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Austin Film Festival coverage just gave my screenplay, The Art of Suffering, a perfect score and a "Recommend" which they say is rare. I'm not sure exactly how to leverage this so more agents and producers read it?

(Please keep in mind that this is done as it would be a script for a comic. I have a background in comics, so I use comic terms for the script. I do hope to get this made as a movie or short TV show. I'm looking for feedback on the pages. If you can take the time to read and leave a review in the comments, replace panels with shots.)

Ch5 Pg 9

(Ch5 Pg9 Panel 1 - Wide Panel)

The two of them continue their journey, and Garna is looking ahead at the road. Garna is continuing with the tree trunk while Garerit rides along in the branches. The landscape stretches out ahead of them, and their destination is unclear, leaving the reader with a sense of adventure. The comical nature of the situation remains, but there's also an underlying camaraderie developing between the two as they walk toward their next challenge.

SB (Garna - Speaking, Dialogue Bubble): "Just a little farther, we'll make it before the sun sets."

SB (Garerit - Speaking, Dialogue Bubble): "That will be excellent."

(Ch5 Pg9 Panel 2)

Garna walks with the full weight of the tree plus Garerit, their breath visible in the cold mountain air. The forest is quiet, save for the distant chirping of birds. Garerit smirks, as if debating whether to tell the truth or spin another tale. Garna nods, committing the name to memory.

SB (Garna - Glancing at Garerit, Curious): "You never told me your name."

SB (Garerit - Casually): "Garerit."

SB (Garna - Thoughtful): "Garerit... I'll remember that."

SB (Garna): "My name is Garna by the way."

SB (Gareirt): "Nice to meet you."

(Ch5 Pg9 Panel 3 - Medium Panel)

A winding, treacherous mountain path leads up to the enchanted castle in the sky, perched at the very peak of a towering mountain. The path is narrow, flanked by jagged cliffs and mist-covered ravines below. Garna, the giant, marches forward confidently, his heavy footsteps shaking the ground. Garerit, still hiding in the tree, listens intently as Garna begins to speak, his deep voice echoing against the mountainside.

SB (Garna - Dialogue Bubble): "We are almost there, Gareirt. The castle awaits."

(Ch5 Pg9 Panel 4 - Full-Width Panel)

Garna, the giant, walks confidently through a vast, mist-filled landscape as he brings Garerit toward the enchanted castle in the sky. The castle is visible in the distance, floating high above the ground on clouds and surrounded by an ethereal glow, hinting at its magical nature. The scale of the castle is imposing, with high towers and spires reaching into the heavens. The tailor, his small figure appearing even smaller against the backdrop of the giant and the floating castle. The sense of a journey to an otherworldly place is emphasized here, with the magical atmosphere and surreal landscape drawing attention to the mystical adventure ahead.

SB (Garna - Speaking, Dialogue Bubble): "Ah, Garerit, you do not know what kind of place you are entering."

(Ch5 Pg9 Panel 5 - Medium Panel)

This panel zooms in on the enchanted castle, showing it in greater detail. The floating towers are adorned with golden filigree and mysterious runes, glowing faintly in the twilight. The castle hovers above a shimmering cloud sea, with magic-charged winds swirling around its perimeter. The magical nature of the structure is clear, as it seems to exist outside the natural laws of the world. The contrast between the grounded, earthy giant and the ethereal castle highlights the otherworldly challenge that awaits. This is no ordinary destination's a place of mystery and enchantment.

SB (Garerit - Thought Bubble): "A castle in the sky... I never thought I'd see such a thing?"

Ch5 Pg 10

(Ch5 Pg10 Panel 1 - Wide Shot)

A dramatic, towering view of the enchanted castle perched at the peak of the mountain. Dark clouds swirl above it, and lightning flashes in the distance, giving the structure a mystical yet ominous aura. The walls are colossal, built from massive black stone blocks, and glowing arcane symbols pulse faintly along their surface. Garna stands near the cliff's edge, facing a short stone pillar with strange carvings on it. Garerit, still hiding himself, carefully watches from a safe distance.

(Ch5 Pg10 Panel 2 - Wide Shot)

As they reach the top of the mountain, the castle stands before them, its towers spiraling toward the heavens and glowing with arcane symbols. Outside the gates, other giants patrol the area: some stand guard while others lounge near massive stone tables, feasting and sharpening their weapons. Their voices boom with laughter and conversation, making the castle feel both alive and dangerous.

SB (Garna - Dialogue Bubble): "My lord and maker, who controls this castle, is no fool. He traps all who enter with powerful magic. There's a lady here, a Duke's daughter, who is the most precious prize and has been transformed into a white doe by his magic power."

(Ch5 Pg10 Panel 3 - Wide Panel)

Garna stands with the enchanted castle in front of them. The magical aura of the castle is seen in the background, swirling in vibrant colors. Garerit listens intently, his mind working, considering the implications of freeing the captives and undoing the curse.

SB (Garna - Speaking, Dialogue Bubble): "And, of course, you will meet my many other brothers, who dwell in the castle."

SB (Gerarit - Speaking, Dialogue Bubble): "Many other brothers!"

(Ch5 Pg10 Panel 4 - Wide Shot)

Garerit sits in the tree resolutely in front of the castle. He is determined to free the captives and undo the sorcery that binds them. His eyes are sharp with focus, and his small frame now stands tall in the face of such overwhelming odds. The castle in the sky looms beyond him, both a literal and figurative obstacle to overcome. This panel shows Garerit's bravery and resolve as he faces the unknown.

SB (Gerarit - Speaking, Dialogue Bubble): "I will liberate them. No curse can withstand a mind as capable as mine."

(Ch5 Pg10 Panel 5 - Medium Shot)

A closer view of Garna as he turns his head slightly, speaking aloud. The tailor remains hidden within the branches, his face partially visible as he listens carefully. Garerit's eyes widen at this revelation, gripping the tree bark tightly.

SB (Garna - Dialogue Bubble): "The castle is home to more than just my brothers. Many knights and ladies are prisoners of my great elder Brother."

In August I posted that an Australian production company asked for more details after I tried to sell my script to them.

They are back, asking for still more details.

Those of you who like myself want to sell by sending a query letter, I hope you understand that you will have to answer similar questions.

The production company have asked about details, so I begin with the simplest one.

I had written :

"

This is a micro-budget script with only five actors and few locations. I expect a few hundred thousand Australian dollars to be enough because I wrote in almost the same way as when I earlier created no-budget TV movies.

Since I have created both shorts, TV mini-series and TV movies, I had the impression that a TV movie would be best for this project.

The script is 93 pages long.

"

Here is what the production company says :

"

We would like to know more about your budget estimate. Why do you think it can be done for a few hundred thousand AUD?

While we understand it is difficult to produce a ballpark budget, we recommend looking at comparable titles for an idea.

A TV movie format suits the story well. Based on your past experiences, can you elaborate more on why it’s a good fit for this story?

Please state the progress of the script. Is it in the development phase? Is it completed?

"

Partly, I can easily add to what I earlier wrote :

"

Like my earlier films, the story is politically correct in the way public service television companies prefer. And it can be broadcast when children are around.

The story is completed. The script is 93 pages long, an ideal length for a TV movie to fill a 'slot'.

"

But I failed to find budgets for similar movies when I googled yesterday evening. So please help me.

My no-budget TV movies cost me only 1,000 dollars each so I never had to bother about budgeting.

And what is the smallest crew (excluding the actores) one would expect an Australian production company to use for a TV movie?

No, the production company has not promised to buy my script. Plenty to think about before any decision can be taken.

I’m Yeshua, a French screenwriter building my slate of high-concept stories.

My current flagship project is « FILTRÉS À VIE » a dark sci-fi comedy where beauty filters become permanent after a global tech malfunction.

A mix of satire, thriller and chaos. Imagine Black Mirror, but Gen Z can’t hide anymore.

I’m developing several additional scripted ideas (series + short form + animation) and I’m here to connect with producers, collaborators and anyone who loves unconventional concepts.

Teaser available on my profile.

Let’s connect !

Hey everyone!

I’m Roberto, an actor, screenwriter and director from Toronto. I just completed the feature script for my film THE CALL, and now I’m shifting back into preparing for new acting opportunities and character work.

I’m always drawn to grounded, emotionally honest roles — stories about purpose, transformation, and inner conflict.

Would love to connect with other actors, directors, and filmmakers here on Stage 32.

What projects or roles are you currently excited about?

“It’s a real opportunity to talk to people and build cinema with an audience that’s eager for ideas, to open up, to talk, to be part of a conversation,” says [Finn] Halligan, ahead of this year’s festival, which will play 111 films in the port city of Jeddah from December 4-13.”

This sounds like an exciting development for Saudi Arabia’s film industry. The aim is to build a film culture and not just a once a year festival event. Whilst the programme is limited due to the size of the venue, I can see this growing and opening up the market to European films, as foreign language entrants.

What are your thoughts about this?

https://www.screendaily.com/interviews/red-seas-finn-halligan-and-antoin...?

Hello everyone,

I’m currently developing a new feature film — a psychological drama inspired by true events.

The story explores a young man’s gradual descent into a collapsing reality as buried childhood trauma resurfaces. It blends grounded realism with surreal, hallucinatory sequences to create an intense, atmospheric tone.

I’d love to hear insights from directors and filmmakers here:

— What elements make a psychological drama visually powerful?

— How do you approach portraying subjective reality or hallucinations on screen?

Looking forward to your thoughts and experiences. Thank you!

Netflix will release the Stranger Things series finale simultaneously on streaming and in 500+ theaters this New Year’s Eve. At over two hours, the finale plays like a feature film, and fans pushed hard for a big-screen sendoff.

Key twist: theaters keep concession revenue, while Netflix doesn’t take box office returns. This marks the first time a streamer has given a TV finale a theatrical event release at this scale.

This is a historic shift: while Netflix has occasionally given theatrical windows to feature films, releasing a television series finale simultaneously in theaters and on streaming is unprecedented at this scale. You can read here: https://nofilmschool.com/stranger-things-finale-theaters?utm_source=Beeh...

As producers, what do you think?

Is this the start of a new hybrid distribution model?

Could it create leverage for other projects, or is it a one-off tied to Stranger Things’ cultural weight?

Does the communal, big-screen experience add lasting value to IP?

Would love to hear your take on whether this could reshape how we think about audience engagement and distribution strategy in the streaming era.