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He is a filmmaker, has a podcast, runs a film festival -- what doesn't my guest, Zack Abdulbaki, do? Well, for one: he doesn't overcharge people on FilmFreeway. He doesn't delay in sending in DCPs for film festivals. And he certainly doesn't brag about his work.

So I'll do it for him. For me, and certainly I'm biased, this is the way forward. You can just make a film, especially a short film, and hope for the best. Maybe it's start a podcast, maybe it's a YouTube channel, but hope isn't a strategy.

I think Zack has the roadmap for what a successful independent filmmaker looks like in 2027, and I'm grateful he's here to talk about it.

In this episode, Zack and I talk about:

• hosting a podcast; running a film festival; making his own short films -- does he know something we don't about how to be successful in indie films?;
• his start in filmmaking growing up in the United Arab Emirates;
• whether he recommends going to film school;
• independent film in the Middle East, the postponement of the Red Sea Film Festival, and the revival of the Dubai Film Festival;
• film schools in Dubai;
• his strategy with short films and why he's okay with showcasing all his films that demonstrate growth;
• why he's putting together a film festival;
• the benefits of his approach to indie filmmaking and what kind of advice he'd give other filmmakers;
• writing v. directing v. producing -- how he learned how to do all three;
• what it's like running a film festival and how he handled submissions;
• the overall theatrical experience;
• what people don't know about the industry of indie films and filmmaking;
• screenwriters and whether they have more ideas than, say, directors;
• how he finds podcast guests;
• what's next for him.

Zack's Indie Filmmaker Highlight: Emma Halleen; THE COURIER written by Anthony Casabianca

Memorable Quotes:

" Having a podcast for me was just started from wanting to learn from filmmakers and ask them "How do you do it?"

" I wish there was a rule in place where we're giving you this tax incentive, and then you should hire a certain percentage of people from the UAE or Saudi Arabia."

"The entry fee was $1."

" I'm not gonna lie and say there's some committee who chose the movies. I chose all the movies."

" In the industry, it's really like a matter of will you have institutional success or entrepreneurial success?"

Links:

Listen to the Cinema Flow Podcast

Follow Zack On Instagram

Watch SCORPION COCKTAIL

Watch IT'S GONE

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Whenever we see a popular film by a female director, the general consensus is -- well, the problem is fixed. Female directors have the same opportunities as men, clearly!

My guest, Katrina Medoff, filmmaker and executive director of the Moonshot Initiative, is here to say...that's not how it works. The main takeaway for me here is that Moonshot isn't here to complain about it and talk about how unfair the situation is. They are building an ecosystem of alumni and participants in their programs that will help create a sustainable solution.

This is the way forward. And with programs like the Moonshot Pilot Accelerator, they are giving the two best things to filmmakers: hope -- and true opportunities. Let's find out more.

Katrina and I talk about:

• the 2026 Moonshot Pilot Accelerator Fellows and how they were chosen, 8 people from nearly 1,000 (!) applicants;
• her advice for those not selected;
• the origin story of the Moonshot Initiative;
• what stood out for the applicants that made it through the various rounds of the Pilot Accelerator;
• if great scripts are helpful in the teaching process;
• how the "Made in NY" partnership started;
• how other cities can develop partnerships like NYC and what they can do to support indie filmmakers;
• why a speech coach is part of the faculty for Pilot Accelerator;
• the state of women directors and what constitutes success;
• childcare and filmmakers;
• time for her own projects;
• what's next for her.

Katrina's Indie Film Highlight: BELLE (2013) dir. by Amma Asante; EMMA (2020) dir. by Autumn de Wilde

Memorable Quotes:

"It stopped making sense to say Women's Weekend Film Challenge when we had all of these other programs."

" If something didn't make it through the first rounds, the most common reasons, one is formatting."

" So the Mayor's Office of Media and Entertainment, they're really looking to bring real opportunities to New Yorkers and to bolster the film and television industry in New York City...and their partnership guaranteed that at least one of our eight fellows would be from a New York City resident."

" There have been a lot of times recently with the Barbie movie but also in the past with the female Ghostbusters or Bridesmaids, where society seems to think, "Okay, everything's been fixed. There's this huge movie and it's, female driven."

Links:

Moonshot Initiative

Follow Moonshot Initiative On Instagram

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Director Kenny Riches is here to break down pretty much every stereotype in independent film: it's in his fourth feature where he feels like it is his first; you can cast your own mother, a non-professional actor, in your film and have it work out well (she's so good in his latest film); and you can make unconventional decisions about the screenplay in MOUSE (2026) that makes viewers wonder why we don't see more films like this.

Maybe because there are few indie filmmakers who are splitting their time between Miami and Salt Lake City, born in Japan and raised in Utah; a filmmaker but also earned a BFA in Painting and Drawing.

His films are wholly original because so is Kenny, and I can't wait for you to see MOUSE screening somewhere near you.

Kenny and I talk about:

• what you should expect when you watch MOUSE;
• what constitutes success for an indie's theatrical release;
• two films named MOUSE being released at the same time;
• what he took away from making three previous features;
• how he directed himself in this feature and ensures he's getting accurate feedback about his scenes;
• directing his mother, who is not a professional actor, and how you get a great performance (she's fantastic in this film);
• the unique dual story structure of the film by slowly bringing the two main characters together;
• how he got into filmmaking;
• his feelings toward Sundance as a participant and also as a Utahn;
• directing vs. producing and whether he'll shoot his own film;
• what's next for him.

Memorable Quotes:

" I almost feel like MOUSE is my first feature film and my previous three were just really long short films."

" Producing for me for the other projects, I find it that it's very fun, but personally not as fulfilling because I think I'm just meant to be a director."

Kenny's Indie Film Highlight: IN THE MOUTH (2025) dir. by Cory Santilli

Links:

DEAR DENNY Screenings For Mouse

Kenny Riches' Website

Follow MOUSE TRILOGY On Instagram

Follow Kenny On Instagram

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There was intense fighting during America's Global War on Terror era in Iraq and Afghanistan, no question. But it's nothing compared to the sheer horror of what's been going on in Ukraine for years now. Especially with drones playing a ubiquitous role, a better way to think about that particular conflict is modern day World War I.

At great personal risk, director Alisa Kovalenko set out to document the war in her films, most recently MY DEAR THEO (2025) and TRACES (2026), the latter of which is Ukraine's Oscar nominee. Along with her co-director Marysia Nikitiuk, the film follows six Ukrainian women survivors of conflict-related sexual violence, torture, and war crimes committed by Russian forces during the full-scale invasion.

Besides documenting the war on film, she also served as a soldier defending her country on the frontlines.

This is personal, deeply moving filmmaking by an extraordinarily talented director, and by the end, she talks about going back! It is truly incredible how she honors her country.

In this episode, Alisa and I talk about:

• advice for filmmakers on premieres and traveling;
• earning Ukraine's Oscar nominee for her film TRACES and what people should expect when they watch the film;
• why documentary filmmaking?;
• does she feel like a soldier or a filmmaker -- both?
• what it's like making a documentary in the trenches;
• how she ensured she got things right the first time in a war documentary;
• advice for co-directing;
• how to follow her career and when to see TRACES;
• what's next for her.

Alisa's Indie Film Highlight: I'M NOT EVERYTHING I WANT TO BE (2024) dir. by Klára Tasovská

Memorable Quotes:

"It's not my first marathon, but it is my craziest marathon."

" I was very excited when I knew about that Ukrainian Oscar committee selected "Traces" for Ukrainian entry. But at the same time I felt that, oh, wow, it's even more responsibility."

" With all wounds, I learn a lot of things also. And so all wounds actually very valuable for me. They're not only painful."

Links:

Follow Alisa On Instagram

Follow TRACES On Instagram

We're so accustomed to the tropes of addiction related films. Recovery is inspiration. There's a happy ending. The story is over when your protagonist comes out of therapy. As I listen to this conversation, it even invades how we talk to the directors of films.

But my guest today, Aaron Strand, director of the brilliant film WITHDRAWAL (2025), thinks about all of these things differently: he hates addiction films because normally directors try to "inflict pain on people for them to act correctly." He encourages filmmakers to "clean up their side of the street before starting to tell [their] story."

The concept of great art only coming from the tortured artist is a lie; stability has given him the ability to make a great film.

He went to NYU to study acting and a few years later came out a storyteller with something significant and truly unique to say. Aaron will change how you think about so many things: indie films and their theatrical tours; Slamdance; the money pit of FilmFreeway; how to tell a true addiction story, and a lot more.

In this episode, Aaron and I talk about:

• how a narrative film like WITHDRAWAL helps explain why so many documentaries are going for that feel -- because it's powerful;
• ensuring a film about trauma didn't cause trauma for the cast and crew;
• if the story is hard for him to talk about;
• his description of the film;
• choices made that showcase class differences in the film;
• his start studying acting at NYU and if he ever imagined making this film;
• advice for acting students now;
• when he knew he was ready to tell this story after ten years, especially after his first feature fizzled out;
• his thoughts on people tackling difficult subject matters;
• what he hates about addiction films;
• the hardest day on set for WITHDRAWAL;
• his article on Slamdance's Substack about independent film (even though his film didn't get into Slamdance);
• the film tour for WITHDRAWAL and what projects might not work that way;
• indie filmmaking with young kids;
• what's next for him and when WITHDRAWAL will be streaming.

Aaron's Indie Film Highlights: A CELL PHONE MOVIE (2025) dir. by Will Sterling; THAT FRIEND (2026) dir. by Will Sterling and Alex Wall; META TAKE ONE (2025) dir. by John Dierre and Ryan Dutter

Memorable Quotes:

" I would be pretty hard-pressed to explore this subject without being exploitative of the people involved."

" I do think that there's value in being open and talking about your past and moments of your past that are not just like the shiny parts that you usually show on social media."

" I started working out in the theater world of New York and that was something that was a point of tension at NYU."

"Everything about this film emerged from the wreckage of the other one."

On FilmFreeway: " I generally consider any sort of offer, anyone reaching out to you to be a scam unless they're gonna give you a full waiver code."

" I'm only going to theaters that will give me a ticket split deal."

"Certain genres are easier to market than others."

Links:

Follow Aaron On Instagram

Follow WITHDRAWAL On Instagram

Aaron's Slamdance Substack Article

The most Irish friendly film podcast is back with another Irish guest, director Damian McCann, who brings a host of firsts with him -- first Irish language film made in Northern Ireland; first guy to be doing the laundry when he found out that his film, AONTAS (2025), is Ireland's nominee for the 2027 Oscar for Best International Film; and first guy to ask his parents about how to rob a bank and then use that information to make a banger of a heist film.

On the last part: maybe. Hopefully. This is fantastic filmmaking that moves the bar foward for original screenwriting; Irish language films; and Irish filmmakers. Here's to hoping we get to hear some Irish at the 2027 Oscars.

Damian and I discuss:

• the weather in the film -- they rent RAIN MACHINES in Ireland?;
• why it's important that his new film is the first Irish language film made in Northern Ireland;
• how he got his start in filmmaking;
• the choice of making an Irish language film;
• what he took from his first feature and documentary work;
• the format of reverse chronology;
• how he researched robbing banks;
• linking objects to visually tell people about flashbacks instead of text;
• is there a reverse chronology club of filmmakers who tried this concept?
• how he found out about Ireland's nomination for the Oscars and what the campaign looks like;
• the production company he founded to create bilingual films and what's next for him.

Damian's Indie Film Highlights: KNEECAP (2024) dir. by Rich Peppiatt; THE QUIET GIRL (2022) dir. by Colm Bairéad; FOUR MOTHERS (2024) dir. by Darren Thornton

Memorable Quotes:

" It's actually a sunny day in Ireland, which is such a rarity that we are-- you're actually legally not allowed to complain at all throughout the day."

" I often say that a lot of Irish speakers will talk this way, that you're an activist first and then your job second."

"I just had it in my head that I wanted to make a heist film."

"As soon as you start writing [reverse chronology], you realize why people don't do it very often."

"The ideal case here is some people hate it and some people love it."

"The phone rings, do you fancy the Oscars?"

Links:

Follow Púca Pictures

Not a pop psychology show, but if it was, I'd explore more with my guest, writer and director Paula González-Nasser of the brilliant film THE SCOUT (2025), how she made her first feature about a job she didn't care for. I can't imagine a scenario where she was working as a location scout, and thought, this is my first feature film.

And yet.

THE SCOUT works brilliantly as a observational movie about the little seen lives of location scouts, even though their work has an outsized influence on the sets that you see in films. She captures all the little nuances of that life through wide shots and long takes. And she's here to share how she made it happen.

Paula and I talk about:

• the theatrical premiere of THE SCOUT at the Film Forum -- including Q&As on September 25th and September 26th!
• how she responds to the criticism that the film is slow;
• how much of her location scouting experience for six years winds up in the film and when she realized the job was her debut feature;
• the shocking part that the film only worked for her when she stripped out her own personal experience;
• the unexpected setup required for wide, static, long takes and the incredible work by her DP;
• how she knew when it worked;
• why she kept her main character, played by Mimi Davila, away from the supporting cast;
• the process between its premiere and its theatrical debut;
• what's next for her.

Memorable Quotes:

" If the slowness is by design, I hope people can at least understand or appreciate the reasons behind it, even if they don't like it."

"I'm so glad that it took me not doing the job anymore and having some distance away from it to really appreciate the job."

"I don't think I would have said yes to dinner. That's where I draw the line."

"I was very naive in thinking like, "Oh, I could just do these wide shots in the same amount of time." And it's like, no, it requires a lot of setup and lighting and timing and blocking."

"This film should be observational almost in the same way that the scout is observing these spaces and the people within these spaces."

"My style or my voice, I don't think has changed. If anything, I've really leaned into what I discovered about myself through this film."

Links:

THE SCOUT at the Film Forum

Follow Paula On Instagram

My guest today, director Mylissa Fitzsimmons, previously released two features -- EVERYTHING IN THE END (2021) and THE LONG RUN (2025) -- and never got a premiere. She suffered from burnout of the excruciating process of making these brilliant films. And yet:

here she is in 2026 with MACKENZIE (2026), opening at Film Fest Oldenburg this year. What does that say about perseverance? Resilience? A never quit attitude and the ability to keep going on even though this is really, really, fucking really hard?

I think it says everything. I'm so motivated hearing her story and so excited for the journey of her new film and her renewed love of the art form.

Hat tip to the best friend any indie filmmaker can have, Scott Monahan, for making this interview happen.

In this episode, Mylissa and I talk about:

• why Oldenburg?
• how she's NEVER gotten an opportunity to have a full premiere for her films;
• what people should expect to see when watching MACKENZIE;
• why she waited till her third feature to tell her most personal story;
• the burnout she felt after her first two features;
• the incredible story in her film EVERYTHING IN THE END;
• directing actors to not really be actors in THE LONG RUN;
• where did the motif of running away comes from;
• the process of working with a non-professional actor as the star of MACKENZIE;
• why she has ambiguous endings in her films;
• what's next for her.

Mylissa's Indie Film/Filmmaker Highlight: Frank Mosley in JACKRABBIT (2026); Leonora Pitts in I HATE MYSELF AND WANT TO DIE (2024) dir. by J. Davis

Memorable Quotes:

" So the baby is ready to walk, and we're gonna be there all as proud parents watching."

" This kind of moment in childhood that we all have where we realize like the reality of the real world is seeping through the cracks of your childhood innocence and you are growing up."

I don't want to have to worry about saying, "hey, I really want you to work on this, but it's a microbudget and I can't really pay you a lot," and then feel guilty and then have them not really be 100% committed."

" When MACKENZIE came along, my only goal was like, "hey, I just wanna make a movie and have fun again."

"I actually set out to make a movie about people who are lost."

" I had worked with kids before, and I know it's like you don't really direct them, they direct you."

Links:

Follow Mylissa On Instagram

Expectations are good in a lot of ways. They hold us to a standard and promote accountability. But they can also be creatively limiting. For actor and executive producer Glen Steele of the film INFINITELY DENSE, who you heard in the intro, he took the shackles off the word expectation and made his art, giving the middle finger to age or any other perceived limitation.

INFINITELY DENSE is having its market screening at the Toronto International Film Festival on September 16th, 2026. If you have the ability to go, you should. It's a near-realistic sci-fi look at what happens if a guy unhappy with his life experimented with augmented AI.

I'm also joined by writer and director Ace Thor, who met Glen through his mom's acting class. This is an insane story of two people pushing the boundaries of independent film, both through the subject matter of their work and their overall art.

And -- Ace Thor & Glen Steele should be in a cop buddy comedy, right? I'd love it, because it would be another opportunity to have them on the podcast.

In this episode, Ace, Glen, and I talk about:

• how they describe the film;
• the many hats that independent filmmakers have to wear;
• the crazy story of how they ended up working together and how they got involved in filmmaking;
• the reality of acting in your 60s;
• making a scifi film that feels realistic and not having genre as the focus;
• casting for this film, why Ace watched every single tape, and why Glen kept his hands off the process;
• Glen's feelings on massive influencers taking over acting -- it's been happening for years in different forms;
• the process of a market screening at TIFF;
• should more actors get involved in making their own roles;
• advice for raising a family while acting and directing;
• what's next for them.

Ace's Indie Filmmaker Highlight: Nicolas Roeg

Memorable Quotes:

" It's more of a story of what happens when we are only in relationship with ourselves."

"It's just like no matter what you try and do in my family, if you wanna do something else, it's just not possible."

" No one's gonna hire me to be a lead in a movie at this point in my life."

" I didn't want the sci-fi to be the focus, right?"

" It's hard for the 64-year-old Glenn to tell a 25-year-old what to do because I wouldn't have listened to me when I was 25.

Links:

INFINITELY DENSE @ TIFF

INFINITELY DENSE Website

Watch This Episode On YouTube

Every Sunday, I'll post a quick video -- and podcast -- about an indie film from at least a year ago. Today's film: RYE LANE (2023)

Director: Raine Allen Miller

SYNOPSIS

Two twenty-somethings reeling from bad breakups spend an eventful day wandering South London, helping each other face their nightmare exes and rediscovering the possibility of romance.

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