Hi I am Ezel and welcome to my Miami Film Festival experience journal, as a film student, this isn't just a chance to watch movies it's a crash course in storytelling, cinematography, style, networking and many more. From screenings to Q&As from panels to networking events. I'll be sharing the moments of meeting with filmmakers that left impact on me, the ideas that stick long after the credits roll, and panels that widen my perspective. I am grateful to experience stories are larger than life.
I would like to start with the movies that I enjoyed watching ; Freaky Tales, The Luckiest Man in America, The Things You Kill and Checkpoint Zoo.
FREAKY TALES (Preview Night)
“Freaky Tales” directed by Anna Boden and Ryan Fleck, is a 2025 action-comedy anthology set in 1987 Oakland, California.
The movie tells four different stories that are all connected in some way. Each one focuses on a different part of the city’s culture, like punk music, hip-hop, basketball, and street life. The film really tries to show what Oakland was like back then-full of energy, conflict, and creativity. The way the stories are put together makes the movie feel fresh and unique, even if the connections between them aren't always super clear. As a film student, I appreciated how the directors used different tones and styles in each segment, though sometimes it felt a little uneven I believe it has some sort of connection or inspiration from other movies like Kill Bill, Pulp Fiction. They went deep into the social problems like racism, and I would never be able to imagine a story like this approaches to racism with terrifically yet unifying and fun way, like it’s name it was FREAKY.
I love the appearance of Pedro Pascal and Tom Hanks. Pedro Pascal plays Clint, he has a dark past and I could really feel the weight he carries in every scene which he enhances the emotional depth. Tom Hanks was playing an eccentric, morally gray character was surprising because we are so used to see him in good characters here it was completely opposite which I believe it helps to catch audiences’ attention more and it works. He had a short appearance but it gave a lasting impact on the film.
The use of lighting and color grading were eye catching, I enjoyed the different segments of the film how they mixed DIY aesthetic look kind of like it was shot on old film stock, and shadows were super dark first it felt really dark but later on when we saw the other segment which involves the rappers the screen was filled with colorful neon lights and whole atmosphere changed with warm and saturated tones. Also, they had sudden freeze frames like in comic books which was fun and unexpected, but it was matching with the storyline since they were telling Tales that are Freaky :)
Overall, "Freaky Tales" is a bold and creative and fun film that takes some risks. It doesn't always hit every mark, but it definitely stands out with its style, music, and love for Oakland's history.
The Luckiest Man in America
The Luckiest Man in America is one of the most inspiring indie films I’ve seen as a film student. It is directed by Samir Oliveros, and he was at the screening and stayed for a Q&A afterward.
The Luckiest Man in America tells the true story of Michael Larson, a man who figured out how to beat the popular 1980s game show Press Your Luck by memorizing the patterns on the board. At first, the story feels fun and even a little funny, but as the film goes on, it becomes more serious and emotional. It shows how chasing money and control can go too far.
The story is told in a way that keeps you interested the whole time. You want to know what happens to Michael next, and the way the story shifts from light to dark is done really well. It’s not just about winning a game show but also about what happens when someone always wants more and can’t stop.
Paul Walter Hauser is amazing in the lead role. He makes Michael feel real and smart but troubled. He plays him in a way that makes you feel sorry for him, even when you disagree with his choices. His performance is full of energy and emotion.
The cinematography is also really impressive, especially for a low-budget film. It was shot in just 24 days in one location in Bogotá during the strikes, but it looks like a big studio movie. Throughout the movie, the team used four main colors: blue, yellow, green, and red. Each color helps tell the story visually. You can tell every shot was planned carefully.
What makes this film even more special is how it was made. Director Samir Oliveros found the story by chance one day from a VHS tape he bought at a thrift shop. Inside the VHS tape, he saw the show called Press Your Luck, and he searched for it and found Micheal Larson. From that moment on, he knew this guy was worth making a movie about. He and his team worked with almost no sleep and limited money, putting everything into the film. Most of their Kickstarter budget went to the production design. This film proves that with strong pre-production, teamwork, and a love for cinema, you can make something amazing without needing a big budget. It’s the kind of movie that makes you want to go out and create your own.
Like Michael says in the film, “Look where people aren’t looking. That’s where success is.” And Samir did exactly that.
The Things You Kill
The Things You Kill directed by Alireza Khatami, is a film that left a deep emotional impression on me. The story was powerful, layered, and quietly devastating. The kind that doesn’t shout its message but lingers with you long after the credits roll. One of the most striking parts was the character transformation, which felt very unique. It wasn’t your typical arc; it unfolded slowly, shaped by grief, silence, and inner conflict, and it really caught me off guard in the best way.
The cinematography was one of the most poetic elements of the film. It alternated between static, carefully framed shots and intimate handheld moments, depending on the emotional rhythm of each scene. This gave the film a kind of visual breathing or stillness when the character was emotionally distant and movement when things started to unravel. The use of wide compositions, often keeping characters small or distant in the frame, made it feel like we were observing from afar, almost like ghosts in the room. That choice added to the feeling of isolation and emotional detachment.
It also felt like a deeply personal project I came across the director's speech about the The Things You Kill where he was telling he shared his loneliness with the story he written. You could sense the director’s own pain, solitude, and questions about belonging woven into the storytelling. It’s one of those films where you don’t just watch a story but you witness someone’s emotional truth unfold on screen. While it was set in Turkey, it didn’t really reflect Turkish culture in a way I recognized. Instead, it leaned more toward broader Eastern philosophical and emotional tones, which makes sense, as director Alireza Khatami is an Iranian Director. That cultural blend gave the film a unique flavor, not bound to one place but exploring something more internal.
The cast was impressive; many of Turkey’s most talented and respected actors were part of it. Their performances were understated and controlled, which seemed like a deliberate choice. It felt like the director didn’t want the acting to overpower the narrative. There were very few close-ups, no overly dramatic moments, and everything was delivered with subtlety. It was more about the emotional weight in the space between actions than the actions themselves.
Overall, The Things You Kill is a film that doesn’t try to entertain; it tries to reflect. It raises quiet but heavy questions about loss, memory, and what it means to carry pain across time. It’s the kind of movie that teaches you to be patient, to observe, and to feel without needing constant explanation.
I truly appreciated the experience, and as a student filmmaker, it reminded me that storytelling doesn’t always have to be loud. Sometimes, the quietest films are the most powerful.
Checkpoint Zoo
Checkpoint Zoo, Directed by Joshua Zeman from the very first minute, this documentary brought tears to my eyes. It revealed the rawest, most honest truths about life; nothing felt fabricated or staged. There was no script, no actors, no set. Everything was pure and real, unfolding inside a zoo in Kharkiv, Ukraine where both humans and animals found themselves trapped in the chaos and terror of war.
The film is made entirely from real footage that is captured by the people who were living through it, on their phones, body cams, or GoPros. That choice gives it a haunting reality. You’re not watching a crafted narrative; you’re witnessing reality and that makes it one of the most powerful and emotionally devastating documentaries I’ve ever seen.
What struck me most was the shared suffering. Watching zookeepers and volunteers try to comfort and save the animals while fearing for their own lives was heartbreaking. While there are terrible things happening all over the world, this film brings the war in Ukraine into sharp, painful focus not through news headlines, but through sounds of bombs, the silence of animals stuck in their cages with frightened eyes, the eyes that I will never be able to forget.
It was emotionally very heavy, in a way that deeply confronts you. It makes you question what it means to witness, and how much we ignore the suffering of others simply because it’s far away. As a viewer, you don’t get to look away, and that’s what makes it so powerful. But I must admit there were times I had to close my eyes as the tears falling down because it was too much to witness to the raw, unfiltered footages.
It reminded me how fragile life is. How the things we call “problems” the little frustrations in our day are so small compared to what others are enduring in silence. It made me feel the weight of privilege, and a responsibility to stay aware, to care, to speak.
This is not an easy film to watch but it’s an important one. A necessary one. And I truly believe it’s a film that will stay with me forever.
My heart breaks for the innocent souls in Ukraine, and for all those in places where war has made both people and animals victims of something they never chose.
During the festival week, I had a chance to attend some panels and had a nice opportunity to meet with new filmmakers.
MasterShot: The Power of PR
Here I would like to share couple key points that I find important.
Q: How important are festival nominations in leading a film to major awards like the BAFTAs, SAGs, or Oscars? And when does that momentum begin for an indie film?
Hilda Somarriba's Key Points:
It all begins at major festivals.
- The momentum starts when a film gets into prestigious festivals like Cannes, Toronto, or Sundance.
- Winning audience awards or grand prizes at these festivals gets the attention of both press and Academy voters.
Press and exposure are critical.
- Films that maintain visibility through interviews, reviews, and red carpet appearances stay on the radar.
- Example: Emilia Perez after Cannes, it continued to tour major festivals and used that journey to build consistent press momentum.
Repetition is strategy.
- Continued appearances at high-profile events keep the film front of mind throughout awards season.
- Momentum is not accidental it’s strategically built with a constant presence in the public and industry eye.
It's a costly, global effort.
- Filmmakers often need to travel internationally to promote their films.
- The film must be invited to major festivals, and then the team has to show up everywhere that’s what keeps the buzz alive.
If you're aiming for Oscar level recognition, your journey starts way before awards season.. It begins the moment you’re selected for a top tier festival. Every interview, review, and red carpet appearance is a building block toward major nominations. It’s a marathon of exposure, not just a great film.
Q: Are certain genres or types of films more likely to succeed at festivals? Does genre matter more?
There’s no guaranteed formula.
- Sometimes excellent films don’t get the attention they deserve because something else grabs the spotlight, or worse, the film gets attention for negative reasons.
- Example: Magazine Dreams at Sundance 2023 had a promising PR campaign until it didn't. Things can shift quickly and unexpectedly.
Festivals don’t follow visible trends.
- Contrary to what some believe, major festivals don’t program around themes like “we need more women directors this year.”
- It’s not as calculated as it might seem, decisions are often unpredictable.
Genre festivals are their own battle.
- For niche genres like horror, sci-fi, or thriller, there are dedicated festivals but the competition is brutal.
- Many films in those categories feel similar, so it’s crucial to have someone who can elevate your film above the crowd of 200+ similar entries.
So, festival success is often unpredictable, even with a strong film. Genre-specific festivals are packed with similar content, so your film needs a strong angle, advocate, or standout execution to rise above the noise. Have realistic expectations and a team ready to pivot if things change suddenly.
The panel with Hilda Somarriba was remarkable and eye opening I appreciate being here to get the chance to listen important insights of PR. After that we went upstairs to enjoy and meet with new filmmakers at the Happy Hour.
At the Miami Film Festival "Happy Hour", I had the opportunity to meet Christa Boarini, a seasoned film producer, writer, and director.
Christa Boarini attended the festival as the producer of the feature film The School Duel a dystopian thriller directed by Todd Wiseman Jr. The film had its international premiere at the Deauville American Film Festival in France, where it received the Canal+ Award, and Miami marked its North American premiere.
Christa has been working in the film industry for over 12 years, starting out as a production assistant and gradually moving up to line producing and then feature film producing. For the past 8 years, she’s been actively producing indie features, with a strong foundation in Los Angeles working on Blumhouse horror films before transitioning to producing in Florida. In addition to producing, she is also a writer and director.
Our conversation touched on several key aspects of her journey and insights into the film industry. Christa emphasized how important it is for aspiring filmmakers to watch films, especially independent and festival films, not just mainstream blockbusters. She pointed out a common contradiction: many people want to make films but don’t actually study the craft by watching others.
She also gave practical advice about creating films even on small budgets, highlighting the importance of making mistakes, finding your voice, and learning by doing. She was very honest about how difficult it is to secure funding, noting that most first features are self-funded or supported by close connections, and grants are competitive and often inaccessible unless your project fits specific political or social themes.
Another interesting point she made was that securing investors can be harder for a second film than the first, as there’s now an expectation to exceed prior success. Her key takeaway: if you want to be in this business, you have to be willing to “go for broke” and commit fully, financially and creatively.
This conversation gave me a realistic but encouraging perspective on the film industry. I learned that passion and persistence outweigh perfection, especially in the early stages of a filmmaker’s journey. Christa’s advice to make the most of what you have, and build from there, was empowering. I also realized that watching films is as essential as making them it’s part of building a visual and emotional vocabulary as a storyteller. And finally, her transparency about the financial risks involved in filmmaking was both eye-opening and motivating.
Here I would like to share another amazing person I met during the Happy Hour.
Meet with, Alex Hyungtae Lim he is the Director of Entertainment, USMC
I had the opportunity to meet Alex Hyungtae Lim, the Director of Entertainment for the United States Marine Corps (USMC), during the Miami Film Festival. While he isn’t a traditional filmmaker, he plays a key role in shaping how the U.S. military-especially the Marine Corps-is portrayed across film, television, video games, and even social media content. He attends festivals like this to engage with creatives and advise on accurate and meaningful military representation.
Alex’s career began in a completely different arena, military service. At just 21, he joined the U.S. Marine Corps as an officer and was soon deployed to Afghanistan. Over the years, he served in various locations including Hawaii, California, the Philippines, Thailand, and Japan. With a background in Public Affairs and PR, he eventually transitioned into advising roles and was selected for the position of Director of Entertainment about three years ago.
In this unique role, Alex works closely with producers, screenwriters, and studios on shows like NCIS and other projects requiring Marine Corps consultation. He also has firsthand experience in front of the camera, having been cast in Hawaii Five-O while stationed in Oʻahu, which unexpectedly gave him a foot in the entertainment world.
Alex spoke about the bridge between military expertise and creative storytelling, emphasizing the importance of having someone with real experience advising on military-themed productions. He shared that not all scripts receive support from the USMC, especially those that conflict with the values of the U.S. Government. His job, therefore, is both creative and highly responsible.
When asked about favorite films, Alex mentioned HEAT as an exceptional action film due to its realism in tactics and communication. He also highlighted Top Gun not for its accuracy, but for its fun and cultural impact. Another standout for him was A Few Good Men, which he felt resonated deeply with those who understand military life and discipline, particularly the courtroom tension and ethical challenges portrayed.
His advice to aspiring filmmakers was refreshingly universal: never say no to opportunity. Whether it’s an invitation, a panel, or a chance encounter, he encouraged young creatives to say yes, especially in environments like festivals where “you never know who you’re going to meet or how inspired you might become.”
From Alex, I learned that storytelling and service can intersect in powerful ways. His career path shows that even someone with a purely military background can end up influencing pop culture and screen narratives in major ways. I was particularly struck by how he approaches storytelling with a deep sense of responsibility and authenticity. His presence at the festival reminded me that every corner of filmmaking, from consulting to technical advising, is critical to making stories feel real and respectful. And above all, his reminder to stay open to all opportunities reinforced the value of curiosity and human connection in this industry.
Closing Night Party at Jungle Plaza
It was so much fun filled with amazing people sharing a beautiful night with them was great experience and the party had so delicious foods and cocktails.
The Closing Night Party was absolutely amazing! It brought together so many unique and creative people in one vibrant and high-quality event. I’m genuinely so happy I got to be part of it. The atmosphere was incredibly energetic and full of life. I had such a fun night with friends from my class. Huge thanks to Miami Film Festival and Miami Dade College for making this happen! From start to finish, everything was thoughtfully prepared, with delicious food presentations and cocktails that made the night even more enjoyable. The DJ performance was fantastic! It turned the party into a dynamic and fun space where everyone danced their festival fatigue away. It was the perfect way to celebrate the closing night and recharge after an inspiring week of films.
MY REFLECTION ABOUT MIAMI FILM FESTIVAL
Before attending the festival, I was full of excitement. Being part of such a significant and creative event felt incredibly exciting. I actually had a hard time choosing which films to watch because so many looked amazing, and it wasn’t easy to pick between them while trying to match my personal schedule. I was also both excited and a little nervous about the panels I planned to attend, especially because some of the topics were outside my area of knowledge. I was worried I might not fully grasp everything going to be discussed. But once I attended the panels, I quickly realized they were more like genuine, casual conversations. It felt refreshing to be surrounded by creative minds from all areas of the filmmaking world, coming together with a shared purpose. At first, I thought I might feel out of place as a student filmmaker, but the opposite happened when I mentioned that I’m a film student, people responded with encouraging and insightful advice. I saw how much they support students in events like this, which gave me a lot of confidence. It truly inspired me, and from now on, I hope to attend the Miami Film Festival every year as an audience, an attendee, and maybe one day, as a filmmaker submitting my own work.
Some of the films I watched at the festival gave me real courage, and they strengthened my belief that I can one day make my film. There were moments when I genuinely thought, “I can do this too.” One of the places that showed me how to measure the success of a movie is when the audience was in the theater; right after a film ended, when they gave applause, I realized this is the most realistic way if a movie communicated to the audience or not. Listening to the directors speak, I saw the passion and perseverance behind their work, which truly motivated me. I also realized success isn’t just about creating high-grossing films; it is about making what you are passionate about, people who put their films, one of the most common characteristics I see among them was they told stories that belong to them in some way, and that reflected on screen the things they placed from their soul into their work. Miami Film Festival had a beautiful community, a supportive environment where people supported each other no matter what.
Miami Film Festival impacted my artistic vision because it showed me that unique directing styles are accepted, too. After watching particularly one film at the festival, I left the theatre room with this understanding. The film was named "The Things You Kill." The directing style was outside of the box. It broke most of the rules we had been taught. It was very personal and unique, yet it communicated effectively. Later, I learned that director Alireza Khatami got the Directing Award at Sundance 25. That supported my understanding that reflecting on my inner world and how I see my story to be captured on film is accepted and appreciated. I left the festival with the motto of "Be You, Dare to be Yourself."