Director Biography – Justin Eugene Evans (HONOR AMONG THIEVES)

Justin Eugene Evans’ previous film, A Lonely Place For Dying, was accepted in 46 film festivals. The film was nominated for 53 awards and won 29 including 18 best pictures. Justin then took a leave of absence from filmmaking for 8 years to invent a new type of cinema lighting system. He is now returning to filmmaking with a Science-Fiction/Western short film entitled Honor Among Thieves.

Justin’s engineering skills include mechanical, electrical, mechtronic, optical, and thermodynamics. He worked in 18 factories throughout China to teach himself the fundamentals of modern manufacturing. He taught himself basic Mandarin so he could navigate the world of Chinese and Southeast Asia manufacturing.

As an adult with Asperger’s Syndrome, he often feels slightly out of step. Justin’s son, David, is also Autistic and his wife is a college culinary instructor at an Autistic school in Wisconsin. Together, they educate non-Autistics about Autism and advocate for Autistic acceptance.

Justin splits his time between invention and filmmaking.

Director Statement

It always comes down to characters. Superficially, combining science fiction and the wild west may seem difficult. But, the challenges weren’t the visual effects or science fiction weapons; the challenges were about character.

I don’t believe in genre. I believe a writer’s primary job is to be a malevolent manipulator, crafting deeply flawed characters and then constantly thwarting their ambitions.

And in that sense, this science fiction western is really a story of failed friendship, mistrust and an inability to take a leap of faith. It is, I hope, funny, quirky and deeply human.

But, my script would never have been possible without my amazing team! James Wulfgar’s science fiction weaponry and props are as good as any Hollywood film. Branden Miletta’s visual effects work is stupendous. Luis Caffesse’s amazing editing blows me away; I could never do what he does. Bytheway-May’s music carefully balances the comedy and action of this short film. The costumes and sets are incredible.

And the cast! The cast did such an amazing job! Michael Tabb, Jason R. Moore and Chris Ranney own their roles. They bring so much depth and detail to their characters.

I’m truly blessed to have such an amazing team help bring my quirky, strange, genre mash-up to life. We hope you enjoy Honor Among Thieves!

Director Biography – Cecelia Condit (WE WERE HARDLY MORE THAN CHILDREN)

Since 1981, Condit has created videos and heroines whose lives swing between beauty and the grotesque, innocence and cruelty, strength and fragility. Her work puts a subversive spin on the traditional mythology of women in film and the psychology of sexuality and violence. Exploring the dark side of female subjectivity, her “feminist fairy tales” focus on friendships, age, and most recently the natural world.

Condit has received awards from the Guggenheim Foundation, American Film Institute, National Endowment for the Arts, Mary L. Nohl Foundation, Wisconsin Arts Council and the National Media Award from the Retirement Research Foundation. Her work shows internationally and is represented in collections including the Museum of Modern Art in NYC and the Centre Georges Pompidou in France.

She studied at the Pennsylvania Academy of Fine Arts. In addition, Condit received a B.F.A. in sculpture from the Philadelphia College of Art and M.F.A. from Tyler School of Art of Temple University in photography. At present, she is professor emerita in the Department of Film, Video, Animation and New Genres at the University of Wisconsin-Milwaukee. Formerly, she was a professor and director of the graduate program in film.

Director Statement

“We Were Hardly More Than Children” is a tale of trauma and friendship. Lena’s story is of the Cape Cod artist, Diane Messinger, whose paintings are throughout the piece. Diane’s paintings are the anger she doesn’t feel and the hurts she doesn’t remember.

Director Biography – Brian Ernst (WELL DONE)

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Brian Ernst has spent the majority of his professional career in journalism and freelance videography but has found his greatest success in short form comedy.

He and his fellow producers, Mitch Brinkman & Nathan Hennenfent, made their festival debut in 2015 with their short web series “Dirty Laundry”, a one room, single camera narrative featuring a blossoming friendship.

A DePaul University graduate and former Chicago Tribune video producer, Brian has trained in writing at the Annoyance and iO Theaters, most recently participating in the latter with a Monty Python style sketch revue. During his tenure at the Tribune, Brian spearheaded several series, including the Theater Loop Showcase which aimed at recreating and documenting the theater scene in Chicago.

Brian received an Emerging Cinematographer award for his work on “Ludo”, a short documentary showcased at the Cannes Film Festival, but aims at focusing his efforts on episodic and feature length comedy with his fellow producers.

Brian is currently the Director of Digital Operations for the Chicago Sun-Times overseeing their video efforts.

Short Film: WELL DONE, 3min., USA, Comedy


Neil needs his co-worker BBQ to go off without a hitch in order for his boss to entrust him with the warehouse club membership. Then he will choose the SNACKS!

Project Links

Director Biography – Pegah Pasalar (SATURDAY)

Pegah Pasalar (born in 1992) is an Iranian interdisciplinary artist currently based in Chicago.


She received her bachelor’s degree from the Art University of Tehran majoring in cinema editing.


She is a full-merit scholarship awardee at the School of the Art Institute of Chicago where she is pursuing a master of fine arts in studio with an emphasis in film and video.


The theme of her work is centered on the position of women in the family and society,social criticism of childhood and immigration,and the transitions and effects within interpersonal relationships.

Pegah is currently continuing to work on a series of short films, each titled after a day of the week. With the completion of the short film Sunday, she is now working on Saturday. Each of these works take place over the course of one day.

Director Statement

A family vacation ends in grief and unanswered questions…

Over View

Saturday, my latest film, a part of constellations of works each titled after a day of the week,is an evocation of the irregular, illogical and nonlinear process of grief at the loss of a child, and of the gap in time between the moment a traumatic event occurs and when it is perceived. As the viewer follows a joyful trip to the beach by a family with three young children, innocence and happiness give way to the unthinkable. While the day unfolds on-screen, the audience comes to realize, through subtle audiovisual cues, that a tragedy has occurred: one of the three children has drowned. Decisions are made in a state of shock, and the blurred lines between the rational and irrational interrupt and fragment the journey back home. The parents opt to bring their dead son back in the same car with the two other children pretending as if he is sleeping.

Saturday springs from the liminal space between the personal and the political. It is a response to the wars and strife that have engulfed the Middle East, and to the lived reality of an encounter with death. In an era, strife with refugees fleeing from frequent turmoil, a new generation is learning that the beauty of the sea is intertwined with its indifference and cruel force. The widely circulated image of Alan Kurdi, a child who drowned en route to Europe while escaping the Syrian War with his family, comes to mind. The film’s approach, though, is intimate and its focus is on the mundane.

While this experimental fiction short film is deeply personal and local to my own family in Iran, Saturday also focuses on a much broader complexity of human conditions. It depicts an alternative way of facing the immediate aftermath of trauma. One that pushes up against society’s prescribed behaviors and social norms and attempts to show that there is no one way, or correct way, to grieve. Saturday focuses in the universality of intergenerational differences,
of childhood and parenting, and on the altering states of denial, reality, and truth. It explores the relationships between life and death, death and sleep, smiling and weeping, paleness of color and saturation, whispering and shouting, proximity and distance. The film for the most part is depicted through little sister’s point of view, and so there the moments are shown in a
fragmented and non-conventional way.

Short Film: SATURDAY, 9min., USA/Iran, Drama

As the viewer follows a joyful trip to the beach by a family with three young children, innocence and happiness give way to the unthinkable. While the day unfolds on-screen, the audience comes to realize, through subtle audiovisual cues, that a tragedy has occurred: one of the three children has drowned. Decisions are made in a state of shock, and the blurred lines between the rational and irrational interrupt and fragment the journey back home. The parents opt to bring their dead son back in the same car with the two other children pretending as if he is sleeping.

Project Links

Director Biography – Yijun Pan, Anh Vo (RED THREAD)

I believe in the power of storytelling with a camera. Before I came to the United States, I was a full-time fashion photographer. Still, I want more, which makes me decide to pursue a new education at DePaul University with a cinematography concentration to prepare myself to understand and tell a better human story through visual storytelling.

Director Statement

The Red Thread of Fate (also referred to as the Red Thread of Marriage), is an East Asian belief originating from Chinese legend. According to this myth, the gods tie an invisible red cord around the little finger of those that are destined to meet each other. The two people who connected by the red dread are destined lovers, regardless of place, time, or circumstances. This myth is similar to the western concept of a soul mate or a destined flame.

Through stages of the relationship, the concept we want to portray is in the modern world; people’s relationship is getting more and more complicated; our red thread sometime is not tied on only one person anymore. Sometimes people are getting suffer and torture in the relationship mentally and physically.