Manos Sucias is a film about the port of Buenaventura-the most dangerous city in Colombia- where three men embark on a journey over the dark murky waters of the Pacific. A set of mysterious coordinates is their guide, a fishing net is their cover, and a narco-torpedo filled with 100kg of cocaine is their cargo. Following estranged brothers as they risk everything for a chance at a better life, Manos Sucias takes a close look at life at the bottom of the food chain in the international drug trade.

Executive produced by Spike Lee.

As part of the Spotlight selections at the 2014 Tribeca Film Festival, we sat down with film director Josef Wladyka, who spoke about directing his first full-length feature, process of filmmaking in Columbia, the nature and future of “Manos Sucias”, and more.

Where did the central idea of Manos Sucias come from?

It initially sparked when I was in South America, Ecuador, back in 2006, with a close friend of mine. We were going along the Pacific coast and we would come across towns completely abandoned and under sieged by a lot of different things, such as contraband, narco trafficking. A  lot of fishermen we were receiving rides from, would tell us various stories of people who would get inside these home made narco submarines, built in jungles that later would traffic drugs and how a lot of people would be extorted in this line of work, often times not have any other choice. I thought that was an interesting idea for a film. This was the summer right before I graduated from the film program at NYU. Over the next 3 years, when I could, I would travel back and research more with a friend, Kelly Morales that is native from the area, whose family is originally from Tumaco. With her I was able to do more in-depth research, go to these specific areas around Buenaventura, and Tumaco and I also got permission from the Columbian government to go the Malaga naval base where they captured narco submarines and torpedo’s to see in first hand.

Can you tell us more about the casting process?

The majority of the cast are theater students, they study at the Universidad del Valle Sede Pacifico, in Buenaventura. It is a serious acting program and I was connected with one of their teachers. The school has 60 to 80 students each year going, through this acting program. When I met Cristian (Dello) the younger character, he was a student at the time and when I first auditioned him, I thought he was incredible. The script was quite different, me and my co-writer (Alan Blanco) decided to change it, inspired by his energy and personality. They aren’t completely non-actors, but very talented and serious drama students, they just have never been in a film before. A lot of our pre-production and rehearsal process was preparing them for the film and getting very intimately close, so they could share a lot of personal things and get the performances we needed in the film. Once I cast them, we changed the dialogue to get the colloquial language spoken in Buenaventura. Certain scenes were real life stories that happened in their lives. It was a very intimate process with the best actors I have ever worked with.

This is your first feature film. How was the transition, coming from directing commercials, and short films?

It’s all sort of a preparation, but nothing can really prepare you for how large of an endeavor it is to make a feature film. Specially this specific film, we didn’t shoot in New York, this was an extremely difficult place to shoot with stressful conditions. A huge jump, very difficult physically and mentally for me, but we managed to get through it. I don’t think there is something that can really prepare you for a narrative. I have crewed on narrative films. Alan and me were the sound team on one of Spike Lee’s recent films “Red Hook Summer”, I have been a PA on feature films, so I understood the hours and what it feels like, but as a director, it’s very different. 

When reading the synopsis, you would expect the cliché of another drug trade film in Columbia, but Manos Sucias is not, what made you decide to go beyond that common theme?

I lived in Bogota for 3 months just practicing my Spanish. In Colombia my teachers didn’t realize that I was making this film. When I mentioned I was a filmmaker they thought “…not another film about drugs”. To me it’s not about that, you don’t even see drugs in the film, it’s about a place that’s under sieged,  historically forgotten by a lot of people, so I believe the film can bring a light to a place where people don’t really have a voice.

Why did you choose Manus Sucias as the title?

In English it translates to dirty hands, which is not a good title in English. It’s a metaphor for when you get involved in this kind of world you will have to get your hands dirty. It’s the journey for the younger brother because it’s the lost of his innocence. At the beginning of the film he is this bright eyed kid, dancing, having fun, not really realizing what he is getting into. At the end of the film , after killing a man, his essence is lost, he is kind of killing himself. Again for me it’s the lost of innocence. We used a lot of imagery of hands in the film, for example when Cris is holding his kid. It’s a dominant poetic image of the film. The fisherman in these areas they use coffee grounds to clean their hands, get rid of the smell of fish, but at some point you can’t get rid of the smell. We did have a beautiful voice-over in the opening to reflect this, but even though we didn’t use it, the essence is still there.

What are the expectations of this film?

We had the premiere at the Cartagena film festival in Columbia, before Tribeca last month and it was a very emotional experience for all of us. The actors hadn’t seen the film before. We brought 3 actors from Buenaventura to Cartagena. The audience reaction was very different than in NY, very emotive it strikes a cord with Columbia, they don’t want to face this particular region that is kind of dismissed. While we were in Cartagena for the film screening, there was news coming from Buenaventura, about the violence and many protests to stop the violence, so the journalists were very interested in the film. In Columbia we already have distribution, by Cine Columbia. A lot of things on the horizon in the US at the moment, with very positive reactions.

I consider this film to have a universal message. Although it’s about such a specific place, if you look at our filmmaking team, we are from all around the world and it deals with a bigger issue. Looking at something so specific under a microscope can start a dialogue for a macro idea of what’s going on with narco trafficking.

Are you working on future film projects?

My co-writer and me are starting to develop new ideas, nothing concrete but definitely another feature.

Tribeca Film Festival 2014

by Lia Fietz

Filmfestivals.com Bruno Chatelin is looking forward to inviting all attending festival Directors in Cannes to our annual event.

Tradition has it that each festival brings a bottle of a local wine or beverage. The other tradition is ...only FUN, only Festival directors (we insist: the event is reserved for festival organizers)

Are you with us? Let's toast

By Maria Esteves – April 26, 2014
Multimedia artist One9 directorial debut music documentary TIME IS ILLMATIC premiered during the 13th Tribeca Film Festival to a full house audience at the AMC Loews Village, New York, Friday, April 25, 2014. The post premiere Q&A session immediately followed with director One9 and writer Erik Parker, moderated by director of sales & operations Loren Hammonds, Tribeca Film Festival. Questions posed to One9 and Parker by Hammonds and the audience included: How long did it take to conceptualize and get it done? What about your graffiti writing? What do you say about music you can visualize?

TFF 2014 Premiere of Time Is Illmatic Q&A Session, director One9, left, and writer Erik Parker.

By Maria Esteves – April 27, 2014

The 13th Tribeca Film Festival Premiere Music Documentary KEEP ON KEEPIN’ ON, directed by Alan Hicks was held at BMCC, New York, Saturday, April 19, 2014, 5:30PM. The premiere red carpet arrivals included producer Quincy Jones, award-winning musician Herbie Hancock, Academy Award winning actress Whoopi Goldberg, jazz singer Dianne Reeves, jazz trumpeter Roy Hargrove, cast members jazz pianist Justin Kauflin and Gwen Terry (Clark Terry's wife).

Live performances immediately followed the premiere documentary about the great jazz trumpeter Clark Terry with singer Dianne Reeves, Roy Hargrove on trumpet, Herbie Hancock and Justin Kauflin on piano. KEEP ON KEEPIN’ ON is winner of TFF 2014 Best New Documentary Director ALAN HICKS and the Heineken Audience Award for Best Documentary.

By Maria Esteves – April 28, 2014
The 13th Tribeca Film Festival Closing Night Premiere ofBEGIN AGAIN, directed by John Carney commenced Saturday, April 26, 2014 at BMCC, New York. Carney’s musical comedy film BEGIN AGAIN red carpet arrivals included TFF co-founder Robert De Niro and his wife Grace Hightower, TFF co-founder Jane Rosenthal, director John Carney, cast members singer/songwriter/musician Adam Levine, actress Hailee Steinfeld, and actress Keira Knightley. BEGIN AGAIN, in select theaters July 4, 2014. Watch Trailer

April 22-25, Stuttgart, Germany

Europe's most influential conference on digital entertainment for the makers of the industrywas concluded with a very strong program this Friday, drawing attendees to the Haus der Wirtschaft well into the evening hours. In 2014, FMX is once again able to draw a very positive summary: 3000 attendees came to the Haus der Wirtschaft each day, among them a very high number of renowned personalities from the industry. This year's conference took place under the slogan "A Realtime Experience," assembling Art, Technology and Business for four days of presentations, discussions and Workshops. The undoubted highlight of this year's FMX was the keynote speech given by the world's first and foremost performance capture pioneer Andy Serkis, who presented yet unseen footage from Dawn of the Planet of the Apes and shared his insights with the audience that filled the König-Karl-Halle to capacity.

Serkis commented on this year's FMX:

It's just a great melting pot of talent, but everyone is speaking the same language.

Further renowned speakers included the highly successful President of Animation, Digital Production and Visual Effects at Warner Bros. Pictures, Chris DeFaria, who talked about his experience of producing seven-time Oscar winner Gravity as well as Academy Award and Golden Globe-winning producer Jon Landau (Avatar, Titanic), who presented an exclusive glimpse of the R&D for the next Avatar movies. Both industry veterans were part of the impressive line-up of the Virtual Production track that included five presentations on Gravity and further VFX gems. Moreover, the program offered presentations on Frozen, the most successful animation feature of all time, the upcoming DreamWorks' How to Train Your Dragon 2, Transmedia highlights of the likes of 5D Institute: Pipe Dreams and gaming hits such as Ryse: Son of Rome. This year's focus on Disruption and its challenges and opportunities was a huge success, especially the "Disruptive Education" sessions hosted by Marilyn Friedman, former Head of Outreach at DreamWorks Animation. The Forum brought together companies and R&D projects from around the world, showcasing a yet unseen level of diversity. Animation Media Cluster Region Stuttgart (AMCRS), Autodesk, Backstage and Beijing Film Animation Association were FMX Main Partners this year.

Facts and figures: FMX speakers and attendees

FMX is getting even more international: 260 speakers from 25 countries - one fourth from Germany and another fourth from the USA - offered approx. 260 presentations, workshops and masterclasses and curated tracks. Approximately 3000 daily visitors flocked to the Haus der Wirtschaft. This slight decrease in visitor numbers is accounted for by the reduction of venues: the FMX program was only showcased at the Haus der Wirtschaft and the Gloria cinema as the Gewerkschaftshaus is currently under construction. Nearly two thirds of all attendees were professionals. Approximately one third of all attendees were students. More than one third of all participants came from abroad. This slight increase again emphasizes the trend of internationalization. Most non-German attendees were from the UK, followed by the USA, Austria and Switzerland. The number of female attendees increased even further, underlining the growing presence of women in the industry: 32% of all attendees were female; the percentage of female participation among students reached 38%. 140 journalists were on-site to deliver press coverage on FMX this year.

Facts and figures: Marketplace, Recruiting Hub and more

More than 100 companies, media schools and R&D departments from as far away as New Zealand contributed to the Forum this year. The Marketplace, which was more than well-filled during all the days of FMX, displayed an increase in diversity and the number of R&D projects reached a new peak: 36 companies and R&D projects populated the Marketplace with their products, services and innovations. These innovations included a camera robot from Bot & Dolly and the augmented reality game The Gaudy Woods. Cut&Paste's design contest Alter Ego invited creative attendees to compose 2D characters. 24 companies including global players including Walt Disney Animation Studios, Framestore and MPC scouted talent on the Recruiting Hub, among them many companies from the region such as the internationally successful LUXX Studios. The School Campus was fully booked this year with 21 schools from nine countries. Those schools also presented their best projects in no more than five minutes as part of the popular "Fast Forward Education" track. Industry leaders of the likes of Adobe and Autodesk offered 35 insightful Workshops; Autodesk, Beijing Film Animation Association and Side Effects provided Company Suites. In Ed Hook's famous Masterclass "Acting for Animators" there were no more seats to be had. The "Meet the Speakers" sessions, which took place for the very first time at the heart of the School Campus, was very well received. The sessions invited speakers and attendees - among them companies such as Walt Disney Animation and DreamWorks - to engage in free-flowing, informal communication. The exhibition Moving Pictures in the Haus der Wirtschaft Foyer provided insights into six different interactive graphic novel projects. In addition, two student media installations were showcased: Sprout the Word and DIS:LOCATE.

Andy Serkis enriched the FMX program

FMX 2014 is proud that it was able to welcome Andy Serkis, the world-famous and foremost "performance-capture" pioneer and actor, to Stuttgart. His presentation was one of this year's highlight keynotes at FMX 2014, drawing extensive queues of attendees to the König-Karl-Halle. Serkis, who isbest-known for his motion capture acting and voice work for CG characters such as Gollum in Peter Jackson's The Lord of the Rings trilogy, provided an "Early Look at Dawn of the Planet of the Apes." Dave Gougé, Head of Marketing at Weta Digital, introduced the acclaimed actor who shared exclusive footage with the audience. Serkis furthermore illuminated the opportunities of performance capture, underlining the authorship of the respective performance as provided by the actors behind the creatures on-screen and, furthermore, painting a picture of the future of motion capture where an actor can even embody quadrupeds.

Virtual Production: Gravity and further VFX-heavy highlights

The Virtual Production track, which took place for the third time, was a huge success. Curated by David Morin (Autodesk) and Sebastian Sylwan (Creative Technologist, former Weta Digital), this series of presentations brought together five presentations from high-quality professionals such as Chris DeFaria, the renowned President of Animation, Digital Production and Visual Effects at Warner Bros. Pictures, or Tim Webber, VFX Supervisor at Framestore, who provided production insights into seven-time Oscar winner Gravity covering a broad range of subjects from production challenges to the use of programmable lighting and camera robots from robotics company Bot & Dolly.Moreover, the Academy Award and Golden Globe-winning producer Jon Landau (Avatar, Titanic) presented an exclusive glimpse of the R&D for the next Avatar movies currently in production. Further Virtual Production talks encompassed blockbusters such as Captain America: Winter Soldier, World War Z, White House Down, 300: Rise of an Empire and the television series Cosmos.

Business: Disruption and Entrepreneurship

FMX heeded the impact of globalization and the paradigm shift on the industry with several different formats that focused on disruption and entrepreneurship. There were several renowned speakers that looked at Germany as an international location for the production of internationally successful media - including Nico Hofmann who shed light on the successful European project The Physician, and Henrik Fett, Gabriel Sanchez (both from LOOK Effects) and Simon Weisse, who discussed their experience shooting Wes Anderson's The Grand Budapest Hotel and creating the visual effects in Germany. Other talks demonstrated the opportunities and challenges of producing in France (Jacques Bled, Illumination Mac Guff, Despicable Me 2) and even China (Tore Blystad). The day-long series of sessions on "Disruptive Education," curated by Marilyn Friedman (former DreamWorks Animation), complemented this FMX focus. The demand for alternative approaches to bridge the divide between industry and education was so great that additional live streams had to be made available so that attendees were able to experience the different discussions. Two exclusive panels highlighted the trend to professionalization: The FMX and VES CEO Summit brought together decision makers from different sectors for the second time in a row, and the "Games Education South West" round table gathered 40 professionals from Baden-Württemberg and Switzerland to exchange insights and curricula.

The Art of Visual Effects: VES Specials, Creatures, Concept Art and Commercials

The Virtual Production track was complemented by further VFX highlights. The long list of extraordinary presentations was led by the VES Special The Amazing Spider-Man 2 that was dissected by David Smith (Sony Pictures Imageworks). Creatures were prominent guests at this year's FMX. Curated by Dave Gougé (Weta Digital), a respective series of talks made room for prolific VFX veteran John Knoll who shared ILM's effects work on Guillermo del Toro's Pacific Rim with the audience. Sven Martin (Pixomondo) added his very insightful and entertaining perspective on the difficulties of dragon upbringing for Game of Thrones  - including unseen footage - and Dan Zelcs (MPC) put the fighting Oni Demon for 47 Ronin on the FMX stage. Further VFX presentations on Rush, Thor: The Dark World, Commercials and Concept Art enriched the elaborate VFX program.

Animation: Popular favorites and independent players

The animation section included highlights such as presentations on "The Art of Animation" as well as exclusive insights into films that have not as yet been officially released. ScottPeterson (DreamWorks Animation) introduced footage and discussed visual effects from the long-awaited sequel How to Train Your Dragon 2 more than two months before it hits the cinemas. Moreover, a track on the "Art of Animation" delivered a homage to the much-loved medium. Frozen, which recently became the no.1 animated film of all time, continued its success story as a huge crowd-pleaser at FMX: Michael Giaimo's (Walt Disney Animation Studios) revelations of the artistic choices and visual challenges were accompanied by two further tech talks on the creation of the Oscar-winning animation delight. Blue Sky's Rio 2 was met with enthusiastic attendance, as was The LEGO Movie - Animal Logic's Damien Gray delivered a detailed presentation on the realization of the film that brought the immobile toy figurines to life. In addition, curator Andreas Hykade returned with his highly popular "Wild 'n Strange" track that spotlighted independent animation.

Games: Gaming favorites and Games 4 Change

Acclaimed favorites were as much part of this year's gaming section as games for social impact. Kenneth McDonald and Teppei Takehana (both from Quantic Dream) shed light on the successful action-adventure game Beyond: Two Souls for Playstation 3, whilst Dan Calvert and Alex Zapata (Guerrilla Games) introduced their upcoming Next Gen AAA Asset Production Killzone: Shadow Fall. Game tracks delved into the new developments in "Mobile Games" or "Interfaces & Immersion" and zoomed in on "High-End Graphics for new Game Platforms;" speakers included, among others, Jon Peddie, who spoke about the future of gaming from handhelds to AR games. What's more, the Virtual Production track offered two presentations on Ryse: Son of Rome and gaming favorite Battlefield 4. In addition, the "Games for Change Europe" track - that was part of the FMX section Transmedia Experiences - focused on aesthetic aspects of transformational game design, introducing leading industry professionals and researchers like Noah Falstein (Chief Games Designer at Google) and Ken Perlin (NYU Media Research Lab), who showcased inspiring insights into the aesthetic challenges that come with new technologies.

Transmedia Experiences: 5D Institute: Pipe Dreams and new immersive experiences

A day-long series of discussions called "5D Institute: Pipe Dreams" - hosted by Alex McDowell (5D World Building Institute at USC School of Cinematic Arts) and Sarah Smith (Locksmith Animation) - was the undoubted Transmedia Experiences highlight this year. Several panels dedicated their time to collaboratively dream up the ultimate blueprint for tomorrow's animated feature studio. The panelists concluded that such a studio allows for artistic creativity as an immersive, intuitive process that is focused on storytelling rather than software-related problem-solving. Immersion was at the center of attention of three dedicated tracks; further emphasis was put on subjects such as 3D Printing, Interactive Novels and the regional characteristics of Ibero-America. In addition, Don Levy presented three sessions on "Visual Communication" ever since the origination of the book. Games were also part of the 2014 Transmedia experiences: Dennis Lenart (Telltale Games) walked the audience through the success of the award-winning game and Transmedia project The Walking Dead as part of the Serial Storytelling track.

FMX 2015 takes place May 5 to 8 in Stuttgart, Germany.

Last night in Stuttgart the eighth Animation Production Day, the coproduction and cofinancing market for German and international animation projects hosted by FMX 2014 and ITFS 2014, came to an end. On Friday around 100 participants from ten different countries discussed the 33 projects selected to take part in this year's APD. The total production value of these projects lies in the region of 100 million Euros.

Individually organised one-to-one meetings are at the heart of APD. In around 400 specially tailored meetings, producers, coproduction partners, broadcasters, distributors and investors entered into very detailed discussions about potential collaborations and financing models for the projects. 19 German and 14 international projects from Denmark, Sweden, France, Russia, Poland, Italy and Spain were showcased, of which 14 had transmedia or crossmedia concepts. APD was curated once again this year by Christophe Erbès and Dominique Neudecker.

Thomas Haegele, FMX Conference Chair and co-host of APD said: "APD's high proportion of transmedia and crossmedia projects demonstrates how the event's openness to different formats has matched developments in the market and that we have been on the right track with this from the start."

With its move to Stuttgart's L-Bank, APD responded to the continuing growth in its number of participants and for the first time enjoyed its own separate location within ITFS and FMX.

Orion Ross, Vice President of Content Animation & Digital at the Walt Disney Company said: "This is my first time at APD and it is a really great event. It has a very focused and creative environment and I've met a lot of great people. Compared to other markets, APD has a very structured approach with plenty of time to talk. I’m really happy to be here."

Ulrich Wegenast, Managing Director Programm International Festival of Animated Film and co-host of APD, said: "I'm particularly pleased that we could further integrate APD and the Animation Festival via the 'Stories and Series in the New Castle' event where the German Animation Screenplay Award and the Award for Best Children's Animated Series were presented!"

Dittmar Lumpp, Managing Director Organisation and Finances at ITFS, added: "We've sensed a really positive spirit of optimism this year and we'd like to foster the development of the German industry even further in the future in cooperation with all those involved."  

APD opened on Thursday in the Haus der Wirtschaft with the APD conference, entitled this year"Changing Markets – Who Wants What?". In the conference's first section the keynote speakers cast a glance into the future of the media industry and made striking presentations about the new techniques of 'Worldbuildings', ideas for the transmedial conception of projects and for the distribution of content on new media platforms.

The keynote speakers were:
Alex McDowell, Creative Director, USC 5D Institute; Founder & Creative Director, 5D Global Studio
Liz Rosenthal, CEO & Founder, Power to the Pixel
Jan Bonath, Managing Director, My Animation TV
Andy Green, COO & Co-Founder von Distrify
Damien Tromel, Acquisitions and Creative, DreamWorks Animation

In the second section of the conference, German and international broadcasters discussed their animation programming needs, revealing which formats and content for which target groups they are seeking for their channels.

The content briefing sessions were presented by:
Sebastian Debertin, Head of Fiction, Acquisition & Co-Production, KiKA – Der Kinderkanal von ARD und ZDF
Jean-Baptiste Lamotte, Kids 6/12 Animation Manager, France Télévisions
Brigitta Mühlenbeck, Head of Children’s and Family TV, Westdeutscher Rundfunk Köln (WDR)
Sarah Muller, Head of Acquisitions & Drama Development, CBBC
Karen Mitrega, Head of Children’s Content, SUPER RTL / RTL Disney Television
Orion Ross, Vice President Content Animation & Digital, The Walt Disney Company Ltd
Janine Weigold, Vice President Acquisitions & Development, Nickelodeon Northern Europe
Dr Irene Wellershoff, Head of Fiction, Zweites Deutsches Fernsehen (ZDF)

www.animationproductionday.de
 

As suggested in earlier articles, in order to survive the growing festival scene in major metropolitan areas niche festivals need to have an unmistakable profile offering a program others do not have. These fests’ niche must be  successfully branded, offering more than just a marginal differentiation from other fests.  In New York the international Latino Film Festival announced its demise. As the founder Calixto Chinchilla explained the fest cannot meet the economic challenge of taking place in New York City though the former co-director Elizabeth Gardner disputes that claim.  The closure took place even though the fest has a 13 year acclaimed track record, maxed out at an audience  of  25 000 and enjoyed the corporate sponsorship of HB0. This leaves the growing New York Latino audience interested in Latin Americana films with fewer options.  As alternatives  serve the LATINBEAT program, a yearly survey offered by the Film Society of Lincoln Center which had 18 titles in its 2013 edition and  The Iberoamerican Images program of the Museum of Modern Art which presents  in May 2014 in its  fourth biannual  edition  eleven features from nine Latin American countries.

The yearly Havana Film Festival of New York, HFFNY, remains now the most comprehensive venue for an accessible over view of recent development of the Latino cinema scene.  It showcases Cuban productions as well as films from Latin American countries selected for the annual Havana Film Festival and other often award winning productions.  Founded in 2000 under the umbrella of the New York based American Friends of the Ludwig Foundation of Cuba, AFLFC, it offered in its first edition in 2000 at the   Anthology theatre 40 Cuban productions reflecting   Cuban film making.  From April 3 - 11 2014 the Havana Film Festival of New York celebrated under the steward ship of its co-founder Carole Rosenberg its 15th anniversary.  With a broad program of 45 Latin American Films, including 24 from Cuba it offered feature length films, documentaries and shorts.  Having outgrown the Anthology there are now nine New York City venues where the HFFNY presents its program.  The focus on Cuba remains but the screening of significant productions from other Latin American countries has become an essential part of the program.  Given  the expansion of the film program, the addition  of sidebars, the increase of venues,  the growing audience,  the  involvement  of  27 cultural and educational  US and New York based  Institutions with its program, the Havana Film Festival of New York   has become a success story.  

 Because  of the close working relation with  ICAIC, the Cuban Institute of  Art and Film Industry  since its founding HFFNY  has benefitted from privileged access to quality Cuban and Latin American productions.  For other festivals   continued access to noteworthy recent film productions is frequently problematic. What also help the HFFNY are the changing climate in US – Cuban relations and the growing interest in Latin America.  After all the festival and related exchange programs had a clear mission from the very beginnings “the development of cultural bridges between the United States and Cuba within a Latin American context”  according to  Ines Aslant the executive director of the AFLFC   and overcoming prevailing misconception about Latin America.

Among the noteworthy features of the HFFNY 2014 edition  were four screening sessions and seminars open to the public at no charge  covering New Cuban Cinema: 55 Years of a Shared Dream,  New Horizons on Contemporary Cuban Cinema  and  International Film Markets  and  Theatrical Distribution in the United State.,  the tribute to  Cuban filmmaker Daniel Diaz Torres who passed away in 2013, the inclusion of  three productions by  Latino filmmakers based in the United States, and the incorporation of restored films. A brief review of some selections reflects the thematic range and depth of the 2014 HFFNY edition.

SE VENDE, For Sale   Jorge Perugonia, Cuba: In this dark comedy laughter and ingenuity are used as a metaphor for overcoming difficult times. Having learned survival skills from her dead mother our protagonist, the close to impoverished Nacar, decides with support from her boyfriend to dig up the bodies of her parents in the cemetery.  After boiling whatever remained from the corpses they sell the bones to people involved with rituals requiring bones.  Their endeavor is a smashing success, but her father is completely mummified and his bones cannot be retrieved. His body is stiff, and with an uncanny resemblance to Lenin, is placed upright and appears to be watching over them.

WAKOLDA – EL DOCTOR  ALEMAN  The  German Doctor, Lucia Penza, Argentine:  This dramatic narrative  provides  an account of Josef   Mengele’s  stay 1960  in Argentine’s  Bariloche an isolated settlement in Patagonia.  He   joins an Argentinian family running a lodge and collaborates with a neighboring small German colony driven by Nazi conceptions. The family does not know the identity of their impeccably dressed and gentleman like guest.  Unbeknown to them Mengele continues his concentration camp experiments on their daughter and the wife pregnant with twins.  Shot against a stunning scenery Lucia Prinza offers a subdued yet most convincing and unsettling portrait of the war criminal who succeeded to escape, though already tracked by the Israeli secret service.

ANGELES Y POLVO, Angels and Dusts, Hector Herrera, Panama/Spain:  Based on a true story, an alleged drug trafficking man and his wife are arrested in Panama and await trial. His brother comes to rescue their child while the jailed parents embrace religion and music to improve prison life.  Herrera selects a close to documentary approach in his portrayal of the brother, warring gangs, the drug scene, the gay subculture, and incessant murder and violence. The director has an uncanny ability to penetrate and film the criminal and legal scene made possible by his prior long term experience in Panama with the drug culture and a corrupt judicial system.  Given his focus on personal relations and realistic representation of the context his film is rather convincing.

LA GORGONA, Historias Fugadas – Gorgona Stories on the Run, Camilo Notero, Columbia: This is a skill fully produced outstanding documentary reconstructing conditions of a remote former prison island in the Columbian Pacific. La Gorgona was one of the best productions in the HFFNY program. The prison was built in 1960 as a facility for 900 inmates using German concentration camps as a model and closed in 1985 to become a nature preserve.  Using black and white archival material, animated footage, a narration based on extensive audio  interviews with former prison  officials and inmates and close up scenes of the setting  Notero applies a most unique and persuasive concept for the documentary. The history of the complex and the interview material is presented through voice over or l subtitles while the imagery shown reflects extraordinary footage of the flora and fauna of island. While we hear or read reports of the daily life of the prisoners we see close up footage of insects, small animals, plants and the decaying prison structures, leaving a significant impact. This juxtaposition of nature shots and texts tampers the prison violence conveyed but reinforces the story presented.

CONDUCTA Behavior, Ernesto Daranas, Cuba: A box office success in Cuba and Spain, this touching story depicts the bonding between a sixth grade teacher and a troubled young boy overcoming the obstacles of a rigid educational system.  Given the convincing presentation of their relationship and educational issues and its broad appeal CONDUCTA received the HIFFNY award as the best feature.

JAULA DE ORO The Golden Dream, Diego Quemada-Diez, Mexico/Spain: Travelling frequently alone a growing number of children and teenagers try to enter the United States in search of a better future. They come mostly from Guatemala, Honduras and El Salvador.  About half of those currently detained in the U.S. for illegal entry are minors.  Their journey on cargo trains confronts them with extortion, robbery, beatings, murder, abductions, sexual assaults, as well as forced prostitution and drug smuggling frequently imposed by cartels operating in Mexico.  The Golden Dream accurately reflects these conditions as they are experienced by three teenagers from Guatemala. Only one survives the journey and rounds up working in a slaughter house in the United States. Quemada-Diez offers a realistic unsentimental but moving presentation in this superbly filmed feature with outstanding acting performances and documentary overtones.

Given its profile and program the Havana Film Festival of New York is well positioned to continue its broad appeal and success.

Claus Mueller, filmexchange@gmail.com

The second annual intercollegiate South Asian Arts Festival (SAAF) broke new ground this Saturday by presenting an informative, inspiring, invigorating discussion on what it means to tread off the beaten path for many Indian-Americans and pursue careers in film, media and journalism.  The speakers were well known in their own right: actor Omi Vaidya who catapulted to fame for his performance as Chatur Ramalingam or ‘The Silencer’ in the 2009 Bollywood blockbuster, ‘3 Idiots’; and Dr. Indira Somani, Assistant Professor in the Department of Media, Journalism and Film at Howard University, an award-winning independent producer and director of documentaries.   Both speakers were refreshingly candid and struck a chord with the audience comprised mainly of undergraduate students at American University where the event was held on a picture-perfect Spring afternoon.   Vaidya, who graduated with honors from New York University film school, admitted, “I am doing something that is a risk, is different, is not a traditional field and that takes a lot of courage, not only for me, but for everybody that supports me as well”! Fortunately for him, his family has always been “very supportive”, he said. “I don’t think that I would have been able to achieve what I have achieved so far without their help”.   Vaidya’s mother aspired to be a Bollywood actress, but could not pursue a career in acting due to family pressure. She has realized her dreams through her son who dotes on her! Vaidya’s father and brother are both doctors, a profession well favored by Indian-Americans.   “Family support was really critical”, the actor underscored. “I’m doing it on my own now and it’s not easy”, he said. Encouragement from his family also meant he never had to deal with social pressure from the Indian community for choosing a career in acting. “That was there”, he recalled. “But, I was oblivious to it. I thought, my family is fine with it. I was proud of what I was doing, and I still am. I have so many more relations now than before”, he quipped.  For Somani, family support came much later, when she was in her mid twenties and working as a television news producer for CNBC and WJLA-TV, the ABC affiliate in Washington, DC. “In the initial years, I did feel that I have to prove myself”, she told the audience. “My Mom tells me that my Dad wasn’t speaking to me for a long time when I pursued my Masters in Journalism. I don’t remember much about our non-speaking days. But, I do know that I had to apply on my own, get financial aid on my own. I had absolutely no assistance from my parents”.  Somani grew up in a small town in Springfield, Illinois. She always had a penchant for writing and began her career by covering the Indian Diaspora. “My first job in this industry was for $17,000 a year and I had student loans to repay”, she recalled. “It was the reality of what they had told us in Journalism School - to start out in a small market, make your mistakes in a small market and work your way up. By the time you get to a place like DC or New York, you don’t want to be making mistakes in a market that size”.  It is noteworthy that the driving forces behind the Festival were all undergraduate students at American University - Madhavi Reddi, Anuj Gupta, Brad Korten and Palak Bhatnagar. It goes to their credit that they managed to juxtapose two interesting fields - film and journalism - in a heady discussion which kept the audience engrossed.  Vaidya recounted, “When I was in film school, they didn’t teach us that you’re not going to get jobs or have to work free forever. That was really disturbing, a shock. A lot of my friends left film, became lawyers and doctors. They couldn’t deal with it and maybe didn’t have the support. I did have the support and I was versatile in my skills. You know me as an actor. But, I am a very seasoned editor”, he told the audience.  In the initial stages of his career, Vaidya used his Indian connections to act in crossover films. “You will never see any of those films. They were terrible”, he said, with a refreshing candor. “But, I kept saying yes. I was open to anything. I just wanted to be there and do it. In some ways, I still am. I am always willing. If there is something to explore that I haven’t seen, let’s give it a try. I think a lot of it is attitude. It’s very easy to get discouraged. Sometimes, a break will come when you least expect it. Keep pushing, keep trying. You never know when opportunity knocks. It may not be the door you want to get in, but it could lead to that other door”.  For Vaidya, “attitude is really important. That really gets you through life, not just your career”, he told the young listeners. “There will be a lot of curve balls thrown at you at work and in your personal life - family members fall ill, relationships end. The way that you approach every single day will lead you”, he said. “You could be a failure, but if your attitude is amazing, your life will be enjoyable. That’s really more important than everything else. We always try to pursue happiness from exterior things like a job, a girlfriend, marriage. We should really be pursuing meaning because it lasts throughout your life”.  Somani emphasized, “I think you really have to want to be in this whether it is journalism or film or any media arts. You have to really want it because it is tough to break into”. Pointing out that there is more support for such fields now than 20 years ago, she referred to the efforts of the South Asian Journalists Association (SAJA) which serves as a networking and resource forum for journalists of South Asian origin all across the US.  Somani reflected, “I look at the opportunities that came my way and that keeps me inspired and motivated”. It is important, she said, “to always be grateful and thankful for the opportunities that do come your way”.  During the course of the event, short clips were shown from Somani’s documentary, ‘Crossing Lines’, and Vaidya’s roles in ‘3 Idiots’ and a documentary, ‘Big in Bollywood’, made by his friends which chronicles his fairy-tale success following the release of ‘3 Idiots’.   ‘Crossing Lines’ is a biopic. It is a personal account of Somani’s ties to her father, who died in 2002, and through him to her relatives in India. About the storyline, she said, “For many of us who are born here in the US, our connection to India is through our parents for all intents and purposes. We have extended family there, but our first connection would be through our parents”. The film examines “what happens to that connection after one of them passes away”, she said. “How do you resolve the relationship you have with your extended family there”.  Somani co-produced the documentary with Leena Jayaswal, Professor of Film and Media Arts at American University. The 30-minute documentary took about four years to complete and is now screened at film festivals around the country for discerning viewers.  On a lighter note, Omi told the audience how he bagged the role in ‘3 Idiots’. He was in India pitching a film he had written when someone suggested that he audition for the Aamir Khan starrer.  “I went just for the experience, with no expectation”, he recalled, and since “I had no expectation, my ability to perform was much better because I didn’t care”. Vaidya actually believed he would never get the role. “I went for failure”, he said, evoking laughter from the listeners. “That confidence was something that other people didn’t have because they wanted it, they wanted to be in an Aamir Khan film with Rajkumar Hirani as the director. I was just having fun. That is the philosophy behind how I have continued to work and look for new opportunities”.  The fact that he wasn’t fluent in Hindi, coupled with a flair for humor, worked in his favor and he landed a role that was just tailor-made for him. 


Vaidya recently starred in Washington-based filmmaker Manan Singh Katohora’s short film, ‘Public Relations’, shot here in the national capital region. We queried the actor about his involvement in the project. “Manan came up with this story where a CEO is homophobic about gays, only to be saved by people who are homosexual”, he told us. “That changes his perspective and shows him that they are not to be feared. They are just normal people like everyone else”, he said. 

Vaidya added, “That was a really nice thing that Manan wanted to show. He approached me and I was available during that time. I came here and we shot the film over one night”, he said, in a restaurant, American Bistro, located in Owings Mill, MD, owned by Tejash Natali. 

In a short span of six minutes, ‘Public Relations’ conveys a profound message! And it goes to the credit of actors like Vaidya who contribute to making this happen. “I travel all around the country and I’m always open to doing small films”, he said. 

Vaidya asked us if we saw ‘Public Relations’ and was pleased when we replied in the affirmative. “The community is really responding to them”, he noted. “These people (filmmakers like Manan Singh) know the whole community, so these messages can get out. Maybe, more Indian people will be open to their son or daughter being gay (or lesbian) because they saw this film. It’s a butterfly effect. We don’t really know the effect of these things. But, just that we are putting an effort into (conveying) this message is enough. These sort of films, these sort of events have a far-reaching impact. I am connected to them; their successes are mine”, he said.

Article Link :: http://thecapitalpost.com/arts-festival-celebrates-indianamericans-film-media-p-30674.html

Author        :: Geeta Goindi

Short Film  :: http://www.youtube.com/watch?v=qXe_Hn0KuX4

Elisabeth Moss & Mark Duplass in "The One I Love" to Close Fest

Quincy Jones to Receive Lifetime Achievement Award

Director Richard Linklater to attend screening of "Boyhood"

44 World, 30 North American, and 14 US premieres Films in competition announced

Seattle International Film Festival, the largest and most highly attended festival in the United States, announced today the complete lineup of films and events for the 40th annual Festival (May 15 - June 8, 2014).

This year, SIFF will screen 440 films: 198 features (plus 4 secret films), 60 documentaries, 14 archival films, and 168 shorts, representing 83 countries. The films include 44 World premieres (20 features, 24 shorts), 30 North American premieres (22 features, 8 shorts), and 14 US premieres (8 features, 6 shorts). The Festival will open with the previously announced screening of JIMI: All Is By My Side, the Hendrix biopic starring Outkast's André Benjamin from John Ridley, Oscar®-winning screenwriter of 12 Years a Slave, and close with Charlie McDowell's twisted romantic comedy The One I Love, produced by Seattle's Mel Eslyn and starring Elisabeth Moss and Mark Duplass. In addition, legendary producer and Seattle native Quincy Jones will be presented with a Lifetime Achievement Award at the screening of doc Keep on Keepin' On. The 2014 Seattle International Film Festival is presented by SIFF, the non-profits arts organization that reaches more than 250,000 annually through SIFF Cinema, SIFF Education, and the annual flagship Festival.

"Film is more than entertainment. The life-changing nature of the collective experience of cinema and the stories moving pictures can tell are SIFF's inspiration and mission every year as we put together the Festival," says Carl Spence, SIFF's Artistic Director. "This year, SIFF continues to be a festival of discovery, with more than 100 new directors making their debut. Richard Linklater was one of those filmmakers back in 1990 with the premiere of Slacker; it's fitting to have him return for our anniversary with his masterwork Boyhood - unlike any other film I've seen. I am thrilled to share these films with the world and welcome the hundreds of talented guests expected to attend - from those you've heard of to the many who will be making their debut at the Festival."

In addition to the gala screenings, this year's premieres and special presentations feature a star-studded lineup including Shailene Woodley, Ansel Elgort, and Laura Dern in The Fault in Our Stars, Richard Linklater's Boyhood with Patricia Arquette and Ethan Hawke; Quincy Jones and Herbie Hancock in Keep On Keepin' On; Kim Basinger, Richard Jenkins and Cam Gigandet in 4 Minute Mile; Trent Reznor and Billy Corgan in Beautiful Noise; Nia Vardalos in Helicopter Mom; Vincent Kartheiser and Olivia Thirlby in Red Knot; Cate Blanchett, Rose Byrne, Miranda Otto, and Mia Wasikowska in The Turning; the voices of Cate Blanchett, Kristen Wiig, and Jay Baruchel in How To Train Your Dragon 2; Michael Pitt, Brit Marling, and Astrid Bergès-Frisbey in I Origins,and Paul Rudd and Amy Poehler in They Came Together.

Mary Bacarella, SIFF's Managing Director, says, "This year's Festival is an incredibly meaningful milestone for SIFF. We're all so excited to bring this outstanding lineup of films, guests, forums, and events to our wonderfully supportive and enthusiastic audiences. We've created a program this year with moments that will fondly revisit our history and moments that will take us into the future of SIFF. I can't wait for the fun to begin!"

Festival box office opens May 1 online at SIFF.net, by phone at 206.324.9996, and in person at various locations. View the full public program here. 

New York City Independent Film Festival urges filmmakers not to wait until the last minute as the 2014 deadline is on May 31st.

New York, NY– The 5th NYC Indie Film Fest just confirmed that the regular deadline for submissions is on May 31st. “With the deadline approaching, we are receiving more submissions than we expected. That’s why we recommend that filmmakers not to wait until the last minute”, said Dennis Cieri, Executive Director of the festival.

Cieri reported that the festival has received submissions from over thirty-five countries and every continent so far. “We are excited about the quality of the films being submitted. The submission committee has been working hard to select the films.”

Filmmakers can submit films in the following categories: feature-length, documentary, short, super-short, music video and art video. In addition to screening the selected indie films, the festival offers Awards for the best films and prizes in some categories. A board of movie professionals will select the winners. Mark of Distinction Award is offered to the audience’s choice.

Filmmakers can visit the website www.nycindieff.com to learn more about the festival and also for submissions. Past years selected films are also listed on the website. News about deadlines and submissions are regularly updated on Twitter @NYCIndieFF and Facebook facebook.com/nycindieff.

Sponsored by the Sikh Art & Film Foundation, the Sikh International Film Festival was held in New York City for the tenth time on May 2 – 3. As reflected in the selection, the foundation’s mission is to use films to make Sikh culture and values accessible to a larger public; with the goal of overcoming preconceptions and prejudice which the Sikh community has been experiencing.  The festival also serves to raise awareness about the issues and problems the Sikhs face here and in India and to provide a platform for productions investigating Sikh history.  Since September 2011 an estimated 700 hate crimes had the Sikhs as their target in the United States, including six Sikhs killed at their temple in August 2012. In India, wide scale violence against the Sikhs erupted in 1984 in response to Indira Ghandi’s killing by two Sikh body guards. Thousands were slain in New Delhi and throughout India with virtually no legal action taken. Politicians and police officials just let it happen. The depiction of the 1984 events and their aftermath were topics of several productions in this year’s festival; as were issue oriented shorts and documentaries ranging from the problems the elderly faced when living without family support to impoverished farming.  

The Punjab drug problem, as depicted in the closing feature Empty Inside, bookended the opening documentary Dilip Singh Saund. This well researched documentary presents the biography of the first foreign born Congressman from Asia. He came to the United States when he was twenty and was elected to Congress in 1957, serving three terms. As a Sikh he overcame many obstacles in his illustrious life. The production provides a wealth of information about the systematic discrimination of Asians in the United States lasting until the late nineteen forties.

The Last Killing, directed by Satinder Kauer, is a documentary produced by ENCAAF, an international human rights non-profit organization. After the killing of Indira Gandhi in 1984 the Indian parliament enacted in 1985 the Terrorist and Disruptive Activities act which granted extraordinary powers to the police to arrest and persecute while suspending existing legal safeguards.  This act was aimed at alleged Sikh terrorism and opened the ‘Decade of Disappearance” in which thousands of Sikhs were killed or disappeared. The police and other Indian security forces routinely staged encounters with alleged Sikh terrorists in order to kill them.  The film tracks over a twenty year period the attempt to bring policemen to justice.  Manak, who served in a special police unit, was an eyewitness to his section carrying out the murder of dozens of Sikhs. He left the police force to report the crime but no investigation was initiated even though the law required it.  Two decades have passed and the opening of the investigation was recently denied by an Indian high court.  Manak, as well as close relatives, was tortured by the police on suspicion of being close to the alleged terrorists.  With the help of ENCAAF he continues to pursue the case, but prospects of success are slim because the police have been able to delay the case and the judicial system appears dormant. Further, the possible election of a conservative prime mister with strong Hindu leanings does not give cause for optimism, though the Supreme Court is independent and includes some liberal members.  The Last Killing received the SIFF award for best documentary.

Raw Conversations is a segment from the currently produced documentary Farmicide which addresses the problems of Indian farmers. Working on small plots, in the last decade they have experienced increases in the cost of productions and dramatic decline of their real income resulting in heavy debt load and several hundred thousand suicides. As the commentary of the segment screened shows, primary beneficiaries of this policy driven development are money lenders, politicians, middlemen and large corporations providing seeds and fertilizers. Impoverished farmers lose their land and become day laborers. The segment received a special mention at the festival.  Raw Conversation is impressive because its focus is an impoverished farmer who clearly articulates the insurmountable problems he and all the villagers in his situation are facing.

In addition to the Emmy for best student drama, Kush, by Shubashish Bhutiami, was the only Indian film at the 2013 Venice film festival that received there the award of best short film. At SIFF it was also judged the best short film, given its superb finely tuned but unsentimental   narrative.  A school teacher saves the life of a young Sikh boy when returning on a bus from a school trip. An enraged mob, killing Sikhs, attacks the bus and the boy cuts his hair to save his class mates and teacher. When the boy arrives at home he finds his parents slaughtered. 

In Punjab, drug problems are rampant and about 75% of the youth is addicted to drugs.  The drug problem is a principal concern of the Sikh community constituting about 60% of that state’s population. There are a few publicly run drug rehabilitation facilities and private ones are driven by profit considerations.  Few observers expect an improvement since drugs shipped in from Pakistan are readily available and synthetic ones are manufactured locally. Law enforcement agencies appear impotent.  Most drug use among the young is prompted by poverty, unemployment and lack of education.  Since addicts are isolated from their families, they cannot count on the crucial support of family if they enter rehabilitation at all. Further, they return to the very setting which prompted drug abuse.  The feature, Empty Inside, directed by   Satdeep Singh and produced by an Australian organization concluded the festival. It graphically depicts the descent into drug addiction of a young student from an upscale urban Sikh family. He is ejected from his home because he tarnished the family name and eventually recuperates under the guidance of a religious man.  In the end his parents embrace him again and allow his return. The feature suggests that an inner void prompts addiction and that a solution for the drug problem is parental love and the Sikh faith.

The number of films produced by Sikhs in India or from the diaspora or made by others on Sikh themes is small and the selection follows an educational route. That being said, the 2014 edition of the festival assembled sufficient material for an impressive two day program.  With a greater outreach effort to film makers and the audience over the next year should produce a larger fest in 2015.

Claus Mueller, filmexchange@gmail.com

First program options

Film Fest Gent focuses for its 41st edition (14 until 25 October 2014) on France, organizes a major exhibition of the Italian maestro Federico Fellini in Caermersklooster and a concert of Fellini’s composer Nino Rota in The Bijloke. The American film composer Cliff Martinez is the main guest on the annual WSA concert at t’Kuipke. French film icon Catherine Deneuve shines on the official festival poster with an intriguing image from Belle de jour.

FOCUS ON FRENCH CINEMA
The 41st edition of Film Fest Gent is focusing on French cinema. The annually recurring sections will be complemented by a separate one-off section dedicated to recent French films (as was the case last year with American Independent Cinema). However, this doesn’t mean that French films won’t also feature in the other festival sections (Competition, Galas & Previews, Classics, Out of the Box and Artists on Film). French directors and actors have been invited to present their latest films to the festival audience. The programme also includes debates, Q&As, director talks and meetings with French film professionals. We are collaborating closely with UniFrance and, of course, with Belgian distributors for the development of the programme and the invitation of talented French film professionals.

CLIFF MARTINEZ CONCERT AT THE 14TH EDITION OF THE WORLD SOUNDTRACK AWARDS
Film Fest Gent proudly welcomes Cliff Martinez, American composer and former drummer of the rock band Red Hot Chili Peppers, to the traditional film music concert during the second part of the World Soundtrack Awards Ceremony & Concert. Tickets are now on sale at www.filmfestival.be

EXPO FELLINI
After Stanley Kubrick, Ingmar Bergman, Jacques Tati and Martin Scorsese, Film Fest Gent now presents a large-scale exhibition about the work of Italy’s most renowned filmmaker Federico Fellini, in collaboration with the Caermersklooster Provincial Cultural Centre.

CONCERT NINO ROTA
​In conjunction with a major exhibition at the Caermersklooster Provincial Cultural Centre, the 41st edition of Film Fest Gent is shining the spotlight on the world of Federico Fellini with various events. On Thursday 23 October, De Bijloke Music Centre is hosting the concert Rota/Fellini with symphonic music from the director of La Dolce Vita and La Strada, performed by the Brussels Philharmonic conducted by Dirk Brossé.

More info:
www.filmfestival.be

SYDNEY FILM FESTIVAL 4-15 JUNE  

The 61st Sydney Film Festival program was officially launched today by the NSW Minister for the Arts, Troy Grant.

“The New South Wales Government, through Screen NSW and Destination NSW, is very pleased to be again supporting Sydney Film Festival which is also part of Vivid Ideas 2014­. Sydney Film Festival is a highlight of the city’s rich arts calendar and an important part of our cultural fabric. The Festival underpins Sydney’s recognition as a UNESCO City of Film, and I look forward to experiencing the Festival this June,” Mr Grant said.

“Sydney Film Festival has gone from strength to strength over recent years, with attendances increasing over 23% since 2011 to 143,000,” said SFF Festival Director Nashen Moodley. “SFF not only presents the best films from across the country and around the world, but we also open up dialogue between the creators and audiences and curators and critics alike, in every direction and combination. Together in a crowded theatre, comedies are funnier, horror films are scarier and tender moments bring tears more readily; everything we feel is amplified by the power of the shared experience.”

Direct from its world premiere screening at the Cannes Film Festival, SFF and Vivid Ideas are proud to present the Australian Premiere of the highly anticipated futuristic thriller The Rover and host the director David Michôd and key talent Guy Pearce and Robert Pattinson at the State Theatre on Saturday 7 June. The Rover screens as part of the SFF Official Competition. David Michôd, Guy Pearce, Robert Pattinson and producer Liz Watts will also give a talk as part of Vivid Ideas, further details to be announced in the coming weeks.

In 2014, SFF features the most Australian films ever to compete for the prestigious Sydney Film Prize: in addition to The Rover; the 12 film selection includes the World Premiere of Kasimir Burgess’ Fell, and Amiel Courtin-Wilson and Michael Cody’s Ruin. The internationally recognised SFF Official Competition, now in its seventh year, awards a $60,000 cash prize in recognition of courageous, audacious and cutting-edge cinema. The previous Sydney Film Prize winners are: Only God Forgives (2013), Alps (2012); A Separation (2011), which went on to win an Academy Award; Heartbeats (2010); Bronson (2009); and Hunger (2008).

The 61st Sydney Film Festival consists of 183 titles from 47 countries and includes 15 World Premieres (including 6 World Premiere short films), 122 Australian Premieres (including 14 Australian Premiere short films) and 6 International Premieres (including 1 International Premiere short film).

SFF will screen in even more venues this year including the State Theatre, Event Cinemas GeorgeStreet, Dendy Opera Quays, the Hayden Orpheum Picture Palace Cremorne, Art Gallery of NSW and, new in 2014, the Skyline Drive-In Blacktown, with a special 40th anniversary screening of The Texas Chain Saw Massacre on Friday The 13th June. The Apple Store Sydney hosts a selection of free public talks and SFFTV @ Martin Place returns for its fourth year with a big screen at Martin Place Amphitheatre, giving you a multi-layered look at all things SFF, with an ever changing mix of trailers, red-carpet coverage, short films and more. This year we present a special program of innovative animated shorts, Big Window on a Big Screen, curated by guest programmer Malcolm Turner, director of animation festivals in London, New Zealand and Australia. What’s more, in 2014 for the first time Martin Place becomes an integral part of Vivid Sydney, with spectacular light installations and other attractions illuminating the night along with SFF’s big screen.

This year SFF presents the Australian Premiere of 20,000 Days on Earth featuring Nick Cave as the Opening Night Film on Wednesday 4 June and the Australian Premiere of New Zealand vampire mockumentary What We Do in the Shadows as the Closing Night film on Sunday 15 June.

Also in 2014, The Hub returns to Town Hall for a third year with a packed program of talks, exhibitions, live performances and over 25 free events. Open until midnight for 11 days only from 5-15 June, this Festival pop-up bar is the beating heart of SFF. Situated within a short stroll of most Festival venues, the Hub is the perfect meeting place for film lovers to relax, mingle and be entertained.

This year The Hub features a Festival Bar and Herman Miller and Living Edge Lounge, a Discount Ticket Booth, savvy Program Gurus,  a delicious Gelato Messina cart, a TITLE Pop-Up Store, a vintage Foxtel Movies photo and video Booth, an informal daily Film Club, an exclusive collection of iconic American Eames furniture, the Hugh Hamilton Rosebud photographic exhibition, a not-to-be-missed Viewmaster Experience by artist Vladimir, a series of Illustrated Talks and Panels as well as a Girl Rock Riot dance party, Cinema Burlesque and much more. The full up-to-date schedule of events at Festival Hub is now available at sff.org.au

SFF will screen 10 films direct from the 2014 Cannes Official Selection, Directors’ Fortnight and Critics’ Week, including: The Rover in Cannes Official Selection; Two Days, One Night,The Captivein competition; How To Train Your Dragon 2 out of competition; Cold in July, The Tale of The Princess Kaguya, You’re Sleeping Nicole and National Gallery in Directors Fortnight; The Texas Chain Saw Massacre as a special screening in Directors Fortnight; and Life Itself in Cannes Classics.

The Opening Night Gala features the Australian Premiere of 20,000 Days on Earth, an innovative film about international cultural icon Nick Cave directed by visual artists Iain Forsyth& Jane Pollard, who will be in attendance. The Opening Night Film screens at the State Theatre on Wednesday 4 June at 7:30pm and is followed by an afterparty at Bungalow 8, Kings Street Wharf with beverages supplied by Eden Road, Little Creatures and Yarrabank. Opening Night is presented by Audi.

The Closing Night Gala features the Australian Premiere of the vampire mockumentary What We Do in the Shadows, the new film from Taika Waititi (who directed Boy, which won the Audience Award at SFF 2010) and Jemaine Clement (Flight of the Conchords) at the State Theatre on Sunday 15 June at 8pm. The Closing Night Gala which also includes the announcements of all the SFF awards for 2014, including the $60,000 Sydney Film Prize (see Official Competition below). Taika Waititi will attend the Festival and introduce the screening.

The 61st Sydney Film Festival runs 4-15 June and brings a packed program of screenings and special events to even more venues across Sydney. For tickets and full up-to-date program information visit sff.org.au

New Name, Same Great Festival:

27th Connecticut LGBT Film Festival, May 30 – June 7

HARTFORD, Conn.– May 5, 2014 – Out Film CT celebrates the 27th season of its flagship film festival by changing the name from the Connecticut Gay and Lesbian Film Festival to the more inclusive Connecticut LGBT Film Festival.

“We have always aimed to have programming that’s fully inclusive of the entire LGBT community but our name hasn’t communicated that,” said Festival Co-Director Shane Engstrom. “Our new name reflects the diversity of our community and the diversity of the Festival.”

The Festival opens May 30 with Boy Meets Girl, a fun and romantic coming-of-age comedy featuring the beautiful, fashion-forward transgender woman Ricky and her best childhood friend Robby, who stands by her no matter what. “This heart-warming, affirming tale will appeal to a broad audience and is a wonderful way to open the Festival,” said Festival Co-Director Laura Williams. “With interesting plot twists and two endearing lead characters, this is a feel-good movie that will put the audience in the right mood for the opening night party.”

The Festival runs through June 7 in Hartford. Most screenings will take place at Cinestudio on the campus of Trinity College, but there will be several “off campus” screenings, including a closing night extravaganza in Downtown Hartford, with simultaneous screenings at Spotlight Theatres at Front Street and the Wadsworth Atheneum Museum of Art. The closing night party follows at the Wadsworth.

“Two years ago we celebrated our 25th season with a closing night party at the Wadsworth Atheneum and we’re thrilled to be returning,” Williams said. “Our friends at the Wadsworth really rolled out the red carpet for us, and we had many comments from our guests about what a great place it was for a party.”

Williams also noted that last year the Festival presented a full evening of women’s short films for the first time. “That was such a big hit that we’re doing it again. We were very fortunate to have so many excellent women’s short films to choose from this year. It’s going to be another great program that all audiences can enjoy, with a little bit of something for everyone,” Williams said. Women’s shorts night is Tuesday, June 3.

This year’s Centerpiece film, presented midway through the Festival, is Burning Blue, a searing military drama set during the Don’t Ask, Don’t Tell era that tells the story of a forbidden love and the tragic consequences of a modern day witch hunt. There will be a reception prior to the film sponsored by Pratt & Whitney, and Connecticut Lieutenant Governor Nancy Wyman is expected to make opening remarks to introduce the film. The Centerpiece program is Wednesday, June 4.

This year’s festival has many premieres, including the U.S. premiere of the poignant lesbian drama Of Girls and Horses, the international premiere of the madcap Queen of Amsterdam (closing night), and the U.S., North American and world premieres of several short films.

Each year the Festival includes appearances by directors, producers and actors who answer questions from the audience and visit with festival guests after the program. Engstrom said that tradition will continue this year, with special visitors flying in from as far away as Europe.

In addition to opening and closing night parties, another Festival mainstay that’s returning is the always popular silent auction. “Our film fans are also big silent auction fans,” Engstrom said. “We always have a great selection of items that can be had at bargain prices. The competitive bidding is always spirited and really energizes the Festival.”

LGBT Film Festival Dates:

Opens Friday, May 30, Cinestudio, Trinity College campus

Closes Saturday, June 7, Spotlight Theatres at Front Street and Wadsworth Atheneum

Ticket Prices:

Opening Night/Closing Night, includes party (each night priced separately)

General Admission, $20
Student/Senior, $15

Other shows

General Admission, $10
Student/Senior, $7

Festipass

All shows plus opening night and closing night parties, $75
 

3-Show Pass

Any three shows except opening and closing nights, $25

Complete LGBT Film Festival information available at:www.OutFilmCT.org.

Out Film CT, which organizes the Festival, is a nonprofit cultural organization dedicated to presenting outstanding LGBT cinema and other theatrical events throughout the year, culminating in the nine-day Connecticut LGBT Film Festival. Connecticut's longest-running film festival holds a special place in our state’s cultural landscape, bringing the community together to introduce, celebrate and rediscover the ideas and values that make the LGBT community unique. Out Film CT also presents the EROS Film Festival each fall, and the First Thursdays Cinema series, with screenings at Cinestudio on the first Thursday of most months.

Here’s the lineup of feature films and documentaries for the 27th Connecticut LGBT Film Festival:

Friday, May 30 – 7:30 p.m.

Cinestudio

Boy Meets Girl

Directed by Eric Schaeffer

2014, USA, 95 min

This fun and romantic coming-of-age comedy features the beautiful, fashion-forward transgender woman Ricky and her best childhood friend Robby (Michael Welch, Twilight). Lamenting the lack of eligible bachelors, Ricky considers dating a girl. In walks the sexy Francesca. Has Ricky found true love?

Saturday, May 31 – 2:30 p.m.

Cinestudio

To Be Takei

Directed by Jennifer M. Kroot

2014, USA, 93 min

Oh, my! This isn’t your average documentary because George Takei isn’t your ordinary guy. This entertaining portrait of the legendary actor and activist follows Takei’s trek for life, liberty and love from his early years in a World War II internment camp for Japanese Americans, to the helm of the Starship Enterprise, to the daily news feeds of five million Facebook fans.

Saturday, May 31 – 5 p.m.

Spotlight Theatres

Girltrash: All Night Long

Directed by Alexandra Kondracke

2013, USA, 86 min

In the tradition of Go and Superbad, Girltrash: All Night Long is the story of five girls and one epic night. Daisy and Tyler are two hapless rockers trying to make it to a Battle of the Bands on time. They are waylaid by Daisy’s sister, Colby, who has her sights set on hooking up with Misty, the girl of her dreams As the night spirals out of control, the girls will find love, lust, girl-fights, rock and roll, and a whole lot of stoned sorority girls. Oh, yeah, did we mention it’s a musical?

Saturday, May 31 – 7:30 p.m.

Cinestudio

The Way He Looks (Hoje Eu Quero Voltar Sozinho)

Directed by Daniel Ribeiro

2014, Brazil, 95 min, in Portuguese with English subtitles

A full-length feature based on last year’s Jury Award-winning short, I Don’t Want to Go Back Alone. Leonardo is a blind teenager yearning for independence, but he depends a lot on his best friend Giovana. When the handsome and sexy Gabriel arrives on the scene, Leo’s life changes forever.

Saturday, May 31 – 9:30 p.m.

Cinestudio

Tom at the Farm (Tom à la Ferme)

Directed by Xavier Dolan

2013, Canada, 95 min, in French with English subtitles

Following the untimely death of his boyfriend, Tom travels to the boyfriend’s family farm in the sparse Quebec countryside. Upon arriving, Tom is greeted with unexpected apprehension by the grieving mother, and downright hostility by older brother, Francis. Everyone has secrets and Tom finds himself involved in a dangerous game of deception, governed by the unpredictable and volatile Francis. This thriller will keep you on the edge of your seat.

Sunday, June 1 – 2:30 p.m.

Cinestudio

Gore Vidal: The United States of Amnesia

Directed by Nicholas D. Wrathall

2013, USA/Italy, 83 min

This retrospective documentary examines the life and work of the iconic, trailblazing and controversial American writer Gore Vidal. With never-before-seen interviews and candid footage of Vidal in his final years, the film explores his enduring global impact on art, politics, and everything in between. With commentary and appearances by Christopher Hitchens, Mikhail Gorbachev, Burr Steers, Stephen Fry, Tom Ford, Sting, David Mamet, William F. Buckley, Norman Mailer and Dick Cavett.

Sunday, June 1 – 7:30 p.m.

Cinestudio

Double Feature:

A Self-Made Man

Directed by Lori Petchers

2013, USA, 57 min

This feature-length documentary takes a candid look at what it means to be transgender, told through an intimate portrait of trans youth advocate and Connecticut native Tony Ferraiolo. Gender identity first appears in childhood, and some kids feel that they were born in the wrong body. It is a scary time for children and parents alike as they make the transition journey from one gender to the other. This is a film about someone who helps them get there safely.

Followed by:

Open Up To Me

Directed by Simo Halinen

2013, Finland/Sweden, 95 min, in Finnish with English subtitles

Maarit is a beautiful, intelligent and sexy woman – who used to be a man. Struck by the oddity of gender change, she is estranged from the daughter she fathered and from her previous life. When she meets and falls in love with Sami, she finally feels like she can ‘fit in’ somewhere. But Sami is soon put to the test and is forced to confront his own deeply hidden prejudices. With or without Sami, Maarit has to step into a brave new world where only she can determine her sense of belonging.

Monday, June 2 – 7:30 p.m.

Cinestudio

The 10 Year Plan

Directed by JC Calciano

2014, USA, 90 min

This classic romantic comedy tells the story of Myles and Brody – two best friends who are complete opposites when it comes to taste in men. Myles, a successful lawyer and hopeless romantic, wants nothing more than to find the man of his dreams. Brody, a handsome Los Angeles police officer, sleeps with every man he meets in order to avoid feeling unloved. One night they make a pact to be together if neither finds love in ten years. Tick tock, it’s now two months shy of their deadline and neither has met his perfect match. What happens next?

Tuesday, June 3 – 7:30 p.m.

Cinestudio

Women’s Shorts Night!

103 min

This full evening of women’s short films has something for every taste, with stories about new love, lost love, friendship, motherhood, adventure seeking, self-discovery, heartbreak, revenge and much more.

Wednesday, June 4 – 7:30 p.m.

Cinestudio

Centerpiece Film

Burning Blue

Directed by D.M.W. Greer

2013, USA, 96 min

Think Top Gun, but gay. Third generation navy fighter pilot Dan Lynch has it all until an unexpected night on the town turns his world upside down. Set during the Don’t Ask, Don’t Tell era, this is the story of a forbidden love and the tragic consequences of a modern day witch hunt. Co-written by University of Connecticut Drama Professor Helene Kvale.

Thursday, June 5 – 7:30 p.m.

Cinestudio

Of Girls and Horses

Directed by Monika Treut - U.S. Premiere!

2014, Germany, 82 min, in German with English subtitles

Alex is a 16-year-old misfit and school dropout who’s been using drugs and cutting herself. Her adoptive mother sends her off to a farm to work with horses. There she meets Nina, a 30-something lesbian and horse lover who shows Alex the ropes, literally, and Alex soon connects with the horses. An upper-class girl, Kathy, arrives for a vacation with her own beautiful horse and the girls slowly form a friendship. One weekend they’re alone at the farm and things get out of control. When vacation is over, will they part, or will they ride off together into the sunset?

Friday, June 6 – 7:30 p.m.

Cinestudio

Heterosexual Jill

Directed by Michelle Ehlen

2013, USA, 80 min

Unable to make progress with her ex-lesbian conversion, a neurotic “All American” Jill tracks down her butch ex-girlfriend Jamie to prove to herself that she is no longer attracted to women. Strung along by guilt and desire, Jamie agrees to the preposterous plan of “dating” Jill so that Jill can close this chapter of her life and move forward with men.

Friday, June 6 – 8:30 p.m.

Spotlight Theatres

Lilting

Directed by Hong Khaou

2014, UK, 91 min

The sudden death of a young London man named Kai leaves his headstrong Chinese-Cambodian mother, Junn, and his boyfriend, Richard, each in a personal and profound state of grief. Feeling a strong sense of responsibility toward Kai's only family member, Richard reaches out to Junn, who has been biding time in an assisted-living home. Though Junn speaks little English, her dislike of Richard is plain, and she meets him with stony resistance. Since they share no common language, Richard hires a translator to facilitate communication, and the two improbable relatives attempt to reach across a chasm of misunderstanding through their memories of Kai.

Saturday, June 7 – 2:30 p.m.

Wadsworth Atheneum

The Dog

Directed by Allison Berg & François Keraudren

2013, USA, 100 min

John Wojtowicz’s attempt to rob a Brooklyn bank to pay for his lover’s sex change operation was immortalized in Sidney Lumet’s 1975 classic film, Dog Day Afternoon, starring Al Pacino. However, the true story of John Wojtowicz remains all but unknown. The Dog captures John, for the first time, telling his story in his own unique, offensive, hilarious and heartbreaking way.

CLOSING NIGHT, SIMULTANEOUS PROGRAMS

Closing night party follows at the Wadsworth Atheneum Museum of Art.

Saturday, June 7 – 7:30 p.m.

Spotlight Theatres

Queen of Amsterdam (Chez Nous)

Directed by Tim Oliehoek - International Premiere!
2013, Netherlands, 90 min, in Dutch with English subtitles

A gay drag club, threatened with bankruptcy, is destined to become the property of the neighboring night-time entertainment magnate. To save the club, a close-knit group of regulars at the club plan to commit a Mission Impossible-style heist during Amsterdam’s Gay Pride festivities. They want to steal a pink diamond necklace worth millions from the Royal Museum and save their favorite hangout. But can they succeed?

Saturday, June 7 – 7:30 p.m.

Wadsworth Atheneum

Tru Love

Directed by Kate Johnston & Shauna MacDonald
2013, Canada, 94 min

A sparkling and evocative love story about the intersecting lives of three women. Alice, 60, has recently lost her husband and decides to visit her daughter Suzanne in the big city. Tru, 37, is a serial bed-hopping lesbian who can’t commit to a relationship or a job for long. When Suzanne witnesses a tender moment between mother and friend, her subsequent actions stress their relationships and lead to an unexpected climax.