"Desperately Seeking Sikh" (USA) in competition at the "Rome International Movie Awards"

"Desperately Seeking Sikh" written by Mariella Spagnolo (USA) is in competition at the "Rome International Movie Awards".
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"Safely feel the real world" (China) in competition at the "Rome International Movie Awards"

"Safely feel the real world" directed by Jody Xiong (China) is in competition at the "Rome International Movie Awards".
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"Salvation" (Canada) in competition at the "Rome International Movie Awards"

"Salvation" directed by Zane (Canada) is in competition at the "Rome International Movie Awards".
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"The sweet taste of freedom" (USA) in competition at the "Rome International Movie Awards"

"The sweet taste of freedom" directed by Matthew Penn (USA) is in competition at the "Rome International Movie Awards".
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"Kairn: Mates of the Alliance" (USA) in competition at the "Rome International Movie Awards"

"Kairn: Mates of the Alliance" written by Fionne Foxxe Farraday, Oliver Tuthill, Tara Walker (USA) is in competition at the "Rome International Movie Awards".
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"I could eat" (USA) in competition at the "Rome International Movie Awards"

"I could eat" directed by Rick Bedrosian (USA) is in competition at the "Rome International Movie Awards".
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"Pink Puzzle" (Germany) in competition at the "Rome International Movie Awards"

"Pink Puzzle" directed by Mike Adler (Germany) is in competition at the "Rome International Movie Awards".
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"Pass" (Iran) in competition at the "Rome International Movie Awards"

"Pass" directed by Elika Abdollahi (Iran) is in competition at the "Rome International Movie Awards".
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"Destiny" (Japan) in competition at the "Rome International Movie Awards"

"Destiny" directed by Akisai M. (Japan) is in competition at the "Rome International Movie Awards".
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"Thirst" (USA) in competition at the "Rome International Movie Awards"

"Thirst" directed by Patricia M. Fox (USA) is in competition at the "Rome International Movie Awards".
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"A Maiden made not of clay" (Japan) in competition at the "Rome International Movie Awards"

"A Maiden made not of clay" directed by Shumile, Kohei Takeda (Japan) is in competition at the "Rome International Movie Awards".
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"The Wisteria Manor" (USA) in competition at the "Rome International Movie Awards"

"The Wisteria Manor" directed by Michelle R. Arthur (USA) is in competition at the "Rome International Movie Awards".
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"Safely feel the real world" (China) in competition at the "Rome International Movie Awards"

"Safely feel the real world" directed by Jody Xiong (China) is in competition at the "Rome International Movie Awards".
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"The Legend of the Forest" (China) in competition at the "Rome International Movie Awards"

"The Legend of the Forest" directed by Ge Ri Tong (China) is in competition at the "Rome International Movie Awards".
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"Harvey Wallbanger" (USA) in competition at the "Rome International Movie Awards"

"Harvey Wallbanger" directed by Abdul Stone Jackson (USA) is in competition at the "Rome International Movie Awards".
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Interview with Hui Huanzhang

Q. Hello Hui, it's a pleasure to have you with us for this interview. Congratulations on your ‘Best Documentary Feature’ award at last September's edition of the “Rome International Movie Awards” (click HERE).
Your new movie is "Approaching the Book of Changes": in a few words, what is it about?
A. "The Book of Changes" is a classic work of the Chinese civilization, one of the four major civilizations of mankind. It is considered to be the source of all the classics and truths, the general program of the Chinese traditional culture and the total source of the Chinese civilization. It has a profound and far-reaching impact on the whole Chinese history and even the progress of human civilization. "The Book of Changes" is also considered as the language and code to interpret the universe. It not only contains the earliest philosophical principles in China and even the world, but also contains the mysteries of natural science that have just been lifted off the tip of the iceberg by modern scientists.
"Approaching the Book of Changes" is an all-round and comprehensive analysis of the comprehensive cultural phenomenon of "The Book of Changes". The film is 88 minutes long. Starting from the source of the Book of Yi, the film traces the inheritance and development of the I Ching with Fuxi, Yan Emperor, Yellow Emperor, Zhou Dynasty, King Wen of Zhou Dynasty, Confucius, Laozi, the hundred schools of thought, and the inheritance and development relationship with Confucianism, Neo-Confucianism and Chinese studies. It also expounds the special relations of I Ching in western philosophy and natural sciences with Hegel, Leibniz, Einstein, Needham, Boer, Christopher, Jung and so on. The important inspiration of the principle of Changes to the four Nobel Prize winners, the magical correspondence with binary, quantum mechanics, human genetics, and the special influence on the era of computers, the Internet and big data. Film from the perspective of history, culture, philosophy, science, according to the clear logical relationship, simply tells the story of the origin of the yi jing, development, change, extension of the whole process, layer by layer uncover the mystery of the yi, for thousands of years in the history of Chinese civilization and a series of unsolved mystery, for the first time to the world. It is a collection of knowledge, appreciation, historical materials, popular science, artistic, academic film and television works.

Q. Why did you decide to make a documentary on this subject?
A. There is no such course in Chinese textbooks, so Chinese people know "The Book of Changes" mainly outside the textbooks. In societies outside school, Ching is more used to explain divination. So, at first, like most Chinese people, I only knew that the Book of I Ching was a book of divination. But that view was changed one day in early 2021. A friend suggested that I go to a yi book research organization to undertake some publicity business. In order to understand this business, I found information about the yi book on the Internet. In the process of reading these materials, I suddenly found that "The Book of Changes" was not originally thought of as just a book of divination, but a very profound classic work with profound philosophical and scientific connotations. In particular, most of the comments believe that, from ancient times to the present times, many people have tried to explain the I Ching clearly, including the famous thinkers and authoritative great figures of various ages. However, no one has ever explained the I Ching clearly and made it the biggest unsolved mystery.. in the history of Chinese civilization seeing these comments, I began to think, since everyone can't explain them, it's up to me. It happened that I was planning to create a new documentary, and it felt like it was coming out for me. I was so excited that I decided to write the script immediately. After the script was written, I asked the Film Bureau (appointed), Tsinghua University, Northwest University and other experts and scholars to review and demonstrate it. After more than a year of shooting and production, it was finally launched in March 2022, on the online platform. Thankfully, the film has been well received and has appeared on the hit list for many times. Subsequently, we presented the film to a number of international film festivals that have won more than 10 awards so far, including the "Rome International Film Award" for September best documentary award. Here, I am very grateful to the judges of the film festival, which not only gave me more confidence in the film field, but also gave me a strong force to continue to work hard.

Q. What got you into the film production industry? Have you ever received any formal training in this area?
A.  I was born in 1962 in rural Weinan city, Shaanxi Province, China with the longest cultural history, only 100 kilometers away from the famous ancient capital of Xi'an. In 1979, I took the college entrance examination and was admitted to Xi'an Army College to major in infantry command. To be honest, I am not suitable for this major, so since I was at the age of 18, I have started writing literature after class. At the age of 19, he began to publish news reports, poems, essays, novels and other works in newspapers and periodicals. After graduating from the military academy, I was assigned to be a platoon leader in the army. As my writing skills constantly improved, I was later transferred to the military organs as a news officer. In 1989, I was transferred from the army, first working as a civil servant in the government propaganda department, and later being transferred to the Shaanxi Workers' Newspaper office as a reporter and editor. In 2001, I founded my own company, Shaanxi Meitu Culture Communication Co., LTD., mainly engaged in newspaper advertising business and book editing and publishing business. During this period, I have not given up writing, and I have tried various literary themes and creative styles, but there is a creative style, I have dreamed of trying since I was 18, but I have never had the opportunity to get close to it, that is, to create and shoot film and television works. In 2010, I led the company's staff to boldly enter the field of film and television, and successively undertook two TV programs in Shaanxi Radio and Television Station. At the same time, I wrote and directed myself, began to create and shoot my first documentary works, and began my film and television career. However, objectively speaking, I have never experienced any school study or professional training in film and television production before this, and I know almost nothing about the film and television field. So, after entering the film and television industry, all is completely rely on self-study in practice, my self-study way and many people are different, when I don't know an industry or career, I am not the first to find a place to learn training, learn again, but directly to dry, in the process of dry problems to learn, while learning while solving the problem. My learning methods include: looking for some learning materials or searching for the answers to some questions online, or learning to consult with professionals, or learning to observe the experience through the set. But the way I spent the most time and energy in learning was watching other people's films. The films I choose to learn to watch are also very strict, which must be the type I like and want to learn, and it must be a high-quality film or blockbuster with the highest level. Once I find a film that meets the requirements, I will study it very carefully. I may watch a film for a long time, maybe several times, maybe watch the film and the script, or watch several such films, until the problem in my mind is solved, and I will know how to do it.

Q. Before "Approaching the Book of Changes", what can you tell us about your film?
A. The first film I created and shot was the documentary "Guanzhong Memory", which lasted 468 minutes, began in 2010, took 8 years to complete, and premiered on Shaanxi Radio and Television Station in 2017. To my surprise, not only did the ratings very high, but then the film also won the "2017 Outstanding Agricultural Television Works" of China Television Artists Association and China CCTV, and then won two other awards in China. CCTV. However, I was not satisfied with only creating and shooting in the field of documentary. As early as 2014, I began to write my first feature film script, "The Male Two True Color", which was completed in that year and was released in 2015. In 2016, my second feature film script, "The Wayward Coin", was shot, and was released in 2017. I had just been the producer and screenwriter of these two feature films, and I didn't dare to be the director, because I didn't know what to be the feature director. In 2018, I began to prepare for the third feature film, "We Are Serious". This time, because of the learning experience of the first two films on the set of shooting, I have a good understanding of the work of a director, so I decided to direct the third feature film by myself. However, in order to test my ability and accumulate some practical experience as an independent director, I first directed three micro films, one of which won the first prize from the Shaanxi Provincial government and the other won the second prize from the Chinese army. These two awards gave me even more confidence. The 2019 story film "We Are Serious" was shot as scheduled, but my first feature film, written and directed, was very unlucky and failed many times. Fortunately, my film finally passed the online review, and I was lucky enough to be broadcast online on the online platform in 2021. However, the money invested could not be recovered. I feel that the shooting of the story film can no longer continue, which reminds me of the creation and shooting of documentaries, because the government does not need to conduct a special review of the documentary, just need to prepare in the broadcast Times. I think this should be a gift to me. So what kind of documentary theme is chosen as the next creative and shooting target? As before, said, a chance, let me and "near the Book of Changes" formed the fate.

Q. Do you have anything you want to share?
A. I don't know what the level of sharing mentioned here is, whether to complete the investment, creation, shooting, production and distribution of the project together, or whether to continue to declare our other projects to compete in the film festival. But I can definitely say, that we are willing to share in both ways, because this is something that we all dream of. After the documentary "Approaching the Book of Changes", our documentary "Xie Mi Qin Opera" was launched on the online platform in August 2022, but the film is more than 480 minutes long. We look forward to translate the film into English, release it in the international field and compete in the international film festival awards. Another documentary project, "Approaching Chinese Medicine", the script has been written and is under production. We are willing to share this project with our interested film and television peers. It is believed that the project will appear on the list of awards at the end of next year. Of course, we still have a number of similar projects to do, because this is our profession, to get the highest award in the film festival, is also the highest goal we want to achieve, we will continue to work hard and share our results.

Q. What kind of director do you describe yourself as a director?
A. For one thing, I may be a stubborn director. The common views in society do not always convince me, unless they really make sense. I like to look at all things with independent thinking, and I will find out in a lot of complex ideas, find things as they are, and frame them together in a logical way.
Second, I may be a director who likes to challenge difficult difficulties. I don't like that my film is a mediocre work. Unless I can't control the film project, even so, I will be within my power and will do everything I need to do to do my best. Otherwise, you would rather not do the project.
Third, I may be a director who insists on originality and pursues personality. When I wrote the first movie feature film script, I didn't even understand the format of the feature film script. Many people advised me to read other people's scripts first, and I said I didn't, because I didn't want to be too much influenced by other people's scripts. It wasn't until I wrote the first draft of the script that I began to learn from other people's scripts and conduct technical specifications in the script format. In fact, for each of my works, whether in the script or in the film, I may learn and use others' techniques and skills, but I will never imitate or copy them. I hope that each of my works should not only be independent and original, but also have its own style, personality and typic style, which is my basic requirement for myself as a director.
Fourth, I may be a director who is not afraid of failure. During my time working in film and television, I have experienced too many problems, difficulties, setbacks and failures. Every time, there may be ninety-nine reasons for me to give up, but as long as there is a reason for me to insist, then I will not hesitate to stick to it.
In a word, as a director, I may have more of my own characteristics, but I can't all say it all here. I believe that when the audience watches my film, everyone will sum it up something.

Q. What inspires you to be a director (because of an actor)?
A. My favorite movies are Chaplin's comedy films and documentaries made in Europe and America. The least favorite is the movies that say a lot of lies.

Q. Can you tell your favorite movie? Of course, can you also say that you really hate movies?
A. Director is a career that many people envy, surrounded by so many bright actors around. But honestly, initially I didn't want to be a director. I just want to be a good and prolific writer and producer. But in the filming process of the film, due to our very limited investment, we simply cannot find a high-level director. And hiring a random director does not necessarily meet my high standards for the film. I had to spend some time writing scripts and devote some energy into directing. I found out that I was not bad, so I fell in love with directing.
Do the director, I further realize that if you want to make a good film, the director's role is more important than I thought, only in the writer and producer while further make a director, will be the greatest possibility of excellent works, so, I like the director's work very much now, because I want to make more excellent works.

Q. Where can people see your work as being done?
A. My films and documentaries have been broadcast on online platforms for a long time, and they can be watched online at any time. Some are only paid VIP members. You can watch the "Approaching the Book of Changes" (HERE), "Xie Mi Qin Opera" (HERE and HERE), "Guanzhong Memory" (HERE), "Male dichroism" (HERE), "Wayward coin" (HERE) and "We're serious" (HERE).

Q. Thank you for this very inspiring interview, Hiu. Here at the “Rome International Movie Awards” we look forward to seeing and appreciating your new film productions!
A. Yes, and we'll be back with our new work very soon. Thank you for your interview and the "Rome International Movie Awards" for bringing such an important honor to our team. Thank you very much!

October trophies ready to fly!!!

Our beautiful trophies are ready to fly: the statuettes for the October edition will be sent today. What are you waiting for? There is no better gift for you and your cast and crew! Order now the "Capitoline Wolf" with Romulus and Remus, symbol of Rome 💖

How to order:

- Enter in our "Filmfreeway" page (HERE)

- Submit your project in the TROPHY category

"The way home" (Germany) in competition at the "Rome International Movie Awards"

"The way home" directed by Sebastian Pink (Germany) is in competition at the "Rome International Movie Awards".
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"Scegli me" (Italy) in competition at the "Rome International Movie Awards"

"Scegli me" directed by Fabrizio Fanelli (Italy) is in competition at the "Rome International Movie Awards".
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Interview with Hui Huanzhang is coming on November 19th

Interview with Hui Huanzhang is coming on November 19th... Only on the "Rome International Movie Awards" website.

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The Eternal City awaits you 💖

 

"Running the bases" (USA) in competition at the "Rome International Movie Awards"

"Running the bases" directed by Marty Roberts, Jimmy Womble (USA) is in competition at the "Rome International Movie Awards".
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"Shift" (USA) in competition at the "Rome International Movie Awards"

"Shift" directed by Chris J. Adams (USA) is in competition at the "Rome International Movie Awards".
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Interview with Director Elly Cho

Elly Cho has exhibited around the world and holds numerous awards. Her art explores the intersection between nature, the environment and human behaviour, across various mediums including mixed media, video and performance art. She approachs the subject matter of cultural landscapes in narrative form, and these narratives often relate to her own life experiences and memories. In her video work, Elly has used familiar landscapes that stimulate viewers to engage with an imaginative response.

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Q. Hello Elly, it's a pleasure to have you with us for this interview. Congratulations on your ‘Best Experimental’ and ‘Best Director’ awards at last September's edition of the “Rome International Movie Awards” (click HERE).
Your new movie is "Sum": in a few words, what is it about?
A. Thank you for giving me so many fine great awards I am really honored. This new movie is a second version of my film originally entitled "Island", which is about 14 minutes in length and has two channel videos. "Sum" is based on the same story, but supplemented by adding some feedback from curators. I also made this version longer with a single channel video. I liked the two-channel version which I made before, but I thought it might be interesting to see if single channel viewing of the images would be clearer on a mobile device.
In this version, I wanted to create a dance piece that is very unreal in the sense that I was experiencing a repeated life cycle on three islands: London, Manhattan, and Jeju Island. I used dance as the means of communication to bring forth more clearly the repressed and unconscious inner conflicts caused by life events. I think the pandemic forced me to plan the film this way and turn it into an actual work of art which turned out to be a dance film using body movement like a drawing. During the pandemic, I felt the strong urge to create a piece that relates to the daily life cycle that keeps repeating. Yet at the same time, Island in the work represents a cross-concept of reality and fantasy/paradise.
Set among the islands in three different countries, Island is the story of my creative life journey to rediscover who I really am. This deep and affecting journey of self-discovery touches on issues of loneliness, isolation, and the ongoing strong perseverance of the human spirit.
Island is both a place in life and a life journey, during which I have experienced paradoxical feelings related to relief and the discomfort from being trapped between fantasy and reality in actual life. The dancer in this video is constantly looking for something intangible, it is as though she fears she will never find that tangible hope so strongly empowered by nature. Tangible hope is her seeking clear answers to the nature of passion, pain and desire in life, but that experience can only be actually lived to find out what is waiting at the end.

Q. What can you tell us about the shoot as such, and the on-set atmosphere? Was it difficult to find the right collaborators and, above all, a cast who could translate your cinematographic vision into acting and images?
A. I had a hard time finding the right professionals who had experience dancing underwater. I am thus extremely grateful for those who gave me amazing resources to work with during the filming. Without their help, I could not have finished this piece. Looking back now, every aspect of this project was difficult from the very beginning, but I moved forward clearly and worked diligently and with determination to translate my drawing into a viewable and successful film.
In this film, I used performance because of the nature of the dance and my desire to express “life on an island” as a theme for the choreography being offered. Every time you perform a dance piece, it will differ to some degree. This aspect of the dance is very similar to living life, as you may perform the same actions every day, but each day is very different depending on the many things that happen during each day that reflect and explain life
Thus, filming the same movement again and again was an act of experiencing different movements for my entire team as well as for myself. The dance was filmed underwater, so the condition of the performer (dancer) relied on the dance movements a great deal. It thus became a remarkable, interesting, and exciting experience to be able to work on this project.

Q. What got you into filmmaking in the first place, and did you receive any formal training on the subject?
A. As a visual artist I explore the intersection between nature, the environment, and human behavior, across various mediums, including mixed media, video and performance art. I would say that I started using filming as a medium to depict the relationship between nature, environment, and human behavior. I have been working as a video artist during my artistic career. I now can think about that video work from a film maker’s perspective and want to continue making film/video. Although I focused more on making video art up to now, I recognize video and film as two different genres.
I was trained as a painter for my BA at the SLADE school of Fine art in London and I did my MFA in painting and electronic art, which had film/video included in that department at Slade. I then learned even more when I created videos after I graduated and started working professionally.

Q. What can you tell us about your film work prior to “Sum”?
A. I am a visual artist, and now my art further explores the intersection between nature, the environment, and human behaviour across different mediums that include mixed media, video, and performance art. I then I started using film as one of across different several mediums, as I wanted to depict the relationship between nature, the environment, and human behaviour. I have thus undertaken   different, but related, projects because I have been commissioned to communicate specific themes. However, I found the connection to nature always was related to the single theme I was given.  For performance works, I have focused on current affairs, such as the AI interaction with humans in a philosophical manner. How do we live with AI in an environment we all must face? My discussion on that topic has remained within the framework of nature, the environment, and human behaviour. 

Q. Any future projects you’d like to share? 
A. I am currently researching climate change and its relationship to the extinction crisis to make a documentary film about these issues. I have also been experimenting with body movement and dance in my video work as part of my ongoing artistic career. I have produced a number of works using dance, music, and dialogue that relate to the existence of beings, ecology, and humanity. My feature film is entitled Occupancy of the Self, for now, but that may change, as I examine the interrelationship between   these ideas. I am focusing on the extinction crisis and how body movement connects to surrounding nature. This film may fall in between the genres of the documentary and experimental filmmaking. I am in the research stages of that effort now.

Q. How would you describe yourself as a director?
A. I list and prioritize my tasks related to the current film I am doing and then evaluate the time required to finish those tasks successfully. Next, I set a timeframe and get to work.  This effort includes interviewing people who might be helping with my project, doing the casting, and preparing a budget. I would say I plan everything and concerned with anything when it comes to work. I am very passionate about my work and try my best to embrace the most effective methods for my crew to use successfully in at particular film.

Q. Directors (and indeed actors) who inspire you?
A. I always gain inspiration from a painting and then expand those ideas in film. Painters like Marc Chagall, Francis Bacon, and Mark Rothko, video artists like Nam June Paik and philosophers like Immanuel Kant and Gille Deleuze all inspire me.
Film directors, such as Peter Greenway and his Provocative anestetica in the film, "The Pillow Book".  It’s one of the most powerful films done by Peter Greenway about desire, pleasure, and love. I also like Baz Luhrmann, Jean-Luc Godard and Tim Burton.

Q. Your favourite movies? And of course, films you really deplore?
A. I was really inspired by the film, "The Pillow Book", when I was doing my MFA in London. It’s one of the most powerful films ever done by Peter Greenway about desire, pleasure, and love. Set in various cultural countries in Asia, it captures the essence of the fundamental issues about human desire and love and in a mysterious way. I really like Peter Greenway’s confusing, but intellectual, technique of depicting subject matter in his work. It makes me think deeply about a subject because he is able to confuse me and yet intrigue me by using a subject theoretically.
I really liked the visual concept of the dinner table scene in "The Cook, the thief, his wife & her lover" by Peter Greenaway. I liked the colour and illusory quality of that scene that constructed the theatrical and intellectual with a frame like painting quality that I truly resonated with while viewing it. It seemed like a moving painting or a gallery, and I especially loved that unique presentation.

Q. Where can people see your work?
A. People can follow me on many social networks: my Official Website (HERE), "Facebook" (HERE), "Twitter" (HERE), "Instagram" (HERE), "Linktr.ee" (HERE) and "Linkedin" (HERE).

Q. Thank you for this very inspiring interview, Elly. Here at the “Rome International Movie Awards” we look forward to seeing and appreciating your new film productions!
A. Thank you for the great interview questions. They have really helped me to dive deeper into my thoughts about my ideas and my future projects.

"Dr Faust - The Devil" (Italy) in competition at the "Rome International Movie Awards"

"Dr Faust - The Devil" directed by Francesco Carmignan (Italy) is in competition at the "Rome International Movie Awards".
The Eternal City awaits you 💖
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"Meet my pet monster" (USA) in competition at the "Rome International Movie Awards"

"Meet my pet monster" directed by James Matthew Storm (USA) is in competition at the "Rome International Movie Awards".
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Submit your Short & Feature Film, Web Series, Documentary, Music Video, Trailer, Screenplay, Poster and Photography via "Filmfreeway" (here).

"The tipsy bat" (Spain) in competition at the "Rome International Movie Awards"

"The tipsy bat" directed by Alberto Martín-Aragón (Spain) is in competition at the "Rome International Movie Awards".
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Submit your Short & Feature Film, Web Series, Documentary, Music Video, Trailer, Screenplay, Poster and Photography via "Filmfreeway" (here).

Interview with Award-Winning Director Elly Cho is coming on November 12th

Interview with Award-Winning Director Elly Cho is coming on November 12th... Only on the "Rome International Movie Awards" website.

Do you want to be the absolute protagonists of our festival? Book your exclusive interviews here.
The Eternal City awaits you 💖

"Rome International Movie Awards" rewards Ennio Morricone

In recent years, the "Rome International Movie Awards" has awarded many great artists.

Today we are extremely proud to present the great Ennio Morricone, winner of the 'Best Original Score' award for "The old man in the rocking chair" (USA).

Academy and Golden Globe winner Ennio Morricone is one of the most successful and revolutionary film composers of all time.

Sadly he passed away on July 6, 2020.

We will never forget you, Maestro!!!

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Some famous titles:

🎞 "A Fistful of Dollars" (1964)

🎞 "Once Upon a Time in the West"  (1968)

🎞 "Once Upon a Time in America" (1984)

🎞 "The Untouchables" (1987)

🎞 "Cinema Paradiso" (1988)

🎞 "The Hateful Eight" (2015)

Check out Ennio Morricone on "IMDb" HERE.

OCTOBER 2022 - WINNERS

We are extremely proud to announce the winners for the October contest (in alphabetical order).
Congratulations!!!

1. "Forest island", by Ryosuke Handa (Japan)
2. "Workforce", by Phil Kwarta (USA)

1. "By the water - Junto a la agua", by Elías Rosario (Mexico)
2. "Home of the Brave", by Ian Michael Welfley (USA)
3. "Mi sballo con un senso", by Massimiliano Campo (Italy)
4. "Prima", by Daria Vorobeva (Russia)
 

1. "Ashes to Ashes", by George Zouvelos (USA)
 

1. "Spell card", by Antonio Mastroianni (Italy)

1. "The old man in the rocking chair", by Eric Michael Yoder Jr. (USA)

1. "Amethyst Girl Destiny", by Reggie Gaskins (USA)

1. "Believer", by Miao Zhang (China)

1. "Viscera: Autopsy of a (non)human body", by Arturo Bandinelli (UK)

1. "Duplicitous Minds", by Robert Rippberger (USA)

1. "Dois cabras", by Alex Walker (Brazil)

1. "The Head", by Pablo Arriagada (USA)

1. "A case for kindness", by Steven Sawalich (USA)

1. "Grid Down, Power Up", by David Tice (USA)
2. "Finding the Line - An Exploration of Structural Integration", by Aleš Urbanczik, Grzegorz Oleksa (Switzerland)

1. "Seeds - Another way to grow up", by Marco Benvenuto (Italy)

1. "Blind date", by Nik Sentenza (Germany)
2. "Iron Nest of the Moon", by Kerr Lordygan, Brad C. Wilcox, Justin T. Bowler, Rachel Kanouse, Laura Lee Bahr (USA)

1. "Between here and gone", by Sadie Duarte (Spain)
2. "Inside the Middles", by Agno Dissan (Brazil)

1. "Nowhere to put", by Xin Shi (China)
2. "The Cell", by Po Cheng Tsai, Meng Hsueh Ho (Taiwan)

1. "A case for kindness", by Steven Sawalich (USA)
2. "Between here and gone", by Sadie Duarte (Spain)
3. "Shiva", by Rex Dane (USA)

1. "Iron Nest of the Moon", by Kerr Lordygan, Brad C. Wilcox, Justin T. Bowler, Rachel Kanouse, Laura Lee Bahr (USA)
2. "The old man in the rocking chair", by Eric Michael Yoder Jr. (USA)

1. Steven Sawalich, Teri Weinberg, Melinda Cea, Randall Ward, Isabelle Thomas, Victoria Smith for "A case for kindness" (USA)
2. Kerr Lordygan, Brad C. Wilcox for "Iron Nest of the Moon" (USA)
3. Niko El Santo Zavero for "The old man in the rocking chair" (USA)
4. Mike Provenzano for "Workforce" (USA)

1. Steven Sawalich for "A case for kindness" (USA)
2. Sadie Duarte for "Between here and gone" (Spain)
3. Ryosuke Handa for "Forest island" (Japan)
4. Kerr Lordygan, Brad C. Wilcox, Justin T. Bowler, Rachel Kanouse, Laura Lee Bahr for "Iron Nest of the Moon" (USA)
5. Eric Michael Yoder Jr. for "The old man in the rocking chair" (USA)

1. Miao Zhang for "Believer" (China)
2. Elías Rosario for "By the water - Junto a la agua" (Mexico)
3. Ian Michael Welfley for "Home of the Brave" (USA)
4. Antonio Mastroianni for "Spell card" (Italy)
5. Pablo Arriagada for "The Head" (USA)

1. George Zouvelos for "Ashes to Ashes" (USA)
2. Iván Gisbert for "Between here and gone" (Spain)
3. Andy Magro for "Blind date" (Germany)
4. Isaac Nevrla for "Home of the Brave" (USA)
5. Rex Dane for "Shiva" (USA)
6. Antonio Mastroianni for "Spell card" (Italy)
7. Jake Porath for "The old man in the rocking chair" (USA)

1. Danielle Hobbs for "Amethyst Girl Destiny" (USA)
2. Viki Lafuente for "Between here and gone" (Spain)
3. Kenlyn Kanouse for "Iron Nest of the Moon" (USA)
4. Petra Di Martino for "Spell card" (Italy)
5. Kate Ly Johnston for "The old man in the rocking chair" (USA)

1. James Edward Becton for "Home of the Brave" (USA)
2. Brad C. Wilcox for "Iron Nest of the Moon" (USA)
3. Niko El Santo Zavero for "The old man in the rocking chair" (USA)
4. Mike Sutton for "Workforce" (USA)
 

1. Deanna Doyle for "Ashes to Ashes" (USA)
2. Beth Ricketson for "Iron Nest of the Moon" (USA)
3. Martina Lorina for "Spell card" (Italy)
4. Erica Papasergi for "The old man in the rocking chair" (USA)

1. George Zouvelos, Deanna Doyle for "Ashes to Ashes"
2. Iván Gisbert, Viki Lafuente for "Between here and gone" (Spain)

1. Kenlyn Kanouse, Kerr Lordygan, Brad C. Wilcox, Beth Ricketson for "Iron Nest of the Moon" (USA)
2. Jake Porath, Kate Ly Johnston, Erica Papasergi, Matthew's Thomas Stallings for "The old man in the rocking chair" (USA)
3. Rich Henkels, Mike Sutton, Michael Johnson, Deanna Fontanez, Erin Ashley, Bob Heath, Christopher Evans for "Workforce" (USA)

1. Robert Maya, Randall Ward for "A case for kindness" (USA)
2. Amadeus Raúl Ceseña for "By the water - Junto a la agua" (Mexico)
3. Joe Grace, Maxwell Johnson for "Home of the Brave" (USA)

1. Meng Hsueh Ho for "The Cell" (Taiwan)
2. Eric Michael Yoder Jr. for "The old man in the rocking chair" (USA)
3. Arturo Bandinelli for "Viscera: Autopsy of a (non)human body" (UK)

1. Aaron Brenner for "Iron Nest of the Moon" (USA)
2. Jesse Zuretti for "The head" (USA)
3. Adam Paroussos for "Viscera: Autopsy of a (non)human body" (UK)
 

1. Joe Taylor for "Between here and gone" (Spain)
2. Ennio Morricone, Goblin, Pino Donaggio, Bruno Nicolai, Fabio Frizzi for "The old man in the rocking chair" (USA)
3. Alex Roth for "Viscera: Autopsy of a (non)human body" (UK)

1. "Between here and gone", by Sadie Duarte, Iván Gisbert (Spain)
2. "Biters and Bleeders", by Charlie Carson Monroe (USA)
3. "Duplicitous Minds", by Catalina Yue (USA)
4. "The Hit", by Kerr Lordygan (USA)

1. Pablo Arriagada for "The head" (USA)

1. Eric Michael Yoder Jr., Monique Paredes for "The old man in the rocking chair" (USA)

1. Eric Michael Yoder Jr., Monique Paredes for "The old man in the rocking chair" (USA)

1. Gabriella Gomes for "Dois cabras" (Brazil)
2. "Annie Cardea for "Iron Nest of the Moon" (USA)

1. Antonio Mastroianni for "Spell card" (Italy)

1. Eric Michael Yoder Jr. for "The old man in the rocking chair" (USA)