Filmapalooza 2025

Revelry in the rain: a festival wrap-up

Exclusive to MeierMovies, April 2, 2025

“When life throws you a rainy day, play in the puddles,” Winnie the Pooh said.

Though Pooh is a bear of very little brain, his wise words rang true at Seattle Filmapalooza 2025, which saw hundreds of filmmakers from around the world shrug off the bad weather and bask in the cinematic glow of another successful year for the 48 Hour Film Project.

Filmapalooza is the international competition of the 48HFP, the world’s largest and most prestigious timed filmmaking competition. Held annually, in a different city each year, Filma screens all the roughly 120 city-winning films from the previous year, along with several from related competitions, such as special-genre contests for horror and science fiction, the College 48 Hour Film Project, the Yes, We Cannes competition and the Four Points Project.

The event culminates in an awards ceremony, in which a grand champion is crowned, various other prizes are handed out and the 48HFP announces which films go on to screen at the Cannes Film Festival Short Film Corner. (Twenty-five films made the cut this year, 15 from the main 48HFP competition and 10 from related contests.)

This year’s Filmapalooza was held in Seattle, March 19-22, and featured the aforementioned screenings (at SIFF Cinema Uptown), along with workshops, parties, a massive networking and filmmaking event at Harbor Island Studios and a lavish awards ceremony at Fremont Studios. Not to be forgotten was the legendary karaoke shindig at Ozzie’s bar and grill, which saw Filmapalooza Master of Ceremonies Kyle Snavely and French 48HFP City Producer Olivier Dussausse rekindle their musical bromance by crooning Queen’s “Bohemian Rhapsody” to an enraptured but packed-in-like-sardines crowd – at the very location in which they inaugurated this annual tradition eight years ago (the last time Seattle hosted Filmapalooza).

Unless you’re the main characters of my favorite film of Filmapalooza, Warsaw’s Everything to Remember, and can be in two places at once, it was impossible to attend all eight workshops. Topics included virtual production, AI in filmmaking (enlightening but truly terrifying), social media, audition strategies for actors, developing television series, cinematography and comedy writing.

Let me personally thank actress Sarah Minnich, who conducted the acting workshop. I met Sarah eight years ago when she attended the last Seattle Filmapalooza, as an actress in a 48HFP film. Since then, she’s gone on to mainstream success in film and television. I enjoyed both her workshop and the cinematography discussion by her husband, Jannis Schelenz. And I’m proud to have played a small part in bringing them back to Filma.

The highlight for me and many other cinephiles was meeting Oscar-winning screenwriter David S. Ward at the opening-night screening of The Sting, which he penned. Ward participated in a Q&A session and chatted and signed autographs at Harbor Island Studios the following evening. That event also allowed filmmakers to browse booths offering filmmaking services and equipment, check out the impressive facilities that Harbor Island (a former flour mill) has to offer and even shoot an impromptu short film using one of the studio’s existing sets. (Those films were shown two days later during a screening of Filmapalooza’s audience-award winners.) The Harbor Island evening was arguably the highlight of Filmapalooza and warmed attendees’ hearts, which was essential because the studio, with its lack of heat, was an icebox.

Not receiving similarly rave reviews was the host hotel, the Four Points Sheraton Downtown Seattle Center, which, thanks to its lack of a full-service restaurant, its tiny lobby and location – essentially in the middle of a construction zone – was a poor choice, according to most filmmakers with whom I spoke (despite the reasonable price).

The winners

Judging, being a subjective animal, is eternally fraught. And with easily a dozen films in the running for top awards, the awards were, frankly, a crapshoot. Still, I (as one of two consulting judges, tasked with helping the 48HFP reduce the nearly 120 city-winning films to a more manageable number), a panel of three judges (to pick the top awards) and eight more judges who selected winners in other categories (music, sound, post-production elements, design and the 48HFP’s required elements, such as prop, line of dialogue, character name and trait, and use of genre) did our best.

Despite my involvement, my choices differed dramatically from those of the final three-judge panel and also from the list of films headed to Cannes. So, as I have in past years, I am presenting here my own personal top 25. But first let us honor the official winners. (Links to films are included when available.)

Grand champion: Aberdeen, Scotland (Here Comes the Nun, by Dropshack)
Second place: Rotterdam, Netherlands (Pedro, by the Antagonists)
Third place: Adelaide, Australia (This Is Fine., by Cram)
Also in the top five: Warsaw, Poland (Everything to Remember, also translated as Anything to Remember by Hiper) and Rennes, France (The Cord, by Tabloid)
Direction: Lyon, France (Fragments, by Metam Production)
Writing: Adelaide, Australia (This Is Fine., by Cram)
Cinematography: Rennes, France (The Cord, by Tabloid)
Lead actor: Aberdeen, Scotland (Catriona Faint from Here Comes the Nun, by Dropshack)
Supporting actor: Melbourne, Australia (Lyanna Kea from Last Call, by Bunnitten Studios)
Acting ensemble: Paris, France (Fennec & Pingouin, by BOA)
Editing: Lisbon, Portugal (tempodotempo, by Fusion 3)
Graphic design: Lausanne, Switzerland (Reboot, by Cheap Motion Picture)
Visual effects: Pittsburgh, Pennsylvania, United States (Among My Souvenirs, by Lumen Productions)
Original score: Beirut, Lebanon (EntouRage by Eyedia)
Sound design: Lisbon, Portugal (tempodotempo, by Fusion 3)
Song: Brighton, England, UK (Shades of Red, by On the Level)
Choreography: Oklahoma City, Oklahoma, United States (Waiting on You, by Half & Half)
Make-up and hair: Las Vegas, Nevada, United States (Sow Much Love, by Coconutmeat)
Set design: Pittsburgh, Pennsylvania, United States (Among My Souvenirs, by Lumen Productions)
Costumes: Arnhem, Netherlands (Niemand Weet, by Peepeepoopoo)
Use of line: Arnhem, Netherlands (Niemand Weet, by Peepeepoopoo)
Use of genre: Wisconsin, United States (My Fair Dairy, by Hill Bros Home Videos)
Use of prop: San Antonio, Texas, United States (The Tearable Tale of Trey and Louise, SM/PK Films)
Use of character: Eindhoven, Netherlands (For That Which Cannot Be, by Tweede Klap)

Let us also recognize award-winners from related competitions, such as the special-genre team from Washington, D.C., United States, for best direction and overall film, and the special-genre team from Richmond, Virginia, United States, for cinematography. The University of Idaho deserves recognition for winning the College 48 Hour Film Project, out of 50 films submitted from 38 universities. Lastly, Poland deserves praise for winning best direction and best overall film in the Yes, We Cannes competition. I was not involved in judging those contests (only the main 48HFP), but I did have a chance to see several of the films during Filmapalooza, and I’d like to applaud Idle Hands, the special-genre (horror) entry by Vision Rey Films from Los Angeles, California, United States. It outshone the others with its retro cinematography, mature use of the horror-comedy genre and outstanding lead actress.

The Cannes-bound films

In alphabetical order, here are the 15 films from the main 48HFP competition that will screen in May at the Cannes Film Festival Short Film Corner:

Aberdeen, Scotland, UK (Here Comes the Nun, by Dropshack)
Adelaide, Australia (This Is Fine., by Cram)
Columbus, Ohio, United States (Memoir, by B24)
Denver, Colorado, United States (brothergirls., by MVP Productions) (by winning a drawing among the audience winners)
Eindhoven, Netherlands (For That Which Cannot Be, by Tweede Klap)
Lyon, France (Fragments, by Metam Production)
Melbourne, Australia (Last Call, by Bunnitten Studios)
New York City, New York, United States (Scattered, by Giant Cookie Films)
Osaka, Japan (Human Farm, by 48 Hours of Work)
Paris, France (Fennec & Pingouin, by BOA)
Pittsburgh, Pennsylvania, United States (Among My Souvenirs, by Lumen Productions)
Puerto Rico (Los Santos, by Clase Maestra)
Punta del Este, Uruguay (Symphony of Silence, by Crown Films)
Rotterdam, Netherlands (Pedro, by the Antagonists)
Warsaw, Poland (Everything to Remember, by Hiper)

These films will be joined by eight more from the Yes, We Cannes Global Film Competition. That annual, online challenge allows teams that placed in the top three in their city in the main 48HFP competition a chance to compete again, bettering their odds of making Cannes. In all, 127 teams competed in December 2024. They are:

Poland (Food Chain, by B98)
Beirut, Lebanon (In Loving Memory, by Eyedia)
Belgium (Edgefail, by Kluut)
France (Last Meal, by Les Humains)
Los Angeles, California, United States (Spread, by Baby Bird Worldwide)
Netherlands (Going Dutch, by Shenanigans)
Italy (BOH – Choose For Me, by Cookie Slatt)
Canada (Crispy, by Smash)

Lastly, Trou Story by Salada de Films, from Belgium, will be headed to Cannes from the Four Points Project (newly christened the Kickoff 48); and Turkey Interrupted by Shrug Productions, from Washington, D.C., United States, is Cannes-bound from the special-genre competitions.

My top 25

For the first time as a consulting judge, I am sharing all my original, off-the-cuff notes on each of my top 25 films from the main 48HFP competition. Filmmakers, I hope you find them useful. This feedback was originally intended for and shared only with the 48HFP staff, to help guide the judging process and whittle down the massive number of films to a smaller, more manageable number for the final panel of judges. Those judges never read my comments and critiqued the films independently. These comments do not necessarily represent the opinions of anyone else associated with the 48HFP. An asterisk means the film is going to Cannes.

Warsaw, Poland: Everything to Remember, by Hiper. This is a stellar effort in every way. I recommend nominations for many categories, especially writing and directing. It’s imaginative, professionally made, memorable and magical. It could compete at any festival in the world. The only drawback is the slight vagueness of the story, but that almost adds to its mystique. I had to watch it three times before (I think) I figured it out. It’s quite profound. The lead acting nom should go to the male lead. *
Osaka, Japan: Human Farm, by 48 Hours of Work. Containing a moving metaphor about animal imprisonment, this film is one of the best of this year’s Filma. I suggest possible nominations for writing, directing, editing, lead actor and set design. This one really sticks with you. It’s a stunning concept for a 48-hour film. *
Pittsburgh, Pennsylvania, United States: Among My Souvenirs, by Lumen Productions. This is an amazing achievement for a 48-hour film. It’s certainly Cannes-bound. I recommend nominations for almost all technical categories, and likely the top award for special effects. It’s also a possible winner for cinematography. The writing and acting, though good, are a step below the technical achievements. The use of song is superb and proves the value of choosing a tune that is 100 years old (public domain). But some of the dialogue sounded a bit too looped. *
Lyon, France: Fragments, by Metam Production. A stellar production, this deserves to go to Cannes. Though the concept of a camera taking photos of the past isn’t new, it’s used well here. I had to watch it a second time to figure out the photo was damaged so badly that they couldn’t see the guy in it. They should have made that more clear. Performances are good but not great, and that’s maybe the reason this isn’t in my top three. I suggest possible nominations for writing, editing, directing, cinematography, sound design, graphic design and use of character. *
Tokyo, Japan: Hai Kara-san, by Great Scott! Wonderfully creative in every way, this should be Cannes-bound. It juggles different moods very well and has an unexpected and original ending. I suggest possible nominations for directing, writing, ensemble and use of genre. But the flashbacks to the mom are a bit cheesy.
Tours, France: Always, by Studio N. We’ve seen this type of twist before but not quite this way, with an AI app. It contains excellent use of genre (possible nomination). I strongly recommend a nomination for lead actress (Léa Archimbaud), who is superb, plus possible nominations for writing, editing, directing, graphic design and sound design.
Utrecht, Netherlands: A Flower Without Words, by QV Creative. Irresistibly absurd and surreal, this is one of my favorites. I suggest possible nominations for many things (editing, direction, sound design, acting, set design and use of prop). It also has a nice Wes Anderson vibe. However, the use of character is a bit of a stretch, and it seems to run out of ideas toward the end.
Eindhoven, Netherlands: For That Which Cannot Be, by Tweede Klap. Beautiful, sensitive and powered by an effective metaphor (being pulled in directions you can’t control), this is one of the best films. It’s nearly as good as last year’s film from Eindhoven, which was my choice for top film at Filma 2024. That city produces amazing work. I recommend possible nominations for both the lead actress and lead actor, although if I chose one, it would be the actress. She has a great screen face. I suggest further possible nominations for direction, sound design and original music. The downside is the lackluster ending and the feeling that, beyond the central metaphor, the story has nowhere to go. *
Columbus, Ohio, United States: Memoir, by B24. A beautifully conceived and well-executed film, this has Cannes potential. The performances are solid but not quite good enough to land the film in my top five. The story and screenplay are what set this film apart. I suggest possible nominations for directing, editing, ensemble and sound design, and definitely a nomination for writing. *
Rennes, France: The Cord, by Tabloid. Genuinely creepy, this is a sort of Gothic horror story, which is rare among 48-hour films. Though I feel that it needed more time to set up and tell its story, it’s still among the very best of this year’s crop. I suggest possible nominations for writing, editing, directing, cinematography and lead actor (both are very good). But the real star is the sound design. It uses sound to tell its tale. It should win that award.
Tirana, Albania: Senium, by Paradox. This is one of this year’s smartest films, so a nomination for writing makes sense. The ending hits hard, though I wonder whether the filmmakers could have created more heartbreak by making it more obvious that she had killed herself. Maybe a final shot showing her dead with no one around? Still, it’s a fine effort (though it’s not a disaster film).
Toulouse, France: Gros Con (Big Idiot), by Les Eclopes Magnifiques. This film uses a similar story to La Grande Ourse, the film from Clermont-Ferrand, France, that won Paris Filmapalooza in 2018, so, for me, knowing that film, this one is less impactful. It also doesn’t juggle its mood (from slightly comic to very serious) as well as that earlier film. But this is still one of the best of the year, with two great performances (possible nominations for both of them), great music (another possible nom) and a professional feel to both the story and the execution. Writing and direction also deserve possible nominations. But the use of prop is forced.
Brussels, Belgium: Papa a Vote (Father Voted), by The Good Corner. This is one of the best films of the year, but the ending is a slight disappointment. A resolution of some sort with the child might have helped, though not seeing the child drives home the point of alienation even more. The lead performance is terrific, possibly the best of all Filmapalooza performances. And the writing and directing are sharp (possible noms for those). And it’s a great twist on the social influencer genre (possible nom for use of genre). It also uses the prop extremely well (another possible nom).
Beirut, Lebanon: EntouRage, by Eyedia. Technically, this is one of the best films of this year’s Filma, with stunning cinematography and editing. So I suggest nominations for those categories plus probably sound design. As with many “art films,” the story and writing don’t necessarily grab you, and therein lies the issue for many judges. But this is a visual triumph.
Seattle, Washington, United States: Connection Lost, by Emax Films. The Filmapalooza host city has delivered a technically superb 48-hour film. I suggest nominations for many technical categories, including editing, cinematography, sound design, graphic design, costumes, set design and also acting ensemble. But the story is a bit vague and not as emotionally impactful as I would have hoped for. It’s a better 48-hour film than a film in general, but it’s still a strong contender for Cannes. The genre and required elements are not strong, however, and performances and dialogue are a bit ham-fisted when compared to the film’s technical prowess.
Las Vegas, Nevada, United States: Sow Much Love, by Coconutmeat. This is absolutely insane, but I love it – until the ending, which could have been stronger. Still, it’s a great accomplishment technically and has some hysterical moments. I recommend possible noms for cinematography, directing, editing, sound, score, song and set design. And definitely a nomination for the lead actress, Samantha Kraly, and for makeup.
Melbourne, Australia: Last Call, by Bunnitten Studios. The idea is intriguing, if just a tad vague, at least initially. I’m not completely sold on the shoes because it reminds me of the Holocaust. And the fact that this “tearjerker” is a comedy for about half of its runtime detracts from the emotional impact at the end. But the last half of the film is really good, driven by a great performance. So I suggest a nomination for best supporting actress for Lyanna Kea. Overall, this is one of the most memorable films this year, despite the tonal challenges, and is imbued with a Defending Your Life *
Groningen, Netherlands: Unspoken, by Familia Asesina. One of the best-conceived films of this year’s Filma, this movie has impressive cinematography, editing and sound design. And the overall artistry and message are memorable. Ultimately, I wasn’t affected as much emotionally or aesthetically as I should have been, perhaps because the film doesn’t build to much. Interestingly, it seems to be just as much of a horror film as a dance film.
Aberdeen, Scotland, UK: Here Comes the Nun, by Dropshack. This is hysterical, with great pacing and nutty humor. It’s very Scottish, in a good way. The film is driven by a great lead performance by Catriona Faint (possible nomination for her), but all the performances are good. I also recommend a possible nom for Olivia Caw for supporting, and a possible nomination for editing. This is one of the funniest films of this year’s Filma, but it doesn’t linger in the memory quite like those in my top 10, perhaps because of its broad humor. And it’s not really an inspirational film (its genre). *
Bordeaux, France: Mental Salad, by Obelus Production. With two of the best lead actors (father and daughter) of the year, this is a performance-driven piece. But it’s also quite touching, funny and enjoyingly absurd. It’s a nice, quirky commentary on loneliness and has a nice ending. It just didn’t stick with me quite as much as films in my top 10. I suggest possible nominations for editing, directing, sound design, lead actor (both) and use of prop. But the character seems a bit forced (she doesn’t seem like a tattoo artist), as does the opening scene, which doesn’t really fit with the rest of the film. And this isn’t really a buddy film.
Paris, France: Fennec & Pingouin, by BOA. Paris has delivered another professional-looking film. Everything about it is solid, and it’s quite funny, especially the torn frock at the end. Plus, the lead actress is wonderful (possible nomination for her). But it isn’t as revelatory or memorable as some of Paris’s past films, and it doesn’t quite rise into my top 10, perhaps because the ending feels a bit unsatisfying. But it is one of the year’s strongest comedies. *
Fukuoka, Japan: Disposable Life, by ArigaTO. The Japanese films are solid this year. The beginning and ending of this one aren’t particularly strong (except for some nice drone shots), as they don’t quite fit in with the story and tone of the central part of the story. That part of the story is quite touching and intriguing, not at all in tune with the “dark comedy” genre. I was really into that part of the story until the rather abrupt ending. But the performances are good, and this film sticks with you. It’s a wonderful concept. (I’m not sure the jarring rock music was the right choice.)
Punta del Este, Uruguay: Symphony of Silence, by Crown Films. Heartfelt and satisfying, this feels like a complete film. Unlike many of the really good films this year, this one has a good ending. But it still feels like it’s biting off a bit more than it can fully chew, story-wise. Performances are good (possible nomination for ensemble), as is the writing (another possible nom). Sound design is excellent too. *
Lisbon, Portugal: tempodotempo, by Fusion 3. This film is all about the atmosphere. It enjoys great cinematography (possible nomination), lighting, editing and use of music. I suggest other possible noms for set design, prop and sound design. And the creepy mood is great. But the story, particularly the ending, is vague. I’m not quite sure what they were trying to say. And it’s not a true period piece (its required genre).
Denver, Colorado, United States: brothergirls., by MVP Productions. Infused with a 1980s buddy vibe, this film is well acted and technically solid except for some problems with sound mixing. It’s quite charming but might miss out on Cannes because the story isn’t quite memorable enough. But it does deserve a possible nomination for acting ensemble, as all the performances are memorable. To nitpick, the character is sandwiched in, and it’s a bit of a stretch for inspirational film (its required genre). But the filmmakers clearly knew what they wanted to do and mostly succeeded. *

Thank you to Mark Ruppert, Indra Van ‘t Hooft, Christina Ruppert, Wouter van Gestel, Duane Trammell, Deborah Braun (my fellow consulting judge) and the rest of the 48HFP staff – especially Seattle city producers Kirk Nordenstrom and Kris Flink – for their hard work. And, of course, thanks most of all to the filmmakers!

For 2026, Filmapalooza will return to Lisbon, Portugal, where it was held last year. Olá novamente, Lisboa!

For more information on Filmapalooza and the 48 Hour Film Project, go here.