Indie Entertainment Media - Cannes 2024 Special Edition

indieentertainmentmedia.com

Publishers Gotham Chandna

Nicole Goesseringer Muj

Editor-in-Chief | Managing Editor Nicole Goesseringer Muj

Chief Digital Editor Gotham Chandna

Contributors Claude Brickell

Nicole Goesseringer Muj

Dr. Laura Wilhelm

Editorial Assistant Allie Quinn

Graphic Design

Arina Kipurova

Cover Art Cindy Shaoul

Photos Courtesy of: Golden Globes, Movie Stills DB, Slavik Robtsenkov, Tshombe Sampson, Nelson Shen, WikiCommons. Indie

Kultura PR International | Cloud 21 International ©2024. All Rights Reserved.

Cannes Spotlight: Actor Martin Rodriguez

By Nicole Goesseringer Muj

Argentina-born, Spain-raised, and Los Angeles-based Martín Rodríguez was without question the breakout star in the Sofía Vergara-led Netflix limited drama series Griselda, playing the role of Rivi, based on the real person Rivi Ayala.

He began acting in theatre at the age of 18 and first broke into the film scene playing the lead role in Enrique Buchichio’s award-winning indie darling Leo’s Room. For that breakthrough role, he received several awards including the Uruguayan Film Critics Association award for Best Actor and Best Male Revelation, as well as Best Actor at the Festival Del Mar in Ibiza, and the Festival de la Luna in Madrid. His career then flourished with roles in films such as San Martin, Time and the Wind, Zanahoria, and 27: The Cursed Club.

Rodriguez stars alongside Gadea Jimenez in Quimera, a short film by Tomas Vergara that will screen as part of the 2024 French Riviera Film Festival. Martin will also be the 2024 recipient of the Industry Excellence Award to be presented during the festival’s opening reception.

IEM’s editor-in-chief Nicole Goesseringer Muj had the chance to interview the talented actor prior to Cannes 2024.

Nicole Goesseringer Muj: First of all, I loved your performance in Griselda, definitely one of the stand out roles/characters of the series. Can you tell us a little about your character Rivi Ayala?

Martin Rodriguez: My character, Rivi Ayala, is based on a real person who was very close to Griselda. The character starts helping her until he becomes her right-hand man. The relationship between the two of them becomes very close and even platonic in a sense.

NM: How did you research/ prepare for the role of Jorge “Rivi” Ayala?

MR: Well, generally one tries to find the motivations of the character. With Rivi, as we get to know him, new motivations are revealed and what seemed to be, is now something else. That is the evolution of the character, how his motivations evolve, because they are multiple. Each chapter is different, until I understood that his biggest motivation is something irrational, something esoteric, which makes him a Shakespearean villain. He not only does evil things for his own pleasure, but he does it for the pleasure of helping a woman (Griselda) so he is also a feminist. I fell in love with that idea and with that imagination my preparation began.

NM: What was the most challenging part about playing such a ruthless, real life character as Ayala?

MR: I think the most challenging part was not that he was ruthless but how that would work for the story. The character could show how ruthless he was with a certain enigmatic force that would not be unpleasant. The challenge was that he would build more in the imagination of the spectator than in the specifics of his actions, narrating only with his presence or with small gestures a universe that was more encompassable, as if by drip.

NM: You received several prestigious awards for your work in the film Leo’s Room. I believe that was your first major film. How did your life change after that film?

MR: Leo’s Room was very important because for the first time it challenged me to compose a character in all the complexity that the story proposed. My life changed because I began to love cinema more and I also received more job opportunities after that.

NM: Did you have any mentors who have helped you in your career?

MR: My mentors have been the directors I have worked with, in films and theater. Since you mentioned Leo’s Room, its director is Enrique Buchichio.

He taught me a cinematographic sense of acting. If I had not met him maybe I would not be where I am now, and in Griselda, the director Andi Baiz is someone with whom I discovered the character with and in an environment conducive to the unknown was created. To discover those oddities that deserve to be filmed and elevate the work of the actor, that is the true mentor.

NM: What advice would you give to a young international actor starting out in Hollywood? (How does one stay motivated?)

MR: They should maintain a high level of ambition, not fame or success, but artistic hunger, curiosity about all areas of cinema, about the way other actors work, to watch actors who are currently working and those who are part of cinema history, to learn and know about film genres, especially to prepare, and to take care of your body and mind first and foremost.

NM: Have you ever attended the Cannes Film Festival or do you have plans to attend this May?

MR: I haven’t been but yes, I want to go in May. I’m looking forward to this year’s schedule.

NM: You were born in Argentina, raised in Spain, and now reside in Los Angeles. What do you miss most about living in Europe and the European lifestyle?

MR: I really miss the traditional Spanish food, as well as the actors and friends that I did theater with.

NM: How has your international background helped you in your acting craft?

MR: Having lived in Madrid for me was an artistic rediscovery, because I was lucky enough to meet and work with theater director Adam Black and a group of actors called Theater for the People. The group’s work dynamic is that works by current authors are chosen, translated into Spanish, rehearsed and staged. The most attractive thing is that there is no admission charge for scheduled performances, and people are on a waiting list for months before the premiere of each play. This, although not very common, reflects on the spirit of the work and the relationship with the viewer where this manifestation is pure, generous, and also of a high artistic level. Those theatrical experiences were very real, born from true artistic hunger, and I will carry them in my heart forever.

NM: Is there a particular director with whom you would like to work one day?

MR: I would love to work with Quentin [Tarantino] if he makes another, but he needs to change his mind of course.

NM: What exciting projects are you working on now? (I’m sure a lot of offers are coming in.)

MR: Well, there are potential projects, but I am always patient, so I’m always looking for something that really intrigues me and catches my attention.

Rising Star Lang Khê Tran’s Grand Tour

Born and raised in Paris and of Vietnamese heritage, Lang Khê Tran was immersed in the cinematic world from a young age, with her father as a director and her mother as both an actress and artistic director.

Having studied theatre and cinema at La Sorbonne University in Paris, complemented by a year of applied arts, she started to model in France and London.

Her debut in cinema was alongside Gaspard Ulliel, Gérard Depardieu, and Guillaume Gouix in Guillaume Nicloux’s Les Confins du Monde. In her first feature, which was selected for the Cannes Directors’ Fortnight in 2018, she played the lead female role in the film depicting the Indochina War.

Continuing her cinematic journey, Lang Khê stars in Miguel Gomes’ new film Grand Tour, an Official Selection of this year’s Cannes Film Festival. She also will be presented with the Rising Star Award during the sixth annual French Riviera Film Festival.

IEM’s Nicole Goesseringer Muj had a chance to interview this talented young actress.

Nicole Goesseringer Muj: Congratulations on Grand Tour being named an Official Selection of the 2024 Festival de Cannes.

Can you tell us about your role in the film?

Lang Khê Tran: Thank you very much, I am thrilled about this selection this year. At the moment, I’m unable to disclose any information about the film as the director, Miguel Gomes, wishes for discretion from the entire crew. I’m looking forward to when you can see the film; it promises to be quite beautiful.

By Nicole Goesseringer Muj

NM: How was it working with director Miguel Gomes?

LKT: It was a unique experience. I received three pages of script in Portuguese while in Paris, just three days before the casting. I didn’t even know how to say “hello” in Portuguese at the time. The casting went well, and I went through a second round of casting later before being selected for the role. Being on set is already intense, but shooting in a foreign language with a team that doesn’t speak your language adds another layer of complexity. Despite that, everything went smoothly, and I absolutely loved the experience. Miguel is a talented director, I believe I can disclose that much because it’s not a secret. Crista, the lead actress, was very helpful to me, and I felt very comfortable acting alongside her.

NM: This is your second time starring in a film in the Cannes Film Festival. Why is this festival so special?

LKT: Since always, I promised myself I’d only attend the Cannes Film Festival if I had a film or project to present. For me, it was out of the question to merely come as a tourist. I was thrilled to fulfill that promise with my first film, Les Confins du Monde, selected in the Directors’ Fortnight, in which I had the lead female role alongside Gaspard Ulliel, Gérard Depardieu, and Guillaume Gouix. This time is even more special because the film Grand Tour is selected in the Official Competition. Additionally, I went with my parents last year for my father’s film, The Taste of Things that won the Best Director Award. Returning to Cannes only fueled my desire to attend this year with my own project.

NM: How have your parents (the talented director and artist Anh Hùng Tran and YênKhê Tran)  guided you in your acting journey? What is the best advice have they given you?

LKT: They haven’t given me specific advice, but growing up around film sets has naturally instilled in me a sense of the camera and an understanding of how a set operates. I participated in my father’s film directing workshop last year, where I learned a great deal, both in front of and behind the camera. My mother once told me that the most challenging aspect on camera isn’t speaking, but listening. During the workshop, I particularly resonated with a phrase from my father: “In the process of creation, don’t try to be strong-minded. You must give yourself permission to be vulnerable and fragile, to let things pass through you, to see what they want to tell us and make our choices: what I discard or what I keep for my art.”

NM: What advice would you give to a young actress or actor to succeed in this business?

LKT: It’s essential to be professional. That’s very important to me. You have to submit every casting self-tape you receive, even if you only have two days to learn it, even if it’s in a foreign language, even if you have to film it in an airport, or ask your neighbor or your cat to read lines with you. Don’t get discouraged by a negative response; instead, focus on the next casting with the same energy. I learned a Portuguese casting in just two days while working as a model for Maison Margiela. During every break, I was trying to learn the lines. People around me were speaking Italian, which didn’t make it easy, but in the end, I got the role. Always believe in yourself!

NM: You are a model/brand ambassador for Lancôme. Can you tell us about this collaboration?

LKT: I’ve been working with my Parisian agency, Metropolitan Models Group, for three years alongside my acting career. I recently did a campaign for Lancôme’s Teint Idole foundation and also for their lipstick line. It’s been a very interesting experience too.

NM: Do you have any new projects on the horizon?

LKT: I can’t be specific at the moment, but I hope to share exciting news with you soon! Thank you for having me for this interview, and I’m looking forward to May to share Grand Tour with everyone.

Lang Khê Tran with Crista Alfaiate in Grand Tour

Film as Allegory

By Claude Brickell

In an earlier article for IEM, I dealt with non-linear as opposed to linear film storytelling using as an example the feature film My Policeman, scripted by Ron Nyswaner (Philadelphia). Now, I would like to acquaint you with film as allegory using as an example director Andrej Zulawski’s opera film Boris Godunov, a cinematic allegory masterpiece.

In 1989, the opera Boris Godunov, written by the great Russian composer Modest Mussorgsky (Pictures at an Exposition), was recorded in Washington DC with text based on the play of the same name by Russian writer Alexander Pushkin. And it was performed with the National Symphony Orchestra conducted by Mstislav Rostropovich. Several international opera stars performed the major leads, to include Italian baritone Ruggero Raimondi in the title role. And the recording was made for Erato Records at a cost of one million dollars. That was just the beginning.

Producer Danial Toscan du Plantier then invited renowned Polish film director Andrzej Wajda (honorary Oscar for his brilliant film career) to direct the film version of Boris Godunov for Erato Films, using Rostropovich’s initial recording, and for a planned budget of seven million dollars. The filming was set to lens in Yugoslavia. However, Wajda had

to step out of the project before filming began, and the project was then offered to another Polish film director Andrzej Zulawski (a multiple festival-winner known for work with actresses Romy Schneider, Isabelle Adjani and Sophie Marceau) who had gained equal notoriety in European cinema. Zulawski, who has recently passed away, was no ordinary film director. He had been described as a non-conformist director, screenwriter, novelist and essayist. His approach to storytelling was idiosyncratic, characterized by explosions of violence, sexuality and despair. His visions were influenced by his experiences in wartime communist Poland and followed by his cinematic education while in exile in France. His taking on the reins of the film version of Boris Godunov was to be nothing but extraordinary in its interpretation and is where allegory comes in. Zulawski was a staunch anti-communist and the Soviet occupation of his Polish homeland was sure to surface in his vision for the film. The story takes place during Russia’s Time of Troubles in the 1600s when countrymen were subjected to murder, deceit, lust for power and revenge. Did I mention opulence? In Zulawski’s coronation scene, the crowning of the usurper Godunov follows the murder of the rightful heir to the throne, the boy Tsarevich Demetri.

I have used allegory, myself, as a film writer/director. In my feature Havana, Habana, an official selection at the Rome Independent Film Festival in Italy, the story takes place during the Castro takeover, and depicts the one-night romantic affair between an American heiress who

Havana,Habana Poster

must leave Cuba, and a Cuban army lieutenant who must choose between the old regime or, like many of his compatriots, join the swelling revolution (Amazon Prime Video). The heiress represents wealth and power of America and the lieutenant, Cuba’s longing for freedom and its independence. The allegory is subtle for most but easily recognized by the astute.

Before you view Zulawsky’s full feature of Boris Godunov, it would be wise to acquaint yourself with a brief synopsis of it. What is important is that you view Zulawski’s unique interpretation of the film story.

The director chose to present the opera as a theatrical performance within the film. However, he took this approach even further as the camera not only goes through the sets but regularly exposes the film crew, as well. He used only less than two hours of the three-and-a-half hours recorded by Rostropovich, changed the sequence of scenes from the original and filled the picture with deliberate anachronistic references to the Soviet’s totalitarian regime, in his view. His version also vacillates between the theatrical performance on stage and film exterior locations to create a tapestry of cinematic spectacle. The film’s release was in December of 1989 in France.

Synopsis:

In 1874 Saint Petersburg, composer Modest Mussorgsky attends the premiere of his long-awaited opera Boris Godunov. The curtain then opens and the performance begins. After the death of Tzar Fyodor, in 1682, an enormous crowd gathers before the Kremlin gates, incited by the boyars to implore boyar-leader Boris Godunov to accept the Russian throne. Boris agrees, though he knows the crown is stained with the blood of Tsarevitch Dimitry, the rightful heir to the throne who was murdered at Godunov’s secret order. In a monastery, the monk Pimen is completing his historical chronicle of events. Asked by a young novice Grigori about Tzarevitch Dimitri’s mysterious death, Pimen reveals the truth about Godunov’s involvement. Deeply affected by the monk’s exposure of the murder, Grigori flees into Lithuania.

Godunov’s coronation as tzar then follows in the Kremlin’s holy cathedral. Later on, though, the new tzar begins to feel increasingly isolated and haunted by visions of the murdered tsarevitch. And, he is on his way to eventual madness as a result of it. Prince Shuysky then informs Godunov that a young unknown, claiming to be Tsarevitch Dimitri–having escaped Godunov’s henchmen–is heading for Moscow with an army to take over the throne. It is really the novice Grigori, though, who has become an impostor–a false Dimitri–in order to win the favor of the Polish beauty Marina who, herself, has eyes on a tzarina crown.

Boris Godunov Opera

Ky Duyen on The Sympathizer, Working with Robert Downey Jr., and Her Acting Journey

By Nicole Goesseringer Muj

Born in Saigon, Vietnam, Nguyen Cao Ky Duyen (aka Ky Duyen) is the youngest daughter of former Air Marshal, Prime Minister and Vice-President of South Vietnam Nguyen Cao Ky, and his wife, Madame Dang Tuyet Mai. From child refugee to accomplished lawyer to co-host of Vietnam’s most beloved variety show, Paris By Night, as well as her numerous TV and live show appearances worldwide, Ky Duyen navigates between American and Vietnamese cultures, and her dual, bilingual East-meets-West identity with ease, poise, and her own brand of unique charm, just like what her name, Ky Duyen, means in Vietnamese. She is represented by Image Powerhouse Agency.

Ky Duyen stars in the new hit HBO/MAX series The Sympathizer, based on Viet Thanh Nguyen’s Pulitzer Prize-winning novel of the same name. The Sympathizer is an espionage thriller and cross-culture satire about the struggles of a half-French, half-Vietnamese communist spy during the final days of the Vietnam War and his new life as a refugee in Los Angeles. Ky Duyen stars alongside Robert Downey Jr., Hoa Xuande, and Sandra Oh, in the role of Madame, wife of The General played by Toan Le.

FB: @mcnguyencaokyduyen

IEM had the opportunity to meet with Ky Duyen and discuss her acting journey.

Nicole Goesseringer Muj: What is your origin story?

NM: How did you get into acting?

KD: Acting is something I’ve always wanted to do since I was a little girl. But you know, I guess everything has to have its right time and place. I was busy growing up, going to school, getting a job, and raising a family. So, it’s not until now when my two girls have graduated from college, I feel that I’m done with all the duties that I have to do. Now I feel more adventurous to do something that I really want to do. So, after 30 years of being an MC, I thought that it was time for me to do something else. Last year, I got an agent through a friend, Kieu Chinh, who also happens to be a cast member in The Sympathizer. She was a longtime friend of my mom, and then last year, she introduced me to an agent. I signed up with Image Powerhouse Agency.

Kuy Duyen: I was born in Saigon, Vietnam. I came to the United States at the fall of Saigon in 1975, when I was almost 10 years old. My parents were very involved in the Vietnam political system at the time. My father was a prime minister, who later on became vice president, and at one time he was air marshal. My mother, Dang Tuyet Mai, was a very beautiful stewardess (at that time that is what they were called), and that’s how they met… in the skies. He was a fighter pilot and she was a stewardess for Vietnam Airlines. We came to the United States in 1975, moved to Southern California where I spent my childhood, growing up just like any regular kid; going through middle school, high school, went to college and then law school, got my law degree, passed the California bar and practiced for a few years before I decided that I want to get into entertainment.

Thereafter, I spent the next 30 years of my life being an MC for musical shows. The most well-known company that I worked for is called Paris by Night. I’ve been a host of that musical variety show for over 30 years. And aside from that, I also emcee and host for concerts in casinos throughout the world where there are Vietnamese communities in Europe, in Canada, in Australia, and practically all the top casinos throughout the United States, in Las Vegas and Atlantic City. Basically, that was my other job before I segued into acting.

The Sympathizer was the second script that I read for and I got the job. I think it also helped that I play the role of Madame in the story. I think parts of the story are based loosely on my father and my mother, because my father also had a liquor store, and the General in the story opened a liquor store. My mom later on had a restaurant and Madame in the story also had a restaurant, but that’s where the similarity ends of course. Everything that the General does is totally fictional, but as far as how I got into acting, that’s the story.

Before The Sympathizer, I had only done two Vietnamese movies, so I’m very new to Hollywood. Thus, getting the role I think is being in the right place at the right time, having the look that they’re searching for, and just being extremely lucky.

NM: Can you tell something interesting about working on The Sympathizer?

KD: Wow, do you have three hours for your interview? No, I’m just kidding. It’s been an incredible, once in a lifetime experience. Like I said before, I had only been in two Vietnamese movies with a very low budget. I think they were both under a million dollars budget. To go from that to The Sympathizer, which I heard through the grapevine cost more than a hundred million dollars to do seven episodes (*not official numbers) is incredible. And of course, having the A24/HBO/ Robert Downey team led by Robert Downey, Jr., one of top names in Hollywood, and for them to put this much effort, money, and time into a production, you can tell...I mean, I was just blown away.

Ky Duyen

Ky Duyen with Robert Downey Jr.

We each had our own trailer and when we were filming in Thailand, there were a hundred drivers, just cars to bring people here and there from the hotel, to the trailers where we get our makeup done to base camp. Every little detail is thought out thoroughly.

So as an actor, I learned the only job, the only thing that you have to worry about, is just to do your acting right. The production does everything else for you; the transportation, the food, the makeup, the hair, the wardrobe, the lighting, and of course, have the best directors. All you have to do is to remember your lines, to hit your mark and to embody the character. So, they make life so easy for you to do your job. Wow, it was incredible...  I don’t know if I will ever be in a bigger production again.

NM: Who are your mentors?

KD: Well, this is my first Hollywood production that I’ve been in and before this I’ve only taken a few acting classes in school. I was not even a real theater major in college. I think, of course, my two mentors are Robert Downey Jr. and Sandra O, but mentors not in the way of acting, but in a way to know what A-listers are like outside. They are my mentors in the way they treat all of us cast members; they are so genuinely nice, warm and welcoming. I mean, they’re just so lovely.

So, I wish that one day, if I’m ever that big of a star, that I would be that nice, that I would be as inclusive, that I would make people feel comfortable around me; that when I talk to people, I will let them know that 100% of my attention is paid to them. I think that’s the most valuable lesson that I’ve learned; to learn how to be a beautiful human being before being anything else.

And then of course, watching them act is a masterclass. I mean, I don’t think I can ever pay for better teachers than just watching them in action, watching them when the camera is on, watching them when the camera is off, and just being around them. I think that is the most valuable lesson I’ve learned to date.

NM: What do I consider my best professional achievements to date?

KD: Definitely, the two biggest achievements in my life are first being a host of Paris by Night for 30 years. I think that has made me a well-known face in almost of all the Vietnamese households in both Vietnam and abroad, and that has also helped me segue into a lot of other careers, and I think also into Hollywood. It’s one of the platforms that has definitely allowed me to become more well-known.

And the second achievement is definitely being cast in The Sympathizer. I would say that those are the two most crowning achievements of my career to date.

NM: What drives you in my work and career?

KD: Well, that depends on what time in my life you are talking about. When I was younger, definitely it’s for success, for money, for recognition, for opportunities, I guess just like everyone else. But right now, at this time of my life, it’s a whole different goal.

Right now, my parents unfortunately have both passed away. My two daughters are out of college and pretty much (almost) on their own; one is 28 years old, one is 25, so they’re basically grown and on their own.

I also have other investments. I have three restaurants in California called The Kickin’ Crab. I also have a chain of health and beauty stores in Vietnam called The Beauty Store. I have another online store and a brick and mortar store called Ky Duyen House here in Southern California, which also sells health and beauty products. I have a home shopping channel where I’m selling a jewelry line called Manifest by NCKD that I designed myself. So, I have a lot of other side businesses that give me a residual monthly income.

So, therefore, what I focus on in my career right now is to do something that I love to do, to do something for the joy of just doing it, without too much regard about money or success or fame, or anything like that. So right now, as far as acting goes, it’s my pure love of acting.

Someone once told me that your best career is when you’re doing something that even if you’re not paid for it, that you’d still love to do it, and for me right now that is acting. That is because you don’t have to pay me to do it. If the project is right and I would love to be able to do it, as money is not the first issue when it comes to anything in my career right now. It’s something that I love to do. It’s something that brings me joy. I think that’s the most important thing; whether it’s acting, writing, designing jewelry, and traveling…yes, all those things are what I love to do right now.

NM: Who would you love to work with in film or TV?

KD: Of course, I’d definitely love to work again with Robert Downey Jr.,  but also two other people, Johnny Depp and Keanu Reeves. I’ve heard that they are just super nice people in real life. I have never met Johnny Depp, and I’ve heard so many things about Keanu Reeves, so I think I would learn a lot from them. Jim Carrey as well, because I think underneath it all, while it’s more important to be a superhuman being, I think it’s even harder to be nice, to be humble, and to spread the light when you have so much. You know, when the universe or God or life gives you too much, I wonder, how do you keep your head normal, right? When you have so much money, you have so much fame, you have so much adoration, how do you keep yourself humble and grounded? And those people I’ve heard are all those things, so I would love to learn from them. And they’re also great actors, right? But aside from that, to learn not only the skill to be a great actor, but to be a great human being, I love that. (and with regard to Keanu Reeves, I also think he’s gorgeous and handsome.)

NM: Any new projects on the horizon?

KD: As far as film and TV, not yet because there’s been a big writers strike in Hollywood. They’re just starting to resume the writing again. I’m starting to do more auditioning though recently. The other new thing that’s on horizon, like I mentioned, is that I created a jewelry line called Manifest by NCKD. We’re moving to a new production office and new studio as I launch the brand. I’ve also been looking at a few Vietnamese film projects and also other ventures in Vietnam, so we’ll see.

A Fragile Flower Finds a Voice for the Vietnamese American Community

by Dr. Laura Wilhelm

One of the greatest pleasures international films can offer is the chance to experience whole new worlds.

In A Fragile Flower, the new featurelength film directed by Mai Thu Huyen and executive produced by Dr. Jacqueline Nguyen, we experience the opulent world of extremely successful Vietnamese emigres living right here in the United States.

American singer named Thach Thao (Maya) first seen in Las Vegas whose whirlwind tour to fame takes her all over the country.

Once in a great while Thach Thao has the chance to take a breath and reflect upon her rapidly changing life.  At one point amidst the picturesque white windmills near Palm Springs, she wistfully recalls how her parents used to take her to places like that while they were still alive.

“A Fragile Flower marries a standard A Star is Born plot to a much more original depiction of strong older women helping a younger one to succeed.”

A Fragile Flower marries a standard A Star is Born plot to a much more original depiction of strong older women helping a younger one to succeed.  The fragile flower in question is an aspiring Vietnamese

Thach Thao’s tribe of elders includes a married pair of music producers, a billionaire would-be suitor, and a young artist whom she ultimately marries.  Dr. Jacqueline Nguyen appears in a couple of brief cameos playing the doctor who diagnoses our heroine with brain cancer that starts to blind her.

The melodramatic plot of A Fragile Flower leads Thach Thao to a swan song performance after which she collapses in a dead faint.  “Fame, beauty, love--just petals in the wind,” reads a caption just before the final credits roll.

Mai Thu Huyen & Maya

The historic connection between Vietnam and France is shown in the film through the inclusion of some French songs in the soundtrack and several portraits of the Eiffel Tower, as well as a parade of stunning couture fashions worn by all and sundry.  The film’s pacing and production values are impressive throughout with some lovely vignettes scattered throughout the closing credits.

But, ultimately, the success of A Fragile Flower rests upon viewer identification with the soulful heroine and her surpassingly dedicated entourage.  Thach Thao’s brave choices compel respect despite her hopeless plight.

Winner of six FLOW Film Festival awards in Hollywood, Florida, A Fragile Flower is distributed in the US market by Atlas Distribution Company.

The film received top honors at the 2024 New Delhi Film Festival, named Top 3rd Feature Film, International Competition at the festival’s awards ceremony held on March 28 in New Delhi. The film was the only Vietnamese film award recipient showcased at the festival, organized annually by Jaipur International Film Festival Trust, and among 29 films awarded from outside of India. The film debuted in Vietnam at the Ho Chi Minh City International Film Festival in early April, followed by theatrical runs in Vietnam in April and will premiere in India in summer 2024.

A Fragile Flower  held a special World Premiere event on March 21st at the AMC 30 in Orange, California and launched in over 60 theaters throughout the USA on March 29th, 2024.

https://afragileflower.com/en/ #AFragileFlower

FB: @afragileflowerofficial / Insta: @a_fragile_flower_official

Dr. Jacqueline Nguyen at March 21st Premiere

Executive Producers Rakesh Tammabattula and Dr. Jacqueline Nguyen at Private Screening in Beverly Hills

George Chamchoum, Dr. Jacqueline Nguyen, Mai Thu Huyen, Nhat Ha at World Premiere

Ori Yardeni on Social Activism, Sunflowers and Dreaming Big

by Nicole Goesseringer Muj

Ori Yardeni

Global media entrepreneur and creator Ori Yardeni co-directed and co-wrote the new film The Man Who Saved The Internet With A Sunflower, the true story of American entrepreneur Rob Ryan, the man credited with saving the Internet from collapsing in the 1990s. Yardeni is part of the 7th annual Global Entertainment Showcase, and will be presenting his new film to distributors and sales agents attending the Marché du Film.

Nicole Goesseringer Muj: You are an accomplished media entrepreneur and content creator, however why was it important to you to bring The Man Who Saved The Internet With A Sunflower to the big screen?

Ori Yardeni: For years I’ve been active in social activism through film. I’ve produced almost 700 films and immersive multi-sensory technology experiences. The goal is always to find the most appropriate medium to get my messages into the minds of viewers. I’m looking for ways to enable my viewers to learn something new or pay attention to an important issue. Wrapping the message in thrills is a good formula for that. When I came across Rob Ryan’s exciting and amazing story of saving the internet from collapse, I thought there was an important lesson in this story for all of us as human beings. First, it’s about an entrepreneur who, despite his skills, his limitations sometimes prevented him from succeeding. But he didn’t give up and kept going until he found his purpose through his experience and his ability to learn from his mistakes. And this is an important lesson for many of us who are talented but fail. And the second thing I discovered in the story is a formula for success. Not a one-time thing, but an analytical methodology that allows each of us to understand who we are and what we can achieve in life. And I wanted to share these two lessons with the audience. In addition to all of this, there is also a warning in the story for all of us. The internet, like any new technology, can be used as an amazing tool to advance humanity, but in the wrong hands it can be dangerous and used as a poison by people with negative intentions. The message of the film is that we should not complain about the dangers but prevent them. Passivity is not an option.

NM:How did you first meet Rob and Terry Ryan?

OY: I first heard about Rob Ryan from a friend who took an entrepreneurship class at Cornell University. I understood that Rob was involved in a subject that fascinated me very much, which is the development of the internet. In fact, he saved the internet. This is a subject that I had been dealing with for years before. I was involved in a project in 1992 that predicted the development of communications in the 2000s, and the internet played a crucial role in that prediction. And when my prediction came true, I asked to meet the man who made my dream a reality. I enrolled in a one-and-ahalf-day course that Rob gave to company executives on entrepreneurship. I came to hear his story... But I discovered something even more important. I discovered how he achieved his phenomenal success. Using The Sunflower Code he developed and created a company that he invested in for $3 million and sold ten years later for $24 billion. The code fascinated me, and I offered Rob to teach it to the world. Rob accepted the challenge and together we set out. I produced a 3D film called License to Dream that teaches The Sunflower Code to young people and enables them to establish successful ventures in a variety of fields. Along with my acquaintance with Rob, I also discovered the story of Terry, who played a crucial role in his success.

The Sunflower Code also emphasizes the importance of using data to make decisions. I followed this rule by collecting data on a variety of metrics, such as audience engagement and critical reception. This data helped me to make informed decisions about the film, such as choosing the actors, the blend of humor, drama, romance, and more.

Ori Yardeni, Rob Ryan and Irit Yardeni

Regarding the use of The Sunflower Code in everyday life, the answer is simple. I present the principles of the code on the film’s website. It is a set of simple analytical principles. These are questions that are good for almost every decision in our lives. Questions that rely less on intuition and gut feelings, but deploy focused questions based on facts. And when everyone who needs to decide to answer these questions for himself in writing, his solutions in the decision will be clear and sharp. The code does not give answers. The code asks questions. Any reasonable person who puts down the answers in writing and uses the code instructions to check the answers will come to quite clear conclusions that will help to make the decision. Intuition and gut feelings in decisions are not wrong and they can also be considered, but only in matters in which the decision-maker has experience. If one has no experience, one should refrain from guessing.

NM: What is your hope with this film?

OY: As a filmmaker, I always hope that my work will reach a wide audience and have a positive impact on the world. With this particular film, I have several specific goals in mind:

NM: How did you use “The Sunflower Code” in the making of this film? and in your every day life?

OY: The Sunflower Code is a set of principles that were developed to help every person make better decisions in all areas of life. I used the code in the following ways when making the film:

Assembling a team with the right skills. The first rule of the code is to understand the strengths of your team and make sure that you have all the skills you need to succeed. I followed this rule by assembling a team that included experts in all areas of filmmaking.

Another important rule is to listen to your audience and make sure that your product meets their needs. I followed this rule by conducting focus groups with potential viewers throughout the filmmaking process. We used their feedback to improve the film in a number of ways, such as changing the script and editing the movie and choosing the main actors.

Raising awareness of internet abuse: I hope that the film will shed light on the serious issue of internet abuse, including cyberbullying, harassment, and the spread of misinformation. By bringing these issues to the forefront, I hope to encourage people to take action to address them.

Inspiring critical thinkiNM: In today’s digital age, it’s more important than ever to be able to think critically about the information we consume online. I hope that the film will encourage viewers to question what they read and see online, and to seek out reliable sources of information.

Sparking a conversation about regulation: The internet is a powerful tool that can be used for both good and bad. I hope that the film will spark a conversation about how to regulate technology companies and protect users from harm.

In the short term, I hope that the film will help to raise awareness of these issues and encourage people to take action. In the long term, I hope that the film will contribute to a more just and equitable online world. I believe that this film has the potential to make a real difference in the world. I am grateful for the opportunity to share this story with audiences around the world.

NM: This film is part of a trilogy. When do you plan to begin production on the next installment, and can you tell our readers, what the next part will focus on?

OY: I’m excited to announce that I am already working on the second installment of the trilogy. The film will be a direct sequel to the first, picking up the story in the early 2030s.

While the first film was based on a true story, the second film will be more speculative in nature. However, it will be based on all of the data that we have available today about the potential impact of technology on society in general, and the influence of the AI particularly. I believe that the film will paint a very realistic picture of what the future could hold.

This story is just one of many examples of how License to Dream has made a positive impact on young people’s lives. I’m incredibly grateful to Rob and Terry Ryan for their partnership in creating this film, and I’m so proud of the difference it is making in the world.

In my tradition, there’s a saying that goes, “Whoever saves one life is as if they have saved the entire world.”

I’m not a prophet, but I have a good track record of predicting the future of technology. I believe that the second film in the trilogy will be just as thought-provoking and important as the first.

NM: You also created License to Dream, a collaboration with Rob Ryan. Can you tell us any success stories that came about from this venture?

OY: Incredibly proud of the impact that License to Dream has had on young people around the world. The film has been screened for students, and it has helped to inspire countless young people to pursue their dreams.

One of the most heartwarming stories I’ve heard is about two young brothers (6 and 8) who saw the film. In the film we are told that as a child Rob would collect the tennis balls that were lost on the golf course near his house and would sell them back to the club. A day later the two brothers came with the idea to start their own business. The two brothers, who also lived near a golf course, decided to intensify their venture, and in addition to selling tennis balls, they also offered for sale lemonade, cookies, and milk.

NM: Are there any other projects you would like to share with us?

OY: I am always working on new projects that are designed to use media to make a positive impact on the world. One of my most ambitious projects is a series of 3D interactive films called LifeChanging Experiences. These docudramas are screened on four continents and have already been seen by two million young people.

The films are designed to appeal to both the rational and emotional sides of the brain, and they deliver important messages in a multi-sensory cinematic experience. They also include a fascinating technological component that measures the change in viewers’ behavioral intentions.

The results have been amazing. The research shows that 18% of viewers change their behavioral intentions. I think this is the dream of every media creator: not just to entertain and engage, but to make a real difference. To push viewers to get out of their chairs and take action.

This is happening all over the world. And the amazing discovery is that I have been able to create films that speak to different cultures in almost the same way, and the reactions are quite similar.

Every day I wake up knowing that I have a good reason to do so. I know that I can make a difference in the world. Some people might say that I’m naive and that using movies to change the world is just a pipe dream. But I’m happy to say that I have the facts to back me up. Research shows that my work has a significant impact. Hundreds and thousands of young people may have been influenced by my work, and that might seem like a small percentage. But in my tradition, there’s a saying that goes, “Whoever saves one life is as if they have saved the entire world.”

And this reminds me of a well-known story about a young man who was walking along the beach and saw thousands of starfish that had been washed ashore by the waves. The young man stopped, picked up a few of the starfish, and threw them back into the sea, trying to save them. A passerby asked him, “Don’t you think you’re wasting your precious resources? What you’re throwing back into the sea is meaningless. Millions of starfish will die anyway.” The young man picked up one starfish and threw it back into the sea, saying, “For this one starfish, I have made a significant difference.”

In the same way, I hope that the change I bring about through my films is meaningful for at least some of the viewers. For me, it is more than enough.

Travel MustHaves in Grand Cannes Style

by Nicole Goesseringer Muj

The South of France during the time of the Cannes Film Festival is probably one of the most glamourous events each year.

Celebrities, film executives, and jetsetters all descend upon the Cote d’Azur for 12 days of world premieres, red carpets, gala charitable events, and ultra fashionable soirées.

Following is a must-not-forget list of what to take with you on your travels.

A great travel jacket is a must and Nobis has the perfect stylish lightweight options that will take you from the airport to La Croisette, and protect you from any unexpected rain showers. The Toronto-based brand offers timeless, well-fitting and functional outerwear. The Reyna is my pick! (1.)

Mar Soreli , a line of 100% handcrafted, artisan Italian-made Friulane women’s shoes should definitely be on your radar - gorgeous shoes that are uber comfortable. Each pair is made with materials and methods that are locally sourced, ethical in nature, and planet conscious. (2.)

Also perfect for your grand voyage is the versatile The Sattaché Classic Bag. More than an accessory, the bag boasts a seamless blend of luxury and functionality, available in the exclusive classic rouge shade, as well as onyx and navy. (3.)

Now for red carpet ideas to make an impression, even among the A-list crowd… Timeless evening wear by Japanese American iconic designer Tadashi Shoji will stop traffic. With a range of styles and exquisite craftsmanship, Tadashi Shoji inspires real women, on their most memorable occasions, to feel confident and confident. Any design by Tadashi is exquisite, infused with glamour and ease. (4.)

Stunning jewelry by French brand CALESSIA will help you sparkle in the spotlight. I personally love the whimsical Statement Modern Aquamarine Hummingbird Ring. (5.)

“I aim to create a bridge between the past and the present, offering authentic vintage luxury from the heart of France. I’m passionate about providing access to genuine, luxury items that tell a story – a narrative of elegance, history, and authenticity,” comments CALESSIA founder Alexandra Casian.

A personalized Unius Letter Charm by ONI in pure 925 sterling silver and 14k gold will set you apart wherever you go. (6.)

If you have time for a beach day or a yacht trip, stunning swimwear by Miraclesuit® will arm you with all the confidence and comfort you’ll need. (7.) Pair with the latest styles of sunnies by Velvet Eyewear, and you’ll be set. (8.)

Don’t forget to take along your Scruples Haircare products to give you salon quality style (9.), while Bionova Skincare will keep your skin youthful and glowing all day long. (10.)

Finally, set each day with a transformative fragrance. Created by AROMA 360, FLY by Lisa Hochstein Parfum will take you on a journey of captivating charm and elegance. The new scent opens with a blend of pamplemousse, citron, and Heliotrope flower, leaving a lasting and unforgettable impression. (11.)

Lilly Rikhter’s Creative Journey Takes Her to Cannes

by Nicole Goesseringer Muj

Lilly Rikhter is a multi-faceted creative artist, boasting a diverse skillset that encompasses acting, production, athletics, DJing, and more. Born in Grozny, Chechnya Lilly began her professional journey in the Canary Islands, Spain, where she founded Lilly Rikhter Production SL and filmed two reality TV pilots, Fat Money and El Peleador.

Lilly made her acting debut in the award-winning film El Viaje de La Vida and in 2021, she moved to Belgium, where she wrote her first script and filmed the heartfelt short film Breathe, in collaboration with Angel Pro Film and Neropuro.

Her achievements include being a torchbearer at the Sochi 2014 Olympics, excelling in powerlifting and Thai boxing competitions, and receiving recognition for her work in fitness psychology and competitions, including winning the IFBB PRO fitness bikini championship, and being named Carnival Queen Maspalomas Moon 2019 and Mrs. Sport Europe 2019.

She stars in two drama shorts finalists in the 2024 French Riviera Film Festival.

IEM is pleased to spotlight this dynamic artist.

Nicole Goesseringer Muj: Congratulations, you star in two films The Trip of Life and On Time, both finalists in the 2024 French Riviera Film Festival. How was the experience for you playing two very different characters?

Lilly Rikhter: It was incredibly exciting and rewarding to work on The Trip of Life and On Time. Starting my acting career with The Trip of Life really threw me into the deep end, but it was exhilarating. Then with On Time, I not only acted but also got involved in production, which was a whole new adventure. Being new to the scene, every day was packed with emotions, but I was totally committed.

Playing two characters who were complete opposites was a fascinating challenge. It was a total discovery experience, exploring both the good and the bad within these roles. This journey opened my eyes to the unique power of acting, allowing me to explore and grow in ways I hadn’t imagined.

NM: What is the key message of the film The Trip of Life and why is it important to you?

LR: The Trip of Life tackles the tough topic of institutional racism, but at its core, it’s about human rights and the struggle for a safe haven by those

escaping dire situations in their homelands. In the film, my character tries to help people find new beginnings, showing that everyone deserves a chance to start over. This role was meaningful to me because it highlights the importance of empathy and awareness of others’ hardships.

The film’s message about the power of kindness and support really aligns with my own values. I believe in making a difference, even if it starts with just a story in a film. If our film can spark a bit of change or foster more empathy, that would be incredibly fulfilling. Through this role, I hoped to not just act, but also to inspire action and promote understanding and togetherness. This hope for a kinder, more compassionate world is what makes The Trip of Life so important to me.

NM: Ivan Drudi is the accomplished director of both films.  How was the collaboration with him? What did you learn from him?

LR: Working with Ivan Drudi on these films was an amazing experience. He’s incredibly talented and has a clear vision, which made our collaboration feel like we were two pieces of a puzzle fitting perfectly together. I really admire his dedication to learning, his focus, and his knack for knowing what the audience wants.

From Ivan, I learned to see art as a conversation— not just between us, the creators, but also with the audience. This approach helped us craft stories

that truly connect with people on a deep level. Collaborating with him was more than just working together; it felt like the start of a promising journey in the film industry. Even though we’re both fairly new to this, our shared passion and drive are setting us up to make a lasting impact. Ivan’s guidance has been crucial, helping me not just strive for artistic excellence but also understand the significant effect our films can have on society.

NM: How do you choose your roles? What roles appeal to you?

LR: Choosing roles for me is a very personal and introspective process. I really listen to my inner voice and feel out the essence of the characters that come my way. It’s about more than just playing a role; it’s about living through the character’s experiences authentically and with integrity. I see each role as a responsibility to my audience and to the character, making sure they are represented with depth and realism.

If a role doesn’t align with my core values, I have to make the tough decision to pass on it because staying true to myself in my work is crucial. I look for roles that challenge me and help me grow personally, enhancing my empathy and understanding of others. The roles that appeal to me are those that promise a transformative journey, not just for the character, but for me as well. They should add something meaningful to my life and help me connect more deeply with the world around me.

NM: What is it about the short film genre that appeals to you?

It’s this creative challenge—working within such tight constraints—that I find so appealing. Short films are like a proving ground, where new talents can show what they’re capable of and where fresh, innovative stories can thrive without the limitations of larger productions. For me, short films are an essential gateway into the wider world of cinema, offering invaluable opportunities for emerging filmmakers.

NM: What actress (or actresses) inspires you? and why?

LR: Kate Winslet is a huge inspiration to me. What stands out the most is her emotional and psychological strength, which shines through in her roles and her personal stance on industry issues. She’s incredibly versatile, moving seamlessly from her breakthrough in Heavenly Creatures to the epic Titanic, and on to her intense performances in Eternal Sunshine of the Spotless Mind and The Reader. Winslet’s ability to fully embody each character, diving into complex emotional depths, is truly remarkable.

Beyond her acting skills, her commitment to staying true to herself and challenging Hollywood’s body image standards is inspiring. She’s a role model not just for actors, but for anyone who values authenticity and courage in both their career and life.

LR: I love short films because they have a unique way of making a big impact in a short amount of time. This genre is great for learning and improving storytelling and production skills, giving filmmakers a chance to really hone their craft. Short films provide a platform for those who might not have big industry connections or a famous name to get noticed and make their mark.

What really draws me to short films is the challenge of precision. You have to be clear and concise, distilling your vision into its most powerful form.

NM: What are your goals and plans for Cannes 2024?

LR: For Cannes 2024, I’m looking forward to more than just the festival itself—it’s my first time visiting, and I’m really excited to soak up the iconic beauty and vibrant spirit of the French Riviera. My goal is to immerse myself in the festival atmosphere, connect with the incredible talents gathered there, and draw inspiration from the energy and creativity that Cannes is known for. I see this as a fantastic opportunity to learn, network, and grow personally. I’m eager to dive deep into the festival experience and make the most of everything it has to offer.

NM: Do you have any new projects that you can tell us about?

LR: Yes, I’m excited to share that I’m working on a new series that combines my love for motorbikes with some incredible storytelling. Set on a picturesque island, the series explores themes of freedom, adventure, and the deep, sometimes complicated emotions that drive us. It centers around a group of motorcyclists, each with their own vivid backstories and personal quests for freedom.

This project is particularly close to my heart—it’s my first major one where I’ve been deeply involved from the start, and I’ve poured everything into making it resonate with the true spirit of motorcycling culture. Expect a mix of intense passion, drama, and a deep dive into the human spirit. I can’t wait for you to experience this journey—it’s going to be something special.

Photos: Slavik Robtsenkov

Farewell

Spotlight Interview: Love Life Learning Foundation Founders Jenny Thai & Alan Vo Ford

By Nicole Goesseringer Muj

Jenny Thai and Alan Vo Ford co-founded the non-profit Love Life Learning Foundation and 3L TV during the time of the pandemic. Together, they are producing a number of projects, including the feature docudrama Book of Death: Requiem for Lost Souls. The short film version of Book of Death is a featured finalist in the French Riviera Film Festival. IEM had a chance to speak with the dynamic duo.

NM: When and what led you to launch the non profit Love Life Learning Foundation and 3L TV?

JT: During the time of Covid while I was producing a TV program for refugees, I was haunted by angry refugees spirits. Then I received my true callings from God, The Virgin Mary, Buddha, and goddesses. I invited Alan to open Love Life Learning Foundation and 3L TV to help the living and memorialize the dead refugees from around the world.

NM: You are a cultural advisor on some of the top American TV series and films, including HBO’s new series The Sypmathizer and NBC’s This Is Us. Can you elaborate on what exactly this work entails?

JT: We created the film project Book of Death, and had Pope Francis and His Holiness The Dalai Lama bless the project during the time period of Covid. Traveling the globe together to help the living and to memorialize the dead. We have so much gratitude to be able to do what we do.

NM: Can you tell us about some of your most recent or upcoming projects?

AF: We just finished a miracle docudrama Book of Death in two weeks, (scriptwriting, casting, production, and post production) to meet the Cannes deadline.

JT: I worked as a Vietnamese cultural advisor for top NBC series This Is Us on season three, since they wanted to do series about the Vietnam War. Basically I helped them in all aspects of the series to make sure it was authentic.

I assisted with casting, prop master, wardrobe, background Bootcamp, ADR, editing, etc.

I work as music consultant for the HBO mini-series The Sympathizer. My job was to get clearance for all songs from during the war time.

NM: What have been some of the most memorable moments in your work together so far?

NM: What is your mission via your filmmaking and creative work?

JT: In my personal opinion, human beings live on this earth for a very short period of time compared to the billions of years Mother Earth still has left. My main mission is to leave historical data behind, and one of the best ways to do this, is through making creative films.

NM: Alan, can you tell us a little more about your background in the entertainment industry? (outside of your work with Jenny)

AF: Since a child I always love watching movies, singing songs and do creative theater. I execute produced my first film in 2003, titled Journey From The Fall. Our film received over 28 awards worldwide with major film festivals and never stopped since.

NM: Can you tell us about some of your most recent or upcoming projects?

AF: Certainly, we are working for our full-length version for Book of Death: Requiem for Lost Souls, as well as the projects Films Junkers, Trung Sister, Prince of Chicken Street and Homeless Cities

Jenny Thai & Alan Vo Ford

Catching Up With Katyayani Kumar… on contrasts, growth and the road less travelled

By Nicole Goesseringer Muj

IEM first discovered Katyayani Kumar when her short film Coffined at 15 had its world premiere at the prestigious Dances With Films Festival in 2022. The Indian/American filmmaker will be spotlighted this year as part of the seventh annual Global Entertainment Showcase. We had a chance to catch up with her prior to the Festival de Cannes.

Nicole Goesseringer Muj: What are you hoping to achieve during this year’s Cannes Film Festival and Market?

Katyayani Kumar: I’m often told that money is of vital importance in getting a film made. Although that is practically true, I’ve always placed more importance on people. When I pitch my projects and share my stories, I’m looking to collect people before I’m looking to collect money. Here at Cannes, my goal remains the same: to find good people. It can change the entire trajectory of a project, and I hope to that end my hunt is successful.

NM: What director(s) today inspires you most and why?

KK: Last year I watched a film called Happy As Lazzaro. By the time that movie was over, Alice Rohrwacher, in one clean sweep, dusted off any director I was impressed with up to that point. You know that feeling when you read a moving line in a novel? You have to put the book down, stand up, and maybe go for a walk. It’s so beautiful that you need time to completely digest it. Since Lazzaro, I haven’t watched any of her other films because I’ve been so mentally and emotionally impacted by that piece of work that I’d like to just enjoy the aftertaste as long as I can. Some people are very attuned to the movement that comes from within them when the music plays. Rohrwacher is a natural dancer. She does what she likes to, and when you watch her stories you can feel that sense of liberty. It makes you want to dance like no one’s watching. That’s the essence of why I love her: I want to write like no one’s reading.

NM:You have had some great success to date in the short film genre. What inspires you in your storytelling?

KK: The roads less travelled, the dusty books tucked away in some corner, the songs that got lost with time—all of those things that the world looks away from are the very things that inspire me in my storytelling. They call to me. I believe stories are very alive. They are energies that communicate with us humans. Each story wants to be told. I once read in a Hindu text that stories were passed down because they wanted to be, and that those who didn’t pass them down bore a curse. I always search for the stories that people aren’t writing. I ask myself why that is. With Coffined At 15, there wasn’t much content exploring faith in a Taliban-ruled Afghanistan, when faith is the very thing being sold and bought in that country. With Finding Lulu, I was surprised that school shootings were becoming such a common occurrence in the U.S. and yet there were hardly enough films to cover stories exploring the issue, while each year churns out more and more films about WWI and WWII. I’m inspired by the fires burning around this globe today. I am a storyteller who loves to play with that fire.

NM: You work in both the USA and India, how do you feel your global upbringing has helped you in your art and creativity?

KK: If everything were black or if everything were white, we’d never grow. Contrast makes us grow. The East and the West have always been primal examples of contrast and when my mind was forced to see two juxtaposing ideas and ways of living, my mind expanded to make sense of those differences, but more importantly, to find the commonalities in those differences. Contrast in any form, whether it be through travel or language, is vital to us creatives. Each of these countries—the United States and India—is so multicultural, that moving from one city to another is like stepping into another world. If anything, this contrast has helped to enrich my palette as an artist and I know I could never run out of stories as long as I live. As soon as I think that I have every kind of flower I’d need in my garden, I’ll step out to find that I live in a forest.

NM: How do you select the topics you wish to take on in your films?

KK: I once asked a group of filmmakers to name any recent films that blew them away. When each of them spoke about the films they loved, they all used the same word to describe them: “simple.” When I asked them what they meant by “simple,” they said “the story was relatable.” In other words, they liked to see the ordinary on screen. Their feelings and desires being played out on the big screen? They feel seen. But what they didn’t know when they were answering my question was that they only gave me half the answer. They didn’t realize that they could never have loved those films if those films

we aspire to. So when I am in the process of selecting topics for my film, I’m actually playing the role of a tested engineer figuring out how I’m going to make my audience fly. If Shastra Productions were a fashion brand, you’d see ordinary people walking the runway, and extraordinary people sitting and watching. In other words, I like to make ordinary people do extraordinary things.

NM: What can you tell us about your latest project? (the feature film)?

KK: I am currently directing a feature documentary film in Punjab, India. There is a canal there that goes as deep as a thousand feet and passes through three states. You could be in Patiala, walking to work, and you’d look down and find a human body floating down the river. Common sight, but nobody says a word. Punjab has one of the highest suicide rates in India, but our focus is on the community of divers that are recovering these bodies. It is a world within a world where we gradually discover that there is more than meets the eye when it comes to this canal. Everything from mortality, redemption and justice to the supernatural, the eccentric, and the underworld are explored. It’s an intense rollercoaster that I can’t wait for the audience to ride. We’re currently in late development/early production.

NM: Are there any other projects you would like to spotlight and share with our readers?

KK: I’ve always been very interested in the intersection between the growing modern world and dying age-old spiritual tenets. This interest has given rise to two separate projects, one of which is a feature film called Blue Sun. This one takes inspiration from Saint Vitalis of Gaza, the patron saint of prostitutes. It’s a story that has been reworked and reimagined in modern day Nairobi. The second project I’m currently working on is a series that explores the intimate lives of some of India’s most fascinating ascetics and saints. I believe the thing that invites people to India more than anything is its rich spiritual history, yet I find it amazing that as a country we’ve done little to explore that ourselves in the domain of films. Both of these projects are in very early stages of development, and I do believe that I’d be very lucky if I get to see them through. I’ll get a lot of projects in life to stir my intellect and emotions, but very few to stir my soul.

Global Entertainment

Katyayani Kumar filmmaker

Katyayani Kumar is a Sarah Lawrence College alum specializing in film directing and writing. Her foray into film started with directing two low-budget documentaries under the guidance of Oscar-nominated producer Heather Winters.

Her most recent film Coffined At 15 screened at the Oscar-qualifying Dances With Films festival and bagged a Special Jury Award at the 8th International Film Festival of Shimla. Last year, she directed her second short live-action film on the subject of school shootings in Nairobi, Kenya working with the Huruma Town Kids and receiving acclaim from E! Entertainment founder Larry Namer.

Her experience working with non-actors has made her well-equipped for documentary work, where subjects can be tricky to work with. She is also a passionate writer and bagged quarterfinalist in the Academy Nicholl Screenwriting Fellowship for her first feature screenplay. Between her time making films and introducing filmmaking to rural communities, Kumar also has fun pitching. Last year, she placed as a semifinalist in ScreenCraft’s Virtual Pitch Competition and won Raindance’s Pitching Competition. She believes in cinema with purpose and happy endings, thereby picking topical and pressing issues with stories that don’t just inform, but help us heal. She is the founder of Shastra Productions.

Jenny Thai filmmaker, philanthropist

Jenny Thai (aka Jenny Ai Trinh Thai) is the co-founder and board director of the nonprofit Love Life Learning Foundation and 3L TV. In the 1990s, she worked for the United Nations helping refugees. Over the years, she has produced many TV programs and documentaries about refugees. From 2018 to 2021, Jenny worked as a cultural/technical advisor, casting assistant, dialect coach, and ADR/editing assistant for the NBC hit series This Is Us.

In 2022, Jenny and 3L TV won the One Heart Movement Award for her work in documentaries about humanity. Recently, she worked as a music consultant for the HBO TV series The Sympathizer. She is an associate producer for the feature musical drama A Fragile Flower. She is the director, producer, scriptwriter and editor of the docudrama Book of Death

Dr. Jacqueline Nguyen executive producer

A Fragile Flower

Dr. Jacqueline Nguyen, affectionately known as Dr. J, stands as a prominent figure in the realm of healthcare, spearheading innovative initiatives that underscore her visionary approach to wellness. With a distinguished degree from USC School of Pharmacy and a wealth of experience as a Clinical Compounding Pharmacist, Dr. J’s Natural emerges as a testament to her unwavering commitment to patient-centered care.

At the core of her philosophy lies a holistic approach to pharmacy, characterized by meticulous attention to detail, profound empathy for patients, a relentless pursuit of knowledge, and an unwavering dedication to leveraging cutting-edge treatments. This holistic perspective ensures that each individual receives personalized care aimed at fostering optimal wellness and vitality.

In addition to her groundbreaking contributions to healthcare, Dr. J has ventured into the realm of filmmaking as a co-founder of TINCOM MEDIA, a pioneering production company dedicated to crafting impactful and thought-provoking cinema. Serving as the executive producer of the new Vietnam/United States co-production, A Fragile Flower, Dr. J continues to push boundaries and amplify diverse voices through compelling storytelling.

Entertainment Showcase

Lilly Rikhter actress/producer

Born in Grozny, Chechnya, Lilly Rikhter’s journey encompasses a spectrum of talents and accomplishments.

Her early experiences in classical music and psychology laid the foundation for her empathetic understanding of human nature, a quality that shines through in her captivating performances as an actress.

Her foray into the entertainment industry began in the Canary Islands, Spain, where she established Lilly Rikhter Production SL and produced two reality TV pilots, Fat Money and El Peleador, showcasing her ingenuity and creativity as a producer.

Lilly’s acting career took flight with her debut in the award-winning film El Viaje de La Vida, signaling her successful entry into the world of acting. Relocating to Belgium in 2021, she penned her inaugural script and collaborated on the poignant short film Breathe with Angel Pro Film and Neropuro.

Her achievements extend far beyond the realm of entertainment. As a torchbearer at the Sochi 2014 Olympics, she has demonstrated her prowess in powerlifting and Thai boxing competitions, garnering recognition for her contributions to fitness psychology. Her accolades include championships in IFBB PRO fitness bikini and Spanish Wellness competitions, as well as prestigious titles like Carnival Queen Maspalomas Moon 2019 and Mrs. Sport Europe 2019.

Ori Yardeni global media entrepreneur/ filmmaker Rehna Azim moderator

Global media entrepreneur and creator Ori Yardeni co-directed and co-wrote the new film The Man Who Saved The Internet With A Sunflower, the true story of American entrepreneur Rob Ryan. The film recounts the dramatic story of Ryan, the ultimate entrepreneur, who saved the internet from collapsing in the 1990s, transformed the lives of all of us in every field, and today is trying to save the internet from itself.

Not only a filmmaker or entrepreneur, Yardeni is known as the ‘stORIteller,’ who weaves fantastical worlds and impactful narratives with cutting-edge technology. Yardeni is most recognized for his innovative work in the field of immersive cinema, including making 700 different 3D, 4D, 6D movies, Interactive Cinema and Imageless Cinema. He has received several awards for his films and has registered 45 innovations in the field of media and technology.

Yardeni has also created License to Dream, a collaboration with Ryan, to equip teenagers with the tools and mindset to become successful entrepreneurs and social leaders.

Rehna Azim is a London-based practicing lawyer and freelance journalist who writes mainly about film and lifestyle topics. She was previously the editor of a glossy women’s magazine and is currently awards editor at Movie Marker Mazazine

Her site www.itsalawyerslife.com is a lifestyle and wellbeing blog for lawyers by lawyers. She has written and produced four short legal dramas.

FRFF 2023 Program

FRFF DAY ONE

10 am Official Welcome

Blossom

Yağmur sees that peace lily flower on her balcony has faded. Her friend tells a rumor that it’s not blossoming because it’s lonely. Thus, she strives to make this peace lily bloom and realizes that blooming with the feeling of togetherness is not specific to this flower...

Director: Hazal İnak

Country: Turkey

By Any Other Name

Within the chilling underworld of sex-trafficking, the heartwrenching bond between two sisters unfolds. One sister, ensnared in the shadows of exploitation, fights for her very survival, while the other, a determined working-class mother, wages a relentless battle against insurmountable odds to bring her sister home.

Director: Daniel Deville

Country: United Kingdom

Cadillacs

Enrique, a romantic rocker, and his friends Esme and Diego embark on a quest to find La Teruel’s concert, and Enrique’s ex-girlfriend. On the eve of Valentine’s Day, they face challenges and rebellious moments as they journey along a route towards the beach.

Director: Juan Garrafa

Country: Mexico

Delilah

This gritty and visceral story follows Delilah, like a hero out of Albert Camus novel, as she tells us how she ‘can’t feel anything’ after the murder of her younger brother as she has spent the last three years plotting her revenge with the help of the newly released convict, Gecko.

Director: Nika Agiashvili

Country: United States

L’Hypermnésique (The Hypermnestic)

Gaby and Jo are an elderly couple without children. Throughout their lifetime, they each had life plans and yet never managed to live out their dreams. Gaby felt a deep sense of guilt and trauma due to her inability to conceive children. As Jo approaches the end of his life, his memory slowly fades away. Gaby sees a chance to give her husband a taste of the life he had never lived.

Director: Julien Mouquet

Country: United Kingdom

MOM

A brief, yet raw look into a woman’s mind and heart, as she continues to balance the grief of her two miscarriages.

Director: Kate Campbell

Country: Canada

On Time

Jenny wakes up next to a dead body and a mysterious masked man tries to frame her for murder. She pieces her memories together as she races against time to erase any trace of her presence. She must choose to either accomplish her original mission or to follow a new path.

Director: Ivan Drudi

Country: Spain

Pretty Hands

After recently moving to a seaside town, a single mother’s mental state derails as she becomes increasingly convinced that someone is trying to steal her baby.

Director: Senyo Mortty

Country: United Kingdom

The Trip Of Life

An Ethiopian lady comes to Europe by boat. She finds help from the local people but bureaucracy finds her, putting a large wall of racism in front of her.

Director: Ivan Drudi

Country: Spain

SPECIAL MENTION (*not screening live)

The Last Butterflies

After a collection of environmental disasters lead society to the brink of collapse a young mother must find ways to survive with her small child as they navigate the near-future apocalypse.

Director: Patrick Rea

Country: United States

They Don’t Live Long

Jack has just been released from prison for a felony pending hearing in two months, and he could be sentenced to up to five years. While he tries to heed his mother’s advice and keep a low profile, the connection with his fellow miscreants proves just too deep to ignore.

Director: Adrian Pnut

Country: United States

Visitation

The past catches up with Felix in the form of his old buddy Olaf. Mob-leader Ivan wants his cocaine back, and Felix has to fight for his new domestic life to escape his crime background.

Director: Christian Skibinski

Country: Germany

SCI-FI/HORROR

FINALISTS

Entropy

In the course of conducting experiments on memory and time during the pandemic, a lovesick scientist with a morbid fear of rejection, makes an unexpected connection.

Director: Dan Chen

Country: United States

Hamelin 77

Lara, a school teacher, is interviewed at the Nawu corporation for the position of prompt engineer, which consists of using language to guide artificial intelligence systems. A catastrophic power failure during the interview will trigger an unexpected discovery that will reveal the delicate balance between humans and AI systems.

Director: Javier Ideami

Country: Spain

The Dark Midnight

Sarah is a young girl who loses her mother as a child due to a mystery. Now she is involved in her own nightmares…

Director: Amirhossein Makouei

Country: Finland

SPECIAL MENTION (*not screening live)

Spooky Society

In the historic city of Savannah, Georgia a group of teens form a powerful bond while creating a ghost-hunting vlog for social media. The friends go on adventures to the city’s most haunted sites, while uncovering the truth behind their supernatural legends.

Director: Bryson Lima

Country: United States

EXPERIMENTAL

FINALISTS

Aura

Narrative short film exposing sex trafficking.

Director: Eme Eidson

Country: United States

Question Everything

A wayward man questions his existence when he meets an enigmatic stranger in a dream.

Director: Shaun Rylee

Country: United States

SPECIAL MENTION (*not screening live)

The Hand Of The Healer

One night out on the Santa Monica Pier. She didn’t know how it all happened. She remembered absolutely nothing.

Director: Arthur X

Country: Netherlands

STUDENT

FINALISTS

Electra Wasp

An experimental animated psychobiography about the death and life of trailblazing pilot Amelia Earhart; a retrospective of her emotional world and an exploration of what drove her to pursue her passion for flying.

Director: Wasan Hayajneh

Country: United States

Keep It Quiet/ ŠUTIM

The film follows a photography student named Barbara in the preparation of an independent photo exhibition. Awaiting her first solo exhibition, invisible problems become more and more visible and her fear-induced reactions result in change.

Director: Sara Horvatić

Country: Croatia

Motherwound

The pregnancy of May’s first child stirs up old patterns between mother and daughter, who are unable to communicate their needs. A portrait of three generations stuck in their ways.

Director: Bao Van Hoe

Country: Belgium

OUT-OF-COMPETITION SCREENING

Quimera (Drama Short, 2024)

A couple battling mental illness confined to their home discovers a painful truth.

Director: Tomas Vergara

Cast: Martin Rodriguez, Gadea Jimenez

Country: Spain

Followed by a Q&A with director Tomas Vergara and Martin Rodriguez.

FRFF DAY TWO

10 am screenings begin

DOCUMENTARY

FINALISTS

Book Of Death

The true story about how Jenny Thai received her spiritual calling from The Messiah and Buddha, which led her to co-found the non-profit “Love Life Learning Foundation” with Alan Ford. Today, their joint mission is to help the poor, war victims and refugees around the world.

Directors: Jenny Thai, Alan Ford

Country: United States

I’ll Tell You About Your Father

An “old star” of Italian TV from the 1980s, during a journey by the sea between the waves of the Mediterranean and the curves of memory, tries to tell his life story to his severely autistic son Emanuele, hoping that one day he too will understand his words, history, choices, hopes and dreams.

Director: Daniele Gangemi

Country: Italy

One Person/Hundred Bridges (episode 1)

Wu Liguan, a retired military photographer, exposes the cultural history behind 600 bridges in mainland China, showcasing the superb constructions skills of the ancients and the passage of time.

Director: Han Zheng

Country: China

Pacing The Pool

A tiny glimpse into the extraordinary life of Richard Pace. A different approach to life might have seen him crushed under the weight of the physical and mental stresses he has been through since he was a child, however, healing waters have helped him rise above it all.

Director: Radheya Jegatheva

Country: Australia

SPECIAL MENTION (*not screening live)

The Taking of Harris Neck

The stunning marshlands of Harris Neck, Georgia have a tragic history, a story of trauma and racism. In 1942, the US government took 2687 acres of land inhabited by descendants of freed slaves to build an airbase. The government promised to give the land back after the war. Now 80 years later the community is still fighting to get their land back.

Director: Kevin Mannens

Country: United States

MICRO SHORT

FINALISTS

Feu-Follet

A young woman discreetly ventures into an isolated place to find her boyfriend, but their meeting is quickly disrupted by the appearance of a wisp.

Director: Mickael Abbate

Country: France

MNW!

The Western Front…

Director: Tiffany Cole

Country: United States

Muybridge Derby

An AI-assisted animation that transforms Eadweard Muybridge’s historical animal locomotion photographs into a whimsical derby narrative. The piece features a race between various animals, employing next-generation AI to stylize vintage photography as high-fidelity digital art.

Director: Robert A. Gonsalves

Country: United States

PRJCT. VOYGR: ILHA do DESEJOS

A portrait of ‘Ilha dos Desejos’ (Island of the Wishes) in Angra dos Reis, and the island’s owner, George Otero. A visual experiment aiming to deconstruct and emphasize a series of collective memories.

Directors: Alejandro Segovia, Teo Marinakis

Country: Brazil

SPECIAL MENTION (*not screening live)

Scrap Head

The young Tito criss-crosses the city on his scooter. He sells old electric cables stolen from construction sites and his father Stipe pockets the profits. After the bullying and humiliation, it’s time for Tito to get his revenge.

Directors: Igor Gabriel, Brecht Goyvaerts

Country: Belgium

FASHION

FINALISTS

Dentro

The Dentro film series, comprised of five distinct chapters, serves as the inaugural video campaign for the accessories brand.

Director: Camila Freiha

Country: Brazil

Equlibrio

A fashion film that speaks of life as a journey of ups and downs and emotions through contemporary dance and classical music.

Director: Camilo Velásquez A.

Country: Colombia

Levitate

With this fashion film, we were looking for something more timeless, unlike the current concept of fashion associated with the change of tastes which quickly go out of style. We wanted to pause the speed of time while highlighting the ethereal textile qualities of the clothing through fast movements seen in slow motion.

Director: Luis Velasco

Country: Spain

The Shape Of Life

A flock moves in the sky among the mountains. While a woman begins to dance in a large hall, the same flock seen a moment ago enters and starts to move around her. From the combination of those movements, the flow of life and memories are generated.

Director: Nicola Martini

Country: Italy

ACTIVISM

FINALISTS

The Calvary

The director travels to Israel, where she was raised, during September 2023 to film the public protests against the Israeli government. During that time she is given access to a secretive section of the police unit, the cavalry, where she documents the desensitization of the imported Friesian horses.

Director: Alina Orlov

Country: Canada

The Invisible

Longevity and ageism are important topics, mainly in Latin America. The population is living longer and longer. At the same time, mature individuals are being excluded from the workforce at an increasingly earlier age. Ageism is a visible issue, however society tends to treat this topic with invisibility. Brazilian musician André Abujamra, a Latin Grammy nominee, created a song to address this issue.

Directors: Guga Lemes, Wagner Almeida, Marcelo Nobre, André Abujamra

Country: Brazil

MUSIC VIDEO

FINALISTS

BAD

The music video begins with a “cowboy” wandering and singing about escaping his past. This is interrupted by a kind of psychological drama - with a disaffected “dude” being tormented by some unseen voice. The cowboy and the dude are played as two parts of the same personality.

Director: Matt Nothelfer

Country: United States

Devotion

After the October 7th tragedy in Israel, the artist needed to process all the difficult and painful emotions, constructively and creatively, through her music. She decided to release a beautiful and spiritual song based on a prayer.

Director: Sima Galanti

Country: United States

Nothin 4 Something

Over his day job and humdrum life, a mechanic fantasizes about being a rock star. Following Danger, which was released earlier this year, music artist John Roberts takes us back into the realm of moody mid-tempo 80’s throwback energy with his new single.

Director: Cody Critcheloe

Country: United States

12:30 pm – 2 pm 7th ANNUAL GLOBAL ENTERTAINMENT SHOWCASE

Panel moderated by Rehna Azim, awards editor Movie Marker Magazine, featuring panelists Katyayani Kumar, Dr. Jacqueline Nguyen, Lilly Rikhter, Jenny Thai, and Ori Yardeni.

ANIMATION

FINALISTS

Believe In Wonder

The goal was to associate Rinascente with a world where you can be surprised by wonder, living magical and unique experiences. The Brand becomes an entertainer, and thanks to its products, even decorating the Christmas tree can become wonderful.

Director: Massimo Carrier Ragazzi

Country: Italy

Bird Drone

A heartfelt story of unrequited love explored through a lonely seagull struggling to accept that his newfound object of affection is a human-operated drone with a limited battery life.

Director: Radheya Jang Jegatheva

Country: Australia

The Grandma’s Mind

An elderly woman living alone goes to the forest to collect wood. She sees two baby monkeys near their dead mother, takes them to her house and raises them. One day when she sees a burial of a neighbor in her village, she thinks about what would happen to the baby monkeys after her death.

Director: Vibin Alex

Country: India

COMEDY

FINALISTS

Noir Brothers

In a frenetic, chaotic and disordered Catania, Renny and François, the second impeccable and the first decidedly off-putting, are the right men to solve the strangest and most desperate cases imaginable.

Director: Daniele Gangemi

Country: Italy

Smile Through Your Tears

A frustrated director (Tom Arnold) auditions a disheveled, disorganized woman of a certain age (Andi Poland) who appears unlikely to get the part. In the process of the audition she tells him her story about losing both her sons to suicide. As the director puts it, she’s the only audition who made him feel something that day, and to everyone’s surprise she turns out to be a perfect fit. Based on a true story.

Director: Daniel Brea

Country: United States