A BREAK, 30min., USA
Directed by Jill Corvelli
A Break is a symbolistic narrative film. We all have multiple parts that make up who we are. It is so easy for all of our parts to be in disalignment, especially when we need then aligned the most. I have found that getting total alignment within yourself requires relentless effort, but that practice is a beautiful part of what it means to be human.

Get to know the filmmaker:

What motivated you to make this film?
I've always made films—mostly as family keepsakes—but this was the first time I felt compelled to tell a story for a broader audience. After decades as a therapist, I realized I was sitting with powerful, universal psychological patterns that don't always translate through explanation alone. Film offered a way to show what inner experience feels like. This project was about bringing those internal dynamics to life in a way people could recognize themselves in.

2. From the idea to the finished product, how long did it take for you to make this film?
The initial idea came quite suddenly after a personal growth experience. The full process—from concept through writing, production, and post—took about five months, as it was part of a program facilitated by Open Signal Community Media with a defined timeline. The shoot itself was short and intensive, with a volunteer cast and a two-person, first-time crew.

3. How would you describe your film in two words!?
Inner Worlds

4. What was the biggest obstacle you faced in completing this film?
We had no budget and were big in heart but short on experience. Many of my ideas about visual grammar were limited by my skill level in camera, lighting, and sound. That said, our intention was to have fun and learn—and I think we absolutely did. I'm proud of what we created together.

5. What is your favorite stage of the filmmaking process?
I'm most drawn to writing and conceiving—figuring out how to translate psychological ideas into visual language. I have a lot to learn in this area and am excited to keep growing. I also found directing actors especially meaningful, particularly the warm-up work that helped them access the internal space of the characters.

6. When did you realize that you wanted to make films?
I think I've always been making them in some form. But I realized I wanted to pursue filmmaking more seriously after a personal development experience that led me to shift how I spend my time—moving from being constantly "doing" toward more spirit-led work. That's when the idea of extending my psychotherapy work into film really took hold.

7. What film have you seen the most times in your life?
Big Night with Stanley Tucci. That film feels like a hug—it centers me every time.

8. In a perfect world: Who would you like to work with/collaborate with on a film?
I'm drawn to filmmakers who trust the audience and explore psychological complexity through simple sets, metaphor, and visual architecture. Films like The Tango Lesson (Sally Potter) and Malcolm & Marie (Sam Levinson) come to mind. Collaborating with actors who can hold subtle internal tension is especially important to me.

9. How has your experience been using FilmFreeway?
FilmFreeway has been very accessible and straightforward, especially for someone newer to the festival process. It makes navigating submissions and tracking progress much easier. I also appreciate that it creates space for new filmmakers to participate.

10. What is your favorite meal?
Something simple, co-created, and shared. I'm less interested in the meal itself than the experience around it.

11. What is next for you? A new film?
Yes—my next project explores neurodiverse relationships and what happens when two people experience the world in fundamentally different ways. It builds directly on my clinical work, but again through story rather than explanation. I'm also continuing to integrate filmmaking with my broader work in psychology, writing, and teaching.