ever really there. Mind blown. This is the engine of our film. “Upstream” comes upon us in a burst of flame and is wiped from view with the dropping of blinds. It begins with “My parents tell me not to worry”, and ends with, “It’s a dream”.