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EVENT 2026

The event took place in the Colegio Mayor Argentino and the Press Palace in Gran Via (Madrid, Spain).

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Dates: May 26th to 30th

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Entrevista Exclusiva por "ESPRESSO" con Adlih Torres Alvarado

Madrid Film Awards

Adlih Cristal Torres Alvarado es una actriz, escritora y directora estadounidense, nacida de Puerto Rico, y creció en Orlando, Florida y Madrid, España. Adlih se mudó a Los Ángeles para actuar y estudió en la Academia de Cine de 'New York Film Academy'. Adlih es la primera de su familia en seguir una carrera en cine/televisión, reservando su primer papel en el exitoso programa de la NBC "THIS IS US (2022)" en la última temporada. Su reciente crédito fue en la serie de Ryan Murphy "TODAS LAS DE LA LEY" como 'Esperanza', junto a Glenn Close y Sarah Paulson. Adlih Alvarado es una directora cuyo trabajo se centra en la narración emocionalmente fundamentada y la realización de películas visualmente intencionales. Con un enfoque en el carácter, la atmósfera y los momentos humanos auténticos, Adlih aborda cada proyecto con una sensibilidad cinematográfica que equilibra la moderación y la intensidad. Su trabajo a menudo explora temas de identidad, conexión y transformación silenciosa, utilizando un ritmo deliberado y una fuerte composición visual para atraer al público a mundos íntimos. Adlih aporta una mentalidad colaborativa a cada producción, valorando la confianza y la curiosidad como herramientas esenciales en el proceso creativo.



Sinopsis: Ambientada en Los Ángeles, 2015, seguimos el ascenso de un actor, Andrew Thompson, durante una lectura de química para una próxima película de superhéroes, mientras se enamora en el proceso de su futuro coprotagonista.


¡Mira el trailer!

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  • Vuestra película narra una historia sólida, que combina romance, profesionalismo y realidad. ¿Cómo surge la idea?


    Bueno, la idea surgió porque vi una entrevista de Andrew Garfield para su película de Spider-Man donde describe a Emma Stone “she was like a shot of espresso, she was like bathing in sunlight”, traducido a que conociéndola era como un shot de expresso, como bañándose en luz. Eso para mi, fue una forma de describir a alguien tan bonito que claro se queda uno pensando “ojala alguien me describiera a MI asi”. Entonces me quedé pensando en cómo fue la audición entre ellos, donde tuvieron buena química, tanta para que surgiera la descripción.


  • El guión y su estructura podrían resonar con los conflictos internos de muchas personas hoy en día. ¿Cómo ha influido la sinergia de vuestro equipo en el resultado del proyecto? ¿Y qué ha aprendido durante el proceso de realizarla?


    Cuando escribí el guión, primero era simplemente como un mapa de escenas y originalmente todo era diferente. no toque el guión por un tiempo, hasta que salió la canción de Espresso de Sabrina Carpenter que me quedé loca pensando “eh! se robó mi título!” y eso hizo que se encendiera un fuego en mi alma. Ya cuando lo complete, me di cuenta que iba a ser un proyecto con más gente involucrada, entonces fui a donde mis colegas del trabajo que también son actores y les pregunté si estarían interesados, emparejando a cada actor con el papel que más encajaban. para el equipo detras de camara, fue una casa maravillosa porque me sorprendí con la cantidad de soporte que tenía, simplemente les dije la idea, quería grabarla en 3 dias y me dijeron, ‘vale hagámoslo’.tuvimos un “skeleton crew” de 5 personas.


  • Para comprender el valor de su obra, nos gustaría saber más sobre la mente detrás del proyecto ¿Cómo definiría su experiencia personal con el cine como actriz, guionista y directora? ¿Podría contarnos alguna experiencia o momento que la haya marcado o desafiado?


    La verdad, desde pequeña me encantaba crear historias. tanto escribir como dibujar. Me encantan mucho los videojuegos y los libros entonces hasta hoy en día veo al momento como un videojuego eterno, pero me hace ver la vida un poco más fácil. ya creciendo, siempre me encantaban las películas de romance, era muy romántica y aun lo soy. Es un poco difícil cuando estoy haciendo todos los papeles como actriz, guionista, directora, maquilladora, etc. porque a veces me gustaría verme actuar para darme notas, nunca puedo estar al 100%  en comparación a cuando dirijo a los demás actores. Un momento que me ha marcado ha sido el ultimo dia que grabamos para ‘Espresso’ que es la escena donde los dos personajes protagonista (Andrew y Emily) están en la burbuja oscura donde está haciendo la audición, porque me tocaba besar a mi compañero de trabajo y soy una persona muy tímida y tampoco quería que se hiciera rara la situación. Entonces tuvimos que cambiar algunas órdenes de escenas y tuvimos que hacer la escena del beso al frente de todo el mundo y pues, digamos que fue donde más tomas hicimos simplemente porque me daba vergüenza y estaba nerviosa. Pero resultó ser mi escena favorita al completar todo.


  • ¿Podría mencionar alguna dificultad que haya tenido durante el rodaje?


    Si, el primera dia, teníamos como 5 crew members, y el que estaba encargado de las luces tenia que irse temprano esa noche, pero no le dijo a nadie, ni a mi que soy la directora y productora ni a la asistente de dirección, que está encargada de saber donde y que hacen todos y pendiente al tiempo. El solo empezó a empaquetar el equipo y nos quedamos como que “hello?”, y el siguiente dia estaba tarde, solo para decir que no iba a poder llegar, y le dijimos, pues no te molestes en aparecer en el ultimo dia ya que tuvimos que encontrar un reemplazo, que resultó ser super majo.



  • Nos gustaría saber más sobre el cómo y el porqué de este interesante enfoque. Si tuviera que nombrar tres conceptos clave para ayudar a todos a comprender esta película y puntualizar en detalles que se escapan al ojo normal ¿cuáles serían?


    La verdad, estaba super inspirada en películas de los años 2010 's. Las películas de ese tiempo estaban en otro mundo en comparación a lo que sale ahora. una inspiración enorme, aparte de la entrevista, eran las película LaLa Land, Whiplash, y The Greatest Showman. Entramos al mundo de actores y el proceso de audición. También la presión de ser bueno y la “competencia” al igual que buscar con quien encaja uno. Y luego el final, el clímax donde surge el momento mágico y romántico con drama. creo que esas tres son exactas a lo que es Espresso.


  • ¿Cómo fue el proceso de creación de los personajes? Fellini dijo una vez que "todo arte es autobiográfico", ¿hay alguna historia personal detrás de esta obra? 


    Los personajes, aunque sean inspirados en los actores de verdad, también son pequeños fragmentos de mi. Algo que he notado en mis proyectos, es que termino escribiendo mejor protagonistas masculinos. Yo creo que es porque obviamente no se lo que están pensando de mí, pero siempre me imagino el cómo me gustaría que pensaran de mí, como cuando en la película Enredados donde Rapunzel está maravillada viendo las linternas y Eugene está observándola con amor y ella no se da cuenta. Quiero eso, y como no sucede mucho en mi dia dia, haciéndolo en una película es como poder ver una vida donde es posible verlo para mi. Cuando escribo personajes femeninos , es un poco más truquillo porque empiezo a compararme mazo, y es difícil separarme completamente pero es divertido porque es como un challenge para mí misma.




  • ¿Qué expectativas tienes para la película? ¿Y cómo ha estado viviendo la etapa de las competencias internacionales?

    Al principio, hice el cortometraje porque me gustaría hacer un largometraje, pero después de verlo, es perfecto como es, así como un cortometraje. Ha sido una experiencia guay ver mi película tener un tipo de éxito ganando en algunos festivales, siendo finalista y teniendo nominaciones, creo que nunca esperaba eso entonces a veces me quedo sorprendida y otras veces me digo a mi misma “pues claro que les encanta, es una historia bonita!”. Estoy super emocionada porque también me ha dado oportunidades de viajar a otros estados y países para ir a los festivales, es una emoción increíble ver mi historia llegar a diferentes lugares alcanzando corazones de todas partes del mundo.




  • ¿Podrías contarnos algo sobre tu próximo trabajo?

    ¡Por supuesto! ahora mismo estoy editando otro cortometraje de terror como un concepto para mi largometraje “Blu Milk” (Leche Azul) que se basa en una chica que casi muere, y empieza a tener experiencias paranormales, bien inspirada en el estilo de David Lynch. Está inspirado en un momento de mi vida donde casi me ahogo en la bañera de mi casa. También estoy trabajando en otra película titulada “Where the Fish Sleep” sobre una amistad platónica,  tengo el cortometraje Where the Fish Swim como prueba de concepto; y finalmente estoy produciendo una serie “Single & Desperate” donde 4 mejores amigas están navegando la vida de amor en la ciudad de Los Ángeles.




Conoce más de sus trabajos




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¡Gracias por darnos la oportunidad de conversar con usted!

Estaremos atentos a vuestros próximos trabajos.


MADFA® I Press Team

Madrid Film Awards®

Exclusive Interview for “The Department of Close Enough” With Dr. Keyonda Smith

Madrid Film Awards

Originally from Camden, New Jersey, and now residing in the D.C. Metro area, I am an accessibility advocate having earned a Ph.D. in Educational Leadership, Doctor of Naturopathy (Health & Wellness), Masters in Higher Education, Bachelor’s of Science in Health Education, and several industry certifications.


With over 14 years of experience serving healthcare-focused adult learners, I have gained intensive knowledge of the inner workings of higher education institutions, the culture, and as an overall expert. In my current and previously held positions, as Director of Online Course Design, Online Instructional Systems Designer, Adjunct Faculty, University Learning Specialist, and Director of Curriculum Content (Continuing Education), effective collaboration among healthcare on-campus learners, online learners, as well as staff and faculty were integral.


My initial career explorations provided me the opportunity to instruct allied health students in a blended & hybrid environment. This experience incepted my passion for adult learning and my professional career in higher education. In addition to obtaining faculty and clinical experience, my former and current higher education leadership positions provided me with a solid foundation supporting my in-depth understanding of education's institutional culture, learning management systems, educational technology, evidence-based instructional practices, andragogic techniques, and digital accessibility.




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  • Your film has a solid and ingenious story, combining entertainment, comedy, morality, and very distinct characters. How did the idea come about?


The idea came from my own experiences observing systems, people, and institutions that often mean well but sometimes settle for what I call “close enough.” As someone who has worked in education, healthcare learning environments, instructional design, digital accessibility, and leadership, I have seen how small decisions can affect people in very real ways. I wanted to take those serious ideas and place them inside a comedic story that people could enjoy while still recognizing the truth underneath it.

For me, comedy made the message more approachable. The story allowed me to exaggerate certain behaviors, personalities, and institutional habits in a way that was entertaining, but still grounded in real life. I wanted the audience to laugh, but I also wanted them to think about responsibility, inclusion, access, popularity, and the consequences of doing only the minimum.



  • We believe that the story, beyond the comedy, contains a profound message. We could say that its structure resonates with the conflicts many people face today regarding politics, indigenous peoples, and the pursuit of popularity.

    How has your team’s synergy influenced the project’s outcome?


The team’s synergy was essential because this kind of story requires trust, creativity, and a shared understanding of the larger message. Although the film uses comedy, it deals with meaningful themes such as power, identity, visibility, fairness, and how people are treated when systems overlook them.

My background has taught me the value of collaboration. In higher education and healthcare learning environments, I have worked closely with faculty, staff, students, and adult learners. That experience shaped how I approach creative work. I believe every voice on a team brings something important. When people feel respected, they contribute more honestly and more courageously.

The project benefited from that shared energy. The comedy became stronger because the team understood the seriousness beneath it. The moral message became clearer because we were not simply trying to entertain. We were trying to say something about people, systems, and the way society sometimes chooses popularity over accountability.



  • In order to understand the value of your piece, we would like to know more about the mind behind the process. How would you define your personal experience with cinema as a director? Could you tell us an experience or moment that changed or challenged you?

My experience with cinema as a director is deeply connected to observation. I have always been interested in people, behavior, learning, communication, and the way stories can reveal truth. My academic and professional background gave me the tools to analyze systems, but cinema gives me the space to translate those observations into emotion, humor, character, and visual storytelling.

One challenge for me was trusting the creative process in a different way. In education and accessibility work, there are standards, outcomes, compliance expectations, and measurable goals. Film has structure too, but it also requires flexibility. You have to allow the story, the characters, and the production process to breathe.

That challenged me in a good way. It reminded me that art can teach without feeling like a lecture. It can challenge people while still inviting them in. That realization strengthened me as a director and as a storyteller.


  • Can you tell us any difficulties you had during the filming and animation?

One difficulty was balancing the comedy with the message. I did not want the film to become so funny that the audience missed the deeper meaning, but I also did not want the message to feel too heavy. Finding that balance required careful choices in tone, pacing, character development, and visual style.

Another challenge was translating real world ideas into animated or filmed moments that felt clear and engaging. When a story deals with systems, morality, popularity, and social issues, the challenge is making those themes feel human. The audience has to connect with the characters first. Once they care about the characters, they are more open to the message.

The production process also required patience. Filming and animation both demand attention to detail. As someone who works in accessibility and instructional design, I naturally think about clarity, usability, and audience experience. That helped me, but it also made me very aware of how many small details matter.




  • We would like to know more about the how and why of this interesting and comedy approach for this docufiction. If you had to name three key concepts to help everyone understand and enjoy this film more, what would they be?

The first concept is accountability. The film asks what happens when people, organizations, or leaders choose convenience over doing what is right.

The second concept is visibility. Many people are affected by decisions made by systems that do not fully see them. That connects strongly to my work in accessibility, because accessibility is not only about technology. It is about whether people are considered from the beginning.

The third concept is satire. Comedy allows us to examine uncomfortable truths without immediately becoming defensive. The humor gives the audience permission to laugh, but the story still asks them to reflect.




  • How has the process of creating the characters been? Fellini once said that “all art is autobiographical,” is there a personal story behind this work? And what was the most valuable thing you learned making this movie?

Creating the characters was one of the most meaningful parts of the process. Each character represents a different kind of attitude, decision, or contradiction that I have observed in life. Some characters are exaggerated for comedy, but they are still rooted in real human behavior.

There is definitely a personal connection behind the work. My life and career have placed me in spaces where I have had to study how people learn, how institutions function, how access is created or denied, and how leadership affects others. As an accessibility advocate and educator, I have seen how “close enough” is often not enough. That idea became personal because I know the impact of being thoughtful, inclusive, and intentional.

The most valuable thing I learned is that storytelling can hold both humor and truth at the same time. A film can be playful and still be serious. It can be entertaining and still ask the audience to examine themselves.




  • Could you tell us more about your cinema experience? You have an amazing academic background. How do you connect with film and how have you come to explore art?

My connection with film comes from my love of storytelling, education, art, and human experience. My academic background taught me how to research, analyze, organize ideas, and understand people as learners. My creative side helps me transform those ideas into something visual and emotional.

I have always been drawn to art in many forms. Painting, drawing, documentary, beauty, movement, and creative expression all interest me because they allow people to communicate what words alone cannot always capture. Film brings many of those interests together. It allows me to combine education, social commentary, visual design, humor, and emotion.

For me, cinema is another classroom, but a more imaginative one. It gives me the opportunity to reach people in a way that feels personal and memorable.



Did the film meet your expectations? Share your thoughts on the production, the competition area, their reach, and how you achieved them.

Yes, the film met my expectations, and in some ways it exceeded them. I am proud that the project was able to communicate a meaningful message while still allowing room for humor and entertainment. That was one of my major goals from the beginning.

The production process affirmed the importance of preparation, collaboration, and creative flexibility. My experience in instructional design and leadership helped me think carefully about structure, audience, pacing, and impact. At the same time, the creative process reminded me to stay open to discovery.

Being connected to a competition platform also gives the film a broader reach. It allows the story to move beyond the people who created it and into conversations with new audiences. That matters to me because the themes in the film are not limited to one place or one profession. They are connected to larger questions about responsibility, inclusion, and how people use power.


  • Can you tell us something about your next job?

My next work will continue exploring the relationship between art, education, accessibility, and social awareness. I am interested in creating stories that entertain people while also inviting them to think more deeply about the world around them.

I want to continue developing projects that reflect my background as an educator, accessibility advocate, researcher, and artist. Whether through film, documentary, animation, or another creative format, my goal is to keep telling stories that are thoughtful, human, and honest.


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Know more about his amazing works!




Follow her!

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Thank you for giving us the opportunity to speak with you!

We will be attentive to your next jobs! 


MADFA® I Press Team

Madrid Film Awards®

Exclusive Interview With Stephanie Herman

Madrid Film Awards

Updated: Jul 9

I am a former principal ballerina, trained by George Balanchine ‘s School of American Ballet. At the age of twelve, my gym teacher saw a dancer in me and invited me into their after school ballet program. When I saw Erika twirl, I knew this was for me. I asked her where she learned to twirl and she told me School of American Ballet. Within two weeks I was auditioning for the school and got accepted. Little did I know that this was the best school in the world and part of George Balanchine’s New York City Ballet.



At the age of nineteen i began performing throughout the world with legendaries such as Rudolf, Nureyev and Mikhail Baryshnikov. And continuing for fifteen years, but the life of a ballerina is short.

Because I always dreamed of being in film I began to study the Meisner Technique. But I started late at the age of 65 after two years I graduated and secured an agent. Feeling like I was on my way to making my dream come true only to be sent on commercials for grandmothers. I would go to these commercials with my tight jeans, my pixie short hair and high heel boots. Sitting in the waiting room with other grandmas who definitely looked the role but not me. I became frustrated and realized the only way to make my dream come true was to produce my own show and film it. That is when I decided to produce, Ballerina.A One Woman Play.

As a former ballerina, in a Ballet company, everything is done for you, Costume staging, lighting, music, etc.

So now I needed to make it all happen. I was lucky to have a great network of friends to help me. Jennifer Vansijll, and I spent hours writing the script, with my dear friend Serrin Anderson on the phone almost every night helping me edit the script, making it my own. Lisa Forte, the owner of The Dance Theater Shop in Mountainview helped me choose my costumes and even donated them to me. Mark Madeo my Acting coach helped me with my acting scenes. Azita Gandjei and Kedar Lawrence helped create my film background. Please watch the film to the end credits to see my amazing team who made this dream come true.

I decided the play would have a simple set of a mirror ballet barre, and a screen in the background to show film or caricatures that I drew. I got the rights to the music I needed and spread the word out to local newspapers and social media. Opening night I humbly bowed to a sold out and standing ovation, with such gratitude. Because of my TV show connection I was able to hire Vidor Sood film and edit the play which later won 11 film festival awards. Because of the success of the film, I decided to write my own memoir in hopes of one day it becoming a TV series. where I could help produce it and maybe even act a role in it.


https://youtu.be/GorYu3NTc4I
Ballerina A One Women Play

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  • Could you tell us about your first steps as a ballerina? You have had very demanding training with internationally recognized teachers, how has that influenced your life?

When I was in junior high school, I was approached by my gym teacher who asked me if I wanted to join her afterschool ballet group. I told her I had never taken ballet and she said that didn’t matter. When I walked in to the gym and saw this beautiful girl twirling on one foot, I had to know where she learned to do that. She told me The School of American Ballet. Two weeks later, I auditioned for the school and was accepted. Going to the School of American Ballet with international teachers was wonderful. Each teacher had a different approach to teaching so I learned a well-rounded style and strength. 


  • Tell us about the idea and process of your TV Show, how the idea came about, and what you think about it after the results obtained over these years?


I noticed in life that people always asked me for advice. Where did you get your haircut? Can you recommend a good restaurant? What hotel should I stay at? Where’d you get those pretty shoes and that lovely dress. 


So for The Stephanie Herman Show, I decided to give people what they wanted. I focused on living life by loving it. I really love people so I interviewed fascinating people and filmed beautiful places.  


  • How has your team's synergy influenced among all your projects?


I love working with people. Whenever I performed, I enjoyed everyone involved from wardrobe to the stage crew and management, the conductor, my peers.  I was very lucky to be involved in a small Ballet company of 40 international dancers and we were like a family. I always strive for community wherever I go or work.



  • In order to undertand the value of your pieces, we would like to know more about the mind behind the process. How would you define your personal experience as a ballerina and the relation with cinema?


Ballerinas are trained to push, give 250%, be disciplined, understand the process of rehearsal to performance, and then letting go once on stage. As a ballerina, everything was done for me – my only job was to show up and dance. Producing a film was quite an eye opener.


  • Could you tell us an experience or moment that change or challenge you?


Yes. There was this one exercise in acting class. I had to get up on a box in front of my peers and accept compliments. Some were easy, but others were not. My peers badgered me to accept compliments deep within my soul. When one compliment was, “ you are talented” I couldn’t accept it and tears  rolled down my cheeks


But I did finally accept that I am talented - I walked away that day wondering why a former principal ballerina could not accept her talent - I realized that ballet required me to always strive to be better, no matter what.  So I made a vow to accept my talent - it was that attitude that helped me have the courage to produce my award-winning film, “Ballerina, A One Woman Play”



  • Can you tell us any difficulties you during your career?


Being insecure, tall, and having a lack of confidence.

1- Insecurity caused me to be nervous whenever being judged, like during auditions.

As a ballerina you need to be in control, yet let go at the same time- being nervous and insecure made it difficult


2- Being tall was difficult because company members in a ballet company, start out in the corps de ballet, where everyone needs to be the same height.  I was always at least a few inches taller than all the other females.  And as a principal ballerina, I had to have male partners that were taller than me when I was on pointe.  


3- Confidence, If you don’t believe in yourself, nobody else will. Confidence finally came with maturity and hardships.


  • We'd like to learn more about the how and why you of your vision. If you had to name three key concepts to help everyone understand your work, what would they be?


I am a true believer in owning the magic.

Have the vision of what you want and build it.  Trust the negatives, pushing forward with tenacity, and be creative when things don’t work. I sold my vision of producing my One Woman Play and film before I even had a script. I signed the contract only three months before the performance date - the rest was major hard work.



  • What was the most valuable thing you learned in your career? And what would you recommend to those who are taking their first steps?


As ballerinas, we needed to learn the choreography for every new show. That was not easy, I would fall and feel discouraged that I’d never make it. But with rehearsals and lots of practice, I learned the process of falling before flying. I use that motto whenever starting anything new that I’m insecure about.

  • Your career has collect many recognitions around the globe! Could you tell us more about your perspective on this? What's it like creating such high-quality, competitive projects, and how do you maintain that level of success over time?


Build it and they will come; I get bored if I am not working towards a goal. Maybe that’s the ballerina in me, always striving to make my dreams come true. After achieving a goal, I creatively work towards my next goal. It’s nice to humbly bow, appreciating the recognition. My next goal is to publish my memoir, get an agent, then have it produced into a TV series.


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Know more about his amazing works!


  • The Stephanie Herman Show

https://www.youtube.com/user/sherman1dancer * Stephanie’s Vimeo channel:


  • Interview, meet Stephanie


Follow her!


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Thank you for giving us the opportunity to speak with you!

We will be attentive to your next jobs! 


MADFA® I Press Team

Madrid Film Awards®

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