CALL HER GANDA[/caption]
Ganda [gʌn-daː] – meaning “beauty” in Tagalog
On October 11, 2014, Jennifer Laude was last seen with a United States Marine and later found dead in a motel bathroom. This and the identity of the suspect is known to both the Philippines and the United States Government, yet their imperialistic relationship and preponderant transphobia in both countries has rendered the case gridlocked. Filipino-American director PJ Raval seeks justice for trans woman Jeffery “Jennifer” Laude as her homicide evolves far beyond her death and echoes a long-pondered question: what is the United States’ role in the Philippines? Call her Ganda is a poignant exploration of LGBT+ relations in a time of social media saturation and in an environment dominated by lingering post-colonialism. Raval and journalist Meredith Talusan unravels the red herring media coverage and social delusion regarding Laude’s family and the trans community as they struggle for authentic visibility. This documentary intimately examines the resulting Filipino nationalism after Laude’s tragic death as well as the first indictment of a U.S. serviceman on Philippines soil.
Born Jeffery Laude, Jennifer was the breadwinner of her family and provided financial support to her mother. Though her main source of income was promiscuous, the viewer is asked to look beyond her sex-work, identity, and race to ultimately find humanity in someone that is most likely foreign to themselves. The film provides a glimpse into the misunderstood trans-culture of the Philippines and its relation to the nation’s prevailing poverty and corrupt political system. Testimony from her friends and family acquaints us with the bright and benevolent life Laude led while conversely probing us to question the immoral capabilities of United States servicemen. We feel her mother’s struggle for justice, recognize her fiancé’s pain as he tries to make sense of the tragedy, and understand the upheaval of the Filipino people in response U.S.’s intrusion in Filipino law. Raval inquires us to examine the relationship the Philippines has with its Western Subjugator and challenge documents such as the Visiting Forces Agreement (VFA) that allow the U.S. to interfere in Filipino judicial processes under certain circumstances.
Call Her Ganda makes it a point to remind us of media’s involvement in the proceedings following the incident and the interconnective soapbox that is social media. We see how opinions over the internet sustain widespread dogmatism over complex controversies and how media can contort the truth for political interest whenever convenient. Though Laude and Pemberton’s case may seem unambiguous to either side of the aisle due to predispositions of gender, race, and nationality, Talusan explores varying perspectives subsequently highlighting the numerous moral dilemmas that saturate both the events in question and the legal turbulence that follows. The film itself seeks “Justice for Jennifer,” yet rather than completely villainizing a single person or group, Talusan ventures toward understanding Pemberton’s perspective and widespread transphobia ultimately revaluating modern and western education of gender fluidity.
Despite the film’s emphasis on social media’s tendency to polarize opinions, it doesn’t forget to demonstrate its power to bring people together under a meaningful cause. The film itself is a product of social support as it captures the united front that is transgender and Filipino pride. Joseph Scott Pemberton’s actions that night may have pained so many who knew and sympathized with Jennifer Laude, but this documentary makes it known that her death was not in vein. The anger and sadness that stems from mourning is galvanized into a passion for justice and social equality. Laude’s name stands as a reminder that trans people will continue to be marginalized and Filipinos overlooked if these moral dilemmas go unaddressed, unexamined, and uncontested. Call Her Ganda attempts to breed empathy regarding gender identity and race, ultimately breathing new life into Jennifer Laude by recognizing a deep desire shared by all humans: to unapologetically be one’s true self. Laude defined herself by who she knew she was and took pride in her identity making her truly Ganda.
https://www.youtube.com/watch?v=6YwQtgBRhZQFilm Festivals
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FILM REVIEW: ‘Call Her Ganda’: Justice For Jennifer
[caption id="attachment_29069" align="aligncenter" width="975"] CALL HER GANDA[/caption]
Ganda [gʌn-daː] – meaning “beauty” in Tagalog
On October 11, 2014, Jennifer Laude was last seen with a United States Marine and later found dead in a motel bathroom. This and the identity of the suspect is known to both the Philippines and the United States Government, yet their imperialistic relationship and preponderant transphobia in both countries has rendered the case gridlocked. Filipino-American director PJ Raval seeks justice for trans woman Jeffery “Jennifer” Laude as her homicide evolves far beyond her death and echoes a long-pondered question: what is the United States’ role in the Philippines? Call her Ganda is a poignant exploration of LGBT+ relations in a time of social media saturation and in an environment dominated by lingering post-colonialism. Raval and journalist Meredith Talusan unravels the red herring media coverage and social delusion regarding Laude’s family and the trans community as they struggle for authentic visibility. This documentary intimately examines the resulting Filipino nationalism after Laude’s tragic death as well as the first indictment of a U.S. serviceman on Philippines soil.
Born Jeffery Laude, Jennifer was the breadwinner of her family and provided financial support to her mother. Though her main source of income was promiscuous, the viewer is asked to look beyond her sex-work, identity, and race to ultimately find humanity in someone that is most likely foreign to themselves. The film provides a glimpse into the misunderstood trans-culture of the Philippines and its relation to the nation’s prevailing poverty and corrupt political system. Testimony from her friends and family acquaints us with the bright and benevolent life Laude led while conversely probing us to question the immoral capabilities of United States servicemen. We feel her mother’s struggle for justice, recognize her fiancé’s pain as he tries to make sense of the tragedy, and understand the upheaval of the Filipino people in response U.S.’s intrusion in Filipino law. Raval inquires us to examine the relationship the Philippines has with its Western Subjugator and challenge documents such as the Visiting Forces Agreement (VFA) that allow the U.S. to interfere in Filipino judicial processes under certain circumstances.
Call Her Ganda makes it a point to remind us of media’s involvement in the proceedings following the incident and the interconnective soapbox that is social media. We see how opinions over the internet sustain widespread dogmatism over complex controversies and how media can contort the truth for political interest whenever convenient. Though Laude and Pemberton’s case may seem unambiguous to either side of the aisle due to predispositions of gender, race, and nationality, Talusan explores varying perspectives subsequently highlighting the numerous moral dilemmas that saturate both the events in question and the legal turbulence that follows. The film itself seeks “Justice for Jennifer,” yet rather than completely villainizing a single person or group, Talusan ventures toward understanding Pemberton’s perspective and widespread transphobia ultimately revaluating modern and western education of gender fluidity.
Despite the film’s emphasis on social media’s tendency to polarize opinions, it doesn’t forget to demonstrate its power to bring people together under a meaningful cause. The film itself is a product of social support as it captures the united front that is transgender and Filipino pride. Joseph Scott Pemberton’s actions that night may have pained so many who knew and sympathized with Jennifer Laude, but this documentary makes it known that her death was not in vein. The anger and sadness that stems from mourning is galvanized into a passion for justice and social equality. Laude’s name stands as a reminder that trans people will continue to be marginalized and Filipinos overlooked if these moral dilemmas go unaddressed, unexamined, and uncontested. Call Her Ganda attempts to breed empathy regarding gender identity and race, ultimately breathing new life into Jennifer Laude by recognizing a deep desire shared by all humans: to unapologetically be one’s true self. Laude defined herself by who she knew she was and took pride in her identity making her truly Ganda.
https://www.youtube.com/watch?v=6YwQtgBRhZQ
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AFI FEST 2018 Award Winners – THE BIGGEST LITTLE FARM Wins Audience Award
[caption id="attachment_32672" align="aligncenter" width="1200"]
The Biggest Little Farm[/caption]
The AFI FEST announced the films that won this year’s Jury and Audience awards, with the Audience Award for Best Feature going to John Chester’s poignant and charming documentary The Biggest Little Farm. The Grand Jury Award for Live-Action Short went to War Paint directed by Katrelle Kindred, and is now eligible for that Short Film Oscar® category.
2018 AFI FEST Award Winners
Audience Award – Feature
THE BIGGEST LITTLE FARM (DIR John Chester) In this poignant and charming documentary, filmmaker John Chester chronicles the eight-year effort of an ambitious, life-changing personal venture: moving out of Los Angeles with his wife, Molly, and building a diverse, sustainable farm.Audience Award – Short
PERIOD. END OF SENTENCE. (DIR Lisa Taback, Garrett Schiff, Melissa Berton, Rayka Zehtabchi) In an effort to improve feminine hygiene, a machine that creates low-cost biodegradable sanitary pads is installed in a rural village in Northern India.Grand Jury Award – Live-Action Short
WAR PAINT (DIR Katrelle Kindred) Jury Statement: “We picked this film for its powerful intersectional narrative which focuses on the difficult aspects of one girl’s coming of age.” In WAR PAINT, a young, South LA black girl experiences a series of events that intersect racism and sexism during the Fourth of July holiday. Katrelle Kindred (AFI Directing Workshop for Women, Class of 2018) directed WAR PAINT in 2017 as her AFI DWW short. The film world-premiered earlier this year at the Sundance Film Festival.Grand Jury Award – Animated Short
EGG (DIR Martina Scarpelli) Jury Statement: “We chose this film for its visceral portrayal of the relationship between a woman and her body.” In this film, a woman is locked in her home with an egg. She eats the egg, then repents. She kills it. She lets the egg die of hunger.Honorable Mention for Social Impact Short
MAGIC ALPS (DIR Andrea Brusa, Marco Scotuzzi) In MAGIC ALPS, an Afghani refugee arrives in Italy with his goat and seeks political asylum for both of them.Honorable Mention for Best Documentary Short
PERIOD. END OF SENTENCE. (DIR Lisa Taback, Garrett Schiff, Melissa Berton, Rayka Zehtabchi)Honorable Mention for Acting – Short
Vedrana Bozinovic, A SIEGE In A SIEGE, a lonely woman in war-torn Sarajevo embarks on a journey to find water, and neither her neighbors nor sniper fire can stop her.
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Bohemian Rhapsody’s Rami Malek to Receive Breakthrough Performance Award
[caption id="attachment_32668" align="aligncenter" width="1200"]
Rami Malek in Bohemian Rhapsody[/caption]
Rami Malek will receive the Breakthrough Performance Award Bohemian Rhapsody at the at the 30th annual Palm Springs International Film Festival (PSIFF) Film Awards Gala on Thursday, January 3. The Festival runs January 3-14.
“In the film Bohemian Rhapsody, Rami Malek fully brings to life and embodies musical legend Freddie Mercury, in what is truly an outstanding performance for this fine actor,” said Festival Chairman Harold Matzner. “For his portrayal that is garnering much critical acclaim, it is our honor to present the 2018 Breakthrough Performance Award to Rami Malek.”
Malek joins previously announced honoree Glenn Close, who will receive the Icon Award. Past recipients of the Breakthrough Performance Award include Mahershala Ali, Mary J. Blige, Marion Cotillard, Jennifer Hudson, Felicity Huffman, Brie Larson, Lupita Nyong’o, David Oyelowo, Rosamund Pike and Jeremy Renner. In the years they were honored, Ali, Cotillard, Hudson, Larson and Nyong’o went on to receive Academy Awards®, while Blige, Huffman, Pike and Renner received nominations.
Twentieth Century Fox and Regency Enterprises’ Bohemian Rhapsody is a celebration of rock band Queen and its incendiary lead singer Freddie Mercury (played by Rami Malek, in a tour-de-force performance). With an original screenplay by Anthony McCarten (The Darkest Hour, The Theory of Everything), and story by McCarten and Peter Morgan (The Queen, The Crown), the film traces the rise of the group and its frontman, who so brazenly defied stereotypes and shattered convention. Though Queen reached staggering global success through their iconic songs (including We Are The Champions, Somebody to Love, Don’t Stop Me Now and We Will Rock You) and their revolutionary sound and style, it was not without its obstacles. Mercury – amidst personal struggles – famously chose to abandon the group in pursuit of a solo career. His eventual reunion with the band at Live Aid 1985 went on to be considered one of the greatest performances in the history of rock music, though this time in Mercury’s life also was marked by his tragic battle with AIDS.
Malek is the star of the critically acclaimed and award-winning psychological drama Mr. Robot. For his role as Elliot Alderson, Malek won an Emmy and Critics Choice Award, and is also a two-time Golden Globe® and Screen Actors Guild Award nominee. His film credits include Michael Noer’s Papillon, Paul Thomas Anderson’s The Master, Tom Hanks’ Larry Crowne, and Destin Daniel Cretton’s Short Tern 12.
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NY Premiere of Eric Barbier’s PROMISE AT DAWN to Kick Off 2019 New York Jewish Film Festival
[caption id="attachment_32653" align="aligncenter" width="1200"]
‘Promise at Dawn’ (‘La Promesse de l’aube’)[/caption]
The New York premiere of Eric Barbier’s epic drama Promise at Dawn, starring Charlotte Gainsbourg and Pierre Niney will open the 2019 New York Jewish Film Festival one of the oldest and most influential Jewish film festivals worldwide. The 28th edition will run January 9 to 22, 2019.
This riveting memoir chronicles the colorful life of infamous French author Romain Gary, from his childhood conning Polish high society with his mother to his years as a pilot in the Free French Air Forces. The Centerpiece selection represents the first time Israeli TV has been presented at the NYJFF with the 3½ hour miniseries Autonomies. Directed by Yehonatan Indursky, the dystopian drama is set in an alternate reality of present-day Israel, a nation divided by a wall into the secular “State of Israel,” with Tel Aviv as its capital, and the “Haredi Autonomy” in Jerusalem, run by an ultra-Orthodox religious group. A globally relevant tale of identity, religion, politics, personal freedom, and love, this gripping story follows a custody battle that upends the fragile peace of the country, pushing it to the brink of civil war.
https://www.youtube.com/watch?v=3M45iQnJUm0
Filmmaker Amos Gitai returns to the 2019 NYJFF with the U.S. premiere of his thought-provoking new drama, A Tramway in Jerusalem. Gitai uses the tramway that runs through Jerusalem to connect a series of short vignettes, forming a mosaic of Jewish and Arab stories embodying life in the city.
The NYJFF will also present the U.S. premiere of Fig Tree by first-time director Aäläm-Wärqe Davidian. Set in Addis Ababa during the Ethiopian Civil War, the film concerns a young woman who plans to flee to Israel with her brother and grandmother to reunite with her mother. But she is unwilling to leave her Christian boyfriend behind and hatches a scheme to save him from being drafted.
This year’s festival features an array of enlightening and gripping documentaries. Highlights include the New York premiere of Roberta Grossman’s Who Will Write Our History, which uses painstakingly compiled archival materials unearthed after World War II to tell the story of a resistance group in the Warsaw Ghetto during the Nazi occupation and the reality of Jewish life in occupied Warsaw; and Rubi Gat’s Dear Fredy, focusing on Fredy Hirsch, a proud and openly gay Jew in Nazi Germany and, later, Theresienstadt and Auschwitz, who oversaw and protected hundreds of children in the camps by setting up a day care center.
NYJFF special programs include the New York City premiere of the new digital restoration of Ewald Andrew Dupont’s 1923 silent masterpiece, The Ancient Law, featuring a new score and live accompaniment by pianist Donald Sosin and klezmer violinist Alicia Svigals. In this classic drama the son of an orthodox rabbi leaves home, against his father’s wishes, to join a traveling theater troupe.
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Aretha Franklin Documentary AMAZING GRACE Added to AFI FEST 2018
A Special Screening of Amazing Grace, the long-awaited documentary featuring Aretha Franklin’s renowned performances at New Temple Missionary Baptist Church in Los Angeles, has been added to AFI FEST 2018 presented by Audi. Marking the film’s West Coast premiere, the Special Screening will take place Thursday, November 15, 8:00 p.m. at the TCL Chinese 6 Theatres.
The live performances, ranked among Ms. Franklin’s finest, were originally recorded and filmed during a church service in Watts on January 13 and 14, 1972. Warner Bros. Pictures captured the footage for a companion documentary to the double live album “Amazing Grace.” “Amazing Grace” would go on to be the biggest selling album of Aretha Franklin’s career, and the best-selling gospel album of all time. Mired in technical issues, the film was never released to the public.
Producer Alan Elliott acquired the film rights in 2007 and worked with a team of producers including Joe Boyd, Robert Johnson, Chiemi Karasawa, Sabrina Owens, Jerry Wexler, Tirrell D. Whittley and Joseph Woolf, to bring the feature-length documentary to light. The film was edited by Jeff Buchanan and its music was mixed by Jimmy Douglass. The documentary is a labor of love and a timely tribute to the music icon who passed away in August 2018. The film is now ready for release with the complete support and blessing from The Aretha Franklin Estate.
After decades of waiting, fans of the Queen of Soul can view her iconic performance at the AFI FEST 2018. The film features Ms. Franklin’s legendary gospel hits, performed in front of a distinguished audience that includes her father, the famed Reverend C.L. Franklin, Gospel legends Clara Ward and Mother Ward of the Ward Family Singers along with Mick Jagger and Charlie Watts of the Rolling Stones (who were in Los Angeles recording “Exile on Main Street”).
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GREEN BOOK Wins Best Film, CAPERNAUM, THE PUSH Win Awards at 2018 St. Louis International Film Festival
[caption id="attachment_32616" align="aligncenter" width="1200"]
“Green Book” directed by Peter Farrelly[/caption]
The St. Louis International Film Festival (SLIFF) presented seven major filmmaking awards during the course of the 2018 festival, with the award for Best Film going to “Green Book” directed by Peter Farrelly. Other awards include Charles Guggenheim Cinema St. Louis Awards to Jim Finn, Jane Gilooly, and Karyn Kusama; Women in Film Award to Melanie Mayron; Lifetime Achievement Award to Joe Edwards and John Goodman; and the Contemporary Cinema Award to Jason Reitman.
2018 St. Louis International Film Festival Awards Winners
Shorts Awards
Juries choose the winners of seven awards from among the shorts in competition. The SLIFF shorts competition is officially sanctioned by the Academy of Motion Pictures Arts and Sciences, making the winners in the Best of Fest, Best Animated, Best Live Action, and Best Documentary categories eligible to submit for Oscar® consideration. The 2018 winners: Best Documentary Short: “Koka, The Butcher” directed by Bence Máté Best Local Short: “The Buck: Midwest Gully” directed by Jun Bae Best Short Short: “The Puppy Trials” directed by Becky Nicol & Thomas Nicol Best International Short: “Death, Father & Son” directed by Waltgenwitz Denis & Paronnaud Vincent Best Animated Short: “Le Mans 1955” directed by Quentin Baillieux Best Live-Action Short: “Rainbow Ruthie” directed by Ruthie Marantz Best of Fest: “Souls of Totality” directed by Richard RaymondInterfaith Awards
Juries gives Interfaith Awards to both a documentary and a narrative, choosing from among 10 competition films (five in each category), which were selected for their artistic merit; contribution to the understanding of the human condition; and recognition of ethical, social, and spiritual values. The 2018 winners: Best Documentary Feature: “Intelligent Lives” directed by Dan Habib Best Narrative Feature: “Eternal Winter” directed by Attila Szasz St. Louis Film Critics Association Joe Pollack and Joe Williams Awards In conjunction with the St. Louis Film Critics organization, SLIFF holds juried competitions for documentary and narrative features. The awards are named in honor of the late St. Louis Post-Dispatch critics Joe Pollack (narrative) and Joe Williams (documentary). The winners are picked by two juries composed of St. Louis film critics. SLIFF chose eight films to compete in each category. The 2018 winners: Best Documentary Feature: “Letter from Masanjia” directed by Leon Lee Best Narrative Feature: “The Captain” directed by Robert SchwentkeMidrash Award
Midrash St. Louis engages myriad aspects of American culture — hot topics, deep subjects, music, arts, and film — and seeks to give and receive commentary on the subjects and issues that matter to people in St. Louis and that form and shape our views and lives. The Midrash St. Louis Film Award celebrates St. Louis-related films of honesty and artistry that portray the need or the hope for reconciliation or redemption. These are among the most powerful and worthy themes that films should explore. Eligible work for the Midrash St. Louis Film Award includes feature and short films largely shot in St. Louis or directed by filmmakers with strong local ties. The award comes with a cash prize of $500. The 2018 winner: “The Man Behind the Merferds” directed by Josh HerumNew Filmmakers Forum Emerging Director Award (The Bobbie)
The New Filmmakers Forum (NFF) annually presents the Emerging Director Award. Since its inception, NFF was co-curated by Bobbie Lautenschlager. Bobbie died in the summer of 2012, and SLIFF honors her memory by nicknaming the NFF Emerging Director Award as the Bobbie. Five works by first-time feature filmmakers competed for the prize, which includes a $500 cash award. The 2018 winner: Emerging Director Award (“The Bobbie”): “Farmer of the Year” directed by Vince O’Connell & Kathy SwansonSpotlight on Inspiration Documentary Award
This year, SLIFF inaugurates this juried competition, which awards a $5,000 prize to a feature documentary that focuses on people working to make the world a better place and that inspires audience members and leaves them with a sense of hope for the future. The 2018 winner: “The Providers” directed by Laura Green & Anna Moot-LevinBest of Fest Audience Choice Awards
Audience voting determines the winner of three awards from among the films in competition. The 2018 winners: Leon Award for Best Documentary Film: “The Push” directed by Grant Korgan & Brian Niles TV5MONDE Award for Best International Film: “Capernaum” directed by Nadine Labaki Best Film: “Green Book” directed by Peter Farrelly
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TOMORROW, TRANSMILITARY, GENERAL MAGIC Win Awards at 2018 Napa Valley Film Festival
[caption id="attachment_32528" align="aligncenter" width="1200"]
Tomorrow[/caption]
The 8th Annual Napa Valley Film Festival (NVFF) announced this year’s juried and audience award winners at the Uptown Theatre in Napa on Saturday, November 10, 2018.
The festival also announced that the next edition will take place from November 13 to 17, 2019.
Each of the festival winners received a large format wine bottle from one of the festival’s esteemed Vintner Circle winery partners. The two winners of the 18 films that vied for the title of Best Narrative Feature and Best Documentary Feature, as determined by the respective juries, were awarded $10,000, presented by Meadowood Napa Valley.
“I was most impressed by the array of topics and compelling and courageous film subjects included in this year’s festival,” said juror Amy Shatsky, Series Producer of PBS’s Independent Lens. Juror Alexandre Philippe, filmmaker and creative director of Exhibit A Pictures, also said, “Having served on multiple juries throughout the world, serving on the documentary jury at NVFF was unequivocally one of the most pleasant and enriching experiences of my year.”
2018 Napa Valley Film Festival Juried Awards
Jury Award for Best Narrative Feature presented by Rombauer Vineyards, and with a $10,000 cash prize courtesy of Meadowood Napa Valley, goes to Tomorrow. Jury Award for Best Documentary Feature presented by Acumen Wines, and with a $10,000 cash prize courtesy of Meadowood Napa Valley, goes to General Magic. Jury Award for Best Screenplay presented by Charles Krug Winery goes to Are You Glad I’m Here. Jury Award for Best Ensemble Cast presented by Vintner’s Collective goes to Cold Brook. Jury Award for Best Narrative Short presented by Reynolds Family Winery goes to Have It All. Jury Award for Best Documentary Short presented by RiverHouse by Bespoke Collection goes to Fear Us Women. Jury Award for Best Verge Film presented by Cru by Vineyard 29 goes to Summer ‘03. Special Jury Award – Best Genre Bending presented by VGS Chateau Potelle goes to White Tide: The Legend of Culebra. Special Jury Award – Best Untold Story presented by Cuvaison goes to TransMilitary.2018 Napa Valley Film Festival Audience Awards
Audience Award for Favorite Actor presented by J. Lohr Vineyards & Wines goes to Sebastian Street for his work in the film Tomorrow. Honorable Mention, presented by Castellucci Napa Valley, goes to Logan Miller for his work in the film You Can Choose Your Family. Audience Award for Favorite Actress presented by Italics Winegrowers goes to Stephanie Leonidas for her work in the film Tomorrow. Honorable Mention, presented by Castellucci Napa Valley, goes to Skyler Samuels for her work in the film Spare Room. Audience Award for Favorite Documentary Feature presented by Provenance Vineyards goes to TransMilitary. Audience Award for Favorite Documentary Short presented by Hess Collection goes to Fear Us Women. Audience Award for Favorite Narrative Feature presented by Alpha Omega Winery goes to Tomorrow. Audience Award for Favorite Narrative Short presented by Duckhorn Portfolio goes to Tzeva Adom: Color Red. Audience Award for Favorite Food & Beverage Spotlight Film presented by Grgich Hills Estate goes to Soufra. Audience Award for Favorite Special Screening presented by Materra | Cunat Family Vineyards goes to Pick of the Litter. Audience Award for Favorite Verge Film presented by Barnett Vineyards goes to White Tide: The Legend of Culebra. The documentary film Sharkwater Extinction also received Special Recognition by the NVFF Programming Team for Courageous Filmmaking. Narrative Features Jury: Richard Keith, Nancy Collet and Jill Green Documentary Features Jury: Alexandre O. Philippe, Amy Shatsky and Lissa Gibbs Narrative Shorts Jury: Emily Ting, Felicity Wren and Brent Emery Documentary Shorts Jury: Jonathan Robinson, Miguel Martinez and Sophie Constantinou Verge Jury: Jeff Grace, Gren Wells and Alece Oxendine
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Watch an EXCLUSIVE Clip from CHINA LOVE on Chinese Ritual of Pre-Wedding Photography
[caption id="attachment_32605" align="aligncenter" width="1200"]
China Love. At Only Photo Studio just out of Shanghai. This is a “go-to” pre wedding photography studio with 3 floors of ‘old world’ romantic and fantasy sets. July 2015[/caption]
Just for you our readers, an exclusive clip from China Love directed by Olivia Martin-McGuire premiering in the U.S. on November 9, 2018 at 2018 DOC NYC.
China Love takes us on a billion-dollar ride of fantasy exploring contemporary China through the window of the pre-wedding photography industry. The film is a feature length observational documentary which follows Chinese and Australian participants as they navigate love, weddings and family in the lead up to the most important ritual of Chinese society – getting married.
China Love is directed and produced by Olivia Martin-McGuire, produced by Rebecca Barry and Madeleine Hetherton, and features documentary subject Allen Shi the owner of the Jihao Group.
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Austin Film Festival Announces 2018 Winners, THE INTERPRETERS Wins Hiscox Courage Award
[caption id="attachment_32598" align="aligncenter" width="1200"]
The Interpreters[/caption]
Austin Film Festival (AFF) announced its 2018 Jury Award winners, Hiscox Audience and Courage Award Winners, and the Screenplay Competition winners.
One film was selected to receive the Hiscox Courage Award. Voted on by the audience, the Hiscox Courage Award is presented to the film that best embodies the virtue of courage and to the filmmaker who best embraced the risk to share the story. The 2018 Hiscox Courage Award was awarded to The Interpreters, directed by Andres Caballero and Sofian Khan. The Interpreters is a documentary feature that follows local interpreters from Iraq and Afghanistan who worked with US forces and are now trying to rebuild their lives.
2018 Austin Film Festival Jury Award Winners
Narrative Feature: Clara, written by Akash Sherman and James Ewasiuk Documentary Feature: The Interpreters, directed by Andres Caballero and Sofian Khan Comedy Vanguard Feature: In Reality, written by Ann Lupo, Esteban Pedraza, and Aaron Pryka Dark Matters Feature: Ghost Light, written by Geoffrey Taylor and John Stimpson Narrative Short presented by ShortsTV: Judas Collar, written by Alison James Narrative Student Short: Woman in Stall, written by Josh Boles Documentary Short: Father K, directed by Judd Ehrlich Animated Short: Sister, written by Siqi Song Scripted Digital Series presented by Stage 13: Song in the Sky, created by Samuel Frederich2018 Austin Film Festival Hiscox Audience Award Winners
Narrative Feature: Above the Clouds, written by Simon Lord Documentary Feature: Care to Laugh, directed by Julie Getz Dark Matters Feature: Alive, written by Jules Vincent and Chuck McCue Comedy Vanguard Feature: In Reality, written by Ann Lupo, Esteban Pedraza, and Aaron Pryka Texas Independent Feature: The Iron Orchard, written by Gerry De Leon and Ty Roberts Narrative Short: Everything Mattress, written by Chase Joliet Documentary Short: Father K, directed by Judd Ehrlich Animated Short: Lost & Found, written by Bradley Slabe Narrative Student Short: Tiny Warriors, written by Jono Chanin Scripted Digital Series: The Gary Gold Story, created by Greg Ash Marquee Feature: Green Book, written by Nick Vallelonga, Brian Hayes Currie, and Peter Farrelly2018 Austin Film Festival Screenplay Competition Winners
Drama Screenplay Award presented by the Writers Guild of America, East: Horsehead Girls by Wenonah Wilms Comedy Screenplay Award presented by Sony Pictures Animation: Sex APPeal by Tate Elizabeth Hanyok Sci-Fi Screenplay Award: Our Own Devices by Paul Vance Enderby Entertainment Award (scripts that can be produced under $10 million): Project Horizon by Charles Morris, II Horror Screenplay Award: The Patience of Vultures by Greg Sisco AMC Drama Teleplay Pilot Award: Worth by Stuti Malhotra Comedy Pilot Award: What Will Jessie Do? by Kevin Luperchio Short Screenplay Award: Ruby Throat by Sarah Polhaus Scripted Digital Series Award presented by Stage 13: Epizootic by Dan Young Drama Teleplay Spec Award: The Handmaid’s Tale, “Rebels” by Angela Jorgensen Comedy Teleplay Spec Award: Unbreakable Kimmy Schmidt, “Kimmy Volunteers!” by Maggie Gottlieb Playwriting Award: Particular Disposition by Benjamin Fulk Fiction Podcast Award: The Rest Stop at the End of the Universe by Samuel Suksiri2018 Austin Film Festival Josephson Entertainment Screenwriting Fellowship Winners
In addition, producer Barry Josephson announced the selected fellows for the inaugural Josephson Entertainment Screenwriting Fellowship, which will provide a one-on-one mentorship with Josephson and his team in Los Angeles for the writers of one feature screenplay and one teleplay pilot. The winners were: Feature Screenplay: The Death of Colm Canter by Revati Dhomse & Hector Lowe Teleplay Pilot: Lifers Anonymous by Sean Collins-Smith
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GREEN BOOK, FREE SOLO, RELAXER, AMÉRICA Win at 2018 Virginia Film Festival
[caption id="attachment_32594" align="aligncenter" width="1200"]
L to R: Viggo Mortensen and Mahershala Ali in GREEN BOOK[/caption]
After showcasing an impressive lineup of nearly 200 films, the audience attending the 31st Annual Virginia Film Festival voted Peter Farrelly’s Green Book winner of the Audience Award for Best Narrative Feature, and National Geographic’s Free Solo won for Best Documentary Feature. Relaxer won the 2018 Programmer’s Awards for Best Narrative Feature, and América won for Best Documentary Feature.
The Virginia Film Festival also presented its first-ever Commonwealth Awards to honor their achievements of Virginia filmmakers. The inaugural Commonwealth Award winners were Fiddlin’, for Best Virginia Feature Film, and Werowocomoco, for Best Virginia Short Film.
2018 Virginia Film Festival Audience Awards
Narrative Feature: Green Book Documentary Feature: Free Solo Narrative Short: Are You Volleyball?! Documentary Short: Unstuck: An OCD Kids Movie2018 Virginia Film Festival Programmer’s Awards
Narrative Feature: Relaxer Documentary Feature: América Narrative Short: Lamb Documentary Short: Like Dolls, I’ll Rise
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MY NAME IS MYEISHA Wins Best Film at 2018 Ithaca Fantastik
[caption id="attachment_32588" align="aligncenter" width="1200"]
My Name is Myeisha[/caption]
The Ithaca Fantastik film festival wrapped up the 7th edition of genre programming, documentaries, events last Sunday, and awarded the top prize of Best Film to MY NAME IS MYEISHA, directed by Gus Krieger.
The 2018 edition of the festival hosted films from 19 different countries and welcomed guests such as STARFISH director A.T. White; GIRLS WITH BALLS actress Anne-Solenne Hatte; Perry Blackshear, director of THE RUSALKA; BOILED ANGELS director Frank Henenlotter, producer Mike Hunchback and criminal indie comic book artist and subject of the film Mike Diana; and CAM actor Patch Darragh. The festival also hosted the very first DRUNKEN CINEMA projection in the US where spectators were invited to participate to an informal drinking game involving secret rules while watching an 80’s classic genre film.
This year, the jury was composed of Yellow Veil Pictures co-owner Joe Yanick, programmer and producer Vanessa Meyer and the Archive co-owner and Vinegar Syndrome lead restoration artist Brandon Upson.
2018 Ithaca Fantastik Film Festival Award Winners
Best Film: MY NAME IS MYEISHA, dir. Gus Krieger Best Screenplay: DOG, Samuel Benchetrit and Gábor Rassov Best Achievement in Directing: Gus Krieger, MY NAME IS MYEISHA Special Mention directing: Yann Gonzalez, KNIFE + HEARTShort Films
Best Horror Short: MILK dir. Santiago Menghini Best WTF! Short: MOTHER FUCKER dir. Nicholas Payne, who was in attendance at the festival. Best comedy Short: FETISH, dirs. David Lee Hess and Richard H. PerryNecessary Voices Short Films
The Necessary Voices shorts section was created this year to uplift the voices of filmmakers and narratives that often aren’t lifted. This year’s Necessary Voices honorable mentions are as follows : DEATH METAL GRANDMA, dir. Leah Galant, EVERY GHOST HAS AN ORCHESTRA, dir. Shayna Connely TiCK, dir. Ashlea Wessel THOSE WHO CAN DIE, dir. Charlotte Cayeux SWEET DECEIT, dir. Shannon Jones ENTROPIA, dir. Marinah Janello BFF GIRLS, dir. Brian LonanoAudience Awards
Cinema Pur Audience Award: KEEP AN EYE OUT, dir. Quentin Dupieux International Competition Audience Award: MY NAME IS MYEISHA, dir. Gus Krieger Short Audience Award: FETISH, dirs. David Lee Hess and Richard H. Perry
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Miami Film Festival to Host Fashion in Film Program for 2019 Festival
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Antonio Lopez 1970: Sex Fashion & Disco[/caption]
Miami Design District (MDD) will partner with Miami Dade College (MDC) to present the acclaimed Fashion in Film Festival in the Miami Design District as part of the upcoming 36th edition of Miami Film Festival, March 1 to 10, 2019. The Fashion in Film Festival will be curated by Marketa Uhlirova, University of the Arts London, Central Saint Martins.
“Cinema at its best takes us to places of wonder, and for our next edition Miami Film Festival will take cinema to a new place of wonder: the Miami Design District, one of Miami’s coolest neighborhoods,” said Miami Film Festival executive director Jaie Laplante. “We are thrilled to be expanding the 36th edition of the Festival into this oasis for culture, art, food, fashion, and film.”
“Every year Miami Dade College’s Miami Film Festival puts on an extraordinary and surprising program. This year, the Miami Design District is honored to co-present and host the Fashion in Film Festival through this collaboration and partnership with the Miami Film Festival and Central Saint Martins, University of the Arts, London. We are grateful to Cathy Leff for helping bring Fashion in Film to the District and this new and exciting partnership with the Miami Film Festival,” said Craig Robins, President & CEO of Dacra, the real estate development company behind the Miami Design District. “The District serves as a center for high fashion, luxury and design. It also is a vibrant cultural hub where creative and enriching programming comes to life that serves our community. I couldn’t think of a better place for Fashion in Film to take place. Get your tickets early.”
This special Miami edition of the London festival takes place during the final weekend of Miami Film Festival, March 8 to 10th.The program will consist of a specially curated program comprising screenings, performance, panel discussions, and chats that explore the intersection between fashion and cinema. The program will be presented at Nite Owl Theater and in Paradise Plaza, a popular convening place within the District.
“For Miami, I am interested in staging a speculative dialogue between cinema, fashion and art – as three areas of creative practice that are normally seen as separate – to consider different kinds of intersections and continuities among them. Looking at the entire history of cinema it is evident that fashion and dress have been among major concerns for filmmakers and artists working in the medium of moving image. There has been great interest in the rituals of dressing, undressing, and posing; in self-fashioning and physical transformation; in the decadently pleasurable qualities of decorative surfaces, in the poetry and uncanny tension between the organic and the artificial body – and that of disembodied clothes that assume a life of their own,” commented curator Marketa Uhlirova, co-founder and director of the annual London festival.
While the full line-up of Fashion in Film will be unveiled in late January, Uhlirova, Laplante, and Leff divulged details of the program’s opening event taking place on March 8th. In collaboration with London composer, music producer, and filmmaker Rollo Smallcombe, Uhlirova will present The Inferno Unseen, their own assemblage of rushes from the kinetically experimental visuals of Henri-George Clouzot’s The Inferno, starring Romy Schneider, one of the most tantalizing uncompleted projects in film history. Smallcombe will accompany the presentation with live music. A Festival party on the rooftop deck of Paradise Plaza will complete the evening.
Miami Design District and Miami Film Festival’s announcement was unveiled at a reception in one of the future venues for the program, Nite Owl Theater, and was accompanied by a screening of James Crump’s new fashion documentary Antonio Lopez 1970: Sex, Fashion & Disco, courtesy of Film Movement.
Miami Film Festival is the only major film festival produced and presented worldwide by a college or university. MDC is also home to the renowned Miami Fashion Institute which has also used film as a teaching tool with its popular film series.