School of Filmmaking at UNCSA presents films by graduating seniors

Last updated May 4, 2022: An additional in-person screening has been added on Friday, May 6, at 2 p.m. It will feature projects from the School of Filmmaking's graduate program.

The nationally ranked School of Filmmaking at University of North Carolina School of the Arts (UNCSA) will present 14 short films by graduating seniors in free screenings next month.

The fourth-year screenings are from 4-6 p.m. and from 8-10 p.m. on Friday, May 6, in the Main Theatre of the ACE Exhibition Complex of the School of Filmmaking on the UNCSA campus at 1533 South Main St. Admission is free, and no ticket is required for the in-person screenings.

The screenings will also be offered on demand from Friday, May 6, at 4 p.m., until Sunday, May 8, at 11:59 p.m. You must register for free access.

Featuring local casts and Triad locations, these undergraduate capstone projects were created by student screenwriters, producers, directors, cinematographers, production designers, editors, sound designers, composers and animators who collaborate over the course of a full year or more. These films are the culmination of the students’ four years of study and the official start to their professional careers.

The UNCSA School of Filmmaking will also present a screening of third-year student films on Thursday, May 5, from 7-9 p.m., also in the Main Theatre of the ACE Exhibition Complex. Admission is free, and no ticket is required for the in-person screenings. This screening will also be offered on demand from Thursday, May 5, at 7 p.m., until Sunday, May 8, at 11:59 p.m. You must register for free access.

“I am pleased we are able to present films with such a wide variety of genres, styles and topics,” said Dean Deborah LaVine of the School of Filmmaking. “Our students’ imagination has really blossomed with their choices of subject matter and treatment. 

“Kudos to our students, who have worked extremely hard to bring their creative visions to life, and to their faculty, who have mentored and guided them every step of the way.”

LaVine also noted that the films were made by overcoming COVID-19 restrictions and challenges.

More about the fourth-year film screenings

The screenings will include eight narrative films, five animations, and the first episode of an episodic series.

“Dreamcasting” (animation)
A mid-’90s video game console explores its failed history through the memories of the games it was intended to share with the world and attempts to find new life in its obsolescence.

“Dreamcasting” is written and directed by Riley Harber, with story by Anthony Bluemmel and Riley Harber; animated by May Bonner, Abby Davenport, Riley Harber, Kam Szeliga, Beau Sheil, Alaina Watkins and Hue Zhang; edited by Riley Harber; sound design by Riley Harber; and music by Wilfred Moeschter, Kory Bailey and Geet Chaudhari.

“Everythingeater” (narrative)
A morbidly obese woman struggles to gain dominance over her abusive and manipulative husband who will do anything to stay in control.

“Everythingeater” is co-written and directed by Maximilian Schmidt; co-written by Hailey Hudson; produced by Dario Seastedt and Andrew Kucmierz; cinematography by Reece Clemmons; production design by Kathryne Garrido; edited by Jacob Boyle; sound design by Sam Lemme; music by Wilfred Moeschter; costume design by Maureen Wynne; and hair & makeup design by Rose Eubanks.

“Green Thumb” (animation)
When a young boy named Sprout turns to gardening to cope with his neglectful homelife, his beloved garden takes on a hellish form as his plants grow into giant human body parts.

“Green Thumb” is written and directed by Beau Sheil; produced by Robert Mageau; with lead animators Beau Sheil, Spencer Dowdy and Max Skinner; backgrounds design by Alaina Watkins; edited by Daniel Christie; sound design by Daniel Christie; and music by Michael Mckeithen, Jr.

“Masterpiece” (episodic, narrative)
A struggling violin student finds musical inspiration in committing violent acts, but the mounting pressure from her roommate and professor threatens to push her past the point of no return.

“Masterpiece” is directed by Jim Boemio (episodes 1-3) and Brady Walker (episodes 4-6); created and written (edisode 6) by Sarah Deitrich; written by Anthony Bluemmel (episode 1), Bob Massa and Todd Smith (episode 2), Alex Day (episode 3), Michael Papich (episode 4) and Chanel Smith (episode 5); executive produced by Rohit Lila Ram, Anthony Bluemmel, Chanel Smith and Sarah Deitrich; co-executive produced by Alex Day, Todd Smith, Bob Massa and Michael Papich; cinematography by Summer Sierra; production design by Praveer Gangwani; edited by Meg Fisher; sound design by Meg Fisher; and music by Isaac Silva and Michael Mckeithen, Jr.

“Nyctophobia” (narrative)
While trying to be intimate with his girlfriend, a young adult must face his chronic phobia of the dark when the power shuts off.

“Nyctophobia” is directed by Naima Harrell; written by Naima Harrell, Adam Taubenslag and Will Henderson, III; produced by Ally Ryan; cinematography by Ben Trevey; edited by Nicholas Benick; sound design by Nicholas Benick; music by Callista Hunt; costume design by Evan Michael Chesney; and hair & makeup design by Molly Stevens.

“Processing Magic” (animation)
When a dragon takes his first foray into wizard school, he, and those around him, soon discover that not everyone learns magic the same way.

“Processing Magic” is written and directed by Vale Stanley and Jo Knorpp; with lead animators Cameron Panone and Jo Knorpp; edited by Meg Fisher; sound design by Meg Fisher; and music by Kory Bailey.

“Sammy, Without Strings” (narrative with puppets)
When a Black puppet named Sammy, performing at the hands of his malevolent Puppeteer, falls in love with a Woman in his audience, he sets his sights on freedom from his strings to live a life of dignity and humanity with her.

“Sammy, Without Strings” is directed by Ralph Parker, III; written by Will Henderson, III, and Ralph Parker, III; produced by Jenna Cusack and Grace Williamson; cinematography by Ariano Treviño Angelone; production design by Grayson Fisher; edited by Kendall Best; sound design by Kendall Best and Daniel Christie; music by Wilfred Moeschter; costume design by Erin Justice; and hair & makeup design by Courtney Kakac.

“Scotch” (narrative)
A woman hung up on a past girlfriend shows up at her apartment to reconnect, but instead finds the oddball man her ex just dumped; to spare his feelings, she rushes to get him out of the apartment before their mutual love returns.

“Scotch” is directed by Joe Fry; written by Jenna Cusack and Joe Fry; produced by Jenna Cusack; cinematography by Lizzy Compton; production design by Julia Tayloe; edited by Isabel Rodriguez; sound design by Sam Lemme; music by Isaac Silva; costume design by Erin Justice; and hair & makeup design by Natosha Martin.

“Sluck Pond” (narrative)
In the far-off Kingdom of Sluck Pond, the illegitimate Grandson of a dying Queen schemes with his loyal Servant to seize her power, forcing all involved to confront their corrupt hearts.

“Sluck Pond” is directed by Spencer Witmer; written by Kaitlyn Franck, Jenna Cusack and Spencer Witmer; produced by Zach Chaloux and Kaitlyn Franck; cinematography by Bobby Gupton; production design by Joshua Ray; edited by Vassiliki Omirly; sound design by Jacob Boyle; music design by Michael Mckeithen, Jr. and Isaac Silva; costume design by Whitney Fabre; and hair and makeup design by Dylan Silver.

“Sonata” (animation)
When a blackout derails a young man’s plans for the perfect first date, he must navigate his nerves, the heat, and a mischievous gang of shadows if he has any hope of connecting with the girl of his dreams.

“Sonata” is written, directed and with lead animation by Madison Crisp, Abby Davenport, Fern Singleton and Vic Sosa; with story by Hailey Hudson and Ava Tennis; produced by Robert Mageau and Hailey Hudson; edited by Lyric Abbott; sound design by Lyric Abbott; and music by Ryan Mulder.

“Stomping Grounds” (narrative)
When Rosy is confronted by her mother about her secret life as a drag queen, the truth of her identity is revealed, and she is forced to decide whether or not to keep clinging to their fleeting relationship.

“Stomping Grounds” is directed by Sylvia Massey; written by Pat LaGue; produced by Johnny Deffinbaugh and David Sanders; cinematography by Théadora Williams; production design by Sanya Salehi; edited by Sam Lemme; sound design by Jacob Boyle; music by Hannah Knaul, Michael Mckeithen, Jr., and Sylvia Massey; costume design by Evan Michael Chesney; and hair & makeup design by Amelia Brown.

“Suga Brown” (narrative)
In a world where free health care requires genetic alterations, a pregnant woman, Eden, must go to extreme lengths to ensure her child is born free of mandated modification.

“Suga Brown” is directed by Clarke Phillips; written by Pat LaGue and Clarke Phillips; produced by Blaine McIndoe and Cherise Honoré; cinematography by Jack Mohler; production design by Rin Rlayang; edited by Shane Gaber; sound design by Shane Gaber; special effects supervision by Brianna Lanzen and Jonny Weaver; music by Isaac Silva; costume design by Whitney Fabre; and hair & makeup design by Rose Eubanks.

“They Bloom & Fade” (narrative)
While mourning the death of her family, a hedge witch accidentally creates a magical invasive plant that produces both fond memories and destruction, forcing her to choose between keeping a piece of her family alive or saving herself.

“They Bloom & Fade” is directed by Zharia Spaulding; written by Hailey Hudson; with story by Lyric Abbott and Emily Kuhlmann; produced by Hailey Hudson and Ava Tennis; cinematography by Sarah King; production design by Thomas Day; edited by Noah Krueger; sound design by Lance Perl; special effects supervision by Lucas Saunders; music by Isaac Silva; costume design by Maureen Wynne; and hair & makeup design by Jade Soto.

“Treasure Hunt” (animation)
Two brothers searching for treasure end up fighting a dangerous robot guarding the ruins.

“Treasure Hunt” is written and directed by Lauren White; with lead animation and backgrounds by Lauren White; edited by Conor Callahan; sound design by Conor Callahan; and music by Pierce Martin.

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