STANLEY FILM FESTIVAL ANNOUNCES FIRST WAVE OF PROGRAM
 
- Horror Icon Eli Roth To Accept Inaugural Visionary Award at Closing Night Film Aftershock -
 
- NBC Universal’s Horror Network Chiller to Present the Festival -

 
The Stanley Film Festival (SFF), now presented by NBC Universal’s Chiller, announced today its feature films for the inaugural event that will run May 2 – 5, 2013 in Estes Park, Colo. Celebrating the best in independent horror cinema, SFF will showcase a full slate of features, shorts, panels, student competitions and special events – with Festival headquarters set at The Stanley Hotel. The haunted landmark opened in 1909 and was the inspiration for Stephen King’s Overlook Hotel in The Shining.

The Stanley Film Festival is honored to welcome actor, director, writer and producer Eli Roth to accept the Visionary Award for his contribution to independent film. Roth will also present his most recent work, Aftershock, on Closing Night followed by a Q&A discussion.

“Since his debut on the film festival scene with Cabin Fever in 2002, Eli Roth has become a leading force in the horror genre. Whether acting, producing, directing or writing – his many talents are what made titles like Hostel and Inglorious Bastards shine,” says Festival Director Jenny Bloom. “His body of work will set the Stanley Film Festival Visionary Award precedent high for years to come.”

The 2013 Stanley Film Festival film selection was curated by Programming Director Landon Zakheim and Programmer Michael Lerman. The program, as it stands now, includes feature films from 13 different countries, including two US Premieres and 13 Colorado Premieres.

“We are beyond excited to be able to showcase all the new work being done in the horror genre,” says Zakheim. “Our hand-picked lineup is packed with scares from the world's best festivals, and what better place to watch a horror film than in a haunted mansion like The Stanley Hotel!”

FEATURE PRESENTATIONS:

• 100 Bloody Acres – Australia – (Directors/Screenwriters: Colin and Cameron Cairnes, Cast: Damon Herriman, Angus Sampson, Anna McGahan) – A trio of fun-loving tourists on their way to a music festival fall into the hands of two crazed brothers with sinister plans in this madcap comedy about trying to survive. (Narrative) US Premiere

• Aftershock– USA – (Director: Nicolás López, Screenwriters: Guillermo Amoedo, Nicolás López, Eli Roth, Cast: Eli Roth, Andrea Osvárt, Ariel Levy, Nicolás Martínez, Lorenza Izzo, Natasha Yarovenko, Selena Gomez) – Modern horror maestro Eli Roth co-wrote, produces and stars as a mopey tourist whose wild vacation in Chile turns gruesome. Ravaged by a vicious earthquake, he and his friends desperately struggle to survive a living nightmare. (Narrative) Colorado Premiere/Closing Night

• All the Boys Love Mandy Lane – USA –  (Director: Jonathan Levine, Screenwriter: Jacob Forman, Cast: Amber Heard, Michael Welch, Whitney Able, Anson Mount) – Resurrected after a several year hiatus, this legendary splatter-fest is finally making its way back to the big screen. When the most sought after girl in school is invited to a weekend outing with friends on a secluded farm, a mysterious suitor begins to pick off the other boys one by one. (Narrative) Colorado Premiere

• Berberian Sound Studio – United Kingdom – (Director/Screenwriter: Peter Strickland, Cast: Toby Jones, Cosimo Fusco, Susanna Cappellaro) – Winner of five British Academy Awards including Best Director and Best Actor, this creepy love letter to the classic "Giallo" period details the complications befalling a motion picture sound designer as he quietly descends into madness. (Narrative) Colorado Premiere

• Big Bad Wolves – Israel – (Directors/Screenwriters: Aharon Keshales, Navot Papushado, Cast: Lior Ashkenazi, Dvir Benedek, Dov Glickman, Tzachi Grad, Rotem Keinan, Menashe Noy) – An obsessed cop, and the father of a victim take justice into their own hands when they capture a suspected killer of children. In their genre-bending follow-up to Israel's first horror film Rabies, Aharon Keshales and Navot Papushado explore an unimaginable terror. (Narrative) Colorado Premiere

• Black Rock – USA – (Director: Katie Aselton, Screenwriter: Mark Duplass, Cast: Katie Aselton, Lake Bell, Kate Bosworth) – Three childhood friends have their weekend getaway on a secluded island transformed into a brutal game of cat-and-mouse with a trio of trained predators. Katie Aselton (The Freebie, star of "The League") directs from a script by husband Mark Duplass. (Narrative) Colorado Premiere

• Frankenstein’s Army – Netherlands/USA – (Director: Richard Raaphorst, Screenwriters: Chris W. Mitchell, Miguel Tejada-Flores, Cast: Karel Roden, Joshua Sasse, Robert Gwilym, Alexander Mercury) – Near the end of World War II, a platoon of Russian soldiers are given a secret mission that leads them into the lair of a Nazi mad scientist and his frightening creations in this cinematically inventive take on the monster movie. (Narrative) Colorado Premiere

• Henge– Japan –  (Director/Screenwriter: Hajime Ohata, Cast: Kazunari Aizawa, Aki Morita, Teruhiko Nobukuni) – Following treatment for violent spells, a young man returns home to his loving wife. But as his seizures intensify, it becomes clear something inside him is trying to get out. Part domestic drama, part sci-fi thriller, this ambitious micro-budget tragedy heralds the arrival of a bright new talent. (Narrative) Colorado Premiere

• Here Comes the Devil – Mexico –  (Director/Screenwriter: Adrián García Bogliano, Cast: Francisco Barreiro, Laura Caro, Alan Martinez) – Argentine director Adrían García Bogliano (Cold Sweat, Penumbra) returns with a shockingly gory erotic horror film about a couple whose children mysteriously disappear while on vacation in Mexico. (Narrative) Colorado Premiere

• Maniac – France/USA – (Director: Frank Khalfoun, Screenwriter: Alexandre Aja, Grégory Levasseur, C.A. Rosenberg, Cast: Elijah Wood, Nora Amezedar) – Elijah Wood shines in this remake of the horror classic about a psychotic stalker with a habit of scalping his objects of desire. Reimagined in mostly point-of-view shots, this revolutionary horror hit from Cannes is part camp, part art and all fear. (Narrative) Colorado Premiere

• The Rambler – USA – (Director/Screenwriter: Calvin Lee Reeder, Cast: Dermot Mulroney, Lindsay Pulsipher, Natahsa Lyonne, James Cady) – ‪Director Calvin Lee Reeder (The Oregonian) utilizes his unique style of psychological horror and surrealism to adapt his acclaimed short about the man known only as "The Rambler" and his bizarre journey through the back roads of America. (Narrative) Colorado Premiere

• Room 237 – USA – (Director: Rodney Ascher, Featured: Bill Blakemore, Geoffrey Cocks, Juli Kearns, John Fell Ryan, Jay Weidner) – ‪In 1980 Stanley Kubrick released his classic horror film, The Shining. Over 30 years later, viewers are still struggling to understand its hidden meanings. A wild exploration into the heart of obsession, this cinematic essay is one that you will want to see at The Stanley Hotel. (Documentary)

• Tower Block – United Kingdom – (Directors: James Nunn, Ronnie Thompson, Screenwriter: James Moran, Cast: Sheridan Smith, Jack O'Connell, Ralph Brown, Russell Tovey) – When bullets start flying into an isolated tenement building, no one is safe from the faceless shooter who has trapped the residents there for reasons unknown. The traditional slasher film is taken to its extreme in this taut psychological thriller. (Narrative) Colorado Premiere

• V/H/S/2 – Canada/Indonesia/USA – (Directors: Adam Wingard, Gareth Evans, Screenwriters: Simon Barrett, Timo Tjahjanto, Gareth Evans, Jamie Nash, Jason Eisener, John Davies, Cast: Cast: Adam Wingard, Lawrence Levine, L. C. Holt, Kelsy Abbott, Hannah Hughes) – The latest installment to last year's successful found-footage short anthology series aims higher, bigger and scarier with new visions from the deranged minds behind some of independent genre's finest offerings (The Blair Witch Project, The Raid, Hobo with a Shotgun, You’re Next). (Narrative) Colorado Premiere

• Vanishing Waves – Belgium/France/Lithuania – (Director: Kristina Buozyte, Screenwriters: Kristina Buozyte, Bruno Samper, Cast: Jurga Jutaite, Marius Jampolskis, Brice Fournier, Sharunas Bartas) – A hypnotic, erotic, and wildly thought-provoking cinematic odyssey into the unknown realms of the mind, this operatic sci-fi vision highlights the development of a strong psychic link between two patients in an experiment gone awry. (Narrative) Colorado Premiere

• Wither – Sweden – (Directors: Sonny Laguna, Tommy Wiklund, Screenwriters: Sonny Laguna, David Lilieblad, Tommy Wiklund, Cast: Patrik Almkvist, Jessica Blomkvist, Johannes Brost) –  In the grand tradition of Evil Dead and it's progeny, this tale of a group of vacationing friends who encounter an infectious creature from the unknown delivers on the gore in this impressively made low-budget screamfest. (Narrative) US Premiere

Individual Festival passes and packages that include lodging at The Stanley Hotel are  available online. The official Stanley Film Festival app is available for download on iOS via the App Store.

Important dates: 
•   April 5: Press accreditation closes. For details on how to apply, visit:
    www.stanleyfilmfest.com/press/press-accreditation.
 
•   April 8: Individual tickets on sale to the public; Opening Night film, shorts program
    and special presentations announced. 
 
•   May 2: Festival begins.
 
To keep up to date with the Stanley Film Festival, visit stanleyfilmfest.com, “Like” SFF on Facebook (Facebook.com/StanleyFilmFest), “Follow” SFF on Twitter and Instagram (@StanleyFilmFest) and join the conversation using the hashtag #YeahItsCreepy.

2013 Stanley Film Festival Sponsors:
PRESENTING: Chiller; HOST VENUES: The Stanley Hotel, Reel Mountain Theater; GOVERNMENT: Colorado Office of Film, Television and Media, Town of Estes Park, Visit Estes Park; MEDIA: 5280 Magazine, Boulder Daily Camera, Denver Post, Indiewire, Mile High Cinema, Yelp; COMMUNITY: Art Institute of Colorado, Colorado Film School, Denver Film Society, Estes Valley Library, Estes Park Shuttle, University of Colorado Denver; FESTIVAL FRIEND: Banditos, Grit., Hi-Ball, Indyink, Stack Wines, Trinity Absinthe, Zerosun Pictures.
 


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Stanley Film Festival: The Stanley Film Festival showcases classic and contemporary independent horror
cinema all set at the haunted and historic Stanley Hotel in beautiful Estes Park, Colorado. The Festival presets emerging and established filmmakers, enabling the industry and general public to experience the power of storytelling through genre cinema. Founded in 2013 by the Stanley Hotel to celebrate the property’s iconic Hollywood heritage, the four-day event showcases filmmakers latest works, Q&A discussions, industry panels, the “Stanley Dean’s Cup” student film competition and special events for cinema insiders, enthusiasts and fellow artists. To learn more, visit: www.stanleyfilmfest.com.

Chiller: Chiller is the only cable channel devoted to delivering viewers round-the-clock scares. Chiller’s eclectic slate of adrenaline-fueled, soul-stirring entertainment includes a broad offering of original movies and specials, genre films, documentary and reality shows (Fear Factor) and some of the most thought-provoking and suspenseful series ever on television (Dead Like Me, Buffy the Vampire Slayer, Tales from the Darkside, Outer Limits).  Chiller is currently available in over 42 million homes. Chiller. Scary Good. To learn more, visit: www.chillertv.com.
 
The Stanley Hotel: Famous for its old world charm, The Stanley Hotel boasts spectacular views in every direction and is less than six miles from Rocky Mountain National Park.  Multi-million dollar renovations have restored this 155-guestroom hotel to its original grandeur.  Listed on the National Register of Historic Places and member of Historic Hotels of America; only an hour away from Denver, it is ideal destination for a Colorado getaway. To learn more, visit: www.stanleyhotel.com.

Grand Heritage Hotel Group: Founded in 1989 by John Cullen, Grand Heritage Hotel Group is one of the nation’s premier owner operators of independent luxury hotels and resorts. Its properties are sought-after destinations that offer consistent luxury, quality and exceptional surroundings. Several Grand Heritage properties enjoy prestigious distinction as designated Historic Hotels of America. The company prides itself on the vision and strategic expertise of its leadership. Highly innovative and experienced professionals collectively boast more than 50 years of hands-on experience in all aspects of the hotel and hospitality business and are recognized for imaginative and entrepreneurial style. Grand Heritage owns and operates hotels in North America; it also operates Grand Heritage Hotels International Brand, which has a number of properties in Europe, The Middle East, India and North Africa. To learn more, visit: www.grandheritage.com.

The 56th San Francisco International Film Festival runs April 25-May 9 at the Sundance Kabuki Cinemas, the Castro Theatre and New People Cinema in San Francisco and the Pacific Film Archive in Berkeley. Held each spring for 15 days, the International is an extraordinary showcase of cinematic discovery and innovation in one of the country's most beautiful cities, featuring 200 films and live events, 14 juried awards and $70,000 in cash prizes, upwards of 100 participating filmmaker guests and diverse and engaged audiences with more than 70,000 in attendance.

OFFICIAL SELECTIONS 2013 NEW DIRECTORS PRIZE (NARRATIVE FEATURE) COMPETITION

The Cleaner, Adrián Saba, Peru
As a mysterious epidemic eviscerates Lima’s adult population—but spares its children—a solitary middle-aged forensic worker discovers an orphaned boy at one of his cleanup sites and decides to shelter the traumatized youth until he can find a relative to take him. As time passes, a subtle transformation takes hold of both man and child in this gently haunted and affecting study of social alienation and redemption.

Habi, the Foreigner, María Florencia Álvarez, Argentina/Brazil – North American Premiere
Highlighted by an impressive and subtle performance by Martina Juncandella, first-time director María Florencia Álvarez’s film traces a 20-year-old woman’s spontaneous attempt to create a new identity for herself as a Lebanese orphan in Buenos Aires. Sensitively examining the role of culture in self-definition, Habi, the Foreigner is a beguiling coming-of-age story detailing the feeling of being an outsider in your own land.

Memories Look at Me, Song Fang, China
In this strong feature debut, Song Fang directs and plays herself as she pays a visit to her parents at their home in Nanjing. Intimate and contemplative, Memories Look at Me muses on life, death and tradition while touching on the essence of family life with a mixture of melancholy and serenity.

Our Homeland, Yang Yonghi, Japan
Based on the director’s own experience, this powerful drama tells the story of a family torn between Japan and North Korea. Rie, an ethnic Korean, lives with most of her family in Tokyo. The arrival of the family’s son, repatriated 25 years earlier to North Korea, forces the family to navigate difficult political and emotional waters.

Present Tense, Belmin Söylemez, Turkey
A recent divorcée named Mina takes a job as fortune-teller, reading coffee grounds in a cafe, but longs to move to the U.S. Using her own personal experiences and frustrated dreams to inform her work, she offers penetrating psychological readings for her customers and develops a loyal following.

La Sirga, William Vega, Colombia/France/Mexico
Uprooted from her destroyed village by the armed conflict in Colombia, young Alicia tries to start a new life in La Sirga, a ramshackle inn on the shores of a great lake in the Andes highlands. The house belongs to her uncle Oscar, an old solitary hermit. There, on a swampy and murky beach, she will try to settle down until her fears and the threat of war resurface again.

The Strange Little Cat, Ramon Zürcher, Germany – North American Premiere
Initiated in a seminar taught by Béla Tarr and inspired by Kafka’s Metamorphosis, this startling debut feature takes place almost entirely within the apartment of a family where relatives gather to prepare dinner, repair a washing machine and talk. With its quirky choreography of movement, sound and words, the film imbues the mundane with an odd sense of otherworldliness.

Tall as the Baobab Tree, Jeremy Teicher, USA/Senegal – U.S. Premiere
Inspired by true stories, Jeremy Teicher tells the moving story of a teenage girl who hatches a plan to rescue her sister from an arranged marriage. Non-professional actors play roles that mirror their own lives, intimately capturing the emotions of the traditional and modern worlds colliding in rural Senegal. The film is also the first full-length feature in the local dialect of the Pulaar language.

They’ll Come Back, Marcelo Lordello, Brazil    
A potent exploration of class and adolescence, They’ll Come Back tells the story of Cris, a privileged 12-year-old who—after being left on the side of the road as punishment for her and her brother’s constant bickering—embarks on a journey that will open her eyes to a world she never knew as she tries to find her way home.

Youth, Justine Malle, France
A nuanced portrait of identity coming into focus and a young woman willfully emerging from the shadow of a strong parent, the semi-autobiographical debut feature by the late, great Louis Malle’s middle daughter follows an inexperienced college student (Esther Garrel, daughter of Philippe and sister of Louis) whose sexual awakening coincides with her filmmaker father’s terminal diagnosis.

In addition to these 10 first features in competition, the New Directors section of SFIFF56 includes 19 out-of-competition films, which will be announced at the Festival’s press conference Tuesday, April 2.

OFFICIAL SELECTIONS 2013 GOLDEN GATE AWARDS DOCUMENTARY FEATURE COMPETITION

After Tiller, Martha Shane and Lana Wilson, USA
After the assassination of Dr. George Tiller in Kansas in 2009, there are now only four doctors left in the country who provide third-trimester abortions for women. After Tiller moves between the rapidly unfolding stories of these doctors, all of whom were close colleagues of Dr. Tiller and are fighting to keep this service available in the wake of his death. 

Before You Know It, PJ Raval, USA
Before You Know It explores the fascinating, but until now, rarely seen world of aging gay men. This provocative, poignant and life-affirming documentary details the lives of three different and remarkable individuals, the joys and hardships they experience, the difficulties of aging and being overlooked and also the support and uplift they find in their particular communities.

Chimeras, Mika Mattila, Finland – U.S. Premiere
This revelatory and visually striking documentary follows a pair of political pop artists—the hugely successful middle-aged painter and sculptor Wang Guangyi and the gifted young photographer Liu Gang—as they grapple with their place and purpose in a new China of pervasive materialism and Western influence.

Cutie and the Boxer, Zachary Heinzerling, USA
After 39 years of marriage, painter Ushio Shinohara and his wife, Noriko, have weathered many storms of creative conflict. Clearly the nurturer in the relationship, Noriko endeavors to support her fiery partner while also endeavoring to find space for her own artistic efforts. Capturing them both, at work and at play, the result is a skillfully crafted portrait of art and long-term companionship.

God Loves Uganda, Roger Ross Williams, USA/Uganda
A powerful exploration of the evangelical campaign to change African culture with values imported from America’s Christian Right, the film follows American and Ugandan religious leaders fighting “sexual immorality” and missionaries trying to convince Ugandans to follow Biblical law.

Inori, Pedro González-Rubio, Japan
In the small mountain community of Kannogawa, Japan, the laws of nature reshape the human blueprint of what used to be a lively town. While the younger generations have gone to the cities, the few people who remain perform the everyday activities with a brave perspective on their history and the cycles of life.

The Kill Team, Dan Krauss, USA        
In this chilling documentary, Bay Area–based Dan Krauss (The Death of Kevin Carter: Casualty of the Bang Bang Club, Golden Gate Award winner, SFIFF 2005) explores the deeply disturbing story of U.S. soldiers, stationed in Afghanistan in 2009, who were convicted of murdering innocent civilians. Their motives, and the culture that enabled their crimes, are as complex as they are nightmarish.

Let the Fire Burn, Jason Osder, USA
In 1985, the Philadelphia Police Department dropped two pounds of military explosives on the house belonging to the radical black liberation group known as MOVE. Constructed entirely of archival materials and judicious intertitles, the film cannily juxtaposes startling images from the bombing, the resulting fire—left to burn for over an hour—and their aftermath to create a vivid portrait of a tragic injustice.
    
Rent a Family Inc., Kaspar Astrup Schröder, Denmark – U.S. Premiere
Filmmaker Kaspar Astrup Schröder’s (The Invention of Dr. Nakamats, SFIFF 2009) alternately fetching, absorbing and offbeat documentary revolves around a 44-year-old Japanese family man who owns and operates a professional stand-in business that rents out fake relatives, spouses, friends and parents to a rapidly growing Japanese customer base “desperate…to cover up a secret.”
    
A River Changes Course, Kalyanee Mam, Cambodia/USA
Bay Area filmmaker Kalyanee Mam presents an intimate and moving portrait of the vanishing world of rural farmers and fishermen in Cambodia.  Focusing on three families in vivid cinéma vérité style, Mam reveals how the encroaching modern world is destroying the rich and sustaining cultures of the past and forcing the young to seek work in factories or plantations.

The Search for Emak Bakia, Oskar Alegria, Spain
In 1926, avant garde artist Man Ray shot a film titled Emak Bakia, a Basque expression that means “Leave me alone.” Intrigued by the fanciful conundrums and coincidences of Ray and his art, filmmaker Oskar Alegría ignores Ray’s dictum and sets out to plumb the mysteries of Emak Bakia, leading to an unforgettable journey of whimsical discoveries and charming surprises.

Sofia’s Last Ambulance, Ilian Metev, Germany/Bulgaria/Croatia
On the front lines of a degraded emergency-care system in Sofia, Bulgaria, an over-extended, yet emphatically humane, paramedic crew hurtles frantically from one call to the next in a dilapidated ambulance. Filmed primarily through the lenses of three dashboard-mounted cameras, Sofia’s Last Ambulance unfolds in a series of unflinching, real-time vignettes shot over the course of two years.

In addition to these 12 features by emerging filmmakers in the documentary competitions, the Golden Gate Awards also will include competitors in six other categories. These films will be announced at the Festival press conference on Tuesday, April 2.  

For more information visit sffs.org/Exhibition/SF-International-Film-Festival.
To request interviews or screeners contact your SFIFF publicist.
For photos and press materials visit sffs.org/pressdownloads.

56th San Francisco International Film Festival
The 56th San Francisco International Film Festival runs April 25–May 9 at the Sundance Kabuki Cinemas, the Castro Theatre and New People Cinema in San Francisco and the Pacific Film Archive in Berkeley. Held each spring for 15 days, the International is an extraordinary showcase of cinematic discovery and innovation in one of the country’s most beautiful cities, featuring 200 films and live events, 14 juried awards and $70,000 in cash prizes, upwards of 100 participating filmmaker guests and diverse and engaged audiences with more than 70,000 in attendance.

Film Society Awards Night, SFIFF’s fundraising gala honoring the masters of world cinema, will take place Tuesday May 7, 6:00 pm at Bimbo’s 365 Club.

San Francisco Film Society
Building on a legacy of more than 50 years of bringing the best in world cinema to the Bay Area, the San Francisco Film Society is a national leader in exhibition, education and filmmaker services. SFFS is headed by Executive Director Ted Hope with the programmatic leadership of Director of Programming Rachel Rosen, Director of Filmmaker360 Michele Turnure-Salleo and Director of Education Joanne Parsont.
 
The Film Society presents more than 100 days of exhibition each year, reaching a total audience of more than 100,000 people. Its acclaimed education program introduces international, independent and documentary cinema and media literacy to more than 10,000 teachers and students. Through Filmmaker360, the Film Society’s filmmaker services program, essential creative and business services, and funding totaling millions of dollars are provided to deserving filmmakers of all levels.
 
The Film Society seeks to elevate all aspects of film culture, offering a wide range of activities that engage emotions, inspire action, change perceptions and advance knowledge. A 501(c)3 nonprofit corporation, it is largely donor and member supported. Patronage and membership provides discounted prices, access to grants and residencies, private events and a wealth of other benefits.
 
For more information visit sffs.org.

http://www.elojocjo.org/test2

Festival Cinematográfico Internacional

el Ojo cojo

REGLAMENTO

1. Finalidad – El Festival Internacional de Cine el Ojo cojo está consagrado a películas de corto y largometraje, de ficción, documentales y animación, con el objetivo de promover el diálogo intercultural y la

integración de grupos socialmente desfavorecidos, difundiendo obras cinematográficas de calidad que difícilmente llegan a España, pero fundamentalmente sensibilizando respecto a las diversas facetas de la realidad, procurando no caer en clichés. De esta forma, poco a poco el Festival se propone servir de ámbito

para encuentros y discusiones de proyectos de interés recíproco.

2. Organización -Organizado por el Ojo cojo, ONG dedicada a la promoción del diálogo intercultural declarada De Utilidad Pública por el Ayuntamiento de Madrid. Como tal el Ojo cojo es miembro de la Alianza Mundial para Diversidad Cultural y la Fundación Anna Lindh.

El Festival, que este año se realizará la segunda semana de octubre, es independiente y concederá

premios del Jurado y del público

3. Secciones – Contará con las siguientes secciones:

Sección oficial de largometrajes a concurso:

Ficción: Duración desde 80 minutos.

Documental: desde 60 minutos

Sección oficial de cortometrajes a concurso:

Duración hasta 20 minutos.

(las películas que se reciban y no cumplan estas características, pero que destaquen por su calidad o valor testimonial podrían ser seleccionadas para exhibirse fuera de competencia).

Secciones monográficas y ciclos que ofrecerán películas de destacado nivel cinematográfico y compromiso

social, así como búsqueda estética y discursiva, o referentes a una realidad en particular. Podrán agruparse

por nación, temática, corriente, autor u otro criterio adoptado por la dirección. No tendrán limitación de fecha

de producción.

Las películas que aspiren a premios deberán haber sido terminadas o estrenadas a partir del 1º de enero de

2012 y no haberse postulado a este festival en ediciones anteriores. No es impedimento que hayan

participado en otros festivales.

4.Inscripciones – Abren el 7 de enero a las 10:30hrs y Cerrarán el 19 de abril (fecha del matasellos). En

caso de entregarlo en nuestras oficinas, no se aceptarán postulaciones mas allá del 22 de abril a las

13 hrs.

Las películas unicamente podrán inscribirse por sus directores o con la autorización expresa y firmada para nuestro festival por parte de los mismos . No se aceptan inscripciones por parte de distribuidoras, sin autorización expresa para nuestro festivall del director .

Las invitaciones están dirigidas unicamente a realizadores.No se aceptarán envíos masivos por parte de distribuidoras salvo que realicen el pago de inscripción de cada filme.

Para que la inscripción sea efectiva es imprescindible:

a) Pago de la inscripción realizado en nuestra propia web , a través de Paypal indicando:

País

Nombre de quien realizó el envío

Nombre de la película

Una vez pagado en nuestra web, accederá automáticamente a la Ficha digital de inscripción.

Una vez enviada, la ficha tendrá el carácter de declaración jurada y en ella constará que conoce y acepta

el presente Reglamento.

Por correo deberá enviar:

a) Archivo digitalizado del filme con una resolución mínima de H264 (1080 pixeles) sin código encriptado que impida que puedan ser copiadas a disco duro y SIN MARCA DE AGUA (será motivo de exclusión).

b)Pressbook del film impreso

c)Fotografías fijas de la obra (12×18) impresas

d)2 Poster

e) Documentos digitalizados: trailer, dialogos.

f)Fotografías digitalizadas de alta calidad:

A) 3 promocionales digitalizadas

B) 1 del/la directora/a digitalizadas

POR FAVOR no envíe por e.mail ni fotos u otros documentos que no hayamos solicitado expresamente sea enviado por este medio.

5. Idioma – Es deseable que los filmes se presenten en castellano o subtitulados al castellano. Si la versión

no está ni hablada ni subtitulada al español, la copia de selección debe estar subtitulada en inglés y

acompañada de una lista de diálogos en castellano en CD, pen drive, etc y enviada por mail a elojocojo@gmail.comal momento de la inscripción, de lo contrario no será conseiderada para selección.

6. Exhibiciones – Una vez inscripta y seleccionada, la película no podrá ser retirada de la programación.

Las exhibiciones dentro del marco del Festival se realizarán en Madrid la segunda semana de octubre en

diferentes salas y espacios alternativos así como en la calle y luego en forma itinerante por los espacios

culturales de España. Las copias recibidas pasarán a formar parte de la Videoteca de el Ojo cojo. Pudiendo

optar a distribución alternativa de el Ojo cojo.

7. Presentaciones- Es importante que cada director aproveche los diferentes espacios que el Festival le

brinda, para para promover su obra

8. Las películas seleccionadas a competición tendrán la oportunidad de ser compradas para exhibición en

la televisión nacional o intervenir en nuestras ediciones en DVD. Por esta razón es indispensable que cada

título sea presentado oficialmente durante el Festival, sea por su Director o sus representantes, si es que el

director no pudiera desplazarse.

9. Transporte de las copias – En todo caso el envío de las copias corre por cuenta del remitente.

Las copias en DVD, por no serán devueltas.

Si se enviara alguna copia en soporte fílmico, al momento de efectuar el envío, se ruega al expeditor

informar por al email elojocojo@gmail.com, aportando el número de conocimiento aéreo, compañía

utilizada, número de vuelo y fecha de embarque. Los gastos de transporte, seguro desde el lugar de

expedición correrán a cargo de quien inscriba la película,

Se deberá indicar siempre que la copia no tiene valor comercial y declarar un valor máximo de U$S 15 a los

efectos aduaneros.

Si se realizara algún envío con cargo del festival, será devuelto a destino.

Todas las copias deben ser enviadas al Festival con los costos de transporte e impuestos prepagos. Los

envios realizados con cargo al Festival no serán aceptados .

El festival no cubre los gastos de devolución de las copias en 35mm, ni devuelve otro tipo de copias o

materiales.

10. Material informativo y publicidad – El Festival debe recibir, indefectiblemente junto con la inscripción Luego no se aceptará), el material publicitario de cada film consistente en: dossier de prensa, afiches y fotografías de los autores, así como un mini trailer en DVD multizona. Se desea de esta manera aportar la mayor información posible a la prensa internacional, local y despertar el interés del público en general respecto a cada filme.

*El no envío de este material no es excluyente, pero beneficia de la difusión y afluencia del publico a la

película.

11. Invitaciones – El Festival hará los contactos necesarios para facilitar la estadía y pasajes a los

realizadores que aspiren a premios del Jurado. Estos realizadores, si lo solicitan en el período en que se los

convoque, tendrán la oportunidad de presentar su película y realizar una convocatoria a la prensa, de

acuerdo a las posibilidades que brinden los apoyos y patrocinadores cada año.

12. Difusión.-el Ojo cojo pretende dar la mayor publicidad y divulgación a los films que se presenten.

Recomiendan películas para distribución local en cines y DVD y pueden apoyarle con el mercadeo.

el Ojo cojo, además realiza una recorrida itinerante con selecciones del Festival en el micro centro cultural sansueña y diferentes espacios culturales . También procurará facilitar la participación de los filmes en diferentes festivales amigos promoviendo de esta forma el conocimiento de la obra.

13. Seminarios – Es propósito del Festival facilitar la discusión y el intercambio de experiencias

cinematográficas en un ámbito de integración cultural, para lo cual se organizarán seminarios.

14. Preselección – Estará a cargo de profesionales seleccionados y avalados por el propio festival.

15. Premios – Dependiendo de la confirmación de las fuentes de financiación, el Jurado del Festival concederá,:

Premio Guiño- al mejor largometraje de ficción……………………………………..dotado de € 1.500

Premio Guiño- al mejor largometraje documental………………………………….dotado de € 1.000

Premio Guiño-al mejor corto…………………………………………………………………….dotado de € 500

Premio Guiño- la mejor película sobre el tema migraciones

Premio Guiño-al mejor película para público infantil

Guiño del público

Si el jurado lo considerara oportuno, podrán existir Guiños especiales consistentes en diplomas de

reconocimiento a las cualidades especiales que estime destacables.

Unicamente los directores recibirán los premios en metálico y trofeo.

Las películas que hayan recibido un premio, se comprometen a mencionarlo en toda la publicidad, carteles y material de prensa, agregando el logo del Festival y respetando la redacción exacta del fallo del Jurado, condictio sine quanon para ser acreedor del premio en metálico

Las películas que hayan recibido un premio, se comprometen a mencionarlo en toda la publicidad, carteles

y material de prensa, agregando el logo del Festival y respetando la redacción exacta del fallo del Jurado.

Indicadores para la evaluación de las películas:

- Realidad narrada

- Repercusión del tema abordado

- Originalidad del tratamiento

- Calidad de dirección

- Entorno en el que fue realizado y sus dificultades

- Adversidades para llevarlo a cabo

- Cualidades del guión

- Calidad artística

- Calidad técnica

16. Disposiciones Generales – La inscripción es un acuerdo de participación de la película que implica la

aceptación de las condiciones del presente Reglamento. Para los casos no previstos, la decisión corresponderá a la Dirección del Festival.

17. La dirección del Festival establecerá el orden y la fecha de exhibición de cada película en acuerdo con

las salas de exhibición.

Toda la correspondencia del Festival deberá dirigirse por correo Oficial a:

Festival Internacional de Cine el Ojo cojo

Amparo Gea

Tres peces 32

28012, Madrid

Tel/fax 0034 914293307

www.elojocojo.org

elojocojo@gmail.com

Audrey Hepburn
(1929 - 1993)
 

“I believe in pink. I believe that laughing is the best calorie burner. I believe in kissing, kissing a lot. I believe in being strong when everything seems to be going wrong. I believe that happy girls are the prettiest girls. I believe that tomorrow is another day and I believe in miracles.“ Audrey Hepburn

Le public la connait surtout dans ces chefs d' oeuvres des années 50 et 60.
Vacances romaines, (pour lequel elle reçoit l'Oscar du meilleur rôle féminin) Drôle de frimousse, Diamants sur canapé, Charade, My Fair Lady.Audrey Hepburn (born Audrey Kathleen Ruston; 4 May 1929 – 20 January 1993) was a British actress and humanitarian. Recognised as both a film and fashion icon, Hepburn was active during Hollywood's Golden Age. She has since been ranked as the third greatest female screen legend in the history of American cinema and been placed in the International Best Dressed List Hall of Fame.

Born in Ixelles, a district of Brussels, Hepburn spent her childhood between Belgium, England and the Netherlands, including German-occupied Arnhem during the Second World War. In Amsterdam, she studied ballet with Sonia Gaskell before moving to London in 1948 to continue ballet training with Marie Rambert and perform as a chorus girl in West End musical theatre productions.

After appearing in several British films and starring in the 1951 Broadway play Gigi, Hepburn played the Academy Award-winning lead role in Roman Holiday (1953). Later performing in successful films like Sabrina (1954), The Nun's Story (1959), Breakfast at Tiffany's (1961), Charade (1963), My Fair Lady (1964) and Wait Until Dark (1967), Hepburn received Academy Award, Golden Globe and BAFTA nominations and accrued a Tony Award for her theatrical performance in the 1954 Broadway play Ondine. Hepburn remains one of few people who have won Academy, Emmy, Grammy, and Tony Awards.

She appeared in fewer films as her life went on, devoting much of her later life to UNICEF. Although contributing to the organisation since 1954, she worked in some of the most profoundly disadvantaged communities of Africa, South America and Asia between 1988 and 1992. She was awarded the Presidential Medal of Freedom in recognition of her work as a UNICEF Goodwill Ambassador in late 1992. A month later, Hepburn died of appendiceal cancer at her home in Switzerland in early 1993 at the age of 63. www.audreyhepburn.com

-32nd Istanbul Film Festival official press release-

Meetings on the Bridge Starts.

The 8th edition of the Meetings on the Bridge organised within the scope of the 32nd Istanbul Film Festival under the sponsorship of Efes starts. Efes who has been supporting the Turkish cinema for the past 26 years, is the sponsor of Turkish Cinema section of the Istanbul Film Festival and is also giving the Special Jury Prize of 30.000 US Dollars at the National Golden Tulip Competition of the festival. Efes has increased its support to the Turkish Cinema by undertaking the sponsorship of Meetings on the Bridge as of this year, and started supporting the films from the project and production stages.

The Film Development and Work In Progress Workshops will be realised on Wednesday, 10 April and Thursday, 11 April with the participation of directors and producers from Turkey. Following the first international presentation of the projects and the films in post-production stage during the workshops, the awards will be presented to the selected projects and the films at the awards ceremony on Thursday, 11 April at the French Palais.

For images from the Meetings on the Bridge: http://www.iksvphoto.com

The 32nd Istanbul Film Festival, organised by the Istanbul Foundation for Culture and Arts in the sponsorship of Akbank for the ninth time, took its start with an opening ceremony held at Lütfi Kırdar Convention and Exhibition Centre, on Friday evening, 29 March. Besides well-known names of cinema in Turkey, celebrated actress Patricia Arquette and master director Bille August were among the exclusive guests who participated to the opening ceremony.

Visit the IFF official website here for more information: http://film.iksv.org/en

For videos from the 32nd Istanbul Film Festival Opening Ceremony: 

https://files.secureserver.net/0fMi4kzyy15j5W

-32nd Istanbul Film Festival official press release-

Held from March 20 – 31, the New Director / New Films series is arranged as an annual event by the Film Society of Lincoln Center and the Museum of Modern Art and had its 42nd edition this year. Established before similar screenings were held at Sundance  and other festivals the ND/NF program remains the most important New York screening of innovative new film makers whose work has not been shown before in the US  and whose directorial and formative approach are noteworthy. Focusing on emerging filmmakers from around the world who are not yet established 25 feature length films and 17 short films were selected for the 2013 program. Among past discoveries featured early in their career were Pedro Almodovar, Spike Lee, John Sayles, Darren Aronofsky, Ken Burns Wim Wenders, and Wong Kar Wai. . Among some of the excellent productions were

THE ACT OF KILLING Joshua Oppenheimer, 2012, Denmark; Oppenheimer applies a unique documentary approach in his investigation of the murder of hundreds of thousands communists in Indonesia in the mid 1960s with Errol Morris and Werner Herzog serving as executive producers. As prompted by Oppenheimer the death squad leaders from local criminal gangs responsible for the killing in one region proudly re-enact their crimes dramatically as if playing in a movie.  They show little sense of remorse and gladly take the film makers to the places where they committed the killings.  The only exception seems to be Anwar a principal killer, now loving grandfather, whose past haunts him in his dreams  since the re-enactment of the horror made apparently his actions real again. The death squad leaders and their gangs still celebrate the genocide today in public events with their Pancasila Youth gangs   and are proud of the service provided to Indonesia by getting rid of the communists.  Senior government officials do attend these events. Members of the death readily demonstrate to the film makers the most effective ways of killing they invented and the torture techniques applied. They even go on national television to brag about their past activities. During the discussions they suggest that “God hates communists” and that they were more effective than the Nazis. They make no secret of the military hiring them and of the other criminal activities they were carrying out during the mass murders. Today they are running protection rackets and dispossess for real estate speculators with paramilitary units people from their land. To date there has been no prosecution of the genocidal crimes committed though they were clearly exposed. Oppenheimer’s film cannot be shown publicly in Indonesia but had private screenings there.

SOLDATE JEANETTE, Daniel Hoesl, 2012, Austria; Here we have a fascinating representation of the surreal shift of life styles of a woman starting as a high style luxury prone upper class socialite and becoming a farm hand in an isolated rural mountain setting. In her rapid downward slide she drops an expensive luxury purchase into the trash,  burns all her cash, works in a slaughter house,  feeds pigs, has an affair with a farmer and eventually takes off with his jeep destroying it. The feature has little dialogue and an attractive production quality yet Jeanette’s character development remains a mystery. We know what happened to her but not why, other than watching Jeanette’s perfect adaptation to whatever setting she becomes part of, a chameleon

JISEUL by O Muel, 2012, South Korea; This marvelously composed monochrome feature is set around a village on the Korean island of Jeju in 1948 which gets caught in the frenzy of anti communism. Ijssel is among the best films selected for the 2013 New Directors/New Films series.  The US army had ordered Korean troops to execute on sight inhabitants of the island as suspected armed civilians. The film records in austere minimalistic black and white tones the hunting and killing of the villagers and their attempts to escape. Jiseul impresses like a requiem given its narrative structure, pacing, subdued action by the civilians, villagers threatened by death maintain their composure through small talk and their survival in a dark cave. An amazing acting performance by the non-professional cast adds authenticity with the story evolving slowly in the setting of a wintery landscape. An estimated 25-30,000 civilian was killed.

LEONES   Jazmin Lopez, 2012, Argentina / France; Lopez seems to be presenting a riddle in this puzzling and entrancing film which features five young characters meandering aimlessly through Leones a labyrinth, a forest. Mostly without food and sleep they share their thoughts in an impromptu fashion. They are frequently unconnected and the film does not follow a clear narrative structure. We do get some clues, a tape recording of their  car trip that stops suddenly with the sound of a crash, a car wreck in the middle of the forest, silence prevailing over aborted fragments of dialogues, and an ending where the characters end up walking into the ocean.  What we see may be just a dreamscape or actions in the afterlife by victims of a deadly car accident, life as death, or the filmmaker’s attempt to disengage the audience from preconceptions and induce reflection.

ANTON’S RIGHT HERE,   Russia, Lyubov Arkus, 2012; This film debut for Arkus is a marvel of a documentary on the problems of taking care of an autistic individual. The production was recorded over six years against the background of a poorly functioning Russian mental health system where ware housing and drugging those diagnosed with mental problems is widespread.  As a Russian professional states, hell awaits those entering the public system.  The film makers provide here the counterweight since they are getting more and more involved in Anton’s fate and help him to survive the different phases of his life. His fate includes an initial period with his single mother who is dying of cancer, an isolated stay in a summer camp, being kicked out of an elite clinic since he cannot adapt, a six month stay in a village caring for the disabled which Anton is forced to leave due to behavioral problems because his care giver had left, subsequent incarceration and total isolation in mental institution, and eventual ‘illegal’ liberation from the hospital arranged by his film maker friends. He joins his father after the family and friends are exposed to the documentary material and lives with him in a house bought with the help of the film makers. Anton’s Right Here is an object lesson of the problems helping and overcoming obstacles. As a documentary the film is very effective since the film maker remains objective and authentic dealing with a very emotional issue in spite of her personal involvement.

STORIES WE TELL Sarah Polley, 2012, Canada; Polley presents a marvel of the social construction of realities in her quest to identify her biological father Interviewing members of her nuclear family and friends she records contradictory and conflicting notions as to what happened in the past.  Polley and the audience face the problem of differentiating between reality and truth the accounts represent. She supplants the statements with family home film and video footage presenting all principals. In the mostly sympathetic portrayals of her two fathers and her mother by professional actors the audience gets excellent insights into family dynamics, the construction of narratives and the lesson of Stories We Tell, truth is more powerful than fiction.

As in past editions the 2013 New Director / New Film series provided an excellent introduction to critically acclaimed new filmmakers.

Claus Mueller

filmexchange@gmail.com

Tribeca Online Festival to Stream Seven 2013 Festival Selections and Host Tribeca Film Festival’s First-Ever Vine Competition #6SECFILMS

***

Tribeca Film to Premiere Four Festival Titles via Video-On-Demand

New York, NY [April 1, 2013] – The Tribeca Film Festival (TFF), presented by founding partner American Express, today announced a variety of programming that will allow domestic audiences to experience the Festival from across the country, including the lineup and programming for the Tribeca Online Festival, and Tribeca Film’s video-on-demand offerings during TFF. The 12th annual Tribeca Film Festival runs from April 17-28 in lower Manhattan.

“We are always looking for ways to expand our community and engage new audiences,” said Geoff Gilmore, Chief Creative Officer, Tribeca Enterprises. “For the past three years, viewers nationwide have been able to take in a selection of Festival films and activities, even if they aren't able to make it to Tribeca. This year we have expanded the opportunity for the public to participate in the Festival not just as observers, but also as creators through our first ever Vine competition, which is open to anyone with an imagination and a Vine app.”

The Festival announced the program for the fourth annual Tribeca Online Festival, a digital initiative that offers front row access to exclusive Festival content and new storytelling opportunities. New this year is the launch of Tribeca Film Festival’s #6SECFILMS Vine Competition, an online juried competition using the six-second, micro-movie making app. Filmmakers can  submit in one of four categories -- #genre, #auteur, #animate and #series – using both the category hashtag and #6SECFILMS. Shortlists in each category will be viewable for the public on April 17 and will compete for cash prizes of $600. Submissions are now open through midnight on April 7. Winners will be announced by the Tribeca Online Festival on April 26.

As in years past, the Tribeca Online Festival (TOF) will provide free streaming of Festival films. Seven titles including features Alias Ruby Blade: A Story of Love and Revolution, Lil Bub & Friendz, and Farah Goes Bang (which will be streamed just after their Festival theatrical premieres), and short films RPG OKC, Delicacy, The Exit Room, and A Short Film About Guns will be accessible on tribecaonlinefestival.com . Via TribecaOnlineFestival.com audiences can vote on the best online feature and short, with the winners receiving a total of $16,000 in prize money. 

The Tribeca Online Festival will stream a number of highly anticipated conversations during the Festival as well as the 2013 TFF awards show on Thursday April 25, 2013.  

Tribeca Film will also release 2013 TFF selections What Richard Did, Greetings from Tim Buckley, FreshMeat and The English Teacher nationwide via on demand during the Festival window. The titles will be available in more than 50 million homes in the U.S. and Canada through all major cable video-on-demand providers, as well as iTunes, Amazon Watch Instantly, VUDU, Xbox, Google Play and YouTube.

Details on the VOD and Tribeca Online Festival offerings follow:

FREE STREAMING OF OFFICIAL FESTIVAL SELECTIONS:

Three feature titles and four short films from the 2013 Tribeca Film Festival will be available on TOF. Each film will have limited screening windows and capacity. Online viewers will be able to vote for the Best Tribeca Online Feature Film, a prize of $10,000, and the Best Tribeca Online Short Film, a prize of $5,000. Winners will be announced at the Tribeca Film Festival Awards on April 25.

The full list of feature films streamed on the Tribeca Online Festival is as follows:

·         Alias Ruby Blade: A Story of Love and Revolution, directed by Alex Meillier, written by Tanya Ager Meillier and Meillier. (USA) – North American Premiere. Kirsty Sword Gusmão went to Timor-Leste to document injustice in an area closed to Western journalists. Over the next decade, she became the lynchpin that sustained the nation’s harrowing struggle for independence and met the man who would redefine the cause for which she was fighting. Using astonishing footage of the years-long resistance, director Alex Meillier presents a highly personal account of the courage needed to create a new democracy in modern times.

• Lil Bub & Friendz, directed by Andy Capper and Juliette Eisner. (USA) – World Premiere, Documentary. Called “the most famous cat on the Internet,” the wide-eyed perma-kitten Lil Bub is the adorable embodiment of the Web’s fascination with all things cats. Join Lil Bub and her owner on a wild cross-country romp as they meet the Internet’s most famous cat-lebrities. Chock full of adorable kitties, hilarious videos and the dedicated cat enthusiasts who love them, Lil Bub & Friendz is a fun and hip peek behind the memes we know and love. Includes Mike "The Dude" Bridavsky, Ben Lashes, Grumpy Cat, Nyan Cat, Keyboard Cat.

·         Farah Goes Bang, directed by Meera Menon, written by Laura Goode and Menon. (USA) – World Premiere, Narrative. Farah hits the road with her buddies to stump for John Kerry in the 2004 presidential election, hoping the trip will be her opportunity to finally shed her unwanted virginity. She soon finds her efforts on both political and sexual fronts continuously thwarted. Comically balancing that moment’s climate of intolerance with a universal coming-of-age tale, Farah Goes Bang paints a comic portrait of the overdue growing pains of a group of girlfriends and the country itself.

The full list of short films streamed on the Tribeca Online Festival is as follows:

·         RPG OKC, Directed and written by Emily Carmichael, (USA), World Premiere. Two video game characters forge an unlikely romance.

·         Delicacy, Directed by Jason Mann, written by Frieda Luk and Jason Mann, (USA), New York Premiere. A culinary connoisseur and a chef go on a hunt for a rare animal.

·         The Exit Room, Directed and written by Todd Wiseman Jr, (USA), World Premiere. It is 2021, and imprisoned journalist Joseph Michaels faces government execution and contemplates a desperate escape attempt in order to return to his young family.

·         A Short Film About Guns, Directed by Minos Papas, (Cyprus), (U.K.), (USA), World Premiere. Four experts on arms trafficking recount first-hand experiences with the black market and how the illegal flow of weapons facilitates loss of life and devastation.

·         What Richard Did, directed by Lenny Abrahamson, written by Malcolm Campbell. (Ireland) – U.S. Premiere, Narrative. Charismatic Richard leads a group of devoted friends through the rituals of their final summer break together: partying on the beach, hazing younger students, hooking up. But the good times will not last forever. When jealousy leads to a senseless act, Richard’s perfect life unravels amid self-doubt, shame, grief and guilt. What Richard Did is a gripping dissection of an action and its consequences, featuring a stellar lead performance by Jack Reynor.  A Tribeca Film release.

·         Greetings from Tim Buckley, directed by Daniel Algrant, written by David Brendel, Emma Sheanshang and  Algrant. (USA) – U.S. Premiere, Narrative. “Like father, like son” is a demanding expression for someone who never knew his dad. When young Jeff Buckley (Penn Badgley) is asked to participate in a tribute concert for his late musician father Tim, music opens his eyes to the artistic legacy that he is destined to follow. Imogen Poots co-stars in this quiet and powerful tribute to those legends sustained by admiration, love and, in this case, beautiful music.  A Focus World and Tribeca Film release.

• Fresh Meat, directed by Danny Mulheron, written by Briar Grace-Smith. (New Zealand) – New York Premiere, Narrative. After a poorly executed escape from the police, a gang of dysfunctional criminals flees to the suburbs and gets more than it bargained for when it crash lands in the garage of an upper-class Maori family whose refined palates have developed a taste for human flesh. This action-packed horror comedy tells a blood-spattered tale of basement butchery and shifting allegiances as these unlikely adversaries enter a deadly showdown. A Tribeca Film release.

• The English Teacher, directed by Craig Zisk, written by Dan Chariton and Stacy Chariton. (USA) – World Premiere, Narrative. Teacher Linda Sinclair (Julianne Moore) balances her staid home life with an incredible passion for her subject, but her routine is forever altered when a former star pupil and his unsupportive father reenter her life. Go-to television director Craig Zisk, whose credits include Scrubs, Weeds and United States of Tara, takes a turn on the big screen with this insightful comedy about self-discovery co-starring Greg Kinnear, Nathan Lane, Michael Angarano and Lily Collins. A Cinedigm and Tribeca Film release.

To keep up with Tribeca, visit the Tribeca Film Festival website at www.tribecafilm.com, and log in at http://www.tribecafilm.com/register/, where you can also subscribe to the Tribeca Newsletter.

Like the Tribeca Film Festival Facebook page at http://www.facebook.com/TribecaFilm. Follow us on Twitter @TribecaFilmFest and join the conversation by using the hashtag #TFF2013.

From April 11-14, live music, film screenings and special events will unite film and music fans

Several special guests are scheduled to appear at the 2nd Annual XPN Music Film Festival produced by the Philadelphia Film Society, which will run from Thursday, April 11 through Sunday, April 14. The first film festival in Philadelphia to be solely dedicated to films about music will feature rockumentaries, biopics about musicians, and movies that are defined by their music soundtracks, with screenings of 17 films spanning a variety of genres and many special film-related guests and events.

Singers Darlene Love and Lisa Fischer, who are both featured in the closing night film, Twenty Feet From Stardom, will participate in a post-screening Q&A at 7:30 pm on Sunday, April 14 at Drexel University’s Mandell Theater, 33rd and Chestnut Streets in Philadelphia. Twenty Feet From Stardom (USA, 2012, 90 minutes, directed by Morgan Neville) shines a light on the untold story of backup singers, the true heroes in creating a full musical sound, related by legends from Bruce Springsteen to Bette Midler. The film was a rousing crowd pleaser at the opening night of the Sundance Film Festival earlier this year.

Darlene Love is known for singing on hits of the ‘50s, ‘60s and ‘70s with such luminaries as Sam Cooke and Elvis Presley, among many others, and her enduring version of "Christmas (Baby Please Come Home).” She was inducted into the Rock and Roll Hall of Fame in 2011. Lisa Fischer is recognized as one of the most sought-after session and backup vocalists in music. She’s worked with a number of music stars since the 1980s, including Luther Vandross, Chaka Khan, Sting and Tina Turner, and is widely known for performing on tour with the Rolling Stones since 1989.

Well-known Philadelphia broadcaster and author Larry Kane will introduce and provide his unique perspective on the Festival’s opening film, Good Ol’ Freda (USA, 2013, 86 minutes, directed by Ryan White), an intimate look into the life of the woman who was secretary for The Beatles, complete with rare footage and untold stories of the band. As a reporter, Kane accompanied The Beatles on their 1964 and ’65 tours of the U.S., which is recounted in his books Ticket to Ride and Lennon Revealed. Good Ol’ Freda will be shown on Thursday, April 11 at 7:30 pm at the Annenberg Center’s Zellerbach Theater, 3680 Walnut Street in Philadelphia.

To ensure a fully freaky experience at the showing of Freak Night, which documents the Flaming Lips’ famous 2012 Halloween concert, A Year in The Life of Wayne’s Phone, compiled from video shot on Wayne Coyne (Flaming Lips singer)’s iPhone will be screened, and a makeup artist will provide attendees with free, freaky, five-minute makeovers. Freak Night (USA, 2012, 58 minutes) will be screened at 10 pm on Saturday, April 13 at World Cafe Live, 3025 Walnut Street, Philadelphia.

Other previously-announced special events taking place as part of this year’s Festival, along with full film descriptions, screenings schedule and trailers, can be found at http://xpn.org/events/music-filmfest/2013/film-screening.

The Festival is sponsored by the Wyncote Foundation, the University of Pennsylvania, UBS Financial Services, Showtime and Smithsonian Channel, with events taking place at the Annenberg Center, Mandell Theater and World Cafe Live in Philadelphia. Festival tickets are available online at http://xpn.org and at the Annenberg Center box office (3680 Walnut Street).

Four-day, all-access Festival badges are $100 for WXPN and Philadelphia Film Society members and students (in- person sales only on day of screening, or in advance with valid student ID), and $125 for non-members. Tickets for individual films are $8 for WXPN and Philadelphia Film Society members and students, and $12 for non-members. Event tickets are $14 for members and students and $18 for non-members. Tickets for official Festival parties are $20 for members and students, and $25 for non-members.

These links can be used to locate more information:

XPN MUSIC FILM FESTIVAL     http://xpn.org/events/music-filmfest

PHILADELPHIA FILM SOCIETY http://www.filmadelphia.org

Introduced in 2012, the International Film Music Competition will now become an integral part of the Zurich Film Festival’s supporting programme. The competition venue will alternate between one of the festival cinemas and the Tonhalle Zürich. Composers from around the globe are once again invited to enter their film scores and compete for the Golden Eye for 'Best International Film Music 2013', an award endowed with a 10'000 CHF cash prize. The select short film for this year's competition is REIGN OF DEATH (2009, Matthew Savage), which will be ready for download as of April 15, 2013. The five best entries will premiere on September 27 at Sihlcity’s Arena Cinemas during a film music concert performed by the Zürcher Kammerorchester (ZKO) and the Zurich Jazz Orchestra (ZJO) under the musical direction of André Bellmont. An international jury will choose the winning composition on the same evening. Competition details and entry forms are now available at www.filmmusiccompetition.ch

An Instant Hit

The success of the first composition competition during the 8th Zurich Film Festival (ZFF) exceeded all expectations. 145 composers from 27 countries entered a score for the Swiss animation film EVERMORE, thus competing for the Golden Eye for ‘Best International Film Music’ and its 10’000 CHF cash prize. The award went to the young Basel-born percussionist and composer Michael Künstle. It was not just the phenomenal international response that compelled ZFF to make this special competition, which forms a unique selling proposition for Zurich’s ‘celebration of cinema’, but also an integral part of its supporting programme. The overriding motivation for the establishment of a composition competition came rather more from a respect for this widely unrecognised musical genre and its creators. The soundtrack, an aspect of film that requires great artistic skill, is essential for a film’s tonality, atmosphere and emotional impetus.

Film Music Concert Award Ceremony with the ZKO and ZJO at the Arena Cinemas

The five best entries will premiere on September 27 at Sihlcity’s Arena Cinemas this year. An international jury of music experts will choose the winning composition on the same evening. The Zürcher Kammerorchester (ZKO) and Zurich Jazz Orchestra (ZJO) will perform the scores at this festive, large-scale film music concert, the finale of which will be the presentation of the Golden Eye for ‘Best International Film Music 2013’, an award endowed with a 10’000 CHF cash prize. Both orchestras are highly enthusiastic about this particular genre of music. Michael Bühler, Director of the Zurich Kammerorchester, remarked: “As an emotive medium, music is one of the central art forms of a film. Highlighting this at the Zurich Film Festival is artistically valuable and a highly attractive opportunity.” Bettina Uhlmann, Administrative Director of the Zurich Jazz Orchestra, agreed: “Film music played a central role in the film experience before movies learned to talk, and its central function is often undervalued. Film music is an art form in itself and adheres to its own rules, demands and paradigms – it is nice for us as a big band to see that this art form is still alive and receiving the attention it deserves.”

"The International Film Music Competition is financed by the Main Partners of Zurich Film Festival: Credit Suisse, upc cablecom, Swiss Post, Audi, and supported by the City of Zurich."

2014: Back to the Tonhalle-Orchester Zürich

Partners of ZFF who collaborate on the implementation of the composition competition are bound by their commitment to film music. This, of course, includes the Tonhalle-Orchester Zürich, who will be involved in the competition and whose permanent residence will be the venue for the competition every second year from 2014 onwards. Lionel Bringuier, who will succeed David Zinman next year, is all-ears when it comes to the competition. The future principal conductor enthused: “Music offers film a framework. Its meaning is all too often undervalued. We would like to make the public more aware of music and we are delighted to have the opportunity to do so in the form of the Film Music Competition.” The professional Swiss platform for music in media ‘Forum Filmmusik’ is also an important competition partner.

Hello!

The 3rd HorrorQuest Film Festival and Play On Film Festival are now seeking submissions!

to enter your feature or short please vist www.thehorrorquest.com or www.playonfilmfestival.com, follow the submission guidlines and enter film today!

Belgrade RESET

Among many but pretty important Eastern European film festival in the region, when it comes to animation and short film, is The Belgrade Festival of Documentary and Short Film, this year celebrating its 60th anniversary. The festival presented 83 films international and Serbian, in the competition for the awards in four categories: documentary, short feature, animated and experimental film. When it comes to a Serbian productions of film there are 3 student’s productions; the Faculty of Drama Arts Production, the Arts Academy Film Production, the Students City Cultural Center Film Production and the Interakcija Film Camp Production. And from all productions two films had a success at Berlinale this year: the animated film Rabbitland directed by Nikola Majdak and Ana Nedeljkovic and the documentary Me, When I was a Boy, I was a Girl, a socially important transsexual story directed by Ivana Todorovic, award winning director of social documentaries at prestigious festivals in Palm Springs, Rotterdam, Michael Moore’s Traverse City Festival etc.

The selected films were: from the Shorts Festival in Tokyo in the program Made in Japan, London Calling Program from the London Shorts Festival, and The Contrasts of Russia Program, Patriots and Sinners with focus on the contradictions of modern Russia and Angry Ukrainians Program. There was also  Rockumentary Revolutions Program, a film Children of Socialism about the Slovenian punk band, as well as the film 'How we played the Revolution about the Lithuanian so called "Singing Revolution".  This year in the Neighborhood Program special focus is on Montenegro Film, presented by the students. The traditional supporting program Hot this year presented the topic of art therapy with five documentaries and short films from Europe and South America and the travelling festival UNAFF presents the documentary film  Sing Your Song about Harry Belafonte and his role in the human rights movement in North America.

This year's winner of the Belgrade Documentary and Short Film Festival's Life Achievement Award is Želimir Žilnik, one of the most known Serbian and international award-winning author, known by his social engagement in films and so called black wave film movement from 70s. Žilnik’s first feature film Early Works (1969) was awarded with the Golden Bear at the Berlin Film Festival. ACroatian film director Lordan Zafranovic, dear guest of Belgrade and member of this year's jury, reminded the audience that he participated on the festival for the first time back in 1966 and pointed to the new trends in film and hope in the future of short forms.

 (Awards article taken from the site of festival http://www.kratkimetar.rs/en/news/146/end-of-the-60th-shorts)

Awards

 Grand prix of the Festival goes to movie Secrets,

directed by Margherita Spampinato from Italy. 

Explanation: The subtlety, quiet approach and distance applied by the director to this harrowing subject-matter leaves the audience reeling with fear. In this chilling tale, the director succeeds in creating a truly terrifying monster - visible only to his victims - in an all too familiar and seemingly safe environment. A film that stayed with the Jury long after the credits rolled.

Golden Plaque Belgrade for best film of the domestic competition program and the amount of 2.000,00 euros go to the film: 

"Rabbitland" by Ana Nedeljkovic and Nikola Majdak

Explanation: Original and ironic questioning of the purpose of the political system where the shallowness of the propaganda machine promotes evil in order to realize the lowest passions of the political elite. Visually attractive overview of contemporary society. 

Golden Plaque Belgrade for best film of the international competition program and the amount of 2.000,00 euros goes to the film 
"Oh, Willy…" by Emma De Swaef and Marc James Roels from Belgium

Explanation: The Jury were enamoured by Willy and his beautifully animated stop-motion world, made almost entirely of fabric and textiles. Masterful technique and high production value came together on an epic scale allowing us to empathise with Willy and the emotional crisis he faced - as well as transporting us to a fantastical land and imaginative mythical creature from whom Willy is able to turn to, in order to replace the maternal comfort he so desperately craved.  

Golden Medals of Belgrade and the amount of 1.000,00 euros each for the best films by category of the competition program go to: 

For Best documentary film:
"Tommorow We Will Live again" - Corinna Giesen, Germany 

Explanation: In this intimate and personal documentary, the director holds a mirror up to her life inviting us to enter her world and experience ourselves the unpredictable twists and turns that have indeed left her agonisingly entangled - forcing her story arc to shift from that of well-intentioned saviour to hopeless victim. 

Golden medal for best animated, short or experimental film goes to:

The director of the film "Nuclear Waste" - Myroslav Slaboshpytskiy, Ukraine

Explanation: Using no dialogue documentary-style long shots, the director forces the audience into the mundane practices of the workers of a radioactive waste plant - where we learn that toxicity has contaminated even intimate relationships, leaving them void of apparent meaning, emotion or communication. The very act of sex in itself becomes just another chore to be performed at a set time and added to the rest of their day-to-day work routines.  
 


Golden Medals of Belgrade and the amount of  1.000,00 euros for the best films of the domestic competition program go to: 

For Best documentary Film to the director:
Ivana Todorovic for the film "When I was a boy, I was a girl"

Explanation: The Jury appreciated the open and honest portrayal of Serbian transvestite Goca, attempting to live life and find love in an unaccepting and potentially hostile society - allowing the audience to empathise with her daily fears and frustrations.


For Best short feature film: 
Stefan Ivancic - the film "Springtime Suns"

Explanation: Beautifully shot, the film achieves a closeness and relaxed intimacy with these cousins that is so natural, real and convincing - that we become one of the family, sharing with their in-jokes and looking ahead to the future as summer draws to a close. 


Golden medal for Best experimental film: 
"The Tale of the Wall Inhabitants" by Andrej Boka

Explanation: A strong metaphor about the senselessness of the war through a funny, but tragic story about the conflict between windows and doors in houses, reminding of the ridiculous rows and conflicts of Balkan nations.

For Best animated film: 
"Regular day" by Vuk Palibrk

Explanation: An original approach in creating a simple and charming story about an animated hero and his everyday advantures.

The award for best production of a group of films goes to the Academic Film Center "Dom kulture Studentski grad". 

Four Diplomas of the Festival for individual contribution in the films of the domestic competition program were awarded to: 

1. For best camera work, to the cameraman of the film "Springtime Suns" Igor Djordjevic

2. For best animation, to the animators of the film "Rabittland" - Ana Nedeljkovic and Nikola Majdak

3. For best editing - Vladimir Petrovic for the film "Virus" 

4. For best soundtrack - to the composer Mirjana Vladisavljevic and Ivan Pavletic for the fim "The Tale of the Wall Inhabitants" 

The official jury of the 60th Belgrade Festival of Documentary and Short film consisted of:
1. Mirjana Karanović  (Chairperson)
2. Lordan Zafranović
3. Vera Schmidt
4. Marija Milanović Lazarevski
5. Afarin Eghbal

Bermuda International Film Festival Opens with “Ginger & Rosa”

*Poster's note-BIFF is a solid festival filled with the best in world cinema that is filled with wonderful people who possess the warmth of the island's wonderful weather!  Highly recommend!

To mark BIFF’s Sweet 16, the festival opens on Friday with “Ginger & Rosa,” a riveting coming-of-age story about two teenage girls growing up in the sixties in London. The two, played by Elle Fanning and Alice Englert, were best friends since they were toddlers until a scandalous betrayal drives them apart.

The backbone of the programme is the World Cinema category with narrative features from across Europe, the Middle East and North America. Leading the pack is this year’s Academy and Golden Globe ‘Best Foreign Language Film’ award winner, “Amour.” This universally acclaimed masterpiece paints a portrait of a Parisian couple dealing with old age that is as compassionate as it is merciless.

Other World Cinema narrative highlights include Cannes award-winners: “Beyond the Hills” (Best Screenplay, Best Actress); “The Angel’s Share” (Jury Prize); “The Hunt” (Best Actor) and “Laurence Anyways” (Queer Palm, Un Certain Regard). “The Attack,” set in Tel Aviv in the dramatic aftermath of a suicide bomb, rounds out the section.

The equally well-regarded World Cinema documentary selection covers a diverse range of subject matter: Indonesian paramilitary leader Anwar Congo and his dedicated followers in “The Act of Killing”; killer whales that kill in captivity in “Blackfish”; the persecution of albinos in Tanzania, “In the Shadow of the Sun”; the biased judicial system of West Bank, “The Law in these Parts”; Afghan television network, TOLO TV, in “The Network”; familial myths and memories in “Stories We Tell”; and gross miscarriage of justice in “West of Memphis.”

For the first time this year and in-keeping with a popular film festival custom, BIFF will be marking the middle of the festival with a Centrepiece Film. The touching and joyful “Unfinished Song” was selected for this honour. It brings together two icons of British cinema, Vanessa Redgrave and Terence Stamp, as a married couple struggling to cope with her terminal illness, but finding light relief and solace singing in the somewhat unconventional local seniors’ choir.

Also new this year is the Festival Jewels category for which BIFF’s programmers selected two recent big hits from the international festival circuit: “Chicken with Plums” and twice Golden Globe nominated “Rust and Bone.”

Our From the Onion Patch screening offers cinemagoers another chance to catch the latest offering from local filmmakers, Lucinda Spurling and Andrew Kirkpatrick, “In the Hour of Victory,” on the big screen. A documentary which tells a tragic love story set amid the turmoil of World War II, the film will screen for the first time at BIFF 2013 with a brand new soundtrack composed by Steve Gallant who was raised in Bermuda.

This year’s Special Presentation of “Femme: Women Healing the World” also has a local connection. Director by BIFF regular, Emmanuel Itier, it is a quest to find and interview the most important and influential women around the world. Among those interviewed are former Premiers of Bermuda, Dame Jennifer Smith and Dame Pamela Gordon (a long-time supporter of BIFF).

As BIFF is one of only a small number worldwide of Academy Award Qualifying festival for the Short Film – Live Action Oscar, there will also be a varied narrative shorts lineup screening in competition for the coveted Bermuda Shorts award presided over by an esteemed judging panel (to be announced). There will also be a number of though-provoking and highly regarded short documentaries for your viewing pleasure. The shorts will screen either in one of four themed packages or prior to feature presentations. The “Local Flavours” package comprises four short film from Bermudian filmmakers: Robert Zuill, Kara Smith, Karli Powell, Kev Lombard and Milton Raposo. Bermudian Bayard Outerbridge’s recently completed short film, “Machsom,” will also make its international film festival debut at BIFF 2013.

The festival will close with “Girl Most Likely,” a wildly quirky and optimistic comic comedy study featuring Kirsten Wiig, Annette Benning, Matt Dillon and Glee’s Darren Criss.

This year BIFF has partnered with Festival Genius, the premier scheduling platform, to offer a fully searchable and interactive online film guide at: http://bermuda.festivalgenius.com/2013. The guide offers detailed synopses and trailers and you can create a log-in profile in order to add films to your personal calendar, as well as rate and review films.

Created as a non-profit organisation in 1997, the Bermuda International Film Festival (BIFF) seeks to advance the love of independent film from around the world, and create a community welcoming to filmmakers and filmgoers. BIFF organises an annual film festival held in March each year. In addition, the organisation hosts a monthly film series, BIFFlixs, summer student camps to nurture young filmmaking talent on the island and filmmaking Labs for adults. BIFF is recognised as a qualifying festival for the Short Film Oscar® by the Academy of Motion Picture Arts and Sciences. The 16th annual Bermuda International Film Festival will be held April 12-18, 2013.

How to find us:

Website: www.biff.bm

Facebook: www.facebook.com/BIFF.bm

Twitter: @BERMUDAFILMFEST

The 17th Annual Hollywood Film Festival (HFF), hailed by “Variety” as “the ultimate networking opportunity” and by The New York Times as “the first mandatory stop in the awards season.” A long-standing and well-respected celebration of the very finest in big-screen storytelling, HFF presents promising filmmakers with countless opportunities to network with the industry’s top executives and brightest stars. It’s no wonder so many winners of HFF have secured representation and distribution deals through outlets including HBO, Miramax, IFC, 7th Art Releasing, Indican, and Starz, among others.

Jon Fitzgerald is the new Executive Director of the Hollywood Film Festival. UPCOMING DEADLINE – SUBMIT TODAY! - http://www.hollywoodfest.com

In the last nine years, HFF has seen a total 96 Oscar nominations and 24 Academy Awards presented its official selections and to the honorees of the Hollywood Film Awards, HFF’s companion event. HFF awards are covered by print and online media, as well as by cable and network television stations the world over. Heralded as a “pre-Oscar showcase” by “The Los Angeles Times,” last year’s event honored Richard Gere, Bradley Cooper, Robert De Niro, Amy Adams, Ben Affleck, John Hawkes, and Quentin Tarantino. Few events can compete with HFF’s heady mix of A-List star power and career-making industry exposure or with its desire to help deserving talents find their place on the world stage.

HFF has launched numerous successful careers and has exponentially increased the visibility of the talents it honors. After HFF hosted the world premiere of his first film, The Poor & Hungry, director Craig Brewer secured the sale of Hustle & Flow to Paramount Studios for a cool $9 million. That picture would go on to snag an Academy Award for Best Original Song and an Oscar nomination for its star, Terence Howard. Other notable HFF successes include director Robert DeFranco, (who sold his film, Telling You, to Miramax) and Zoe Clarke-Williams, who was signed to direct an MGM film after being honored at the festival. HFF-winning documentarian Janine Hoskins sold her film, My Khmer Heart, to HBO.
   
UPCOMING DEADLINE – SUBMIT TODAY - http://www.hollywoodfest.com
April 30, 2013 – Regular Deadline

Every film during the Pre-Festival screenings has been exceptional, however, many are under an embargo, and we are unable to write about them until after the premiere. I will, however, highlight a handful that are not under embargo.

The Broken Circle Breakdown: World Narrative Competition, (Belgium, Netherlands)

Elise runs a tattoo parlor. Didier is a tall, bearded, country-living, singer and banjo player in a bluegrass band. The movie starts off showing them as a couple with a six year old daughter who is battling cancer and seeking treatment in the hospital. Throughout the course of the film, there are flashbacks as to how the couple met, fell in love, their wedding, her pregnancy, and other key events. While Elise is a religious Catholic, Didier is an atheist. When the religious, legal, moral and ethical questions of adult and embryonic stem cells appears in their lives, their relationship(s) and beliefs are put to the test.

Musicians:

Veerle Baetens – Singer

Johan Heldenbergh – Singer

Bjorn Eriksson – Singer and Guitar

Lennart Dauphin – Bass

Geert Waegeman – Violin and Mandolin

Nils De Caster – Violin, Mandolin and Singer

Hank Van Damme – Banjo, Guitar and Singer

David Buyle – Violin on “Sand Mountain”

Arno Kuypers – Guitar on “Sand Mountain”

Peter Pask – Acoustic Guitar on “Sand Mountain”

Geert Van Rampleberg – Extra Singer

Jan Bijvoet – Extra Singer

Robby Cleiren – Extra Singer

Bert Huysentruyt – Extra Singer

Songs:

“Will the Circle Be Unbroken” – The BCB Band, originally AP Carter

“Mega Mindy Tijo” – Mega Mindy

“The Boy Who Wouldn’t Hoe Corn” – The BCB Band, traditional

“Reuben’s Train” – The BCB Band, traditional

“The Lion Sleeps Tonight” – The BCB Band, originally Louigi Creatore/Solomon Linda/Hugo Peretti/George Weis

“Country in my Genes” – The BCB Band, originally Larry Cordle, Larry Shell, Betty Key

“Wayfaring Stranger” – The BCB Band, traditional

“Didn’t Leave Nobody but the Baby” – The BCB Band, originally Alan Lomax, T-Bone Burnett, Gillian Welch

“Cowboy Man” – The BCB Band, originally Lyle Lovett

“Over in the Glory Land” – The BCB Band, traditional

“Sand Mountain” – The BCB Band, originally Johnny Bellar

“Bruiloftsmars” – Jan Bijvoet and Robby Cleiren, originally Felix Mendelssohn-Bartholdy

“If I Needed You” – The BCB Band, originally Townes Van Zandt

“Where the Soul of a Man Never Dies” – Veerle Baetens and Johan Heldenbergh

Red Obsession: World Documentary Competition, (Australia)

Narrated by Russell Crowe.

What happens when the gold rush and silk road migrates East towards red grapes and fine wines as investments?

China has become France’s largest importer of exclusive Bordeaux wines including Lafite Rothschild 2008, as “China wants to be richer and more powerful,” “they want to please people”, “they never want to look back towards oppression,” are encouraged to work hard and shoot for the stars, they want to try new things and enjoy outside influences, and would like to make life better for future generations.”

What happens when your best customer turns into your biggest competitor?  

In France, vineyards and cellars have been around for hundreds of years, and buyers have become complacent, while in China, wine is new and the silk road ready to connect them to the rest of the world. With over 270 billionaires living in the region, many want to impress their clients as the beverage is thought of  as a status symbol which gives them position as they face the West. As this proud culture dreams of doing everything better than the rest of the world, China will soon be the world’s largest producer of wine.  When conducting business there, remember, there are lots of conflicts when people think the system in China will work like the one in their own home country. It is China, and it runs differently with Chinese characteristics.

INTERVIEW:

As Australian directors, how did you come to shoot a movie about the relationship between a French wine producing region and China? What was the starting point for RED OBSESSION?

It was serendipitous really – the genesis of the project happened on board a Qantas flight from Sydney to London. Andrew Caillard, a Master of Wine, happened to be on the flight and we struck up a conversation. We had met once before so he knew I was a filmmaker and a vigneron and I knew he was a Master of Wine – (there are fewer MWs in the world than there have been astronauts!). Andrew asked if I had ever thought about making a film about wine, which I hadn’t. As the hours passed on the flight, I became more and more intrigued by what he told me about Bordeaux, a region he knew intimately – prices had been skyrocketing over the past two years for one reason – China. In fact, despite the Global Financial Crisis, which decimated the US and UK markets for these rare and desirable wines, China’s economy had been powering, minting new millionaires at an incredible rate. I was hooked – what happens when the world’s most voracious consumer of luxury goods turns its attention to a rare and ethereal but strictly limited product? On top of that, the next vintage to be released, the 2010, was being mooted as the vintage of the Century. This could be the perfect storm of the wine world.

Was it difficult for you to gain access to the Châteaux in Bordeaux and talk to their owners and managers? Did they voluntarily open their ‘caves’ up to you?

Andrew’s connections in Bordeaux are second to none. MWs are respected as THE wine authorities in the world. They are welcomed and feted in Bordeaux. Andrew’s involvement there goes back many years and although most of the Chateaux were very wary after a few unpleasant experiences with documentary makers, they opened their gates to us, trusting in Andrew’s integrity. As often happens with documentaries that require filming over a long period (in our case we filmed in Bordeaux on and off over 12 months), trust is built over time.Your film follows the development of the Bordeaux vintages over more than two years. How much time did you spend working on the project overall?

After that initial meeting on the aeroplane, I called my long time creative partner, David Roach, then Andrew, David and I met over coffee to discus how we would move forward. I explained to Andrew that we would need 6 months to research, write and raise the budget and it was then that Andrew dropped the bombshell that we needed to be in Bordeaux in 4 weeks time ready to shoot. The reason? – Every year in early April, the Bordelais reveal their new wines to the world’s wine writers, critics and merchants for their assessment. Early rumours out of Bordeaux pointed to the likelihood that the 2010 vintage would be the greatest vintage in 100 years. If we missed that, we would miss a critical moment in the history of Bordeaux. So three weeks later we were on a plane and hit the ground running. That was April 2011 at the En Primeur campaign. We went back again in June to capture summer, then again in September to film the harvest of the 2011 vintage and again for En Primeur in April 2012, so we captured the whole cycle.

What is your relationship to wine – are you collectors, tasters, drinkers…

I (Warwick) am a vigneron myself, so I have the knowledge that any vigneron would have about growing and producing wine. This allowed me to feel very comfortable with the subject and the processes and to empathize to some degree with the growers in Bordeaux. I like a good drop also – and having spent 12 months with some of the world’s greatest Chateaux, the wines we experienced were breathtaking! I’m not really a collector or a taster – I’m a drinker.

You worked with several prominent figures in the international wine world, from Robert Parker to Francis Ford Coppola. What was the most impressive encounter you had during the entire journey?

I think I’ll have to split this answer: As a filmmaker, meeting, interviewing and sharing thoughts about films and film making with Francis Ford Coppola was an exceptional experience. I think I related to that encounter more than any other because we are both filmmakers and wine producers. I’m not sure why those two disciplines go hand in hand so well, but they do. He even spoke about the parallels between filmmaking and wine making which resonated with me.

Oz Clarke was another fascinating interviewee – his candour, insights and wonderful anecdotes (he was a West End actor at one stage) were gold!

Christian Moueix from Chateau Petrus was the most philosophical of our 82 interviewees. He is disarming, charismatic, an art lover and a poet. His descriptions of a bottle of wine being a ‘tweet’ which you send over the world, won us over. His candid assessment of Bordeaux’s hubris allowed us to form our ending.

Russell Crowe narrates the film – how did he become involved in the project?

Russell is a friend of my Executive Producer, Rob Coe. He also loves his wines! The themes of the film resonated with him immediately – Bordeaux and China. The challenge was to try and find some time in his ridiculously busy schedule. He was filming “Noah” in New York and was finishing “Les Miserables” at the same time. Hurricane Sandy, which caused so much misery for so many people, forced a sudden postponement in Russell’s schedule and allowed just enough time for him to record the narration for us.

Starting in Bordeaux, RED OBSESSION takes us on a journey to China, allowing the audience to discover the largely unknown world of chinese wine lovers, collectors and producers. How did you experience this discovery?

We were lucky enough to be taken to places in China we would never have been allowed access to – or even to have known about. Demei Li, China’s most recognized wine maker and a lecturer at Beijing University of Agriculture, suggested we accompany him to the Xinjiang Uyghur Autonomous Region in far western China, on the old Silk Road, where Chinese authorities are planting thousands of acres of vines. The stunning red deserts, camel trains and traditional Muslim communities were scenes reminiscent of Lawrence of Arabia – a film-makers dream.

Getting access to billionaire collectors was even more tricky – Chinese society, particularly at the high end, can be very closed, especially to foreigners and it took many months for intermediaries to explain what we wanted to do and to eventually gain their trust to allow us film them in their environments. Once we had their confidence, nothing was too much trouble and we were often invited to stay after the interview and share a superb bottle of Bordeaux over a Chinese banquet.

The emergence of China as a buying power and a dominant force in the wine world has been so swift and so powerful as to represent a near paradigm shift. What questions does this raise about wine as a tradition and an art versus just a pure commodity?

This question is one we faced time and time again during the course of our filming. Ultimately when a product is viewed purely as a commodity, it tends to lose its soul. We discovered that the more valuable wine becomes, the more it’s treated as a pure commodity, attracting the avaricious world of commodity traders. Some clients will spend a million dollars on cases of expensive wine, only to store them in a warehouse somewhere, to be sold in the future when the price has doubled or trebled. The bottles of wine go unopened, even unseen by their owners. This is a pure business trade – about as far away from the passion and art of the vineyard as one can get. This trend emerged some years ago when prices of Bordeaux wines started rising so rapidly (faster than the Dow Jones, the FTSE and Gold) that they became the target of pure investors. The China effect of the past 3 or 4 years has only exacerbated this effect. Ironically, it’s western investors who are doing the investing, while the Chinese, who are driving the prices up through sheer buying power, are either drinking the wines, presenting them as gifts, or serving them to guests to show the esteem in which they are held.

As such, it could be argued that the Chinese are honouring the passion and art of the wines more than the western investors.

By now you must have tasted many great vintages with wine lovers both from Bordeaux and from China. Is there a great difference in how they taste, experience and ‘feel’ the wine itself?

Yes, there is a great difference. Whereas the traditional markets of the US, France, UK and Europe have been drinking wines for hundreds of years, the Chinese are still new to wine culture. Initially, this led to stories of the Chinese adding Coca-Cola to glasses of Chateau Lafite to make them palatable, as the taste of undiluted wine was so foreign. This practice, quite common until recently, has given way to a great desire to appreciate the wine for what it is. As such, it is not uncommon to see bus loads of Chinese visitors in Bordeaux, determined to educate themselves not just about the wine itself but about the intricacies of production methods and ‘terroir’ points of difference. The Chinese have found that the key to appreciating wine is to relate it to their tea culture. Both have a tannic structure – and tea has been part of Chinese meals for centuries.

The film provides a very balanced view of the Bordeaux/China phenomenon, with optimistic as well as more critical voices coming from both sides. Now that you know both of these worlds well, how do you see the future of wine – in China and in Bordeaux?

As the Chinese understanding of wine broadens, Bordeaux will become less of a focus and other regions such as Burgundy, the Rhone etc, not to mention Italy, Spain and South America will feel the surge in Chinese interest. Current predictions are that in 20 or 30 years, the entire world’s production will not be enough to satisfy the China market. This is recognised by the Chinese government, who are now planting tens of thousands of acres of vines each year to try to cope with future demand.

Bordeaux’s fortunes have always been tied to the fluctuations of world markets but with such a limited and finite resource, notwithstanding the broadening out of Chinese interest, there is only one direction the prices of Bordeaux’s finest wines will ultimately go – up.

What Richard Did: Viewpoints, (Ireland)

 “Dytiatko” festival is a noncommercial one; participation in it is free of charge. Children TV and animated studios and also TV companies and producer centers which make programs for children are welcomed to take part in the festival.

Nominations:

- “Best Play Film of a Children’s TV Studio”;

- “Best Documental Film of a Children’s TV Studio”;

- “Best TV Program of a Children’s TV Studio”;

- “Best News Program of a Children’s TV Studio”;

- “Best Animated Film of a Children’s TV Studio”;

- “Best Radio Show of a Children’s Studio”;

- “Best TV Program for Children”;

- “Best Children’s Film”;

- CIFEJ Prize (an award from the International Center of Films for Children and Young People);

- “Local government - that's us!” (special nomination under the aegis of European Council. The works will be preferred, that reflect the authors` views on the role and specifics of local self-government as well as those about participation of young people in local issues solution).

Besides, at the closing ceremony will be announced the names of:

- Best director’s work;

- Best anchorperson;

- Best TV journalist;

- Best actor.

Admittance of applications for participation: until August 15, 2013

Due to support of the Festival’s friend and partner, M. V. Lomonosov Moscow State University, each year, two studios get a chance to spend a week in Moscow on the basis of the University.

The EC Office in Ukraine is a partner of the Festival since 2012. Due to cooperation with this organization, winners of the “We Are Self-Government” nomination are granted an opportunity to visit EC headquarters in Strasburg.

“Dytiatko” Festival is a member of CIFEJ, the International Center of Films for Children and Young People since 2012.

Official web-site of the Festival: http://fest.dytiatko.org.ua

The St Barth Film Festival/Cinéma Caraïbe celebrates its 18th season from April 25-30, 2013 and continues to offer the population of St. Barthélemy the opportunity to discover films and directors from the Caribbean basin and beyond. The guests of the festival are directors, producers and film professional with a particular tie to the Caribbean cinema and culture on a broad sense.

This year, we will travel from the Caribbean to Argentina via Mexico, with films whose subjects are as diverse as bullying or the cultural integration of a Haitian family in the United States. We are pleased to present After Lucia, a contemporary drama by Michel Franco, leading figure of Mexican cinema, which won the prize “Un Certain Regard” at the 2012 Cannes Festival, Stones in the Sun by Patricia Benoit, selected at Tribeca Film Festival where it received the Jury’s special prize, Elefante Blanco, Pablo Trapero’s new movie, whose international career we have been following from the start and 7 Days in Havana, a contemporary portrait of an eclectic city presented in 7 chapters through the lenses of 7 directors including Benicio del Toro, Laurent Cantet (The Class) and Pablo Trapero.

Once again we are pleased to work with Jean-Marc Césaire of Ciné Woulé, for the closing of the festival with the setting up of a giant screen on the beach of Flamands on Tuesday, April 30.

Continuing another tradition, we will also screen some selections from the 4th Annual Caribbean Travelling Film Exhibition, a series of films from the whole region, sponsored by UNESCO, which corresponds well to our mission. Join us in this cinematographic adventure.

St Barth Film Festival/Cinéma Caraïbe is organized by Ellen Lampert-Gréaux, Joshua Harrison, Rosemond Gréaux and Sophie Maupoil under the auspices of the non-profit French association, Ciné Saint Barth along with the generous support of the Collectivity of St. Barthélemy, the DRAC in Guadeloupe (Regional Cultural Affairs Office of the French Ministry of Culture), the Conseil Régional de la Guadeloupe, La Direction Départementale de la Jeunesse et des Sports, A.J.O.E., Ciné Woulé, and the St. Barth Tourist Office, as well as other cultural organizations in St. Barth. Numerous island hotels, restaurants and businesses have been among the local sponsors since the festival was launched in 1996.

THE PROGRAM

All films are in French or in their original version with French subtitles.

4/25 / Thursday 
Opening Night

8 PM— AJOE, Lorient
Entrance fee:5 Euros

Soup à Pyé, Karine Gama, in French, France, 15 minutes, 2012

L'Autre Saint Barth / The other St Barth, Alexandre Fronty, in French, France, 52 min, 2013

4/26 / Friday

8 PM— AJOE, Lorient
Entrance fee:5 Euros

Despues de Lucia/After Lucia/Après Lucie / Michel Franco, Spanish with French subtitles, Mexico, 2012. 102 min.

4/27 / Saturday / Samedi

8 PM— AJOE, Lorient
Entrance fee:5 Euros

Stones in the Sun/Wòch Nan Solèy, Patricia Benoit, Créole/English/French, Haiti/USA, 2012. 95 min.

4/28 / Sunday / Dimanche

8 PM— AJOE, Lorient
Entrance fee:5 Euros

7 Days in Havana/7 Jours à La Havane, 7 directors including Pablo Trapero & Benicio del Toro, France/Spain/Argentina, 2012. 129 min.

4/29 / Monday / Lundi

8 PM— AJOE, Lorient
Entrance fee:5 Euros

Elefante Blanco/Eléphant Blanc, Pablo Trapero, Spanish with French subtitles, Argentina, 2012. 105 min.

4/30 / Tuesday / Mardi 
Closing Night

7 PM— On the beach at Flamands 
Free

Ka Palé and Bridge To Havana, Concert Films.

For more information, please contact:

St Barth Film Festival

New York office: +1 212-989-8004 tel /+1 212 727-1774 fax

St. Barth office: +590 590 27 80 11 tel / +590 590 29 74 70 fax

www.stbarthff.org  -  staff@stbarthff.org

The High Falls Film Festival (highfallsfilmfestival.com) starts Thursday April 18!  The 11th annual festival will present 27 screenings from 13 countries including four premieres, free panel discussions, three parties, and more than 50 award-winning independent features, documentaries and shorts.

 
The four-day festival, is one of the few film festivals worldwide that celebrates the work of women filmmakers. It will wrap up Sunday April 21 with the Best of Fest narrative and documentary voted on by audiences.
 
Tickets

• How to Buy: online up to one hour before show times at highfallsfilmfestival.com, at the door, or call (585) 820-0845
• Ticket Prices: $12 / film (students & seniors 65+, ID required at door), $15 / opening & closing night films (students & seniors 65+, ID required at door) Service charge $1.75 per ticket online. All sales final. No refunds.  
• Passes: Film-Fanatic Pass $120 <http://highfallsfilmfestival.com/buy-tickets> , access to all 27 screenings; All-Access Film-Fanatic Pass $170 <http://highfallsfilmfestival.com/tickets> , access to all 27 screenings + opening/closing night parties. Passes get priority access to screenings. Pass Holders must be seated 15 minutes prior to the published advertised start time to guarantee seats.   
• Will Call: Pick up tickets ordered by phone at the High Falls Film Festival Ticket Office at the Little Theater April 18-21.
• Rush Tickets - available 10 minutes prior to each screening at the venue for sold out shows.
• Questions? Call (585) 820-0845

Venues

• The Little Theatre 1 & 5 • 240 East Avenue, Rochester
• The Cinema Theater • 957 Clinton Avenue South, Rochester
• The Dryden Theatre at George Eastman House • 900 East Avenue, Rochester

Q&As with the Filmmakers

• Judy Chaikin, Director, Girls in the Band, Thursday, April 18, 8- 8:45 PM, Little 1, 240 East Avenue; Friday, April 19, 5- 6:00 PM, Cinema, 957 Clinton Ave South
• Drew Denny, Director The Most Fun I’ve Ever Had With My Pants On, Friday, April 19th from 8:15 PM to 8:45 PM, Cinema, 957 Clinton Ave South
• Director Tom Donahue and Film Editor Jill Schweitzer, Casting By, Friday, April 19th, Little Theatre 1, 10:45 - 11:15 PM
• Director Jenny Deller, Future Weather Saturday, April 20, Little Theatre 1, 4:45 - 5:15 PM
• Producer Erin Craig, How We Got Away With It, Sat., April 20, Dryden Theatre, 5:00 - 5:30 PM
• Co-directors Dominique Cardona and Laurie Colbert, Margarita, Sat., April 20, Little Theatre 1, 8:00 - 8:30 PM
• Director Eliaichi Kimaro, A Lot Like You, Sat., April 20, Little Theatre 1, 11:00 - 11:30 PM

Free Events

• Informal Coffee Chats with Directors - April 18, 19 & 20, 9:30 - 11:00AM. Rochester Plaza State Street Grill.  Free. Complimentary coffee and Danish.
• So You Want to Make a Movie Panel Discussion - Sat., April 20, 9-10:15AM. Free. Moderator: Nora Brown, Finger Lakes Film Office. Panelists: Nick DiBella, Writer/Director; Mark Costello, Boylan Code, Entertainment Law; Ray Justice, Entrepreneur, Justice Enterprises; Taine Ann Riggio, Producer
• The Future of Film: The Impact of Digital on the Film Industry Panel Discussion - Saturday, April 20th from 10:30am to noon, Free. Moderator:  Malcolm Spaull.  Panelists: Ricky Figueroa and Les Moore, RIT, Susan Rogers, WXXI/Little and others.  

Premieres

• Thursday April 18, 7:00 p.m. – Watchtower, Little 5, (NYS Premiere)
• Friday April 19, 9:30 p.m.  – Pretty Brutal, Cinema (North American Premiere)
• Saturday April 20, 12:30 p.m. – Go Public Project, 4 shorts & Panel Discussion w/Director, Little 1, (World Theatrical Premiere)
• Saturday April 20, 1:15 p.m. – The Way to Nowhere Island, Little 5 (World Premiere)

Parties
The festival doesn’t end after the films!

• Opening Night Party– Thursday, April 18, 9PM- midnight, Inn on Broadway, cocktails & hors d'oeuvres, walk the red carpet, have your picture taken, mingle with filmmakers. Tickets, $25 at highfallsfilmfestival.com.   
• Party at the Strathallan– Friday, April 19, 8PM-midnight, join filmmakers and film fans for this party on the rooftop at the newly renovated Strathallan. Free admission. Cash bar.
• Closing Night Party– Saturday, April 20, 9PM to midnight, cocktails, hors d'oeuvres, sweets & coffee, Potter Peristyle, George Eastman House. Mingle with the filmmakers and celebrate the conclusion of our 11th annual film festival. Tickets, $25 at highfallsfilmfestival.com.  

Fashion Show - Friday, April 19, Little 1 Theatre - A special live fashion show presented by Fashion Week of Rochester producers Meghan Mundy and Chantiza Stern will immediately follow the screening of Diana Vreeland: The Eye Has to Travel. Film starts at 6:30PM

Film & Event Schedule - See http://highfallsfilmfestival.com/films_and_schedule<http://highfallsfilmfestival.com/films_and_schedule>  for film synopses, trailers, casts and female contributors. Schedule subject to change.

Thursday April 18
9:30 - 11:00 a.m.– Informal Coffee Chat w/directors, Rochester Plaza, FREE
6:30 p.m. – Girls in the Band, Little 1 (Q&A to follow)
7:00 p.m. – Watchtower, Little 5, (NYS Premiere)
9:00 - midnight – Opening Night Party, Inn on Broadway.
9:15 p.m. – Facing Mirrors, Little 1
9:30 p.m. – Shorts Program 1, Little 5
 
Friday April 19
9:30 - 11:00 a.m.– Informal Coffee Chat w/directors, Rochester Plaza, FREE
6:30 p.m. – Girls in the Band, Little 1 (Q&A to follow)
1:15 p.m. – California State of Mind: The Legacy of Pat Brown, Cinema
4:00 p.m. – Girls in the Band, Cinema (Q&A to follow)
6:30 p.m. – Diana Vreeland: The Eye Has to Travel, Little 1, (Fashion Show to follow)
6:40 p.m. – The Most Fun I’ve Ever Had With My Pants On, Cinema (Q&A to follow)
6:45 p.m.  – Unfinished Spaces, Little 5
8:00 p.m. – Midnight, Party at the Strathallan
9:15 p.m. – Casting By, Little 1
9:30 p.m.  – Turn Me On, Dammit!, Little 5,
9:30 p.m.  – Pretty Brutal, Cinema (North American Premiere)

Saturday April 20
9 - 10:15 a.m. – So You Want To Make A Movie? Panel Discussion, Little 5 FREE
9:30 - 11:00 a.m. – Informal Coffee Chat w/ directors, Rochester Plaza, FREE
10:30 – Noon a.m. – Future of Film - The Impact of Digital Media Panel Discussion, Little 1, FREE,
11:00 a.m. – RIT Women of SOFA, Little 5,  (Meet & Greet, Little Cafe to follow)
12:30 p.m. – Go Public Project, 4 shorts & Panel Discussion w/Director, Little 1, (World Theatrical Premiere)
1:00 p.m. – Molly Maxwell, Dryden
1:15 p.m. – The Way to Nowhere Island, Little 5 (World Premiere)
3:15 p.m. – Future Weather, Little 1
3:30 p.m. – Shorts Program 2: Dead Ends, Little 5
3:30 p.m. – How We Got Away With It, Dryden (Filmed in Rochester)
6:00 p.m. – TBA, Little 5
6:30 p.m. – Margarita, Little 1 (Q&A w filmmaker to follow)
6:30 p.m. – The Day I Saw Your Heart, Dryden
9:00 – Midnight, Wrap-up Party, Potter Peristyle, George Eastman House
9:00 p.m. – A Teacher, Dryden
9:15 p.m. – Harisma, Little 5
9:30 p.m. – A Lot Like You, Little 1 (Q&A to follow)

Sunday April 21
3:30 p.m. – Audience Choice, Best of the Fest Documentary, Little 1
6:00 p.m. – Audience Choice, Best of the Fest Narrative, Little 1

Films with Rochester Connections

• The Women of SoFA show, a 94-minute screening of 11 shorts, produced by young women filmmakers from all over the world currently studying at RIT.
• How We Got Away With It - shot in Rochester, written by Greece NY native Jeff Barry, and the film’s lead producer, Erin Craig is a Webster native.

News  - sign up for news alerts at highfallsfilmfestival.com and follow the festival on Twitter and Facebook.

More Information

• Festival Office:  585-279-8312
• Box Office:  585-820-0845
• Highfallsfilmfestival.com

Sponsors - High Falls Film Festival is sponsored by First Niagara, the Democrat & Chronicle, Harris Beach PLLC, 13WHAM TV & CW16, Monroe County, VisitRochester, Rochester Institute of Technology, Rochester Plaza Hotel & Conference Center, Boylan Code, City of Rochester, The Community Foundation,  EFP Rotenberg, Delta Stratagem, The Gouvernet Arts Fund at The Community Foundation, CMI Communications, International Alliance of Theatrical and Stage Employees, Lenel, Midtown Athletic Club, Jack and Barbara Kraushaar, Nocon & Associates, Rochester Finger Lakes Film & Video Office, Rochester General Health System, Rochester Riverside Convention Center,  Strathallan, Elaine Spaull - City Councilwoman, US Sweepstakes & Fulfillment Company, WXXI, Central Library of Rochester and Monroe County, Smugtown Beacon, Rochester Riverside Convention WXXI, Yelp and One Hip Chic.

About High Falls Film Festival
Founded in 2001, the High Falls Film Festival is one of the longest running women’s film festivals on the East Coast and one of the few film festivals worldwide that celebrates the work of women filmmakers. A non-profit organization, the High Falls Film Festival has screened hundreds of films since its inception, spotlighting the cinematic works of women and bringing the finest independent motion pictures and film artists to Rochester and Western New York audiences.  The Festival includes features, documentaries, and shorts.  The Festival has also offered programs in film education as well as student film making competitions.