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Petr Erben

Czechia

Petr Erben graduated from the Prague Film Academy of Art with a degree in Movie and TV Production. He possesses extensive experience in film and television, having worked on a diverse range of projects that include television series, sitcoms, entertainment programs, reality shows, and feature films. In the past, he served as a teacher at the Film Academy of Mr. Ondříček.

For the past 15 years, Petr has held various management positions focused on television and film production. His roles have included Head of Production at Prima TV and Czech Television, Head of Production at TV NOVA, and CEO of Media Pro Pictures, which served as the exclusive producer of television programs for the leading Czech commercial broadcaster, TV NOVA.

During his tenure in management, Petr actively contributed as an executive producer on several notable projects. Among these projects are the launch of the first Czech daily series for TV NOVA, Ulice (Street), the twice-weekly series Ordinace (Surgery) for TV NOVA, Dokonalý svět (The Perfect World), and the highly popular comedy series Okresní přebor (The Sunday League). He also produced three seasons of the sitcom series Comeback and the multi-country music talent show Superstar (Pop Idol) for Czech and Slovak broadcasters.

In the past, three of his television projects were broadcasted: the comedy series Kosmo
(Cosmo), Settlement (Osada), the sitcom Marta a Věra (Marta and Vera), and the feature prime-time cooking series Ohnivý Kuře (Fire Chicken), which aired on TV PRIMA for two years.

As a producer, Petr has been credited with numerous successful feature films, including Okresní přebor – Poslední zápas Pepika Hnátka (Sunday League – Last Match of Joe Hnatek) and Teorie tygra (Tiger Theory), produced by his own company, Logline Production, which he founded in 2012 with director Radek Bajgar. Together with Radek Bajgar, he created two additional films: Teroristka (Shotgun Justice) and Kurz manželské touhy (The Art of Passion). The latter was selected for the 2024 Aporia International Village Film Festival and the FEEDBACK Romance & Relationships Festival, and it was a semi-finalist at the Toronto Independent Film Festival of Cift. Additionally, it received a nomination at the Bucharest Film Awards. Another significant project is Sweethearts (Bábovky, 2020), an adaptation of the bestselling novel by Radka Třeštíková. This film was also selected for the Phoenix Film
Festival.

In 2021, he completed the authorial film Lifeline (Minuta věčnosti), shot in Iceland,
which won awards at two festivals: Best Cinematography at the Calella Film Festival
and Best Film in the Main Competition at the Gulf of Naples Independent Film Festival.
He was a finalist at two additional festivals: the Ischia Film Festival and the Toronto
Independent Film Festival of Cift. Furthermore, Lifeline was selected for six more
festivals: the San Francisco Independent Film Festival, New York City Independent
Film Festival, Sedona International Film Festival, Austria International Film Festival,
Kyiv Film Festival, and Slemani International Film Festival.

Petr’s most recent project, titled Treasure, had its Czech premiere on October 23rd
and is currently participating in both local and international festivals while being distributed in Czech and Slovak cinemas. It has already won the Best Feature Film award at the Paradise Film Festival and has been selected for two additional festivals. Furthermore, it is still awaiting decisions from another 38 festivals around the world.

Currently, Petr is working on three feature films: the first, titled Kouzlo Derby (Derby’s
Magic), is in post-production and directed by Petr Kolečko; the second, Teorie Tygra 2
(Tiger Theory 2), is also directed by Radek Bajgar and continues the story from the
first film. The third film, which is in development, has the working title Middleman and
will be written and directed by Rudolf Havlík. In addition, he is also developing two
series: one is a daily series for TV Prima, and the other is a twice-weekly series for TV
Nova.

“For me, filmmaking is about navigating the intricacies of storytelling to foster meaningful connections. Each project starts with an idea that has the potential to resonate with diverse audiences, and Treasure is no exception. By blending adventure with emotional depth, we aimed to create a film that not only entertains but also invites viewers to reflect on their own relationships and experiences. This journey often involves overcoming challenges, both logistical and creative, as we strive to bring stories to life that can bridge cultural differences and foster empathy. ”
– Petr Erben

Fábio Luís

Portugal

From an early age, Fábio Luís has been passionate about cinema. Growing up in Portugal, he was captivated by the raw energy of American B-movies, the stunning spectacle of Japanese tokusatsu, and the introspective nature of Portuguese films. It has always been his dream to combine these influences, creating something unique that bridges cultural and cinematic traditions.

That dream became a reality with The Old Man and the Demon Sword, a film that has been in development since Fábio’s teenage years. The project embodies everything he loves about cinema—larger-than-life heroes, intense action sequences, special effects, and deeper emotional threads that explore themes of friendship, mortality, and ambition. The film holds personal significance not only because it is a story long envisioned, but also due to the involvement of his close friend António da Luz, who starred in the film. António shared the same dream of filmmaking, and working together was a tremendous honor. His passing before the film’s completion was a devastating loss, but his presence and spirit are felt in every frame.

Visually, Fábio is drawn to contrasts, blending the surreal with the grounded to create worlds that feel fantastical yet emotionally authentic. His style is influenced by the practical effects of tokusatsu and the narrative playfulness of B-movies, always with a meta-textual element designed to provoke thought about the relationship between reality and fiction, and the role of cinema in telling stories.

Looking ahead, Fábio is excited to explore new creative ventures. He is currently developing a graphic novel inspired by his grandfather, an extraordinary man who, despite being blind, pursued his dreams and became a skilled accordionist. His life journey has always been a source of inspiration, and Fábio believes it is a story worth sharing. In addition, several other projects are in the works, soon to be unveiled.

“I’ve always been drawn to contrasts. I like to blend the surreal and the grounded, crafting worlds that feel fantastical yet emotionally real. My style pulls from tokusatsu’s practical effects and the narrative playfulness of B-movies, but there’s always a meta-textual element. I want my films to make people think about what they’re watching—how reality and fiction intermingle, how cinema itself can be part of the story.”
– Fábio Luís

Vesper Egon

United States | Bosnia and Herzegovina

A native of Sarajevo, a lover of the arts since childhood, as a little girl in a midst of war, joined the Youth Theatrical Troupe of the National Theatre in Sarajevo. The experience ended up serving as “the great means of making life possible, the great seduction to life, the great stimulant of life. Art as the only superior counterforce to all will to denial of life.”, which sealed her destiny as an artist. A few months before the end of the war, together with her family, she managed to escape to the United States where she continued her studies in Theatre Arts and Film, ranging from acting and writing to directing and producing, and music. Today she continues her work as a multidisciplinary artist.

Since her early childhood, music, storytelling and overall performing have been her passions. This innate desire to create, naturally led her to pursue an early career in the performing arts, starting with her involvement in a Sarajevan National Theatre Youth Troupe, which at that time, during the siege of Sarajevo, also served as a form of escapism, and the ultimate shelter from the outside world, which was plagued by destruction, hunger, blood and death. But once she steps inside that theatre, the outside world would cease to exist.

Her main influences are the poets among the filmmakers: Agnes Varda, Maya Deren, Leos Carax, Wong Kar Wai, Godard, Jarmusch, Wenders, Kieslowski, Jean-Jacques Beineix, Kaurismaki, Truffaut, Marker, Tarkovsky, Fellini, Melville, Bresson, Jodorowsky, Bunuel, Wes Anderson, Sophia Coppola, Chantal Akerman, etc.

Although, her inspiration goes beyond just the realm of great many filmmakers. She is equally as inspired by music, fashion, paintings, poetry, random, brief encounters with people…

At the core of her storytelling lies a deeply personal exploration, where she mines the nuances of her own life experiences. It is a form of a diary, therapy and ultimately a journey of self-discovery; trying to use the medium as a reflective mirror to explore and examine her own identity. She keeps a diary of dreams and ideas, including drawings and poetry to shape the world she’s creating.

“Whenever I’m Alone With You” marked the beginning of my serious personal journey as an indie filmmaker, driven by an uncompromising vision of the French New Wave influence in particular, and a desire to bring intimate, “outside the box’ stories to life onto the silver screen in a unique/authentic fashion. I conceived three scripts/ideas together with my partner at the time; a dramatic piece: We Used To Be Young Together, Revenge Of The Cinephile Vampires, and a semi-documentary ‘anti-romantic’ romantic comedy Whenever I’m Alone With You, which proved to be a very successful festival art house film.

“Whenever I’m Alone With You” is a unique “anti-romantic” romantic comedy that delves into the complexities of love and human connection. In an era dominated by cookie-cutter romantic comedies, it stands out for its bold and unapologetic portrayal of love and rebellion, through a blend of humor, introspection, and poignant storytelling.

The film has garnered critical acclaim and accolades at film festivals worldwide, winning 28 awards to date. It has been recognized for exceptional performances, groundbreaking direction, innovative editing, immersive sound design, music by the 80’s Punk/New Wave ex -YU scene, and the original music by her own band La Petite Mort. It really has surpassed my expectations in its achievements thus far. The next step is LA and NYC premieres, in hope to secure distribution and reach a broader audience, and continue developing my work as a film auteur.

“It’s been a heaven & a hell of a journey, and I am grateful to all who have been a part if it, in any capacity, thankful to every single festival for the recognition and for giving the film the opportunity to reach a new audience, and everyone who came to the screenings. It wasn’t easy to bleed in front of you, but it was a rare privilege I don’t take lightly.

“Whenever I’m Alone With You” might have been a film that touched you and spoke to you on some profound level, maybe it took you on a journey of a lifetime and you loved it, or maybe it was just another film that you will soon forget, or it might have left you indifferent, or maybe you even detested it… regardless, it was my love story and one of the best and most memorable periods of my life, and I am grateful I had a chance to immortalize it and share it with the you. Thank you. In loving memory of Anna Karina & Jean-Luc Godard.”
– Vesper Egon

Igor Parfenov

Ukraine

Igor Parfenov is Head and Founder of STEPS IFF, annual festival on Human Rights, Animal Rights and Environmental protection; He is a film director and producer of feature, documentary and short films.

Igor was born on March 8th, 1962. Since his school days, he has been fond of philosophy and reading, and always had a genuine concern for animal welfare.

Igor received his M.S. from Kharkiv Physical Training Institute, Ukraine, and he is a master of sports in Judo. Apart from being a professional sportsman, Igor is also keen on extreme tourism. He has travelled around Altai, running through mountains and rivers in a raft.

He has organized over 200 different events to support initiation of acts on human and animal rights in Ukraine. 1995 – 2005 he has created and published remedial and philosophic non-commercial “Kryk” magazine (human rights, animal protection). In 2000, Igor nominated “Environmentalist of the year” and awarded “Man of the year – Man of the millennium” (Kyiv, Ukraine). 2004 – Present time he created STEPS film studio and started directing feature and short films. To the present time, he has directed 10 feature films, a number of documentaries and short films, was a nominee and a winner in more than 60 international film festivals. 2005 – 2010 he was publishing a social newspaper “Time to protect the animals”. 2007 – Created STEPS IFF, annual festival on Human Rights, Animal Rights and Environmental protection, that has over 50 participating countries from all over the world. The films aimed at promoting animal welfare, environmental protection and human rights defense, as well as films of spiritual and philosophical orientation. Since 2011, Igor Parfenov is a member of Filmmakers’ Union of Ukraine. He is a strong vegetarian.

Currently residing in Kharkov, Ukraine, Igor shot the political thriller “Assassins of the President.” A prophetic feature film about the conspiracy and assassination attempt on Donald Trump, in both a full-length version and short film version.

The film was made by a human rights organization on a volunteer basis, and filming took place in countries such as the USA, Austria, Switzerland, France and Ukraine.

“Filmmaking is our guerilla warfare, where every shot fired is a blow against the forces of tyranny.”
– Igor Parfenov

In his home country, Igor wages an underground rallying cry against oppression through his films, where he believes that filmmaking is his form of guerilla warfare, where every shot fired is a blow against the forces of tyranny.

Luciano Accomando

Italy

Luciano Accomando was born in Palermo, the city where he decided to live and work. His apprenticeship in the world of cinema began in 2008 as an intern on Alfonso Arau’s film “L’imbroglio nel lenzuolo”. In the same year he wrote and directed his first short film “Il muro di carta” produced by the Municipality of Corleone (PA). In 2009 he curated the artistic and organizational direction of the first edition of the “Cinesicilia Film Festival”. The event, of international importance, received numerous expressions of esteem among industry insiders. In February 2010 he directed the backstage of the film “La scomparsa di Patò” and interviewed the author of the novel Andrea Camilleri. In 2012 he participated with the short film “Il mio nuovo corto” at the “Festival Internazionale del Cinema di Frontiera”, at the “Sciacca Film Fest” and at the “Borgo in Corto Film Festival” where he won in the shorts category.

In 2014 he returned to the theater with the direction of “The Threepenny Opera” by Bertolt Brecht. In 2016 he published his first literary work “Nel romanzo”, Edizioni Leima, now in its third reprint. In 2017 with the documentary “Immagine dal vero” financed by the Presidency of the Council of Ministers – Department of Youth and National Civil Service he won the audience award at the “Popoli e Religioni – Terni Film Festival” and at the “Sciacca Film Fest”. He also won the “Cinemigrare 2018”, the “Social Machinery Film Festival – Intercultural Dialogue” and participated in the “Salina Doc Fest”, the “Sardinia Film Festival”, the “International Border Film Festival”, the “European Film Festival”, the “Human Rights Film Festival” in Naples and the “Cosmopolis film awards”.

In 2018 with the short film “Un caos bellissimo” financed by the Sicilia Film Commission he won the FICE special award at the “Vittoria Peace Film Fest”. In 2023 he wrote and directed the film “Scianèl” and the documentary “Assomigliami adesso” both co-financed by the Presidency of the Council of Ministers – Department for Youth Policies and Universal Civil Service.

“Scianèl” is a choral film that saw the commitment and participation of different sensibilities and that offers the viewer moments of unforgettable happiness.”
– Luciano Accomando

Luciano’s film “Scianèl” was born within the “Officine Malaspina” project and was co-produced by the Presidency of the Council of Ministers – Department of Youth and National Civil Service. The project saw the activation of five workshops on cinema professions in the “Malaspina” juvenile detention center in Palermo. During the workshops, the young inmates participated in writing the screenplay and in the creation of all the props used in the film. In order to offer the young inmates the opportunity to test the skills acquired in the field, days of filming in the IPM were planned.

“Scianèl” is a choral film that saw the commitment and participation of different sensibilities and that offers the viewer moments of unforgettable happiness.

Guillaume Campanacci

France

Guillaume Campanacci was born and raised in Cannes, France. Shortly after obtaining his Masters in Industrial and Mechanical engineering, at the prestigious engineer school “Arts et Metiers”, Guillaume traveled the world as a model: Athens, Paris, Singapore, Hong Kong, Barcelona, Buenos Aires, Miami, New York, yet modeling wasn’t fulfilling his life. A cinema lover, he started to devote his time to his true passions: writing, directing and acting. He studied Meisner technique at the William Esper Studio in New York.

As a director, his first feature film: “Devils in Disguise” (Shot in LA) has been viewed 27 million times, and premiered at the Chinese Theater in Hollywood. His second feature, “Whenever I’m Alone With You” (Shot in Cannes) had its World Premiere at the prestigious Oldenburg International Film Festival with two sold out screenings. It won 25 Awards worldwide. As an actor, Guillaume worked with David Fincher, David Lynch, Emmanuel Lubezki, Jane Fonda, Eva Longoria, etc… David Lynch told him: “Guillaume, you are a great actor”.

His influences go from Jean-Luc Godard, to Gaspar Noe, Takeshi Kitano, Henri Georges Clouzot, René Clement, Federico Fellini, Stanley Kubrick, Francis Ford Copolla, Claude Lelouch, etc…

The influence of all things film, obviously including the French New Wave, drips through every conversation, line, image – how do you nod to all of this whilst maintaining the integrity of the story and your own filmmaking style?

It wasn’t just a nod to cinema and in particular the French New Wave. It is a real desire to explore what Cinema can be or become. Nothing in the film follows any rules. Not just the story, but also the editing, the color correction, the music can stop any second, the sound has a life of its own. It mixes improvisation and written scenes. We all play our own roles. My whole family is in the film, including my 98 years old grandma. And people seem to enjoy my vision as the film already won 25 awards worldwide!

The cinematography goes beyond lush, obviously aided by your stunning setting. How did you achieve the look you want which goes beyond the naturalism of a French New Wave?

Well, Cannes, and the South of France in general are just gorgeous to look at. You can’t go wrong by shooting there. Nicolas Devienne, the DP, made it even more beautiful. The film sometimes looks like a documentary when my family is on screen, a very naturalistic look. Then it takes to a completely different aesthetic, like magical realism.

The film is brimming with colour saturation, different angles and POV’s, polished and rehearsed moments vs. more observational cinema – the edit and post production process must have been monumental.

It took years, sweat and tears.

Any plans to shoot a film in Asia?

One of my next project is SPOILED, a feature film about my fucked up life as a model in Asia.

Here is the synopsis:

An unnamed Model based in Asia is part of an international circle of young hedonists who live like latter-day Borgias, taking advantage of every cheap thrill the city has to offer. Some, including Model, supplement their income as hustlers or underground cage fighters, though he alone shows signs of empathy for the similarly exploited natives. One in particular, a reluctant prostitute, catches his eye, and after realizing that his reckless behavior may have doomed him to an early death, he decides to save the girl and, hopefully, something of himself, even if it results in a bloodbath.

We are looking at different countries to shoot it, maybe Thailand or Vietnam or Indonesia. I used to live in Hong Kong and Singapore as a model and then I wrote the film while being in Japan, Thailand, Vietnam and Cambodia.

I never had a chance to visit your beautiful country but I will soon. Kinosuite will be the Asian Premiere of “Whenever I’m Alone With You”.

Merci,
Guillaume Campanacci
instagram.com/mojorise

Julio Rionaldo

United States | Indonesia

An Indonesian citizen raised in Jakarta, Indonesia, and Anaheim, California. Julio grew up surrounded by the vibrant culture of the Indonesian archipelago and the American frontier. This diverse environment which includes the Sundance Institute and a brief Hollywood experience, alongside serendipitous encounters with Mads Mikkelsen, Sean Baker and Benh Zeitlin who were highly influential during his formative years, have profoundly shaped his storytelling journey. Now residing in Ubud, Bali, he dedicates himself to inspire future filmmakers by crafting stories that transcend borders and empowering others to share their own unique voices in cinema.

Julio’s filmmaking philosophy is deeply rooted in the Latin motto “Ad Astra per Aspera,” meaning “To the stars through hardships.” This ethos reflects his belief in overcoming challenges to achieve greatness, which epitomizes the core values of indie cinema—where every step is marked by obstacles—budget constraints, creative battles, hidden maneuvers, behind the scenes drama, and the relentless grind and hustle of the invisible industry. Yet, it’s through these very struggles that true artistry is born. Just as stars shine brightest in the darkest skies, great films emerge from overcoming adversity. Julio believes that nothing worthwhile in the film industry ever comes easily; it’s the constant perseverance, experimentation, and unwavering authenticity that lead to success. This philosophy mirrors the true spirit of independent cinema—where storytellers push boundaries, embrace failure, and develop meaningful connections with human experiences, all in the pursuit of something greater.

His works blend magical realism with authentic human experiences, marked by breathtaking mise-en-scènes, character-driven narratives and metafictional storytelling. Inspired by underrated classics like “The Steamroller and the Violin” and contemporary gems such as “Beasts of the Southern Wild,” Julio’s films capture the complexities of life with raw sincerity, reflecting humanity in its purest form. His visual style draws viewers into a world where reality and fantasy coexist, evoking deep emotions and provoking thought.

Julio’s approach to filmmaking emphasizes narrative integrity and a willingness to push the boundaries of conventional storytelling. He often works with nonprofessional or emerging actors and real locations to ground his stories in reality, fostering an environment where raw, unfiltered performances can thrive. This method is evident in his debut feature, “Bestiary” (2024), which explores the duality of freedom versus authority and aspirations versus reality and security through the experience of an average office worker with fledgling dreams of becoming an actor in the film industry. By employing guerilla filmmaking tactics and minimal crew, Julio immerses himself and his audience fully in the environment, enriching the narrative with cultural insights and lived experiences

“As a storyteller, my goal is to provoke thought and spark conversations. I don’t want to provide all the answers; instead, I aim to pose questions and invite viewers to reflect on their own lives. If a hundred people watch our movie, I expect a hundred different interpretations to arise after the credits roll. This diversity of thought is what makes cinema so powerful.”
– Julio Rionaldo

Julio’s commitment to immersive storytelling extends to his narrative structures, often employing nonlinear timelines and fragmented perspectives to reflect the complexity of human experience and perception. In his next feature film, “A Figment of Your Imagination” (2025), he weaves together the stories of a college freshman and her desire to write her own original script, embodied through her sporadic encounters with her sleep paralysis demon, who is the protagonist of her story. By playing with narrative structures, Julio aims to create films that resonate on a deeper, more intuitive level, inviting audiences to piece together the story in a way that feels personal and impactful to them.

Central to Julio’s ideals is an exploration of existential themes through a curious eye. His films often grapple with fundamental questions of existence, identity, and the human condition, embracing the curiosities and contradictions of life. This existential inquiry is presented in a way that challenges viewers and invites them to ponder their own understanding of reality. Through his bold use of visual symbolism, long takes, and multi-layered screenwriting subtexts, Julio Rionaldo ensures that his films linger in the minds of audiences, sparking conversations and inspiring introspection long after the credits roll.