The Luz del Desierto International Festival is an audiovisual Festival that aims to promote cinema within the country and abroad. The festival will take place in october with competition for feature films and short films, both fiction, animation and documentary. There will also be talks and workshops.
SUPERHERO LINE FESTIVAL
It is a Worldwide Festival about the Cinecomics and all the movies about Superheroes.
@SuperherolineFESTIVAL #superherolineFESTIVAL is THE FESTIVAL dedicated to our Special friends, those who make us dream every time we watch them on a screen no matter if you're old or young: the Superheroes !!!
The SHLF it’s a WorldWide Open Festival, as all the biggest and most important Festivals of the World.
Each one of the submitted Movies will be listed on the Official Web Page of the Festival and on the Official FB.
FICC – International Cannabis Film Festival – Launches Its Call for Entries
The FICC was born out of the need to broaden cultural perspectives through a social and committed approach to the topic of cannabis, using audiovisual media as a powerful tool for social transformation—one that generates awareness, reflection, and behavioral change.
Since 2019, the International Cannabis Film Festival has brought the subject of cannabis to the forefront through cinema and culture, helping to break down prejudices surrounding its various uses, provide information, and contribute to the expansion of rights—without promoting consumption.
The Busan International AI Film Festival is dedicated to showcasing films created using artificial intelligence technology, serving as a platform for presenting creative content produced through AI.
We aim to provide opportunities to artistically experience new forms of art and diverse genres of films created by innovative AI technologies. Additionally, we offer a stage for filmmakers who challenge themselves with creative work through AI, thereby uncovering and supporting new talents.
• Dates: December 4-6, 2025
• Venue: Busan Cinema Center, Small Theater, Sky Theater
• Awards:
·Best AI Creative Film Award: 1 film
(USD 10,000)
· AI Art Innovation Award: 1 film
(USD 5,000)
· AI Technology Advancement Award: 1 film
(USD 4,000)
· AI Social Impact Award: 1 film
(USD 3,000)
• Opening Ceremony/Performance
• Closing Ceremony
• Screening of invited films
• Screening of 15 finalists
• Conference
• Content Showcase
• Eligibility: Open to all individuals and teams, domestic and international
(one • entry per person)
• Programs: International Competition
(short films, feature films, documentaries,
animations, etc.)
• Theme: Open theme
• Submission Criteria:
· Films utilizing AI technology (partially or entirely)
· Running time: 3-15 minutes
· Films completed from 2024 onwards
• Submission Method : biaif.dureraum.org
COCINE is a film show dedicated to exploring and celebrating the richness of gastronomy and food culture through audiovisual art. This event seeks to highlight the deep connection between food and culture, offering a window into the stories behind each dish, recipe and culinary tradition.
From innovation in the kitchen to the preservation of traditional food practices, COCINE is a space where filmmakers, chefs, farmers and food lovers can converge and share their passion for gastronomy. Here, we explore how planting clean and sustainable products can strengthen the traditional cuisines of towns and communities, and how gastronomic culture evolves and adapts in a constantly changing world.
COCINE is an event of the Corporación Gastronómica de Popayán in alliance with the Popayán Short Film Festival that takes place within the framework of the Popayán Gastronomic Congress.
Only for Latin American Filmmakers.
We understand that cinema is one of the most influential artistic disciplines in society, the expression of cinematographic language transcends and surpasses the barriers of the big screen, leaving an indelible mark on the memory and imagination of each spectator. For this reason, the Chiloé International Film Festival FICH 2025 becomes the first audiovisual event that, within the region, exhibits Chilean and international cinema in different time slots, developing programs that include retrospectives of national filmmakers with extensive experience, and activities associated with the mediation of content and cinematographic language to massify the participation of the people who inhabit our Island.
In this 8th version, seven will be the different strips in charge of giving life to the exhibition of films. Five competitive categories: International Feature Film, National Feature Film, International Short Film, National Short Film and Regional Short Film; a Retrospective Focus; and a Children's Strip.
International feature films in different languages must include Spanish subtitles.
International short films in different languages must include Spanish subtitles.
All selected films must submit a film file in .mov H264, ProRes 422, or a DCP separate from the screening copy.
INFORMATION AND INQUIRIES
Any questions or queries regarding the 2025 call for entries can be sent to cinefich@gmail.com. Questions are accepted in Spanish and English. Other questions cannot be answered at this email address.
We invite you to stay informed about all the activities of the Chiloé International Film Festival FICH 2025 at www.cinefich.cl and on our social media platforms: Facebook @cinefichchiloe and Instagram @fichcine.
The main requirement is that the short film must deal with any of the social issues related to gender equality:
coeducation, rights, gender violence, sexual violence; historical roles, women's participation in social life; work-life balance; equality policies; wage discrimination; glass ceiling; sticky floor; discrimination based on sex, gender or sexual orientation; invisibility; co-responsibility; sorority, etc.
For the rest of the conditions, please consult the terms and conditions.
An annual art film festival founded in 2017 by Inna Bazhenova, publisher of The Art Newspaper international network. The Art Newspaper Russia is part of the world's most competent information network in the field of art, the only international publication in Russia dedicated to art.
The festival shows new feature and documentary films about art - winners and participants of the Cannes Film Festival, Berlin International Film Festival, Sundance, TriBeCa, Moscow International Film Festival and other important film screenings. TANR FF takes place in Moscow in October.
During the festival's week, 7 venues host daily film screenings, meetings with film directors and producers, and discussions of films by famous film and art critics.
Festival is attended by about 2500 people.
We screen the best documentaries from around the world at the Roxie Cinema, the oldest art house theater west of the Mississippi. Many of our titles end up with calendared runs at the Roxie later in the year. We get great press coverage in San Francisco, the second largest film market in the country, plus industry reviews.
San Francisco is a very receptive town for documentaries and our fest has built a passionate following over the past 24 years.
LAST YEAR'S PRESS COVERAGE: https://sfindie.com/press-coverage
SF DocFest is an annual festival devoted to documentary cinema. Since 2001, this event has brought the most weird and wonderful aspects of real life to the big screen.
"What makes the scrappy San Francisco Documentary Film Festival a treasure to SF Bay Area filmgoers is its willingness to take that extra step to show films a little more out there than bog standard documentaries." - Peter Wong, Broke Ass Stuart
“Docfest offers a zippy blend of politics, music, social issues and youth-oriented subcultures. The good news is that DocFest promotes documentaries as a vibrant, irreverent form of entertainment to a younger demographic, blasting the notion of educational films to smithereens. There’s no room for anything approximating — watch it, I’m about to blaspheme – the obsessively measured and utterly somnambulant musings of Ken Burns.” – Michael Fox, KQED
“Since its inception, DocFest (May 31-June 15 at the Roxie and the Vogue, with opening night at Alamo Drafthouse) has compiled a colorful scrapbook of genuine characters in contrast to the current events survey, educational seminar or social-issue forum that defines many documentary series… There are one or two people in Off the Charts you won’t soon forget, which could be said about nearly every film in DocFest. That’s one of the pleasures of scrapbooks.” – also Michael Fox, KQED
Michael Fox just loves DocFest, here's another:
"Welcome to SF DocFest, the beloved annual compendium of odd, unusual nonfiction films from every nook and corner of our bizarro country and beyond. Waving off the pedigreed, high-profile docs that premiere at Sundance, get theatrical releases (or these days, national virtual releases) and chart a course for the Academy Awards, SF DocFest’s programmers opt for poignant, intimate works that miss the mainstream by dint of their iconoclasm and/or lack of a marketing hook." -KQED
"This week brings the kickoff to the 20th edition of SF Docfest, the rapidly-becoming-venerable nonfiction showcase that nonetheless continues to put the fun in documentary cinema appreciation. While other such showcases tend to be soberly issue-themed, focusing on the environment, activism, or some such, Docfest pursues—though not exclusively—colorful human interest stories, musician profiles, and other subjects on which there will not be a class quiz afterward." - Dennis Harvey, 48Hills
Algeciras Fantástika is a multidisciplinary cultural event specialized in matters of fantastic nature, suspense, terror and science fiction, organized by Algeciras City Council and the University of Cadiz.
Attention Filmmakers and Horror Enthusiasts!
For the highly anticipated premiere of "Los Vampiros del Desierto," we are looking for horror short films to complement this unique night. If you have a work that can chill the blood, we want to see it.
Join us on October 19, 2024, for an adrenaline-filled night where selected short films will be screened before the premiere of "Los Vampiros del Desierto." This is your chance to showcase your work in front of a passionate audience and alongside a stellar production.
If you are deciding where to submit your film, you have probably come across several platforms and found yourself asking the same question many filmmakers ask: which one is the best choice for me?
At Festhome, we are clear about one thing: not all filmmakers are looking for the same thing, and not all films need the same strategy. But if budget control, security, clarity in the process, and trust in the festivals you submit to matter to you, Festhome is one of the strongest options for sending your work.
We know that taking a film through the festival circuit requires a significant investment. That is why one of our goals is to help you make that investment more efficient. Festhome is especially useful for filmmakers who need to manage their resources more carefully without giving up on an international submission strategy.
Our Annual Pass and credits models help reduce the cost of using the platform and provide access to additional discounts on many submission fees. These advantages do not depend on a separate monthly subscription: they are included in the Annual Pass and in credit purchases, making it easier to build a clearer, more flexible, and more efficient strategy. Our model also allows us to pay real salaries to real people who love the world of cinema and events, people who work behind the platform checking that festivals are real, reviewing cases seriously, and providing technical support from humans, not machines.
When budget matters, every decision counts. Choosing a platform that allows you to manage your submissions clearly, without unnecessary costs and with a more transparent logic, makes a real difference.
Not all films travel the festival circuit in the same way. Some works are more commercial, while others have a more artistic, personal, or daring sensibility. In our experience, Festhome works especially well for filmmakers with an auteur, independent, or more curatorially oriented approach.
Why? Because we believe in a more thoughtful relationship between film, festival, and platform. It is not just about sending your work to as many places as possible, but about doing so with criteria and with greater trust in the ecosystem you are taking part in.
This is one of the most important points.
At Festhome, we work with festival validation protocols to reduce the risk of false, misleading, or unreliable festivals. Filmmaker safety is not an extra feature: it is a priority.
That is why, in the case of first-edition festivals, or during the first editions in which a festival uses the platform, submission fees are not paid out to the festival until its celebration is confirmed. This measure helps protect filmmakers from calls for entries that have not yet demonstrated real or consolidated activity.
In addition, we do not pay fees to festivals that do not watch the films. For us, this is essential. If a filmmaker pays a submission fee, there must be at least a minimum commitment to reviewing the work and acting seriously on the part of the festival.
These are not just defined action protocols. They are also real people reviewing cases and making real decisions. We are not perfect, but we do know that we treat our work, filmmakers, and festivals with care, and after more than a decade of experience, we know our method works very well.
For a filmmaker, it is not enough just to submit a film. It also matters to know what happens afterward. That is why one of Festhome’s most valuable advantages is that it shows filmmakers whether their film has been watched by the festival.
This provides something very important: transparency. Because it is not the same to submit your film and remain in the dark as it is to follow the real path of your submission and know whether the festival has actually taken the time to watch your work. The same applies to showing the reality of selections, both the good and the bad, without inventing selection results.
In the festival circuit, trust is essential. Every year, unclear calls for entries appear, along with festivals that do not offer real guarantees or initiatives that raise legitimate concerns among filmmakers.
That is why at Festhome we have a validation system designed to detect irregularities and prevent fakes, scams, and festivals without sufficient guarantees. Our commitment is to protect your work, your time, and your money.
We know that submitting a film is not just about uploading a file and paying a fee. It is a strategic decision. And that decision deserves to be made on a platform that takes care of you.
Another aspect many filmmakers especially value is support. At Festhome, we do not understand support as a cold form or an automated response, but as real help throughout the process.
We provide support through different channels such as phone, Instagram, or WhatsApp, which allows us to stay closer to filmmakers and better adapt to their language and level of technological familiarity. Because every filmmaker is different, and not everyone needs the same kind of help or interacts with technology in the same way.
That closeness makes support more useful, more natural, and more human. Our work is focused on helping with solutions tailored to the person asking for help, and although a machine may respond faster, our answers are always more effective because a person has taken the time to read, understand, and work on the issue.
The submission experience should be simple, understandable, and direct. When you are managing deadlines, materials, versions, subtitles, premieres, and festival strategies, you do not need more noise: you need a clear and functional platform.
That is why we work to offer a cleaner interface, more intuitive navigation, and a more transparent relationship between filmmaker and festival. After more than 10 years, we continue improving and adapting to new technologies, enhancing our service, and aiming to be a tool that supports the work of filmmakers and festivals.
Festhome is a great option if:
It is not only about where you submit your film. It is about how you do it and what kind of platform accompanies you through that process.
At Festhome, we believe filmmakers should be better protected, better informed, and better supported. If you are looking for a platform that takes better care of filmmakers, Festhome is for you.
The festival aims to democratize access to culture by offering free film screenings and providing updated, high-quality content on audiovisual productions that address socio-environmental issues in their various nuances. In this way, we seek to promote broad debate, engaging with society on vital and urgent topics for the planet through film screenings combined with discussion circles, lectures, and short courses, with the goal of shaping public opinion and encouraging the audience to delve deeper into the issues raised by the films.
Born in 2023 as a space for environmental awareness, Gamboa Zinemaldia has established itself as a meeting point between cinema, community, and sustainability. In 2026, we celebrate our fourth edition with a renewed commitment: to inspire, educate, and mobilize through the art of film.
From Ullibarri-Gamboa to the whole of Álava, the festival weaves connections between culture and territory, fostering a more respectful relationship with the natural environment. Gamboa Zinemaldia is not just an audiovisual showcase; it is a cultural movement that understands cinema as a tool for social and ecological transformation.
Each screening seeks to spark reflection; each story to open a conversation; each edition to leave a mark on the collective conscience.
“At Gamboa Zinemaldia, we don’t just screen films; we cultivate awareness and sow change through the art of cinema.”
Dona i Cinema aims to generate a live space of artistic and social creation and investigation. A space led by women, which divulgates their works and productions, promoting equal opportunities in Performing Arts and fostering the end of discriminative practices towards women.
For this reason since 2011 we run the International Biennal Dona i Cinema – Mujer y Cine – Woman & Film, a week dedicated to cinema made by and for women, with the exhibition of a selection of features, shorts, documentaries, animation and video art. All made by women.
HELLÍN INTERNATIONAL FILM FESTIVAL,
with this V edition, it becomes a cultural consolidation in the Spanish cinematographic universe. A festival that brings together not only cinema, during November 15 and 21, Hellín will host personalities from the world of cinema, training courses, conferences, location routes, concerts, wine tastings, galas, and etc.
Welcome to FECHE.
Lago Cinema es un festival universitario de cortometrajes organizado por la Escuela de Humanidades y Educación del Tecnológico de Monterrey, campus Toluca. Nace como un espacio de exhibición interna, pero pronto abre sus puertas a la inscripción de trabajos externos para convertirse en un festival con jurados y una ceremonia de premiación. En 2023 tuvo una fuerte orientación hacia la sostenibilidad.
Este año, se llevará a cabo 13 y 14 de noviembre de 2024 en Toluca, Estado de México.
La muestra internacional de cortometrajes Video/Jujuy/Cortos es un espacio de proyección audiovisual NO competitivo, sin fin de lucro, abierto y gratuito organizado anualmente por Wayruro Comunicación Popular.
The aim of the Festival is to promote the production and dissemination of audiovisuals as a means of expression and communication.
This free artistic/cultural space was born in 2002. Since its beginnings, the festival has established relationships with schools, social, neighbourhood, human rights and artistic organisations, youth activity centres and organisations of native peoples, trying to be permeable to the needs and demands of the medium, both in terms of themes and genres, resulting in a varied programme that ranges from social video to animation, including fiction and experimental audiovisuals.
As a space and a place for reflection and a meeting point for creators, renowned professionals give workshops and talks, seeking to provide information and training, free of charge, to those interested. This year, the exhibition focuses this space on thinking about the audiovisual situation, working and thinking in networks and consolidating community and popular audiovisual production.
