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Tallinn Black Nights Film Festival unveils the opening film and Flanders Focus lineup
The 21st Tallinn Black Nights Film Festival (aka PÖFF) will see Flanders, Belgium as the focus region of the festival, that will include 10 films in the specially-curated programme In Focus: Flanders. The festival will be opened with another film from the region, Racer and the Jailbird.
Following the tradition of choosing a country of focus for each edition to introduce slices of its culture and cinematic history, PÖFF has instead focused on a region this time, choosing the Dutch-speaking region of Belgium - Flanders - as its region of focus for 2017. The festival has curated a retrospective programme of 10 films that explore the developments in Flemish cinema between 1983 and 2016.
The programme includes two Best Foreign Language Film Academy Award nominations - Daens by director Marc Didden (1983) and Bullhead by Michaël R. Roskam (2011), the only film in the programme that has screened at PÖFF before. One of the films, Facades by directors Kaat Beels & Nathalie Basteyns, will have its international premiere at the festival.
Other entries include the winner of the best director award in Venice’s Orizonti competition Home by director Fien Troch, Cargo that was nominated for the Sebastiane award at San Sebastian and Toto the Hero, a co-production between Flemish, Walloons and Germans, that was nominated for a BAFTA and won the Golden Camera award for the director Jaco van Dormael at Cannes in 1991.
The film to be screened at the opening ceremony of the festival on 17 November in the Nordea Concert Hall is Racer and the Jailbird, the romantic heist thriller by director Michaël R. Roskam that had its world premiere in Venice. The film has been chosen as the Belgian candidate for the Academy Award for Best Foreign Language Film.
Says Tiina Lokk, director of Black Black Nights Film Festival: ‘Why Flanders? Because it is a remarkable region with a rich cultural heritage and an exciting cinematic output. What I, as an Estonian, admire especially is how they have made a much greater impact in the world than their size would seem to suggest. They’ve been making great, distinctive films for decades now, having put themselves strongly on the map with two Academy Awards nomination in the last decade and a remarkable presence at the festival circuit.
And their films have always made a strong impact our festival’s audiences and juries alike. To bring some examples, in 2012 Felix van Groeningen’s Broken Circle Breakdown won the audience award, in 2014 Gust van den Berghe’s Lucifer won the Grand Prix and in 2015 Martha Canga Antonio won the best actress award for Black. In addition, we have a great Flemish debut Resurrection in this year’s First Feature Competition programme.’
Says Yves Wantens, General Representative of the Government of Flanders:
‘The kind of Flanders Focus with Black Nights is one of the bigger events we have initiated with a film festival. The reputation and the quality of the PÖFF festival was one of the elements to decide on this collaboration with PÖFF.
From the side of the Flemish Government we try to promote the internationalization of our movies and audio visual series from a cultural and an economic side and participation in festivals like PÖFF is also one way of promoting our movies to the international public.’
The focus is supported by the Government of Flanders, the Flanders Audiovisual Fund and Screen Flanders.
The tickets for the Flanders Focus films are now available at poff.ee.
Tallinn Black Nights Film Festival takes place from 17 November until 3 December.
In Focus: Flanders
Brussels by Night (1983), director Marc Didden
Crazy Love (1987), dir Dominique Deruddere
Toto the Hero (Toto le héros, 1991), Jaco van Dormael
Daens (Daens, 1992), Stijn Coninx
The Misfortunates (De helaasheid der dingen, 2009), Felix van Groeningen
Bullhead (Rundskop, 2011), Michaël R. Roskam
Home (2016), Fien Troch
Past Imperfect (Le passé devant nous, 2016), Nathalie Teirlinck
Cargo (2017), Gilles Coulier
Facades (Façades, 2017), Kaat Beels & Nathalie Basteyns
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Academy Award, Golden Globe and 13-time Grammy award winner, T Bone Burnett, has earned an unparalleled reputation as an Artist; songwriter; music, film and concert producer; record company owner and artists’ advocate. He joins with acclaimed filmmakers and frequent collaborators, the Coen Brothers, for a lively and informative conversation. You can register here: http://festforums.ticketmob.com/event.cfm?cart&id=153723 using Bruno 2017 for special partner discount. |
From September 28 – October 15 the Film Society of Lincoln Center’s New York Film Festival presented its 55th edition with an enlarged program in five venues. It included 23 productions in its main slate, four sections with 24 short films covering narratives, genre stories, New York stories, and documentaries, 15 essential classic films which were recently restored or released, 18 documentaries. 41 short and feature films in the new Projections section, and 25 films in the much acclaimed retrospective of Robert Mitchum. Numerous free events were open to the public; three convergence virtual reality projects, four The Wild Cave projections screenings and several dialogues with directors whose films were in the 2017 program, Lucrecia Martel, Agnes Varda & JR, Hong Song-soo, and Philippe Garrel. Richard Linklater discussed with the NYFF Director Ken Jones films that inspired them, illustrating points presented with film clips. Issues of the digital divide Without a Net a documentary by Rory Kennedy was shown free of charge. The journal Film Comment, published by the Film Society of Lincoln Center premiered A Gentle Creature by Sergei Loznitsa and arranged three free talks covering The Cinema of Experience, Filmmakers Chat, and the end of the festival’s Festival Wrap. In two evening events Kate Winslet and Ava Du Vernay with her guest shared their views about films. In the special events section Claude Lanzmann portraits in four new 2017 films of four Eastern European women and their destiny were shown which had their world premiere at the festival. The special events also included a master class with Kent Jones and two distinguished cinematographers Vittorio Storaro and Ed Lachman, world premieres of The Opera House (Susan Froemke), Spielberg (Susan Lacy), Trouble No More (Jennifer Lebeau) and G.W. Pabst’s 1929 Pandora’s Box with a new orchestra score composed and directed by Jonathan Ragonese. There is no doubt that the New York Film Festival offers a comprehensive innovative program in its many sections, a differentiated selection of domestic and international themes and issues, new cinematic approaches, immersive technologies and revival of classics to name some cardinal areas of interest the fest satisfied. But what is also rather important is the festival’s service to the general public as expressed in the large number of events and screenings which are free of charge.
The Square, Ruben Oestlund, Sweden, 2017
As in his other films, Play featuring robberies of helpless white children with adults not intervening because the robberies are carried out by kids from minority groups and Force Majeure dissecting a father’s state of mind who spontaneously decides to save his cell phone rather than his family when threatened by an avalanche, Oestlund depicts in The Square the frailty of human bonds focusing on the precarious nature of interaction. The context is provided over one week by actions of Christian, a young chief curator running a modern art museum who is setting up his introductory exhibit The Square. The film’s episodes are embedded in the art community he serves, the art business, his somehow dysfunctional social family life and numerous loose sequences. Interactions he depicts are complicated, provocative and frequently open ended and Oestlund does not provide answers for the audience. The Square is a small circumscribed and neon bordered area in front of the museum, an avant-garde art work intended to create a statement about behavior. The Square represents the locus of compassion, sympathy and our shared space of understanding. The film offers a satirical portrait of this young self-possessed art curator and of the manners and pretensions his upscale culturally entitled bourgeois audience embraces. When people rush for the museum-provided customary delicious lunch after a presentation the speaker requests that they have to slow down since enough foods is available. A seminar is interrupted by a man with Tourette’s syndrome cursing the speaker and the audience which is to helpless to respond. Christian’s one night stand ends with a battle about the condom used and he fails to remember his partner’s name. When queried about art he responds that any object including the purse of the journalist interviewing him are elevated to a work of art by labelling it art. The interview takes place in front of several piles of dirt that are now art given their designation as art. During a black-tie fundraising dinner, a semi-clad ape man terrifies the well behaved guests through his rapid movements and roars disrupting the dinner and grabbing guest. First they freeze not knowing how to respond but after their frame of behavior is broken, a group of men tries to kill him. When a video from a marketing agency showing a homeless girl being blown up on the square to generate maximum attention for the art show goes viral on YouTube Christian is fired and is helpless trying to explain the video and his loss of the job to a large audience of journalists. Within a week his status of the self-assured intellectual has faded.
For Oestlund our society is dominated by media management and marketing. In politics the more exposure one gets through media the higher chance of election as demonstrated by Trump’s elevation. In art the value is determined by the market and funding for art determined by reaction of sponsors. The more offensive it comes across to sponsors and interest groups the smaller the amount raised and the greater the censorship.
Faces Places Agnes Varda and JR, France, 2017
The film is a persuasive documentary essay of people and places in rural France. 88 year old Agnes Varda and her much younger collaborator JR, a 34 year old street photographer, engage in a photographic voyage reacting and recording spontaneously elements of the environment focusing primarily on unknown people from all walks of life. Their tools for understanding are the large images of people produced by JR’s photo booth on a truck. They are pasted as black and white murals to the walls and other surfaces and come close to large public art project. Images reflect mostly people but also groups and reproductions of old photos. More importantly are the sentiments of the people who were photographed which they express in non-directive talks about themselves, the environment and work, and the reaction to their images. Varda and JR also shared reflections about their life and art. They place themselves as much into the center of the film as the people they met in their spontaneous passages. Varda and JR had no script for the film nor had preconceptions about the content. They started with the idea of exploring the reality of persons met at random and it took them a long time to get enough funds to realize the project.
Hall of Mirrors, Ena Talakic and Ines Talakic, USA 2017
This documentary portrait of the non-partisan Edward J. Epstein is a compelling analysis of his investigative journalism using as a central theme his recently published book “How America Lost Its Secrets: Edward Snowdon, the Man and the Theft” and material from numerous books and articles by the 81 year old author. They cover a broad range from his investigation of the Warren Commission, the economics of Hollywood, the case study of the diamond industry to the revealing analysis of Edward Snowdon absconding with 1.2 million secret documents from the National Security Agency. Epstein demystifies in the film and Q&A session Snowdon and removes him from the pedestal of a whistle-blowing hero to that of a common hacker who found with his stolen information a new home in Russia. But Epstein makes it clear that the NSA takes much of the blame by outsourcing the handling of sensitive information. Comparing his work as an investigative journalist early in his career to what he is doing now Epstein emphasized that effective investigation has become much more difficult. Access to and the quality of information is filtered by many factors including the use by policy makers of public relations and crisis management experts. Further Facebook and other interest driven social media are rarely a source of valid information. The gap between fact and fiction or appearance and reality is growing steadily and the status of news precarious.
The films noted below are part of ‘Projections’ a showcase for international film and video works. Encompassing 41 short and feature films. Projections was sponsored by MUBI, a streaming service offering demanding films. The films productions shown at the festival “expand upon our notions of what the moving image can do and be” and impact our perception of reality.
Caniba, Verena Paravel and Lucien Castaing-Taylor, USA, France, UK, 20017
Shown for the first time in the United States this documentary offers a disturbing portrait of Issei Sagawa who lives near Tokyo with by his brother Jun. Sagawa was declared legally insane in 1981 by a French court for killing a fellow student, raping her corpse and cannibalizing it and was deported to Japan. He turned there into a media sensation making a living as a manga book author and pornographic film maker capitalizing on his outrageous crime. He is now cared for by his brother Jun due to impairments caused by a stroke. The documentary conveys that Sagawa still desires human flesh and would like to be killed by another cannibal. Ironically, his brother shows in the documentary strange sadomasochistic sexual desires. The anthropologist film makers try to refrain from judgmental statements but the subject matter, imagery and the brothers’ statements presented rather disturbing.
Occidental, Neil Bekoufa, France, 2017
Also premiering is this non-linear feature about the guests and staff of a bohemian downtrodden hotel in Paris staged against the background of protests, riots and street violence. Directed by Neil Bekoulaf, a visual artist, Occidental’s narration is restricted to the hotel and its claustrophobic theater-like setting with occasional excursions to the chaotic outside. The cast of odd characters engaging frequently in unpredictable actions includes a gay Italian couple that has checked into the hotel’s marriage suite with empty suitcases, some English guests prone to drinking, an old American man with his attractive young female lover, and a suspicious hotel manager with her receptionist and an assistant who cannot communicate. There are no clear connections between the characters since they do not seem to be what they represent to each other fitting the genre breaking construction of the film. The hotel manager calls the police suspecting the gay couple of being thieves or terrorists, the cops do not believe her account since there is no evidence or logic to her stories. Her assistant faints when queried and the receptionist seems to be falling in love with a guest. It is not clear to the audience what and why things are happening and confusion prevails, including the destruction of the hotel Occidental by an explosive rapidly spreading fire. The hotel’s inmates escape into the street riots and contradictory accounts of the fire are shared. If the destruction of the hotel stands for the demise of the occident is not clear. Bekoufa turned the hotel into an art object installation after the film was completed and provided incomplete answers in the Q & A session, musing that the meaning of his film has to be ascertained by the viewers.
Claus Mueller, filmexchange@gmail.coma
EFFFF (European Fantastic Film Festivals Federation) and Blood Window are proud to announce the creation of an award for the Best Latin American Fantastic Film of the Year.
From now on, the emerging Latin American talent will stand out, connecting Europe and Latin America:
“We understand that it is important to establish close ties between the European and Latin American film industries and communities. Latin America is a very exciting place for fantastic cinema today, and Blood Window has played a pivotal role in this. For the EFFFF, this collaboration is a pleasure and an honour”, said EFFFF chairman, Chris Oosterom.
“We celebrate with enthusiasm the creation of this award. We believe that this initiative, developed in collaboration between the EFFFF and Blood Window, will help strengthen the bonds between the Latin American genre films community and the European Fantastic Film Festivals family. I have no doubts that the continuity of this alliance will foster the discovery of new emerging talents in the fantastic film genre”, said Javier Fernandez, Blood Window director.
The selected film must have been part of at least two festivals in the EFFFF. The prize will be awarded to the winner in November, during the next edition of Blood Window in Buenos Aires.
Hey Guys,
I wanted to take a second to introduce myself and the new organization I work for. CineLove is a new streaming platform/film festival and movie movement. To say hello & welcome I wanted to offer y’all a sweet discount on entry to our very first short film comp. Just use the code friends over at FilmFreeway to enter for $2.50.
Here is a little more about our organization.
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CineLove is looking for the voices of the new generation.
We’re a new streaming service dedicated to bringing the film festival experience into your home.
Enter our rolling contest NOW.
Meet a new audience through our screening events and streaming service.
Make money through our competitive royalty scheme.
Win film festival prizes.
CineLove Short Film Festival
Enjoy three days celebrating the best indie TV pilots in the heart of historic York, UK at the newly opened Everyman Cinema.
Thursday 10 May to Sunday 13 May
Everyman Cinema, York
Thursday 10 May 2018
8 - 9 pmWelcome reception
9 - 10:30 pmScreenings
Saturday 12 May 2018
2:30 - 3:30 pm Screenings
Sunday 13 May 2018
9 - 10 pm Awards announcement
Categories
Micro-budget TV Pilot (under $5k)
Small-budget TV Pilot (under $10k)
Comedy TV Pilot
Drama TV Pilot
Sci-Fi TV Pilot
Documentary TV Pilot
Dramedy TV Pilot
Animation TV Pilot
Action TV Pilot
Adventure TV Pilot
Arthouse TV Pilot
Historical TV Pilot
Horror TV Pilot
Erotica TV Pilot
Animal-Led Narrative TV Pilot
Prizes
First place £250 cash prize
Get paid to stream films to audiences in UK, US, and Canada via CineLove
Screen your movie at film festivals and special screening events via our indie cinema partners in UK/US/CAN.
Invitation to a film festival event in your region
About CineLove
The future of streaming launches winter 2017.
We are in a new golden age of television
– but too many choices leave us confused.
Don’t you miss the cinema experience?
CineLove’s got your back.
Always now, forever independent.
We curate the best new movies, shorts, film festival favorites, and TV shows – daily.
With daily exclusive content & originals, all for just one monthly flat fee
plus film news, reviews, and education.
We are the only subscription cinephiles & filmmakers need.
Filmfestivals.com was established in 1995, over the years we became the premier link between film and festivals with 6.000 festivals listed, over 14 000 festival organizers contacts in our database, 75.000 articles. 162 000 Industry subscribers and 930 000 unique visitors per year...
05.11.2017 | American Film Market Dailies's blog
Watch a teaser I Request a screener and meet with Gilbert Nash at AFM
CHICAGO, IL (October, November 2017)
The creative team behind VariousArtistsTV.com, an online network where independent filmmakers can showcase their work, is proud to announce they will be accepting submissions for their new online film festival competition, the Various Artists Independent Film Festival, {VAiFF}. This unique festival was created to provide artists the opportunity to showcase their creativity and engage in healthy competition with their talented peers. The festival accepts submissions from filmmakers of all ages, ethnic groups and backgrounds from all over the world in various categories and genres.
VAiFF is a year-round competition, with filmmakers securing nominations in four quarterly rounds. The winning nominees in each quarter will then compete in the LIVE festival, taking place in Chicago, IL in October 2018.
Online quarterfinal votes determine grand finale nominees
October 22nd – December 30th, 2017
EARLY BIRD: October 22 – 28, 2017 REGULAR SUBMISSIONS: October 29 – November 19, 2017, LATE SUBMISSIONS: November 20 – December 3, 2017
30-day social media audience voting from December 5 – January 3, 2017
QUARTER / FALL SEASON Winning Nominees announced January 5th, 2018!
One winner from each of the nine categories will secure their spot as Nominee #1 in and will compete at the 2018 grand finale and festival.
VAiFF accepts projects in nine different categories and genres shorts;
· Horror
· Comedy
· Drama
· Music Videos
· Web / TV Pilots
· Animation
· Children / Family
· Documentary
· Foreign
VAiFF accepts projects regardless of completion date. Yes, your submitted project can be 2 days old or 12 years old, it is still eligible for submission.
Submit your project at this link: https://filmfreeway.com/VAiFF
Click here for rules and to see previous winners: http://www.variousartiststv.net/vaiff-2017-2018
Grand Prize winners will receive cash prizes, customized awards, distribution opportunities, and several free filmmaking tools. For a more detailed explanation, please visit http://www.variousartiststv.net/vaiff-2017-2018
Filmmakers will appreciate the list of high-profile judges for the annual competition, which highly respected industry professionals. Some of the judges include:
· Bob Gale - Writer, Producer of ‘Back to the Future’, ‘Back to the Future Part 2’ and ‘Back to the Future Part 3’
· Eric White - Music Producer, Emmy Award Nominee for his work on 'The Voice'
· Chris Walas - Special Effects Make-Up Artists, Academy Award Winner (1985) ‘The Fly’ and creature effects designer from ‘Raiders of the Lost Ark’, ‘Star Wars: Episode VI Return of the Jedi and Gremlins.
... and others soon to be announced.
SUBMISSION ARE NOW OPEN!
For more information and the latest updates, please visit www.VariousArtistsTV.com and click on Featured Events with the VAiFF icon.
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Kenya Film Commission would like to announce that submission of films for the 2017 Film and TV Awards has officially closed. This year, the commission registered the highest number of entries ever received since the inception of Kalasha International, with the submission of 237 films!, an affirmation of the credibility of the Kalasha over the last 7 years and the fact that more film makers are keen to have Kenyans consume local content.
The Awards gala is our very own Kenyan Oscars with various categories spanning feature films, short films, documentaries, T.V documentaries, T.V commercials, T.V drama, T.V comedies and TV shows.
The Jury is currently vetting all the films in preparation for the unveil of the 2017 nominees and probably one of the grandest event in 2017- Kalasha Film & TV Awards scheduled for Saturday 9th December 2017.
This year, the Kalasha International has been split in 3 with the Kalasha International Film Festival set from 4th – 8th December 2017 and the market set for March 2018.
Kalasha International is the biggest film market in East Africa bringing under one roof a Film Festival, a Film & TV Awards and a Film & TV Market. Further details can be accessed via; http://kalashainternational.com/company-register/. For exhibiting, sponsoring or advertising, contact us at connect@kalashainternational.com.
Saturday, November 18
1:00 - 1:50 PM
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Turkey’s one the most anticipated event International Izmir Short Film Festival begins Tuesday the 7th of November. The festival screens 400 films from 42 different countries free of charge for film lovers. Along with special film selections, festival also hosts exciting workshops, exhibitions and events until the 12th of November.
The festival will take place on November 7- 12. 400 films from 42 different countries have spread out to 146 showings, including university screenings. Films will be shown free of charge at the Institut Français, Izmir Art in Culture Park, Buca Municipality Tarik Akan Youth Center and at the participating universities’ halls.
Events & Workshops
İzmir's festival aims to provide training in every field for short films. With this aim at its heart, workshops, talks and seminars have been organized with the pioneers of the film industry. The workshops will start with the successful cast director Harika Uygur. Actress Irem Altug will be sharing her experiences in film and TV. While Advertiser Heval Hazal Kurt will be searching the answers for short films’ marketing issues in her workshop, film critic and International Competition jury member Murat Tolga Sen will be talking about film writing and Turkish Cinema. Oktostore will run an interesting workshop on digital cinema where the participants will have a chance to discuss the latest technologies and equipment. Berlin based sound operator Tolga Uygur will share his knowledge on sound recording, boom operating, microphones and sound editing in his workshop.
Film lovers will also have the opportunity to meet with successful actors Burak Demir, Basak Parlak and director Bulent Isbilen. Actress Deniz Cakir, who will serve in the National Competition jury this year, will also meet with the festivalgoers in a talk session during the festival.
Festival will host a special screening of Luis González's feature film "The Turkish Way" at the French Cultural Center. The documentary tells the story of three chiefs of the El Celler de Can Roca, which was chosen as the best restaurant in the world in 2015. They begin a gastronomic journey from Argentina and travel to Turkey.
Portraits from Turkish Cinema photograph exhibition by Mehmet Kostumoglu can be visited at Buca Municipality Culture Center during the festival. Kostumoglu’s 24 years’ worth of work comprises of 200 portraits of the greatest names of the Turkish Cinema; Tarik Akan, Mujde Ar, Münir Özkul, Tuncel Kurtiz, Mujdat Gezen, Ediz Hun, Omer Lutfi Akad, Hale Soygazi, Perihan Savas and Sener Sen.
11 Awards
Short films from all over the globe will be competing for the Golden Cat Awards. The best fiction film and the runner ups in the international and national competitions will be awarded. In the national category, the best documentary, the best experimental, the best animation films awards and best newcomer and best cinematographer awards also be presented.
Ege University, Yasar University, İzmir Economy and Izmir Institute of Technology students will be voting for the title of the best film to receive the Migros Youth Prize amongst the finalist films which will be screened at the universities’ halls.
Festival is kindly supported by the Turkey Ministry of Culture and Tourism, İzmir Metropolitan Municipality, Izmir General Directorate of Cinema, Buca, Konak, Bornova and Karşıyaka Municipalities and French Cultural Center.
JEFFREY TAMBOR, LIOR ASHKENAZI HONORED
Israel Film Fest in LA- Meir Fenigstein, left, Ayelet Zurer, Karin Eliyahu-Pery & Jeffrey Tambor
The 31st Israel Film Festival in Los Angeles, which runs through November 21st, celebrated its opening night before a sold-out crowd at the Saban Theatre in Beverly Hills on November 5th. Festival founder/executive director Meir Fenigstein presided over the night, which honored Jeffrey Tambor with the 2017 Israel Film Festival Achievement in Television Award and Lior Ashkenazi with the 2017 Israel Film Festival Cinematic Achievement Award. Israeli filmmakers, including leading actors, directors, producers and writers representing many of the films playing in the Festival, walked the red carpet and later gathered on stage. The Festival opened with a screening of the film Ben-Gurion Epilogue, winner of the 2017 Ofir Award for Best Documentary.
Award-winning Israeli actress Ayelet Zurer presented Tambor with his award. Mark Ivanir presented Ashkenazi with his award. Karin Eliyahu-Pery, Consul for Public Diplomacy, spoke on behalf of the Consulate General of Israel, Los Angeles
Among those in attendance were Adam Berkowitz – 31st Festival Chairman & Co-Head of Television, CAA, Alon Aboutboul, Actor, Harmonia, Roni Abramowsky, Producer, Maktoub, Guy Amir, Writer/Actor, Maktoub, Ehud Bleiberg, Producer, The Cousin, Ania Bukstein, Actress, A Quiet Heart, Mike Burstyn, Writer/Director, Azimuth, Shuki Friedman, Producer, Azimuth, Hedva Goldschmidt, Distributor, Go2Films, Yiftach Klein, Actor, Azimuth, Niko Koshet, Actress, Yariv Mozer, Director, Ben-Gurion, Epilogue, Ofer Naim, Producer, Almost Famous & Operation Egg, Arik Rotstein, Director, Antenna, Hanan Savyon, Writer/Actor, Maktoub, Adar Shafran, Producer, Maktoub, Sammy Sheik, Actor, Azimuth, and Dan Wolman, Director/Producer, An Israeli Love Story.
For 31 years, the Festival has presented over 950 feature films, documentaries, television dramas and short films to close to a million film goers and brought hundreds of Israeli filmmakers to the U.S. to share their art. The Israel Film Festival is produced by IsraFest Foundation, Inc., a non-profit organization created in 1982. Among the Sponsors of the 31st Israel Film Festival are long-time partners Millennium Media, Adelson Family Foundation, The Hollywood Reporter, Rabinovich Film Project, Israel Film Fund, Variety, Eclipse, Maurice Marciano Family Foundation, Max Webb Foundation, David and Judy Shore Foundation, CAA, Screen International, New Regency, Bank Leumi USA, Four Seasons Hotel, The Orlando Hotel, SLS Hotel, Pacific Holdings, Yvel and the Israel Consulate in Los Angeles, to name a few.
To attend the 31st Israel Film Festival, or to purchase tickets contact IsraFest Foundation:
Office: 310.247.1800 • Email: info@IsraelFilmFestival.org
Visit us at www.IsraelFilmFestival.com
2018 marks the historic 40th anniversary of the Sydney Gay and Lesbian Mardi Gras. To celebrate this milestone, the Festival program is bigger, better and more fabulous than ever as it reflects on four decades of amazing evolution, momentous achievements and extraordinary individuals.
The Sydney Gay and Lesbian Mardi Gras Festival kicks off on Friday 16 February 2018 with seventeen sparkling days, jam-packed with parties, performance, exhibitions, family and community events that culminate with the iconic Sydney Gay and Lesbian Mardi Gras Parade on Saturday 3 March 2018.
In this special anniversary year, the 2018 Festival focuses on the theme ‘40 YEARS OF EVOLUTION’. 40 years on from the original 1978 street Festival turned protest, the program and parade have been carefully curated to reflect and celebrate four decades of love, protest, diversity, acceptance, activism, pride, family, passion, creativity, drama and satire.
Mardi Gras Arts CEO, Terese Casu announced “This Festival we celebrate all the amazing activists and leaders, including our 78ers, who have fought tirelessly for our rights over the last four decades. We also invite and welcome new friends to join the festivities to celebrate 40 years of fabulousness.”
“Mardi Gras is for everyone and this year you will see new spaces and events for more of our community and families to enjoy and share – from our Museum of Love & Protest exhibition at the National Art School Gallery, the inaugural SISSY BALL at Carriageworks to our fabulous Family Fun Day at Luna Park and an exciting performing arts program at the Seymour Centre” said Casu.
Mardi Gras Creative Director,Greg Clarke said, “The opening weekend of the celebrations features Trevor Ashley’s Mardi Gala at the Sydney Opera House and the wonderful Fair Day back at Victoria Park. Other special events not to be missed include Queer Thinking and Koori Gras at Carriageworks, Queer Art After Hours at the Art Gallery of NSW and the Pool Party. “
“The 40th anniversary Parade looks set to be the best yet, with a sparkling procession of hundreds of jaw-dropping floats and 12,000 revellers will dance till dawn at the Mardi Gras Party, Australia’s biggest LGBTQI party of the year” added Clarke.
NSW Minister for the Arts Don Harwin said “The NSW Government is proud to support the Sydney Gay & Lesbian Mardi Gras. It’s a key moment of Australia’s annual cultural calendar and the plans for the 40th anniversary are making 2018 look no different.”
City of Sydney is the proud government partner of Sydney Gay and Lesbian Mardi Gras in 2018, providing funding for this commemorative anniversary season. Commenting on Mardi Gras’ cultural significance, Sydney Lord Mayor, Clover Moore stated “This is a major milestone in the history of one of Sydney’s most important events, one that represents our city at its best – diverse, open, creative and irreverent.
“From the first march in 1978 to being one of the world’s great LGBTIQ festivals, the history of Mardi Gras is the history of the community’s long path to equality. We are proud to be a long term supporter of Mardi Gras and of the great welcome Sydney gives to visitors from all over the world.”
Tickets for this superbly curated program, bursting with bravado, cabaret, passion and personality go on sale 10am AEDT, Friday 03 November 2017 at www.mardigras.org.au.
MARDI GRAS ’18 SEASON HIGHLIGHTS
Museum of Love & Protest
Presented in association with the National Art School, the Museum of Love & Protest is the signature event for the 40th anniversary celebrations. This immersive exhibition brings together original costumes, photographs, rarely seen film and video footage, iconic posters, storytelling, music and artefacts. The Museum’s theatrical design combines visual spectacle and moments of intimacy for visitors to discover the extraordinary stories, artists, communities and images of the Sydney Gay and Lesbian Mardi Gras. The Museum is open Friday 16 February – Sunday 4 March.
On Friday and Saturday evenings at 6pm the Museum of Love & Protest really comes alive as fabulous Mardi Gras identities entertain you with their unique spin on Mardi Gras history. You’ll also be able to enjoy a drink or two at the Mardi Gras Bar of Love & Protest.
Rainbow families with children aged 6+ will be able to express themselves at family workshops on Saturday 17 February.
Trevor Ashley’s Mardi Gala
Wear your best black-tie or outrageous outfit and get ready for a variety gala that is part concert, part chat show but ALL fun! Together with a 14-piece orchestra, the Mardi Gras season will kick off right with a night of laughs, music and fabulosity, celebrating the vibrant forty years of Mardi Gras. After his sell-out concert last year with Diamonds Are For Trevor, Trevor Ashley will be joined by the incredible showman Todd McKenney, uber-diva Paul Capsis, pop-queen and jungle-queen Casey Donovan, the crown prince of comedy Joel Creasey and the legend herself, Carlotta. Trevor Ashley’s Mardi Gala will wow audiences at the Concert Hall, Sydney Opera House on Saturday 17 February.
Fair Day
Festival favourite Fair Day returns on Sunday 18 February, returning to the rolling lawns of Victoria Park. From amazing performances on the ANZ Main Stage, community stalls, yummy food, Sports Village and the world famous Doggywood competition, Fair Day is a free event and the perfect carnival of rainbow festivities for the whole family. Fair Day is proudly presented in partnership with ANZ.
Mardi Gras at Seymour Centre
The Seymour Centre becomes a Festival hub featuring a new look performance program of theatre, cabaret, play readings and live music. Highlights include a new production of the contemporary Australian classic Strangers in Between by Tommy Murphy starring Simon Burke, the return to Australia of Sydney drag legend Mitzie Macintosh in her first ever one-woman show and Playlist a day of play readings by LGBTQI writers.
Koori Gras
Koori Gras, produced by Moogahlin Performing Arts, is back after a fabulous first outing in 2017. Embracing international perspectives on First Peoples queer performance and communities, this year see Koori Gras moves to the Mardi Gras hub at Carriageworks from Monday 19 – Saturday 24 February featuring community forums, workshops, panels and cabaret. Not to be missed is Black Nulla Cabaret on Saturday 24 February, a night of queer First Peoples performances by leading local, national and international drag artists, DJs and special guests.
Queer Thinking
On Saturday 24 and Sunday 25 February leading thinkers and thought provocateurs will converge on Carriageworks for two days of illuminating ideas, discussion and debate. With a focus on social justice, Queer Thinking in 2018 will look back over the 40 years of Mardi Gras, from its early revolutionary beginnings through to its evolution to becoming one of the leading LGBTQI celebrations. 78er Julie McCrossin will be in discussion about far we’ve come and what fights are still left to fight.
Trans Stories 40 Years, co-presented with Trans Sydney Pride, is a special Queer Thinking evening event on Saturday 24 February bringing together a diverse range of trans people to share their stories of survival, resilience and finding happiness in their authentic selves.
Luna Park Family Fun Day
On Saturday 24 February Luna Park will go rainbow for this fun and fabulous party for kids and their LGBTQI families and friends. All the fun of the fair - featuring unlimited rides, the wildest kids’ dance party in the Crystal Palace and surprise performances by Sydney’s favourite drag queens. This will be a special fun-filled treat for kids of all ages and an awesome action-packed day for the whole family. Luna Park Family Day is presented in partnership with Medibank, and supported by IVFAustralia.
SISSY BALL
PRESENTED BY SYDNEY GAY AND LESBIAN MARDI GRAS AND RED BULL MUSIC
For one night only, clubbers will be transported to a Vogue dancefloor born from the living history of New York’s underground Ballroom scene. Expressions of identity become the focal point as bodies collide in the ultimate throwdown of style, precision, and attitude, in a showcase set to transfix. In true Vogue style, extravagance on the runway will be matched with a soundtrack that weaves through disco, house, bounce, pop, performance and much more. Curated by local interdisciplinary artist and club icon Bhenji Ra, Sydney Gay and Lesbian Mardi Gras and Red Bull Music’s Sissy Ball is sure to be a festival highlight. Full line-up to be announced soon.
Pool Party
Set among gently swaying palm trees and uniting a cast of outrageous friends and beautiful strangers, Mardi Gras’ Pool Party transforms the Ivy Pool Club into a sexy and intimate playground, where you can frolic in style as handsome lifeguards survey the stunning scene. Delicious cocktails, cabana lounges, cool local DJs and Speedos galore, Pool Party, held on Monday 26 February, is the perfect way to make a splash this Mardi Gras season.
Queer Art After Hours
Queer Art After Hours returns in 2018 after last year’s hugely successful inaugural event. On Wednesday 28 February the Art Gallery of New South Wales will go queer, featuring a star-studded shimmering line-up of queer performances, fabulous DJs, live music, gallery tours and delicious drinks. Set against the charming backdrop of the Art Gallery of New South Wales, Queer Art After Hours coincides with the exhibition Robert Mapplethorpe: the perfect medium.
Parade
With 40 incredible years of passion, pride and protest, Sydney Gay and Lesbian Mardi Gras Parade has grown into a bustling extravaganza that brings Sydney to a standstill, and shines a light on the issues affecting LGBTQI people around the world. The 40th anniversary Parade on Saturday 3 March looks set to be the biggest and most exciting yet, with a sparkling procession of over 200 groups and jaw-dropping floats showcasing the best the community has to offer. Dykes on Bikes, outrageous drag queens, community heroes and talented queer performers will join many more LGBTQI groups and allies to create stunning showpieces.
The event is once again supported by the NSW Government through its tourism and major events agency, Destination NSW.
Parade Viewing
Watch on like a VIP at Parade Sideshow and Diamond Club. Parade Sideshow gives a choice of either seated or standing access, each with exclusive access to bars, great food stalls, live screens, bathrooms. Enjoy the Parade as delightful hosts Portia Turbo and Andrew Mercardo give outrageous running commentary. Diamond Club gets a cocktail party makeover with new multi-tiered viewing areas that ensure you are heads above the crowd and don’t miss a moment, as you mingle at the private bar, gourmet food trucks, or dance to our party-starting DJs.
Diamond Club is proudly presented in partnership with ANZ
Side Show is presented in Partnership with Absolut Vodka
Party
Post parade, it’s the official Mardi Gras Party. Dance until dawn with 12,000 of your newest and closest friends across five extravagant dance spaces. Expect big surprises, local and international DJs and guest entertainers, plus mind-boggling lighting and extraordinary theatrics… both on and off stage!
Laneway
Laneway returns to its ancestral glory as the Beresford Hotel joins forces with The Flinders Hotel for the ultimate recovery party on Sunday 4 March. Taking over both venues and the laneway in between, Laneway features the hottest DJs, surprise performances and an eclectic mix of spaces catered to all. Super starlet Samantha Jade is already confirmed to perform so finish off your Mardi Gras celebrations in style at Laneway!
Mardi Gras Film Festival
From romance to comedies, documentaries to dramas and everything in between, Queer Screen delivers a huge 25th Mardi Gras Film Festival.
Check out some more incredible events in the 2018 Mardi Gras Festival:
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For the third year in a row the Stockholm Film Festival will hand out one of the world’s biggest cash prizes for film – The Stockholm Impact Award – together with the City of Stockholm. The prize is worth one million SEK and the winner will also receive a prize designed by the Chinese artist Ai Wei Wei.
This year’s nominated movies and directors:
· Cardinals av GraysonMoore& AidanShipley
· The Last Verse av Ying-Ting Tseng
· My Pure Land av SarmanMasud
· Searing Summer av EbrahimIrajzad
· Wild Roses av AnnaJadowska
Stockholm Impact Award at Kulturhuset
This year the award ceremony for the Stockholm Impact Award will be celebrated with a day dedicated to the price at Kulturhuset, wednesday 15th of November.
From 4.30PM there will be an onstage discussion with the winning director, together with actress SagaBecker, actress MalinLevanon, the head of the Swedish Film Institute AnnaSerner, actress and director BaharPars and culture commissioner in Stockholm RogerMogert
Moderator will be film critic and TV-presenter AndreaReuter.
Culture commissioner Roger Mogert is also the one who has been given the honour to hand over the award to the winning director at 5.30PM.
– Film is an artform that enlightens and touches the audience like nothing else. It is also a projection of the world we are living in at the same time as it strives to change it. With the Stockholm Impact Award we want to highlight films that reflect on our society and don’t back down to explore sensitive subjects. I’m very happy that the City of Stockholm together with the Stockholm International Film Festival is able to hand out the Stockholm Impact Award for the third year in a row, says culture commissioner Roger Mogert at the City of Stockholm.
The winning director’s film will be screened exclusively at Klarabiografen, Kulturhuset at 6PM. To get access to this screening a ticket is required, which also guarantees a seat for the onstage discussion.
Book your ticket here: http://www.stockholmfilmfestival.se/sv/festival/2017/film/impactvinnare_2017
If you don’t want to see the movie the onstage discussion is free for everyone in subject to availability.
The section StockholmImpactAward is a collaboration between the Stockholm International Film Festival and the City of Stockholm with the purpose to highlight the possibility of film to create change and debate through the depiction of contemporary subjects. The prize amount of one million SEK will help the winner in the development of new film projects.
Last year the director WayneRoberts (USA) won the award for Katie Says Goodbye.
2015 the director LeenaYaday (India) won the award for Parched.
If you haven’t already, don’t forget to apply for press accreditation for this year’s festival: http://www.stockholmfilmfestival.se/en/press/press-accreditation-2015
Press contacts:
Dante Stjernberg, press manager
Tel: +46 8 677 50 09 / +46 70 863 94 23
press@stockholmfilmfestival.se
Antonia Backlund, press secretary
Tel: +46 70 77 87 852
pressekreterare@stockholmfilmfestival.se
The 28th Stockholm International Film Festival, November 8-19, 2017
The Stockholm International Film Festival started in 1990 and is today one of the leading competitive film festivals in Europe. The festival takes place every year in November with more than 200 films from 70 countries.
WE LOVE FILM!
A LETTER FROM GOVERNOR CUOMO 2017 INTERNATIONAL PUERTO RICAN HERITAGE FILM FESTIVAL. |
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The festival launches its first programme dedicated to series called TV Beats, screening first episodes of the German show Babylon Berlin and two Russian series - Gogol. Origins and Chernobyl: Zone of Exclusion.
Babylon Berlin is the most expensive German series ever produced with a budget of nearly 40 million euros. It follows a young police officer in the Weimar republic during the 1920’s, an era of organised crime and political turmoil that paved way to the rise of national socialism.
The festival will screen two first episodes of the 16-episode series that includes Tom Tykwer, Henk Handloegten and Achim von Borries among the directors. The series has already been sold to more than 60 countries, including Netflix for the US. Actors Lis Liv Fries and Volker Bruch and directors Achim von Borries and Henk Handloegten will attend the screening.
The Russian series Gogol.Origins is a mystical thriller inspired by Nikolai Gogol’s collection of short stories Evenings on a Farm near Dikanka. A detective Jakov Guro and his assistant Gogol, a young court reporter with supernatural powers, are investigating the mysterious murders of young women.
The series, directed by Egor Baranov, is the first ever in Russia to reach cinemas before airing on television. The first film, consisting of two episodes (out of eight episodes in total) launched on 1400 screens and has a box office of 7,8 million dollars with more than 1,9 million tickets sold.
Chernobyl: Zone of Exclusion is the second season of a popular Russian sci-fi series that was launched in 2014. It is the first Russian series ever that has been filmed in Hollywood with the participation of several US actors. The story follows Pasha and his friends into a present-day America, ruined by a nuclear disaster. The 8-episode series, directed by Pavel Kostomarov will air on the 10th of November in Russia.
According to the head of programme Tiina Lokk the aim of creating the new programme is to reflect on the new situation where the boundaries between series and films have vanished in terms of artistic and technical quality and production value. “We have reached a point where the last quality separating the two formats is the very format they are presented in. As a festival dedicated to sharing great stories we feel the need to embrace that change. And we are extremely thrilled with the exciting selection we managed to put together for the first edition!”
The 21st edition of Tallinn Black Nights Film Festival takes place from the 17th of November until the 3rd of December.
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49th edition: a new step
Six months away from its next edition, which will be held from 13 to 21 April 2018, Visions du Réel unveils its new visual identity. A year before it celebrates its 50th edition, Visions du Réel is in fact embarking upon a new step with its new artistic direction and a new logo.
For the poster, a photo taken at the heart of the Festival in 2015 by a young local artist, Delphine Schacher, has been chosen.
During the upcoming festival, IDFA is organizing a large number of Talks to accompany its film program, giving unique insights into the makers’ backgrounds and the stories behind the films. These Talks are divided into three categories. Five Filmmaker Talks will delve deep into a specific filmmaker's body of work (including the Master Talk with Jonathan Harris). Over fifty Doc Talks will present in-depth conversations with makers and a well-known moderator following film screenings.
For the festival's professional guests, a total of twenty Industry Talks and Industry Sessions will deal with the latest developments in the documentary industry. Check out our website for more information on the complete industry program during IDFA 2017 or to download or browse the Program Guide.
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Filmfestivals.com was established in 1995, over the years we became the premier link between film and festivals with 6.000 festivals listed, over 14 000 festival organizers contacts in our database, 75.000 articles. 162 000 Industry subscribers and 930 000 unique visitors per year..
Vanessa McMahon: This is an interesting year in distribution, right? What's the general feeling at this market in light of The Weinstein Company falling apart and other distribution companies struggling against Netflix etc.?
WOLF: I tend to take a long view as opposed to just how things are going this week. As Netflix and subscription services around the world continued to grow the value of syndication in film started to tank and disappear. It basically destroyed that value. A decade ago a buyer of a film in Italy could forecast what the cycle of syndication was worth fifteen years out and they would put that into their ultimate estimated value. As subscription services were built that whole syndication piece disappeared. All those cable networks and stations had to switch to something new because they don't play movies anymore, everything's available on subscription. This created uncertainty for the buyers who were coming in and buying all rights for their country. Business hates uncertainty because you don't know when to take risk. If things are certain, like if you know it's going to be raining for the next week you know to carry a jacket or an umbrella. If someone says, “We don't know how the weather is, what do I pack for my trip? Well, I can't pack everything so maybe I don't take the trip.” So, if you know what the weather is you can plan ahead. If you know what the marketplace will be you can plan ahead and make offers appropriately.
When uncertainty came along the buyers became very risk adverse. So, yes they'd continue to buy films but they'd be very cautious with their offers. What we're seeing now is while the change is not complete, the buyers can now see over the horizon. They can see where this is going to land, what the values are going to be, what they can and can't get out of subscription versus on demand and all the other mediums. So they're more confident in making offers to cover a longer period of time because they have a sense of where that is. Because of this, many films we're seeing here were washed out of the process because they were packaged a few years ago, which was a different marketplace then. Those films have missed the marketplace in terms of pricing the film properly. All films will sell if they're priced right. Just like everything sells in a department store if it's priced right. Sometimes there are discounts because a store guessed wrong on a style or bought too many. Film is no different. You have films that were made a few years ago, anticipating the marketplace would be a certain way. They come here when it's finished and find out the marketplace changed. So, that's a struggle. Now that most sales companies and buyers see where the marketplace is going they can anticipate the future, they can make production decisions today with confidence that the film's done in eighteen months. The film still has to meet everyone's expectations but the marketplace won't pull the rug out from under them and change. So there's a sense of confidence of having come to a stable place now.
What does the future of the AFM market look like with the new studios like Netflix who not only produce but self distribute?
So there is still optimism for independent filmmakers in the face of series?
Can you explain the AFM on demand screening platform?
There's a lot of doom and gloom in the trades about the current marketplace. Was this a good year for AFM in your view?
This is a book every filmmaker, producer and content creator needs right now! Published under the American Film Market banner by Focal/Routledge Press, Crowdsourcing for Filmmakers has been hailed as the "most important book for film creatives in years!"
Pick up your copy on Amazon by clicking here. If Amazon doesn't deliver to your country, email support@stage32.com for more information.
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Vanessa McMahon:
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