Terry P.

VIMOOZ is for lovers of independent films + foreign film + documentary + film festivals. We love championing the little films.

MAYNARD, Powerful and Inspiring Story of the First Black Mayor of a Major Southern City, Sets Digital Release Date [Trailer]

The remarkable story of the unparalleled success of Maynard Jackson Jr., Atlanta’s beloved longtime leader, is told in the compelling new documentary Maynard which will be released by Virgil Films on iTunes and digital platforms on Tuesday, July 3, 2018. He was Obama before Obama, Maynard Holbrook Jackson became first black Mayor of Atlanta, Georgia in 1973 and this film is an exploration into a man who had dreams and ambitions to be a public servant for his people seeing that it was the next logical step in the journey that had been started by Dr. King, and so many others who had blazed the trail during the years of horrific segregation. Maynard interviews include President Bill Clinton, Al Sharpton, Vernon Jordan, Ambassador Andrew Young, Rev. Joseph Lowery, Jesse Jackson, former Atlanta Mayor’s Sam Massell and Shirley Franklin, and current Mayor Kasim Reed to name a few. Directed by Academy Award nominee, Emmy winner and 4 time Peabody Award winner Sam Pollard (“Slavery by Another Name”, “Sammy Davis, Jr.: I’ve Gotta Be Me”, “Two Trains Runnin’”), Maynard is produced by Maynard Jackson III, Wendy Eley Jackson, Dolly Turner, Winsome Sinclair, Daphne McWilliams, Jason Orr, and Donald Jarmond with cinematography by Henry Adebonojo who worked on the Academy Award nominated documentary “I Am Not Your Negro”.
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16 German Films to World Premiere in New German Cinema Section of Filmfest München

[caption id="attachment_29565" align="aligncenter" width="1200"] Mackie Messer – Brechts Dreigroschenfilm[/caption] 16 German film productions are celebrating their world premiere in the New German Cinema section of the Filmfest München – Munich International Film Festival. Starting things off is Joachim A. Lang’s “Mackie Messer – Brechts Dreigroschenfilm“, the opening film of the 36th Filmfest München, whose message is Brecht’s aphorism “In the contradiction lies the hope.” Against the backdrop of historical circumstances, Oliver Haffner’s feature film “Wackersdorf – Be Alert, Courageous and Solidaric” raises a sensitive question about political activism: as personal as it is suspenseful, the film depicts opposition to the construction of a nuclear reprocessing plant in 1980s Bavaria. “Safari – Match Me If You Can” by Munich director Rudi Gaul is about love in the digital age. A new dating app, Safari, makes the Bavarian capital a vehicle for self-promotion. Arthur Schnitzler’s stage play “La Ronde” is catapulted into the present day, with hilarious consequences. Robert Bohrer and Emma Rose have submitted a most unusual “Love Movie”. An apathetic thirtysomething falls in love with a war photographer, and together they experience all the highs and lows of a relationship. Jakob Lass, whose “Love Steaks” earned the Förderpreis Neues Deutsches Kino in four categories in 2013, is back in Munich. In his latest film, “Right Here Right Now”, we live through the last night of a Hamburg club and everything that a good farewell party entails. Partying is also a theme in Henning Gronkowski’s “Yung”. The film portrays Berlin teenagers on their (often wrong) way through the city and through life. Naturally this includes hedonism, sexuality, and drugs. Several of the films in this year’s New German Cinema section broach the issue of relations between the sexes. Linus de Paoli’s thriller “A Young Man with High Potential” is the shocking story of a highly intelligent but prudish student of computer science who turns to chemical substances when rejected by the object of his affection. By contrast, in Leonel Dietsche’s “The New End”, only the men survive in a post-apocalyptic world in which might makes right. Philipp Eichholtz’s comedy “Everything Always All the Time” is a bit more playful and lighthearted. In, Kim would like to be a man. That isn’t such an easy thing when others must first get used to this kind of new identity. In Eva Trobisch’s drama, the protagonist tells herself things will be “All Good”. Since being raped, she does everything she can to keep up appearances — in order not to lose her job. Ann-Kristin Reyels’ “We Were Just Playing” is another film in which a character has a dark secret. Miro and Jona come from different worlds and want to be friends nonetheless. Damian John Harper’s “In the Middle of the River” is about a traumatic incident: a young man returns to his home town to kill his grandfather. At the moment of truth, his plan is thwarted and the two men are forced to spend the rest of the day with each other. Family situations with a potential for conflict are also at the root of Michael Klier’s chamber play “Family Idiots”, about a mentally disabled girl whose family must decide whether to send her to an institution. It’s a moral question that threatens to pit the family members against each other. Katinka Narjes’ film “Sirens” is also about family ties: the bond between two sisters is indestructible, yet they must learn to let go. Two documentaries are part of the New German Cinema section in 2018. In “The Brasch Family”, Annekatrin Hendel tells the story of three generations of a German family full of history, conflicts, and twists. In the meantime, Lola Randl, a previous guest at Filmfest München, offers a subjective and personal exercise in self-experimentation with “The Bees and the Birds”, moving to the countryside and exploring alternative ways of living both in front of and behind the camera. As usual, the best achievements by new directors in the New German Cinema section will be awarded the Förderpreis Neues Deutsches Kino. The FIPRESCI Award will also be given for the fourth time to the best film in the section. All the films in the New German Cinema section: “A Young Man with High Potential” by Linus de Paoli, Germany 2018 starring Adam Ild Rohweder, Amanda Plummer, Paulina Galazka, Vanja Bajdarova, Pit Bukowski Schattenkante, Hahn Film “Alles ist gut” (“All Good”) by Eva Trobisch, Germany 2018 starring Aenne Schwarz, Andreas Döhler, Hans Löw, Tilo Nest, Lina Wendel TRIMAFILM GmbH, Starhaus Filmproduktion, BR “Ende Neu” (“The New End”) by Leonel Dietsche, Germany 2018 starring Sylvester Groth, Georg Friedrich, Milena Tscharntke, Samuel Schneider, Mick Morris Mehnert Filmakademie Baden-Württemberg, SWR, Paxfilm “Familie Brasch” (“The Brasch Family”) by Annekatrin Hendel, Germany 2018 starring Marion Brasch, Katharina Thalbach, Christoph Hein, Bettina Wegner, Florian Havemann IT WORKS! Medien GmbH, von Vietinghoff Filmproduktion, RBB, SWR, MDR “Idioten der Familie” (“Family Idiots”) by Michel Klier, Germany 2018 starring Lilith Stangenberg, Jördis Triebel, Hanno Koffler, Florian Stetter, Kai Scheve Michael Klier-Film, almost famous UG, RBB, Arte “In the Middle of the River” by Damian John Harper, Germany/USA 2018 starring Eric Hunter, Max Thayer, Nikki Lowe, Matthew T. Metzler, Ava Del Cielo Weydemann Bros., ZDF – Das kleine Fernsehspiel, Arte “Kim hat einen Penis” (“Everything Always All the Time”) by Philipp Eichholtz, Germany 2018 starring Martina Schöne-Radunski, Christian Ehrich, Stella Hilb, Matthias Lier, Lana Cooper Von Oma gefördert “Liebesfilm” (“Love Movie”) by Robert Bohrer, Emma Rosa Simon, Germany 2018 starring Eric Klotzsch, Lana Cooper, Hartmut Becker, Sabine Vitua, Gerdy Zint BASIS BERLIN Filmproduktion, Deutsche Film- und Fernsehakademie Berlin (DFFB), ZDF – Das kleine Fernsehspiel “Mackie Messer – Brechts Dreigroschenfilm” by Joachim A. Lang, Germany 2018 starring Lars Eidinger, Tobias Moretti, Hannah Herzsprung, Joachim Król, Claudia Michelsen Zeitsprung Pictures GmbH, SWR, Arte, Velvet Films “Nixen” (“Sirens”) by Katinka Narjes, Germany 2018 starring Odine Johne, Lucy Wirth, Emelie Harbrecht, Roland Bonjour Deutsche Film- und Fernsehakademie Berlin (DFFB) “Safari – Match Me If You Can” by Rudi Gaul, Germany 2018 starring Justus von Dohnányi, Sunnyi Melles, Elisa Schlott, Juliane Köhler, Max Mauff Rat Pack Filmproduktion GmbH, Tele München GmbH, Martin Richter Filmproduktion “So was von da” (“Right Here Right Now”) by Jakob Lass, Germany 2018 starring Niklas Bruhn, Tinka Fürst, David Schütter, Mathias Bloech, Bela B. Felsenheimer C-Films Deutschland GmbH, DCM Pictures GmbH, Tatami Films GmbH “Von Bienen und Blumen” (“The Bees and the Birds”) by Lola Randl, Germany 2018 starring Lola Randl DETAiLFILM GmbH, Tohuwabohu GmbH “Wackersdorf” (“Wackersdorf – Be Alert, Courageous and Solidaric”) by Oliver Haffner, Germany 2018 starring Johannes Zeiler, Anna Maria Sturm, Peter Jordan, Fabian Hinrichs, Sigi Zimmerschied if… Productions, BR, Arte “Wir haben nur gespielt” (“We Were Just Playing”) by Ann-Kristin Reyels, Germany 2018 starring Finn-Henry Reyels, Roman Bkhavnani, Silke Bodenbender, Godehard Giese kurhaus production Film & Medien GmbH, ZDF – Das kleine Fernsehspiel “Yung” by Henning Gronkowski, Germany 2018 starring Janaina Liesenfeld, Emily Lau, Joy Grant, Abbie Dutton G.G. Production GmbH, deutschfilm GmbH
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Allison Volk’s Dark Rom-Com DEANY BEAN IS DEAD to World Premiere At Dances With Films [Trailer]

Writer/Producer/Actress Allison Volk’s new dark romantic-comedy feature film, Deany Bean is Dead will make its World Premiere at the 2018 Dances With Films festival at the famed TCL Chinese Theaters in Hollywood on June 16th. DEANY BEAN IN DEAD follows Deany (Volk), a 30-something hopelessly hung-up on her ex-boyfriend who accidentally ends up at his house during his engagement party. Out to sabotage everything and win him back, Deany’s plan is hampered by the fact that she has the dead body of her abusive boss hidden in her car out front. Just as her strategy starts to work, the evening unravels and forces Deany to confront her own self-worth. The 84-minute film evolved from Volk working on a series of short film projects with Mikael Kreuzriegler, a Director/Cinematographer, current Chair of Loyola Marymount University’s School of Film and Television and previous Dances With Films festival winner. Armed with an idea, Volk penned the script for Kreuzriegler to direct; and together they produced the picture along with Associate Producer Christiana Santos (Executive Director of Distribution at Orion Pictures at MGM). To help bring the characters to life alongside Volk, the team cast several rising actors, including Sarah Siadat (Veep, Grimm), Paul Tigue (20th Century Women) and Paulina Bugembe (Scandal). Since starting the creative project nearly 2 years ago, Volk is excited to now share the film with audiences at Dances With Films and beyond. Volk adds, “It is such a thrill to watch a project evolve from script to screen; every individual contribution is important and makes the project better. We’re really honored to be part of Dances with Film and looking forward to celebrating the success with everyone involved.” Originally from Boulder, Colorado, Volk has been building a solid reputation in Hollywood as an award-winning writer, film producer and actress. Most recently, Volk won ‘Best Screenplay’ at the 2018 Utah Film Awards for her dark action comedy feature script, Tiger Woman. She wrote, produced and starred in her First feature film, Innocent Sleep, earning ‘Best Lead Actress’ at the 2017 Utah Film Awards for this modern-day adaptation of Shakespeare’s Macbeth. In addition, Volk has written and produced two award-winning shorts and written several plays which have enjoyed production in Los Angeles and New York, one of which took the Denise Regan Wisenmeyer Award. She co-founded The City Shakespeare Company in Santa Monica, serving as co-artistic director for three years. She proudly made her feature ?lm debut as ‘Jane’ in Disney’s 2013 western-action film, The Lone Ranger. Currently, Volk is in pre-production on the short fantasy/drama film, What Katie Did, which is slated to shoot in Colorado this August. https://vimeo.com/247749747
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WILDLIFE Starring Carey Mulligan, Jake Gyllenhaal to Open 2018 Melbourne International Film Festival

[caption id="attachment_29567" align="aligncenter" width="1259"] Wildlife[/caption] The first films of the 2018 Melbourne International Film Festival (MIFF) were revealed today along with big announcement that the 67th edition will open with the Australian premiere gala screening of Paul Dano’s directorial debut Wildlife – starring Carey Mulligan, Jake Gyllenhaal and Australia’s Ed Oxenbould. The First Glance selection of 32 films demonstrating MIFF’s expansive reach was also uncovered. Based on the 1990 Richard Ford novel of the same name, Dano’s debut directorial outing (co-written by Zoe Kazan, seen alongside Dano at MIFF’s 2012 Ruby Sparks) tells a tender and empathetic story about a teen dealing with his family falling apart in 1960s Montana. A hit at Sundance and Cannes, Wildlife is a bittersweet and elegant debut that represents a major coming-of-age – both off screen and on – for Oxenbould, an actor who broke out in MIFF 2014’s Paper Planes and last year’s MIFF Premiere Fund-supported The Butterfly Tree. Buoyed by exquisite cinematography from Diego Garcia (Neon Bull, MIFF 2016; Cemetery of Splendour, MIFF 2015) the film’s fine-tuned attention to period detail underscores its exceptional performances. https://www.youtube.com/watch?v=4gSi0Qvki3o “We are thrilled to announce Wildlife for this year’s Opening Night Gala. Paul Dano’s debut as a director provides a glimpse into a successful shift in his career from on screen to off, and the cast including Australia’s very own Ed Oxenbould (a special name here at MIFF) is an impressive way to kick off proceedings,” said MIFF’s Artistic Director Michelle Carrey. “This in addition to the sneak peek of the rest of the program is an exciting time. Finally we can start talking about the most important thing…the films!” This year’s MIFF program will feature more than 500+ screenings, including: Ethan Hawke features with both on and off-screen contributions: he portrays a troubled priest experiencing a ‘crisis of faith’ in cinematic legend Paul Schrader’s latest feast of brooding menace, First Reformed; in Blaze, Hawke directs a daringly unconventional biopic of an unsung country music legend, featuring newcomer Benjamin Dickey in the title role (which won him a Sundance acting award) and Alia Shawkat. Chloë Grace Moretz turns in a career-best performance in Desiree Akhavan’s sophomore feature The Miseducation of Cameron Post, winner of the Sundance Grand Jury Prize (US Dramatic); Cannes 2017 best actor winner Joaquin Phoenix features in Lynne Ramsay’s vengeance feature You Were Never Really Here, playing a war vet and ex-FBI agent whose new job includes rescuing children from paedophile rings; meanwhile, Bodied is the result of an unlikely pairing between Grammy-winning director Joseph Kahn and rapper turned producer Eminem who present their satirical story about an accidental battle-rap star. In a variety of filmmaking firsts, acclaimed TV director Michael Pearce makes his feature debut in the sly, unsettling Beast – an impressive British crime drama love story wrapped in an intriguing psychosexual thriller; veteran slow-cinema auteur Tsai Ming-liang makes his debut foray into virtual reality with The Deserted, a 55-minute experience with a wordless, near-feature length tale of ghosts, grief and fish; and a little closer to home, Nash Edgerton’s TV series directorial debut Mr Inbetween brings The Magician’s charismatic killer-for-hire Ray Shoesmith back to our screens. MIFF will screen all six episodes before its television premiere on Foxtel’s Showcase channel. The 2018 program delves deep into three iconic names spanning fashion, sport and Hollywood, starting with McQueen, a flamboyant portrait of one of the world’s most revered designers, Alexander McQueen – a man who once said “My shows are about sex, drugs and rock’n’roll. It’s for the excitement and the goosebumps. I want heart attacks. I want ambulances.” This biographical documentary by Ian Bonhôte and Peter Ettedgui represents nothing less. Julien Faraut’s John McEnroe: In the Realm of Perfection serves up a fascinating combination of instructional clips and exquisite 16mm footage of tennis bad boy John McEnroe at the height of his career at the 1984 French Open; and looking into the life of another legend, Tommy Avallone’s Bill Murray Stories: Life Lessons Learned from a Mythical Man follows the trail of the star’s alleged appearances musing on the interconnection of pop culture and ordinary life. An Elephant Sitting Still takes us on a four-hour journey as Hu Bo paints a compelling, empathetic portrait of contemporary China in this FIPRESCI Prize-winning debut; and winner of SXSW’s Grand Jury Prize for documentary, People’s Republic of Desire is Hao Wu’s unsettling and fascinating look into the online world of live-streaming, social media and virtual relationships. Turning impending loss into a poignant, poetic dreamscape, The Seen and Unseen is the second feature from Indonesia’s Kamila Andini and winner of best youth film at the 2017 Asia Pacific Screen Awards; Tigers Are Not Afraid is a stunning contemporary fairytale that does for Mexico’s drug war what Guillermo del Toro did for the Spanish Civil War. Praised by Stephen King, the film saw Issa López become the first woman to win Fantastic Fest’s Best Horror Director award. Denmark’s Gustav Möller makes his directorial debut with the Sundance and Rotterdam award-winning The Guilty, an edge-of-your-seat psychological thriller told entirely in real time. The UK’s Daniel Kokotajlo makes a devastating debut with Apostasy, a daring study of an all-female Jehovah’s Witness family riven by religious conflict starring Siobhan Finneran (Downton Abbey and Happy Valley); Babis Makridis proves he is coming into his own as a star with a second feature, Pity. A follow up to L (MIFF 2012), the quintessentially bleak and absurdist Greek New Wave comedy from the co-writer of The Lobster and Dogtooth was co-written with Yorgos Lanthimos’ key collaborator Efthymis Filippou (The Killing of a Sacred Deer, MIFF 2017). Irreverent Iranian director Mani Haghighi (A Dragon Arrives! MIFF 2016) presents his latest meta-comedy magic, Pig – a riotous Iranian film industry satire about a serial killer; and Vivian Qu continues to interrogate crime, corruption and control in modern-day China in Angels Wear White, which won her the Best Director award at the Golden Horse Film Festival. Based on Anna Seghers’ WWll novel of the same name, Transit is the slow-burn thriller from revered auteur Christian Petzold – a discomfiting fable of trans-European displacement that channels both Hitchcock and Casablanca; and one of contemporary cinema’s most esteemed directors Lucrecia Martel makes her long-awaited return with the historical fiction Zama, centred on an 18th-century Spanish magistrate marooned in a far-flung South American outpost where he’s losing touch with civilization and sanity. Spaghetti Western, ’70s Euro-pulp and delirious psychedelia collide in Let the Corpses Tan – a glorious homage to cinema’s seedier retro fringes from genre connoisseurs Hélène Cattet and Bruno Forzani; audiences will step back in time to the French fashion scene with legendary fashion photographer William Klein’s award-winning black and white mockumentary that is now a groovy cult classic, Who are you, Polly Maggoo? and nominated for Best Foreign Film at the 2018 Academy Awards, The Insult is the multi-award winning new work from Lebanese visionary Ziad Doueiri (The Attack, MIFF 2012). Delving into the complex emotions of passionate pop-music appreciation, emerging local director Jessica Leski presents I Used to be Normal: A Boyband Fangirl Story – an empathetic documentary exploring why we hold pop music so dear to our hearts. The NSFA-restored The Cheaters offers viewers a rare big-screen treat of a pioneering silent-era classic. A major landmark of Australian cinema, this is not just one of our earliest feature films – it’s one of the first by women filmmakers, the McDonagh sisters. The remaining fragments of the sisters’ popular first feature Those Who Love will screen alongside. An exhilarating debut feature from Australian director Jason Raftopoulos, the Venice-premiering West of Sunshine stars Pawno’s Damian Hill alongside his real-life step-son Ty Perham and Offspring’s Kat Stewart (Sucker, MIFF 2015). Shot in Melbourne, it explores fatherhood, trauma and second chances. Director Jeremy Sim’s (Last Cab to Darwin, Beneath Hill 60) Wayne is a must-see for moto-GP fans. Here, Sims explores a defining piece of Australian sporting history that saw Wayne Gardner conquer the world of motorcycle racing and return home a hero; while Island of the Hungry Ghosts takes audiences on a unique and moving cinematic journey through the intersection of Christmas Island’s migrating land crabs, lost souls caught in limbo and political detainees. Sundance award-winner, Stephen Loveridge digs deep into the life of his good friend Mathangi ‘Maya’ Arulpragasm in MATANGI / MAYA / M.I.A, demonstrating her pull-no-punches personality and focus on political activism, and how this caused her career to suffer; and rounding up the First Glance lineup, directors Dyana Winkler and Tina Brown dive wholeheartedly into the African-American roller rink scene, circling around racial profiling, the roots of rap and communities in crisis with Tribeca Film Festival Audience Award winner, United Skates.
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Musical Drama SAINTS REST to Kick Off Summer at First Tuesdays at Midwest Independent Film Festival [Trailer]

The Midwest Premiere of Saints Rest, from director Noga Ashkenazi (The Grey Area: Feminism Behind Bars) will kick off summer at First Tuesdays at the Midwest Independent Film Festival. An intimate family drama shot on location in Grinnel, Iowa, Saints Rest tells the story of two estranged sisters, who over the course of one summer, form a connection through their shared love of music as they grieve the recent death of their mother. Interweaving striking original music with an authentic and affectionate portrayal of a rural Midwest town, the film sweetly captures the tension between individual dreams and family obligations. Alternately funny and emotionally raw, Saints Rest serves as “musical comfort-food” for those who miss home, their childhood and their families, regardless of how imperfect it all may seem from a distance. Saints Rest recently won the Audience Award at RiverRun International Film Festival, where it screened to 3 sold-out shows. Co-written by Noga Ashkenazi and Chicagoan Tyson Stock, the film was co-executive produced by Rebecca Green (one of Variety’s 10 Producers to Watch and producer for two of the top-grossing and critically acclaimed independent films of 2015, It Follows (Cannes 2014) and I’ll See You in My Dreams (Sundance 2015). The director will be attending the screening along with select cast and crew. https://www.youtube.com/watch?v=yjU_WVgDFfg First Tuesdays: Saints Rest at the Midwest Independent Film Festival Date: Jun. 05, 2018 Time: 6:00pm – 9:30pm @Landmark’s Century Centre Cinema, 2828 N. Clark Street, Chicago, Illinois
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My Name Is Myeisha, Buddha.mov, Rock Steady Row, Crime + Punishment Win Top Awards at 4th Mammoth Lakes Film Festival

[caption id="attachment_27273" align="aligncenter" width="1200"] My Name is Myeisha[/caption] The winners of juried and audience awards of the 4th Annual Mammoth Lakes Film Festival (MLFF) were announced at the Closing Night Award Ceremony at the Sierra Event Center in Mammoth Lakes on Sunday, May 27, 2018. The festival, held from May 23-27, screened over 70 films, including 63 in MLFF’s competition categories. Each of the festival winners received an Orson the Bear Award, handcrafted by Josh Slater of Bear in Mind Carvings located in Mammoth Lakes. “This year’s festival exceeded our expectations on many levels. We welcomed more filmmakers, audience members, and media than in any of our other three years,” said Festival Director Shira Dubrovner. “Against the backdrop of our beautiful city, we were honored to host such an artistic collection of films that continues our commitment of bringing dynamic storytelling to our appreciative community.” “The number of attending filmmakers from all over the world and the quality of their work, combined with the involvement of the Mammoth Lakes community, brought to life a series of scintillating events and thought-provoking discussions at this year’s festival,” said Festival Programmer Paul Sbrizzi. “It has been my privilege to be a part of the Mammoth Lakes Film Festival since it’s conception,” said Documentary Features jury member Allison Amon (EVP Sales & Development, Bullitt). “The festival continues to grow both in scope and reputation, and it is incredibly inspiring to be here in the most beautiful landscape and surrounded by the creativity the festival attracts.” The 2019 festival is slated for May 22 to 26, 2019. The full list of Juried and Audience Awards is below:
Juried Awards
Jury Award for Best Narrative Feature, with a $1,000 cash prize, $10,000 Panavision Camera Rental Grant and $10,000 Light Iron Post Production Package, goes to My Name Is Myeisha. Jury Award for Best International Feature, with a $500 cash prize, goes to Tower. A Bright Day. Special Mention goes to writer, director, actor Thomas Aske Berg for his performance in Vidar the Vampire. Jury Award for Best Documentary Feature, with a $1,000 cash prize, goes to White Tide. Special Mention goes to Buddha.mov. Jury Award for Best Narrative Short, with a $500 cash prize and $5,000 VER Rental Grant, goes to Shadow Animals. Special Mentions go to Babies and In A Month. Jury Award for Best Documentary Short, with a $500 cash prize, goes to David and The Kingdom. Jury Award for Best Animation Short, with a $500 cash prize, goes to Cocoon, Cocoon. Special Mention goes to Nevada. Special Jury Award for Bravery, with a $500 cash prize, goes to Minding the Gap.
Audience Awards
[caption id="attachment_25678" align="aligncenter" width="1000"] Rock Steady Row[/caption] Audience Award for Best Narrative Feature, with a $1,000 cash prize and $5,000 Panavision Camera Rental Grant, goes to Rock Steady Row. Audience Award for Best Documentary Feature, with $1,000 cash prize, goes to Crime + Punishment.
Jury
Narrative Features Jury: Tim Rhys (MovieMaker Magazine), Nicole Sperling (Vanity Fair) and Rachel Winter (Producer). Documentary Features Jury: Allison Amon (EVP Sales & Development, Bullitt), Lindsey Bahr (Associated Press) and Peter Baxter (Filmmaker; President/Co-Founder, Slamdance). International Features Jury: Shalini Dore (Variety), Alonso Duralde (TheWrap) and Vincent Spano (Actor). Shorts Jury: Ana Souza (Sundance Film Festival) and Scenery Samundra (Tru Thoughts, NTS Radio).
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Film Projects by Manuel Abramovich, Grigory Kolomytsev, Elena López Riera, Arantza Santesteban, and Nele Wohlatz Selected for 4th Ikusmira Berriak

[caption id="attachment_29451" align="aligncenter" width="1000"] CHUPACABRA[/caption] Filmmakers from Germany, Argentina, Spain, and Russia will develop their audiovisual projects within the framework of the Ikusmira Berriak program, which is celebrating its fourth edition this year. The selection committee, which is comprised of members from the Tabakalera International Centre for Contemporary Culture, the San Sebastian Film Festival and, for the first time, Elías Querejeta Zine Eskola, has selected the following projects out of the 155 offerings received from 31 countries: in the international category, El oasis, by Argentine filmmaker Manuel Abramovich (Buenos Aires, 1987) and Dormen os peixes de olhos abertos, by Nele Wohlatz (Hannover, Germany, 1982); in the Spanish filmmaker category, El agua, by Elena López Riera (Orihuela, Spain, 1982); among filmmakers residing in the Basque Autonomous Community, 918 gau, by Arantza Santesteban (Pamplona, Spain, 1979); and among Nest alumni (International Film Students Meeting), Chupacabra, by Grigory Kolomytsev (Krasnodar, Russia, 1990). Projects on daily life in prison, the porn industry, legends, childhood, and alienation inspire the five chosen offerings. The fifth project was chosen thanks to Elías Querejeta Zine Eskola’s partnership in the audiovisual residency program organised by the Tabakalera International Centre for Contemporary Culture and the San Sebastian Film Festival. Several of the filmmakers chosen have enjoyed considerable success at international festivals. Abramovich has premiered his films in Berlin and Karlovy Vary, where he received a special mention, and last year Soldado, his latest film, was shown at Zabaltegi-Tabakalera; López Riera has presented two of her productions at the Director’s Fortnight in Cannes and Locarno; and Nele Wohlatz won the award for Best First Feature in Locarno and Zinebi with El Futuro Perfecto. Kolomytsev was selected two years in a row (2016 and 2017) at Nest, and the Arantza Santesteban’s latest work, co-directed with Irati Gorostidi, was shown at the last Festival in the Zinemira selection, at the Kimuak catalogue sessions for professionals.
PROJECTS

918 GAU
ARANTZA SANTESTEBAN (SPAIN) In the minuscule cell of a police van, a woman that has spent many years in prison told me: to be able to explain what prison is like, you need to have slept in one. Nearly a decade ago, I spent 918 nights in prison. This film is about what it means to live in an isolated world without images. Director’s bio/filmography A history graduate of the University of the Basque Country. She holds a degree in Creative Documentary from the Centre de Dones Francesca Bonemaison (2012, Barcelona). Likewise, she has trained in Documentary Film Writing with Carmen Ávalos (2013, Barcelona). She has carried out specific training with Víctor Erice (2015, San Sebastian) and Patricio Guzmán (2016, Madrid). In 2012, she began to work as a director in various documentaries, including the noteworthy Passatgeres, her first work. Together with others, she curated the GORPUTZ_GRAFIAK exhibition at the Koldo Mitxelena cultural centre (San Sebastian) in 2015. This work brings together genealogy and research work from the Basque Country’s feminist movement. Together with Irati Gorostidi, she directed Euritan in 2017, which was selected in the 2017 Kimuak catalogue. She has made the rounds at festivals such as San Sebastian, Punto de Vista, Miradas Doc, and the Malaga Film Festival. In 2017, she was selected by the Huarte Centre of Contemporary Art to carry out a curatorial research residency, through which she will curate the Imágenes a través: reflexiones sobre imágenes en conflictos (‘Traversing images: reflections on images in conflict’) international seminar in June of 2018. She is a researcher of the Communication, culture, society, and politics master’s program (UNED-Spain), and studies questions that relate to cinematographic representation, feminism, and contemporary political conflicts. Director’s note There are numerous cinematographic narratives about prison, however, in my opinion, they are always missing something. What these images reflect are not daily conditions in prison, but ways in which the popular consciousness about them works. Cells, yards, fences, organised crime, terrorism, and drugs… These are elements that are a part of our prior characterisations. However, it is practically impossible to represent questions that are fundamental to understanding daily life in prison: the passing of time, isolation from the outside world, the physical and psychological consequences of confinement, opaque spaces of domination, etc. This film will address those topics.
CHUPACABRA
GRIGORY KOLOMYTSEV (RUSSIA) Nine years old Andrey lives on the outskirt of a small village near the White Sea. Nervous, tired of poverty and fatherlessness mother keeps Andrey in constant tension and beats him. She threatens to send his son to the orphanage at the slightest misconduct from his side. Once Andrey finds a dead dog on the seashore in a storm – he decides that it is a mystical beast “Chupacabra”, a goat vampire, which will save his mother from ills and help them to reunite. Andrey heard on TV that whom Chupacabra bites at the full moon will become Chupacabra himself. Andrey scratches his hand the dead fang. Director’s bio/filmography Grigory Kolomytsev (1990, Russia) graduated from the Russian State University of Cinematography (VGIK) in 2017 (workshop of the Kott brothers). His debut short film Three Sisters (2015) was Semifinalist of the 43d Student Academy Awards. His next short work Mary was shown at more then 60 festivals including San Sebastian, Cairo, Camerimage, ZINEBI, etc. In 2017 he shooted his diploma film I’m Staying on the Black sea shore where he spent his childhood. It was shown at San Sebastian, Premiers Plans – Festival D’Angers, Winterthur etc. Chupacabra will be his debut feature film. Director’s note For me it is very important to make a debut picture about childhood – the necessary distance has already been passed, but feelings and memories are still hot. I was born near the sea. There was my first death experence. Sound of waves and wind is the sound of my childhood, tears of mother is my main humane feeling. Andrey, this small autistic boy, sincerely believes that there is no death, that he can find love by sacrificing himself. This is a film about the ordeal of a little Holy child. It is a “Life of Saint Andrey”.
DORMEN OS PEIXES DE OLHOS ABERTOS
NELE WOHLATZ (GERMANY) Three outsiders in a tropical city, passing through places that could be anywhere. A condominium tower with white, empty rooms, made in China bric-a-brac stores, a shark-infested beach, the sea. Lixue, Ah, and Bo live in a reality that sometimes seems like fiction and, perhaps, a prediction of the future for the world’s cities. Three verses in an incomplete song, but who is speaking through whom? The alienation of the tree, who are so different, yet so similar. Director’s bio/filmography Nele Wohlatz (1982, Hannover) studied art and film in Karlsruhe and Buenos Aires. She created the short films La mochila perfecta and Tres oraciones sobre la Argentina, and co-directed Ricardo Bär. The first full-length film she directed on her own was El futuro perfecto, which was shown at more than 60 international festivals and won numerous awards, including such as the Best First Feature award at Locarno. Director’s note Recife is a city with a great deal of history, yet it seems that urban development is focused on erasing its mark and replacing it with the feeling of an airport: generic towers with private security surrounded by high walls, shopping centres, and urban highways that connect these locations. I want to make a film could take place anywhere, because it is about people that came for different reasons, but do not belong in their new city. After my first visit to Recife I thought, why not here? Behind its anonymous face, the city is full of ruptures, warmth, and peculiarities.
EL AGUA
ELENA LÓPEZ RIERA (SPAIN) It is summertime, and the threat of a powerful storm hangs over a town in the Spanish Levant. Ana is 17 years old and has grown up in the shadows of her mother who disappeared in the last flood, becoming phantasmagorical legend, a character for the townswomen who say that the water there is always mixed with death. In this electric atmosphere before the storm, Ana meets Jose, her first love. Director’s bio/filmography Elena López holds a doctorate in Audiovisual Communication and is a filmmaker. She has directed Pueblo (2015), which debuted at the Director’s Fortnight in Cannes, and Las vísceras (2016), which premiered at the Locarno Festival. She is a member of the Lacasinegra collective, through which she co-directed Pas à Genève. She has also worked as a producer for the Seville, Belfort, and Visions du Réel festivals. Director’s note I was born in Orihuela, a town in the Spanish Levant divided by the Segura, one of Europe’s most polluted rivers. I grew up with my mother, my grandmother, and my aunts, surrounded by women that used to tell all kinds of stories to take the ease off the long afternoons of asphyxiating heat. These stories almost always had a true origin (based on events, secrets whispered between neighbours, or family stories), but changed with each new version until some of them became truly fantastic tales. This is surely why I decided, one day, to make films. It was my way of participating in this popular, collective tale that does not distinguish between history and poetry.
EL OASIS
MANUEL ABRAMOVICH (ARGENTINA) “Why do you want to do porn?” they ask at the casting. “Because I love to feign pleasure”. How does pleasure itself become a performance? If an adult film actor transforms their sexuality into a show, where do they find true pleasure? Director’s bio/filmography Manuel Abramovich (Buenos Aires, 1987) is a director, producer, and directory of photography. His work challenges the limits between reality and fiction, and reflects on the concept of an author in so-called ‘documentary filmmaking’. He has directed La Reina (2013), Las Luces (2014), Solar (2016), Soldado (2017), and Años Luz (2017). His works have received numerous awards, and have been shown at festivals and artistic institutions such as the Berlinale, Venice, San Sebastian, MoMA, Cinéma du Réel, IDFA, Tribeca, Tabakalera, Film Society of Lincoln Center, BAFICI, and Documenta Madrid. He was selected for various grants and residencies, including the Fondo Nacional de las Artes (Buenos Aires), Tres Puertos (Mexico and Chile), EMARE (Germany), and others. Currently, he is developing a trilogy focused on sex work and pornography in three cities: Berlin, Mexico City, and Buenos Aires. Años Luz, 2017, Argentina/Spain/Brazil, 72′. Soldado, 2017, Argentina, 73′. Solar, 2016, Argentina, 75′. Las Luces, 2014, Argentina, 6′. La Reina, 2013, Argentina, 19′. Director’s note El Oasis is a film on the construction of intimacy as a show. This is also the second piece of a trilogy that I am producing on the male body used as a business, focused on pornography and sex work in three cities (Berlin, Mexico City, and Buenos Aires). I am interested in the porn industry as a context to talk about sex in a world where the self is constructed by others, where we must be connected to exist and be seen. How does the body itself become a performance? How does pleasure act? The five filmmakers will enjoy a residency of six weeks in San Sebastian from 20 August. In the first four, the filmmakers will develop their projects at Tabakalera’s Creator’s Space, and will receive master classes and guidance from members of this edition’s expert committee, which includes Irish producer Fodhla Cronin O’Reilly, Brazilian filmmaker Sergio Oksman and TorinoFilmLab director, Savina Neirotti, who have guided the judges panel in their selection. In the fifth week of the residency, the participants will prepare the pitching session, which involves a project presentation to the industry during the sixth and final week of the residency. The session is part of the San Sebastian Film Festival. The residents will have the opportunity to arrange meetings with attending professionals who are interested in collaborating in their projects, and will receive an access pass to screenings and the Festival’s other industry activities. Ikusmira Berriak will also provide financial support amounting to 25,000 euros, which will be distributed among the projects selected. In addition, REC Grabaketa Estudioa will offer its feature film post-production services as a prize, which is valued at 35,000 euros. Ikusmira Berriak is a program that seeks to involve new talent as well as producers and people from the audiovisual industry who support innovation and new languages. It is organised by Tabakalera, the San Sebastian Film Festival and Elías Querejeta Zine Eskola in collaboration with REC Grabaketa Estudioa and the Basque Film Archive, and is part of the San Sebastian 2016 European Capital of Culture legacy.
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Watch First Official Trailer for Dark Comedy THE SISTERS BROTHERS Starring Joaquin Phoenix, Jake Gyllenhaal

Brothers by blood. Sisters by name. Here is the first official trailer for dark comedy The Sisters Brothers. The film, written and directed by Jacques Audiard, stars Joaquin Phoenix, John C. Reilly, Jake Gyllenhaal, and Riz Ahmed; and will be released in theaters in Fall 2018. Based on Patrick Dewitt’s acclaimed novel of the same name, follows two brothers – Eli and Charlie Sisters – who are hired to kill a prospector who has stolen from their boss. The story, a genre-hybrid with comedic elements, takes place in Oregon in 1851. The film is Jacques Audiard’s follow-up to his Palme D’Or Winning DHEEPAN, which premiered at the 2015 Cannes Film Festival. https://www.youtube.com/watch?v=3OwvqKwTKmE
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Documentary LOVE MEANS ZERO on Controversial Tennis Coach Nick Bollettieri to Premiere on Showtime [Trailer]

The documentary Love Means Zero, which tells the story of celebrated yet controversial tennis coach Nick Bollettieri and explores the cost of his all-consuming drive for greatness, will make its television premiere on SHOWTIME on Saturday, June 23 at 9 p.m. ET/PT. Love Means Zero features interviews with his former students and tennis prodigies, including Jim Courier, Kathleen Horvath, Carling Bassett and Boris Becker. The documentary made its world premiere to critical acclaim at the 2017 Toronto International Film Festival. Now 86, Bollettieri is a living legend. At his academy in Florida, he raised a generation of champions: Courier, Monica Seles, Andre Agassi and many more. No other coach has matched his success, his dominance or his fame. His greatness, though, came at a price. Eight marriages, financial upheaval and a dramatic break with his surrogate son and cherished student, Andre Agassi. Love Means Zero tells the intimate and complex story of how Bollettieri became arguably the most famous tennis coach of all time. https://www.youtube.com/watch?v=Vz5xyeSFODE
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Edinburgh International Film Festival Reveals Full 2018 Program incl. World Premiere of THE PARTING GLASS

THE PARTING GLASS

Artistic Director Mark Adams today unveiled details of the program for the upcoming Edinburgh International Film Festival (EIFF), taking place next month 20 June to 1 July, 2018.

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PRISON LOGIC, MINDING THE GAP, WEED THE PEOPLE Among Winners of 2018 Nashville Film Festival

[caption id="attachment_29341" align="aligncenter" width="1023"] Prison Logic[/caption] The 49th Annual Nashville Film Festival concluded its 10-day festival on Friday with the highly-anticipated announcement of the 2018 Award Winners. The top feature film awards went to Prison Logic directed by Romany Malco, winning the Narrative Competition Grand Jury Prize, and Minding the Gap directed by Bing Liu taking the Documentary Competition Grand Jury Prize.
Feature Film Awards
Narrative Competition Grand Jury Prize – Romany Malco, Prison Logic Documentary Competition Grand Jury Prize – Bing Liu, Minding the Gap Belmont University New Directors Competition Grand Jury Prize – Jim Cummings, Thunder Road Animation Compeition Grand Jury Prize – Benjamin Renner & Patrick Imbert, The Big Bad FOX and Other Tales Music Films/Music City Grand Jury Prize – Scott Balcerek, Satan & Adam
Short Film Awards
Live Action Short – Grand Jury Prize – Cyril Aris, The President’s Visit US Narrative Short – Julio O. Ramos, Debris International Narrative Short – Nicolas Boucart, Icarus Animated Short – Grand Jury Prize – Trevor Jiminez, Weekends Documentary Short – Grand Jury Prize – Gordon Quinn, ’63 Boycott Experimental Short – Grand Jury Prize – Douwe Dijkstra, Green Screen Gringo Student Short – Grand Jury Prize – Maria Eriksson-Hecht, Schoolyard Blues Young Filmmakers Short – Alex Alford & Zak Denley, The Hitchhiker’s Guide to Suburbia
Episodic Awards
Short Form – The Passage Long Form – Tammy’s Tiny Tea Time – The Full Series
VR | 360
Grand Jury Prize – I Am a Man, created by Derek Ham Honorable Mention – MicroGiants, created by Yifu Zhou
Graveyard Shift Awards
Graveyard Shift Grand Jury Prize for Feature Film – Mickey Reece, Mickey Reece’s Alien Graveyard Shift Grand Jury Prize for Short Film – Bo MaGuire, Socks on Fire: Uncle John and the COPPER Headed Water Rattlers Graveyard Shift, Best Actress – Cate Jones, Mickey Reece’s Alien Graveyard Shift, Best Actor (tie) – C.J. Jones, Door in the Woods Graveyard Shift, Best Actor (tie) – Jacob Ryan Snovel, Mickey Reece’s Alien Special Jury Prize for Imagination Philosophical and Scientific Rigor and Visual Inventiveness, Graveyard Shift – The LaPlace’s Demon
Tennessee Awards
Tennessee First Grand Jury Prize Feature – Brett Hanover, Rukus Tennessee First Grand Jury Prize Narrative Short – Hillary Bell, Hunter Tennessee First Grand Jury Prize Documentary Short – Karen Bullis, Kathy Lee Heuston, Clarksville, 1937 Tennessee First Grand Jury Prize Student Short – Jason Luckett, Pilots
Song
Best Original Song – “Talk to Me,” from Blindspotting. Written by Anthony Hamilton
Audience Awards
Narrative Competition – Prison Logic Documentary Competition – Weed the People New Directors Competition – Mountain Rest Music Films/Music City Competition – If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd (tie) Music Films/Music City Competition – Stay Human (tie) Special Presentations – Sammy Davis Jr.: I’ve Gotta Be Me Spectrum – Into the Okavango Graveyard Shift – The Odds Tennessee First – Other Versions of You
Non-Cash Awards
Honorable Mention, Narrative Competition – Robert Machoian, Rodrigo Ojeda-Beck, When She Runs Best Actor, Narrative Competition – Romany Malco, Prison Logic Best Actress, Narrative Competition – Elise Van’t Laar in Craving Best Screenplay – Vivien Qu, Angels Wear White Best Music – Carl Thiel, Prison Logic Special Jury Prize for Breakout Performances by a Young Actress – Meijun Zhou & Vicky Chen in Angels Wear White Honorable Mention, Documentary Competition – Laura Nix, Inventing Tomorrow Special Jury Prize for Openly and Honestly Expressing Love at a Critical Time – Ron Yassen, Crossroads Honorable Mention, New Directors Competition (tie) – Bierta Zeqiri, The Marriage Honorable Mention, New Directors Competition (tie) – Takashi Doscher, Still Honorable Mention, Music Films/Music City Competition – Stephen Kijack, If I Leave Here Tomorrow: A Film About Lynyrd Skynyrd Honorable Mention, Graveyard Shift Competition – Christopher Kirkley, Zerzura Honorable Mention, Best International Short – Estefania Cortés, Miss Wamba Honorable Mention, Best U.S. Short – Carey Williams, Emergency Honorable Mention, Best Animated Short – Florian Brauch, Kim Tailhades, Matthieu Pujol, Romain Thirion, Yohan Thireau, Hybrids Special Jury Prize, Actor in a Narrative Short – Tom Doran, Time Traveller Special Jury Prize, Actress in a Narrative Short – Shaquita Lopez, Audition Special Jury Prize for Unique and Important Storytelling – Fabien Gorgeart, The Devil is in the Details Honorable Mention, Documentary Short – Shelby Hadden, Tightly Wound Honorable Mention, Documentary Short – Maris Curran, While I Yet Live Honorable Mention, Experimental Short – Eve Duhame, Julian Vallée, Strangers Honorable Mention, Best Graveyard Shift Short – John Boisen, Björn Fävremark, Paralys Honorable Mention Colleg Student Short – Alireza Ghasemi, Lunch Time Honorable Mention, Best Tennessee Narrative Short – Chad Cunningham, The Order Special Jury Prize for Best Tennessee Animated Short – John McAmis, QWERTY Special Jury Prize for Cinematography – Luca Caruso-Moro, Every Grain of Rice Special Jury Prize for Music Films/Music City – Bathtubs Over Broadway
Sponsored Awards
VER Prize for Cinematography – Ashley Connor, Mountain Rest Lipscomb University Prize of the Ecumenical Jury – Nicolo Donato, Across the Waters
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5 Indie Films Win $100,000 in Funding from SFFILM and Westridge Foundation

Five filmmaking teams will receive a total of $100,000 in funding in the inaugural round of SFFILM Westridge Grants to help support the screenwriting and project development stages of their narrative feature films. SFFILM Westridge Grants, which are awarded twice annually, are designed for US-based filmmakers whose stories take place primarily in the United States and focus on the significant social issues and questions of our time. The next application period is now open. SFFILM Westridge Grants provide film projects support in their critical early stages, safeguarding filmmakers’ creative processes and allowing artists to concentrate on thoughtfully developing their stories while building the right strategy and infrastructure to guide them through financing and production. In addition to cash grants, recipients will benefit from SFFILM’s comprehensive and dynamic artist development program, SFFILM Makers, as well as support and counsel from SFFILM and Westridge Foundation staff and the 2018 FilmHouse Mentor Advisory Board. All grantees will spend one week in the Bay Area attending a retreat geared towards honing their craft, strengthening their scripts, and making connections to other filmmakers and industry professionals. The panelists who reviewed the finalists’ submissions were Noah Cowan, SFFILM Executive Director; Lauren Kushner, SFFILM Senior Manager of Artist Development; Nicole Perlman, screenwriter (Guardians of the Galaxy, Captain Marvel) and 2018 FilmHouse screenwriting mentor; Shelby Rachleff, Westridge Foundation Program Manager; and Caroline von Kühn, SFFILM Director of Artist Development. “The Westridge Foundation is an incredible new ally in empowering US-based filmmakers grounded in Bay Area values,” said Caroline von Kühn, SFFILM Director of Artist Development. “This grant supports artists grappling with important topics in our country’s culture. This group of inaugural winners, through their valuable perspectives and historically underrepresented voices, will shape how we engage in conversations about these topics, collectively and with one another.” “We are proud to provide resources to these filmmakers in the crucial early stages of telling their unique, important stories,” said Shelby Rachleff, Westridge Foundation Program Manager. “Westridge is thrilled to partner with SFFILM both in supporting these five outstanding projects, and in helping to amplify the powerful and nuanced voices of the filmmakers who are bringing them to life.”
SPRING 2018 SFFILM WESTRIDGE GRANT WINNERS
Back Seat Lana Wilson, writer/director; Shrihari Sathe, producer – screenwriting – $20,000 An immigrant woman leaves her young son alone in the back seat of a car, setting off a firestorm of controversy in the liberal community where she lives. As the town’s latent xenophobia bubbles to the surface, and the woman’s parenting abilities are scrutinized in increasingly disturbing ways, she fights to prove that she’s a worthy mother — to the town, to her children, and to herself. Mandeville Russell Nichols, writer – screenwriting – $20,000 A traumatized Black boy, whose brother was killed by a cop, volunteers for an experiment that tests his powers of prediction to prevent future murders. Miss Juneteenth Channing Godfrey Peoples, writer/director; Neil Creque Williams, producer – development – $20,000 Turquoise, a former beauty pageant queen turned hardworking single mother, enrolls her rebellious daughter, Kai, in the “Miss Juneteenth” pageant to compete for the grand prize — a college scholarship. Determined to keep Kai from making her same mistakes in life, Turquoise saves her tips from working at a juke joint to buy her daughter the grandest pageant dress of all. However, Kai is more interested in her school’s dance team and chasing her high school crush. Stay Awake Jaime Sisley, writer/director; Kelly Thomas and David Ariniello, producers – development – $20,000 For years, teen brothers Ethan and Derek Reynolds have tried to help their mother, Michelle, overcome her prescription drug addiction with little success. When Michelle goes missing after another binge, Ethan and Derek begin to question whether they should continue trying to find and help Michelle, or move on with their lives at the expanse of saving her. Taliesin Maya Perez, writer – screenwriting – $20,000 Based on actual events, Taliesin tells the story of a young Black couple hired to work at the infamous Taliesin home of architect Frank Lloyd Wright. The remote location becomes a pressure cooker, and tensions around race and gender boil over with tragic consequences — the most horrific mass murder in Wisconsin history.
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