4th SCREENPLAY ContesTIFF 2025
We are excited to announce the top 10 scripts selected by our partners from 59 submissions to the 4th Screenplay ContesTIFF 2025! These scripts are officially nominated for Pitching Day, taking place on Thursday, September 25, at Villa 31 – Art Explora.
The winners will be announced at the Awards Ceremony, September 27, 2025. They will reward the winning scripts with the Distribution Award and the possibility of signing a production or distribution contract with the winners.
Jury
Screenplay ContesTIFF Scriptwriters
Gregory
JM Kasunich
Scriptwriter of "A Good Guy With A Gun"
USA
Deniz
Dursun
Scriptwriter of "Daylight"
Turkey
Sashenka
Ndreka
Scriptwriter of "M(I)TRA"
Albania
Jia
Shi
Scriptwriter of "Made in China"
China
Frederik
Ehrhardt
Scriptwriter of "Mudslide"
USA
Sasan
Khoshniat
Scriptwriter of "Saliva"
Iran
William
Armstrong
Scriptwriter of "The Beach of Stones"
Botswana
Anh
My Nguyen
Scriptwriter of "The Tin Can in the Cemetery"
Vietnam
Alex
Brau
Scriptwriter of "The Treehouse"
Spain
Ahmed
Saad Alnasser
Scriptwriter of "Under The Abaya"
Saudi Arabia
Selected scripts for Pitching:
A Good Guy With A Gun by Gregory JM Kasunich | USA
Daylight by Deniz Dursun | Turkey
M(I)TRA by Sashenka Ndreka | Albania
Made in China by Jia Shi | China
Mudslide by Frederik Ehrhardt | USA
Saliva by Sasan Khoshniat | Iran
The Beach of Stones by William Armstrong | Botswana
The Tin Can in the Cemetery by Anh My Nguyen | Vietnam
The Treehouse by Alex Brau | Spain
Under The Abaya by Ahmed Saad Alnasser | Saudi Arabia
Screenplay ContesTIFF consists in the application of original live-action and animated short film scripts or other short form scripts of all genres (max. 20 pages) through the Filmfreeway online platform
The said competition aims to evaluate from our partner producers and distributors the best and most likely screenplay to be produced by them with the greatest chances of successful distribution in the most important international short film festivals.
Needless to say, the priority would lie on the scripts whose stories were not necessarily and geographically related to the author’s residence, but which facilitated the production of the film anywhere in Europe and were most likely to be shot in Albania as well, thus utilizing local resources, locations, Albanian production companies and Film Commission offices.