Film Festivals

PROFILE, BLACK MOTHER, MODEL HOME among First Wave of Films for 1st North Bend Film Festival

[caption id="attachment_30092" align="aligncenter" width="900"] MODEL HOME[/caption] The North Bend Film Festival revealed the first wave of films and the haunting poster from Pacific Northwest artist Zachary Schomburg, featuring the region’s scenic slopes and ghostly pines, for its inaugural edition in North Bend, Washington, taking place from August 23rd to the 26th. Best known as the original shooting location for Twin Peaks, the festival will take place in the beautiful historic North Bend Theatre, embracing the classic diner and eerie woods that once gave David Lynch & Mark Frost so much inspiration, just a couple of miles away from the iconic Salish Lodge. The festival seeks to spotlight innovative means of storytelling, while exploring surrealism as well as highlighting multi-dimensional stories and one-of-a-kind experiences. Introducing a new structure in nonfiction form, Khalik Allah’s sophomore documentary BLACK MOTHER offers us insight into daily life in Jamaica, unfolding like a historical mixtape that immerses the audience in a sensorial journey in space, time and culture. Building from coinciding social constructs, Patrick Cunningham’s debut film MODEL HOME is a surreal, free-wheeling take on the ostracization of the lower middle class. Blurring the line between dreams and reality, Mitzi Peirone’s BRAID feels like a fever dream by way of Sofia Coppola. A classic at first glance and shocking with every twist, Timur Bekmambetov’s PROFILE uses a minimalist visual setting, a computer screen (familiar to Bekmambetov from 2014’s hit Unfriended, which he produced), to tell a larger than life story about an ISIS investigation gone too deep and too far, all based on true events. North Bend Film Festival’s focus on crossover storytelling includes the not-to-be-missed World Premiere of the immersive and intimate art performance from Ava Lee Scott (Sleep No More), ANNABELLEE, a mixed-media art experience using tarot reading, immersive theater and live-VR to enthrall and enchant. Navigating new ways of telling stories, the festival will also venture into linear virtual reality territory with five unique titles, each one bringing their own approach to molding new narratives. For its first year, the festival will host a short film program dedicated to exploring the inspiration behind David Lynch’s work as an artist and filmmaker, called “THE EXTRA ORDINARY,” for which Jonathan Marlow of Camera Obscura has curated four influential films that speak to Lynch and his work, ranging from 1966 to 2000.
Profile (West Coast Premiere) Cyprus, Russian Federation, UK, USA | 2018 | 103 Min | Dir. Timur Bekmambetov

Amy, a struggling freelance journalist looking for her next big story, pitches her editor on investigating the recruitment of European women by ISIS. Pretending to be recently converted to Islam and using an alias, she creates an incriminating Facebook profile where she begins to like and share posts themed around islamic extremism. It doesn’t take long for Bilel, a Jihad fighter in Syria, to set his eyes on this seemingly vulnerable prey.

From the producers of UNFRIENDED, this breathtaking socio-political thriller takes place entirely through the perspective of a computer screen. Director Timur Bekmambetov transcends the format to create a sense of tension and suspense that even Hitchcock would admire. Sometimes we find vanguard filmmaking hidden in the simplest visual aesthetics; something that this sure-to-be iconic catfish thriller achieves tenfold. North Bend is proud to open with such a tour-de-force that pushes the boundaries of filmmaking in a powerfully topical and unique way.

Black Mother (Pacific Northwest Premiere) USA | 2018 | 77 Min | Dir. Khalik Allah

As BLACK MOTHER begins, like something out a dream, you’re thrust into some of the most intimate areas of Jamaica. What you’re met with volleys from educational to surreal. A large swath of folks ranging from religious leaders to sex workers and wide-eyed children engage with you directly; sonically, deeply introspective narrations from unidentified speakers are constant, with voices and unwieldy visuals sometimes totally out of sync with each other. Breathe easy, though: you’re in the hands of documentarian Khalik Allah, an emerging master of the form.

Equal parts haunting travelogue and tone poem, BLACK MOTHER is a uniquely engrossing look at Jamaican culture and identity that no history book could ever deliver. It’s pure cinema. Inspired by Allah’s mother’s heritage, the director’s remarkable second feature, following his Harlem-focused 2015 debut FIELD NIGGAS and cinematography work for Beyoncé’s LEMONADE, is in a class all its own.

Braid (West Coast Premiere) USA | 2018 | 82 Min | Dir. Mitzi Peirone

Two fugitive women elude capture and seek refuge at the estate of their rich and very much psychotic childhood friend (an unhinged Madeline Brewer in peak form) where they enter a terror-fueled game of make believe in a bid to rob the woman’s safe. A candy colored and hallucinogen-fueled lunacy binge, writer-director Mitzi Peirone’s feature debut takes you on an entrancing journey of insanity through its gorgeously framed imagery, vibrant palette and cryptic narrative riddles. An absolute visual feast, this tale of nefarious women trapped in a spiraling nightmare, caught between reality and fantasy, deftly balances themes of childhood connection, experience and the inescapable circular nature of life, all from an exciting new voice in genre cinema.

Model Home (World Premiere) USA | 2018 | 82 Minutes | Dir. Patrick Cunningham

A deserted housing development post-market crash sets the stage for this unique thriller based around “live-in staging,” where developers hire low-income families to decorate and maintain properties to attract potential buyers. For a Latina single mother and her imaginative young son, being allowed to live in a dream house rent free seems too good to be true. As the cruel summer rages on and the mother’s obsessive and unstable mental state emerges, so too does living the American Dream devolve into a waking nightmare. An unusual mix of dark comedy, woman-on-the-edge tropes and a dash of Twin Peaks weirdness, director Patrick Cunningham’s fascinating debut uses a diverse cocktail of genres to tell a tragic and singular vision that speaks to Hispanic American identity.

Experience mystification with “The Extra Ordinary” shorts block; a curation of films that speak to the work of David Lynch

While countless writers have tried distilling David Lynch’s cinema into words, the man himself recently provided the ultimate case study of his structure-shattering, mind-warping brand of storytelling in less than an hour. “Gotta Light,” the incredible eighth episode of last year’s TWIN PEAKS: THE RETURN, told a quasi-standalone anti-narrative about the Atomic Age, history’s imprints on the future, and cigarette-puffing hobo demons with apocalyptic intentions. Everything that is film’s greatest enigmatic auteur can be seen in “Gotta Light,” yet nothing is easily deciphered.

Comprised of four short films that either influenced or take cues from Lynch, THE EXTRA ORDINARY is an alternate attempt to execute what “Gotta Light” so brilliantly does: convey the disorientation, intellectual stimulation, and formative experimentation that exemplify the TWIN PEAKS mastermind in one short burst. Provided by Jonathan Marlow of Camera Obscura, with contributions from Canyon Cinema and Zeitgeist Films, these works will mesmerize and perplex in equal measure—just as Mr. Lynch would like it.

ALL MY LIFE (1966) dir. Bruce Baillie

ALPSEE (1995) dir. Matthias Müller

IN ABSENTIA (2000) dir. Stephen & Timothy Quay

CROSSROADS (1976) dir. Bruce Conner

Cross dimensions with Annabellee in a World Premiere immersive experience from Sleep No More performer Ava Lee Scott!

In this multi-dimensional experience from the mind of NYC interactive theater veteran Ava Lee Scott (Sleep No More, Serenade), participants are invited to let go of their inhibitions and immerse themselves in a journey filled with magic, discovery and new truths. Once you welcome Annabellee into your world, there is no turning back.

Annabellee is a soothsayer, who during a visit to Snoqualmie Falls, as part of her mission to find the most sacred places of creation, discovered a mystical root. Enchanted by the area and this strange gift from the earth, she has decided to set up camp in a curious cabin outside Snoqualmie.

Legend has it that when a soothsayer arrives and reveals the secrets of the universe, you must make haste, seize the opportunity and track her down.

Taking place throughout the festival weekend, audience members will meet Annabellee in different experiences, both virtually and, for a select, brave few, in person. Participants’ nerves will be tested as they venture deeper into her world. This experience is not for the faint-hearted.

Immersive VR showcase
[caption id="attachment_27430" align="aligncenter" width="1200"] The Caretaker[/caption] THE CARETAKER USA | 2018 | 13 Minutes | Project Creator: Jacob Wasserman, Nicolas Pesce, Adam Donald | Key Collaborators: Hidden Content, RealMotion VFX After a couple’s car breaks down on the side of the road, they are forced to seek refuge in an ominous hotel manned by an mysterious bellhop. As they explore the dark crevices and secrets of its halls, the girlfriend begins to feel that something is off. As she dives deeper into the darkness, she fears that there is more than just getting their car fixed at stake. DINNER PARTY Puerto Rico/USA | 2018 | 13 Minutes | Project Creators: Angel Manuel Soto, Charlotte Stoudt, Laura Wexler | Key Collaborators: Rachel Skidmore, Bryn Mooser, Erik Donley, Ryot Studios Based on true events, this experience tells the story of Barney and Betty Hill, an interracial couple who in 1961 broke national news as the first reported extraterrestrial abduction in history. Trying to cope with the residual scars of their experience, they unexpectedly decide to seek out answers from an old tape recorder while hosting a dinner party. MEETING A MONSTER USA | 2018 | 9 Minutes | Project Creator: Gabriela Arp | Key Collaborators: Oculus VR for Good, Life After Hate With a past steeped in hatred and prejudice, a former white supremacist journeys back in time and invites us to experience both the stereotypes and bigotry that lured her into the white power movement as well as the encounters that led her back out. Before she can help others change their ways, she must come to terms with a true monster: herself. MUSEUM OF SYMMETRY Canada | 2018 | 20 Minutes | Project Creator: Paloma Dawkins | Key Collaborator: Casa Rara Studio, National Film Board of Canada An absurdist mind-and-body romp through the highest clouds to the ocean deep, Museum of Symmetry is the explosive feel-good alter-universe of cartoonist and animator Paloma Dawkins—a room-scale VR experience with 2D animation in a 3D playground. THE ORACLE USA | 2018 | 15 Minutes | Project Creator: Ava Lee Scott | Key Collaborator: AltspaceVR In this social VR experience, users will discover the oracle of AltspaceVR: Annabellee. Each Querent will be invited to her sacred space where, through the Major Arcana Tarot cards, she will reveal their past, present and future. This VR experience is one branch on the tree of life that makes up the Annabellee Experience, taking place across the festival weekend. WE’RE STILL HERE USA | 2018 | 3 Minutes | Creator: Jesse Ayala | Key Collaborators: Oculus VR for Good, The Pride Foundation Struggling to preserve his cultural identity, an artist and historian from Boise, Idaho takes viewers on a journey to learn about what it means to be “Two Spirit,” a cultural term describing the fluidity of gender identity and sexuality with respect to traditional tribal roles across First Nations.
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“Dynamite Graffiti” “BuyBack” “Men on the Dragon” and more on 17th New York Asian Film Festival Lineup

[caption id="attachment_30082" align="aligncenter" width="1200"] Dynamite Graffiti[/caption] From vicious, life destroying phone scams to balletic battles between equally corrupt cops and yakuza, the 17th edition of the New York Asian Film Festival (NYAFF), returns June 29 to July 15, 2018, with films that reflect on contemporary society while offering extreme genre pleasures. There are self referential takes on cinematic zombies, existential date nights, and teens finding their own corners of the world despite familial and societal expectations. After last year’s Sweet Sixteen, this year’s program is dubbed the Savage Seventeenth edition with four world premieres, three international premieres, 21 North American premieres, three U.S. premieres, and twelve New York premieres, showcasing the most exciting comedies, dramas, thrillers, romances, horrors and arthouse films from East Asia. Savage Seventeen: The festival has a rich history of presenting films that deal with the social issue of teenage bullying. Many of these have proven to be launching pads for some of Asia’s biggest stars, and the subject is at the root of such modern classics as All About Lily ChouChou, Whispering Corridors, and Confessions. In a year when youths in the U.S. are standing their ground and demanding political change, NYAFF presents the North American premieres of three films about teenagers who just won’t take it anymore: Kim Uiseok’s After My Death, Ogata Takaomi’s The Hungry Lion, and Naito Eisuke’s competition title Liverleaf. Opening Night is the North American premiere of Tominaga Masanori’s Dynamite Graffiti, an unorthodox and sprightly drama based on the life and times of Japanese porn mag king Suei Akira, who cultivated future artists such as Araki Nobuyoshi and Moriyama Daido. This spirited tale of sexual exploitation is an ode to free expression, proving that the so called “smut” of today might very well become the art of tomorrow. The film is a metaphor for the humble origins of the festival as a Chinatownborn grindhouse showcase introducing the works of Johnnie To and several of the modern masters of Korean cinema. [caption id="attachment_30085" align="aligncenter" width="1200"] BuyBust[/caption] Closing Night is the world premiere of Erik Matti’s BuyBust from the Philippines. On the surface, it is structured like an action film in the vein of The Raid, with superstar Anne Curtis and MMA world champion Brandon Vera as narcs taking down a drug kingpin against insurmountable odds over one unrelenting rainy night. The film employed 309 stuntmen and features a wildly ambitious three minute, one cut action scene. Being a Matti film, it also offers a searing perspective on the ongoing drug war and broader issues of political corruption. The director and stars will attend the screening. [caption id="attachment_30086" align="aligncenter" width="1200"] Men on the Dragon[/caption] The Centerpiece is the world premiere of Sunny Chan’s Men on the Dragon, starring Francis Ng and Jennifer Yu. Always central to the festival’s DNA, Hong Kong cinema demonstrates the resiliency of an industry whose identity is easily blurred with Mainland China, but on which it also exerts a considerable influence and provides storytelling expertise and craftsmanship. The film is a quintessential underdog story about a group of blue collar workers who reluctantly join their company’s dragon boat team. A directorial debut of a veteran Hong Kong screenwriter, Chan’s film is being presented one year after NYAFF had a special focus on firsttime directors from the territory. Chan and actress Jennifer Yu will be among the attending guests. Seven films will battle in the second edition of the festival’s relaunched Main Competition: Shiraishi Kazuya’s Blood of Wolves (Japan), Nam Ron’s Crossroads: One Two Jaga (Malaysia), Naito Eisuke’s Liverleaf (Japan), Dong Yue’s The Looming Storm (China), Sunny Chan’s Men on the Dragon (Hong Kong), Jeon Gowoon’s Microhabitat (South Korea), and Treb Monteras’s Respeto (Philippines). Six of the seven films are receiving their North American premieres at NYAFF, with one world premiere. Four of the competition titles are debut films, reflecting the festival’s ongoing support for new directors. This year, the festival presents two Star Asia Awards: South Korea’s Kim Yunseok is best known to North American audiences for his role as the grizzled excop in 2008 serial killer thriller The Chaser. A decade on, he stands firmly in the top tier of his country’s leading men. Like his contemporaries Song Kangho and Choi Minshik, he came late to movies after a background in theater. Jang Joonhwan’s powerful drama 1987: When the Day Comes screens, in which Kim plays the frightening head of South Korea’s anticommunist bureau, hellbent on holding back the country’s democracy movement. Chinese filmmaker Jiang Wu’s career has bridged independent cinema and mainstream success for 25 years. Two decades ago, he was at the forefront of a new populist independent cinema about big city life that transformed modern Chinese cinema with Zhang Yang’s Shower. He has worked with Zhang Yimou (To Live), Jiang Wen (Let the Bullets Fly), Jia Zhangke (A Touch of Sin), and Herman Yau (Shock Wave). Xin Yukun’s part noir, part western Wrath of Silence will screen in tribute, in which his terrifying nouveau riche mining magnate falls into a trap of his own design. The Star Asia Lifetime Achievement Award goes to Japan’s Harada Masato, a former U.S.based film critic. He is most recognizable to Western viewers for his role as the villain Mr. Omura opposite Tom Cruise in The Last Samurai. Since his debut in 1979, he has positioned himself as one of Japan’s most unique and important directors. While he has worked in nearly every genre, he is best known for tackling societal issues such as teenage prostitution, illegal immigrants, and the role of the media. Screening in the festival are his dark classic gem Kamikaze Taxi on 35mm, the recent Kakekomi (2016), a period piece about female empowerment, and his most recent historical epic Sekigahara, about the oneday battle in 1600 that defined modern Japan. The Screen International Rising Star Asia Award recipient will be announced at a later date. The Hong Kong Panorama, backbone of the festival’s programming, returns with nine features, including two world premieres: Sunny Chan’s debut Men of the Dragon and Antony Chan’s comeback House of the Rising Sons. Antony Chan is an original member of The Wynners, the popular teenidol band of the 1970s that launched the careers of megastars Alan Tam and Kenny Bee. Chan, the band’s drummer, returns to the director’s chair after 26 years to present a vibrant biopic that avoids hagiography. Highlighting the miracles of motion and irresistible kinetic force that are the signature of Hong Kong cinema, is a threefilm Dante Lam tribute, and an actionpacked thriller run on July 4: Jonathan Li’s debut The Brink, Oxide Pang’s The Big Call, and Wilson Yip’s Paradox. Also screening is Chapman To’s family drama set in the world of karate, The Empty Hands starring Stephy Tang. The China section continues to take a more central role. One year ago, NYAFF committed to supporting the new generation of firsttime directors emerging in Asia with the Young Blood series, focusing on Hong Kong; this year the festival shifts to Mainland China. Once again, the films are heady and diverse in subject matter, including Hunanset, raindrenched serialkiller thriller The Looming Storm, Inner Mongoliaset sexagenarian drama Old Beast (produced by Chinese auteur Wang Xiaoshuai), and the razorsharp Northeastern comedy Looking for Lucky, which revolves around a man, his father, and a missing dog. The Chinese film industry is changing fast, and trends are best reflected in where new directors are taking it. We also present films about the shifting rules of romance: Dude’s Manual and The ExFiles 3: The Return of the Exes. The New Cinema from Japan lineup is represented by one of the festival’s largest contingents of directors yet. In addition to NYAFF’s tribute to veteran director Harada Masato, the festival is bringing a group that could be described as defining a “new wave” of Japanese cinema: Naito Eisuke with his circleofrevenge drama Liverleaf, Ogata Takaomi with experimental youth drama The Hungry Lion, Takeshita Masao with slowburn drama The Midnight Bus, and Kanata Wolf with his slacker debut Smokin’ on the Moon. Also attending is actor Emoto Tasuku who brings his mischievous charm to the protagonist of porn publishing odyssey Dynamite Graffiti. Other highlights include Sato Shinsuke’s crossgenerational superhero showdown Inuyashiki, Ueda Shinichiro’s meta zombie film homage One Cut of the Dead, and Yukisada Isao’s brutal youth drama River’s Edge. There are ten films in the South Korean Cinema section. This year, femaledirected titles represent almost half of the NYAFF selection. They include Jeon Gowoon’s competition title Microhabitat, Yim Soonrye’s Little Forest, and Jeong Gayoung’s Hit the Night. Actress and director Jeong’s positioning of herself as a female Hong Sangsoo—she recently starred in and directed Bitch on the Beach—is itself a critique of the macho posturing of much of South Korean cinema. The festival selected five films showcasing the uniqueness of Taiwan cinema and the strength of both its arthouse productions and its genre output. Of note is the North American premiere of gangster film Gatao 2: Rise of the King, poised comfortably between classic yakuza and triad movies from Japan and Hong Kong. In complete contrast is The Last Verse, which charts a romantic relationship through the turbulence of three presidential eras; it was directed by Tseng Yingting, one of Taiwan cinema’s freshest voices since Edward Yang. This year’s program features the largest Southeast Asian Vanguard selection yet, representing a fifth of the festival lineup. This region is one of the most creative corners of Asia, which NYAFF continues to champion in the film selection and guest lineup. Outside of Asia, arguably no other film event has so fully committed to exploring Southeast Asian cinema, which is at the heart of the festival’s future. Six films from the Philippines, three films from Thailand, two films from Malaysia, and one film from Indonesia will screen. The festival goes all in on the Philippines with the largest lineup in NYAFF since 2013. Three strong films examine the nation’s ongoing drug war: Mikhail Red’s Neomanila, about a “mother and son” death squad; Treb Monteras’ Respeto, set in the milieu of rap battles; and Erik Matti’s BuyBust. There will also be a special screening of Matti’s thriller On the Job. On opening night, NYAFF hosts the world premiere of Richard Somes’s brutal We Will Not Die Tonight, starring Erich Gonzales as a stuntwoman trying to survive a single night. On a lighter note, Irene Villamor’s blockbuster (anti)romance Sid & Aya (Not a Love Story) screens, also starring Anne Curtis from BuyBust. There has been a recent Malaysian New Wave reflecting the country’s societal and political changes, and it is only now reaching our cinema screens. NYAFF presents two films that would never have seen the light before 2018: police corruption thriller Crossroads: One Two Jaga and black magic thriller Dukun. The latter is the longburied debut of top Malaysian director Dain Said, screening twelve years after its shoot was completed. Together with Brutal/Jagat (NYAFF 2016), these films hint at why Malaysian cinema is a territory to watch. Southeast Asian Westerns: The links between the western genre and Japanese cinema are well documented, from remakes of Akira Kurosawa’s classics to Lee Sungil’s own remake of Clint Eastwood’s Unforgiven. But the western was also a genre embraced in Southeast Asia for decades, most recently with two Indonesian films: Mouly Surya’s Marlina the Murderer in Four Acts (which opens in New York on June 22) and Mike Wiluan’s Buffalo Boys, which screens on the final day of the festival. Like their Northeast Asian counterparts (the Manchurian western), the genre offers tales of freedom and emancipation with Eastern heroes rising against their colonial oppressors. This year, Wisit Sasanatieng’s madcap Tears of the Black Tiger returns in a special 35mm screening.
Young Art at NYAFF: “Safe Imagination Is Boring”
“Safe Imagination Is Boring” is a group exhibition of 10 emerging artists who have created new work inspired by Asian cinema. The exhibition features Asian, secondgeneration AsianAmerican, and mixedrace artists.
HBO® Free Talks at NYAFF
This year, NYAFF presents several free talks, sponsored by HBO®, at the Elinor Bunin Munroe Film Center’s Amphitheater. They include opportunities for NYAFF audiences to meet festival guests from Japan, China, and Southeast Asia and discuss their careers, trends, and regional genre cinema. Guest speakers include Harada Masato, Dong Yue, Xin Yukun, Erik Matti, and Mike Wiluan. The New York Asian Film Festival is copresented by Subway Cinema and the Film Society of Lincoln Center and takes place from June 29 to July 12 at the Film Society’s Walter Reade Theater (165 West 65th St), and July 13 to 15 at SVA Theatre (333 West 23rd St). It is curated by executive director Samuel Jamier, deputy director Stephen Cremin, programmers Claire Marty and David Wilentz, and associate programmers Karen Severns and Mori Koichi.
17th New York Asian Film Festival LINEUP

CHINA
Dude’s Manual (Kevin Ko, 2018) End of Summer (Zhou Quan, 2017) New York Premiere The ExFiles 3: The Return of the Exes (Tian Yusheng, 2017) Looking for Lucky (Jiang Jiachen, 2018) International Premiere The Looming Storm (Dong Yue, 2017) North American Premiere Old Beast (Zhou Ziyang, 2017) New York Premiere Wrath of Silence (Xin Yukun, 2017) New York Premiere
HONG KONG PANORAMA
Beast Stalker (Dante Lam, 2008) Tribute to Dante Lam The Big Call (Oxide Pang, 2017) North American Premiere The Brink (Jonathan Li, 2017) New York Premiere The Empty Hands (Chapman To, 2018) New York Premiere House of the Rising Sons (Antony Chan, 2018) World Premiere Men on the Dragon (Sunny Chan, 2018) World Premiere Operation Red Sea (Dante Lam, 2018) Tribute to Dante Lam Paradox (Wilson Yip, 2017) New York Premiere Unbeatable (Dante Lam, 2003) Tribute to Dante Lam
INDONESIA
Buffalo Boys (Mike Wiluan, 2018) US Premiere
JAPAN
Blood of Wolves (Shiraishi Kazuya, 2018) North American Premiere Dynamite Graffiti (Tominaga Masanori, 2018) North American Premiere The Hungry Lion (Ogata Takaomi, 2017) North American Premiere Inuyashiki (Sato Shinsuke, 2018) North American Premiere Kakekomi (Harada Masato, 2015) Tribute to Harada Masato, New York Premiere Kamikaze Taxi (Harada Masato, 1995) Tribute to Harada Masato Liverleaf (Naito Eisuke, 2018) North American Premiere Midnight Bus (Takeshita Masao, 2017) North American Premiere One Cut of the Dead (Ueda Shinichiro, 2018) North American Premiere River’s Edge (Yukisada Isao, 2018) North American Premiere The Scythian Lamb (Yoshida Daihachi, 2017) New York Premiere Sekigahara (Harada Masato, 2017) Tribute to Harada Masato, New York Premiere Smokin’ on the Moon (Kanata Wolf, 2017) International Premiere The Third Murder (Koreeda Hirokazu, 2017) New York Premiere
MALAYSIA
Crossroads: One Two Jaga (Nam Ron, 2018) North American Premiere Dukun (Dain Said, 2018) International Premiere
PHILIPPINES
BuyBust (Erik Matti, 2018) Tribute to Erik Matti, World Premiere Neomanila (Mikhail Red, 2017) New York Premiere On the Job (Erik Matti, 2013) Tribute to Erik Matti Respeto (Treb Monteras, 2017) North American Premiere Sid & Aya: Not a Love Story (Irene Villamor, 2018) New York Premiere We Will Not Die Tonight (Richard Somes, 2018) World Premiere (dir. Victor Vu, 2015)
SOUTH KOREA
1987: When the Day Comes (Jang Joonhwan, 2017) After My Death (Kim Uiseok, 2017) North American Premiere The Age of Blood (Kim Hongsun, 2017) International premiere Counters (Lee Ilha, 2017) North American Premiere Hit the Night (Jeong Gayoung, 2017) North American Premiere I Can Speak (Kim Hyeonseok, 2017) Little Forest (Yim Soonrye, 2018) New York Premiere Microhabitat (Jeon Gowoon, 2017) North American Premiere The Return (Malene Choi, 2018) East Coast Premiere What a Man Wants (Lee Byeonghun, 2018)
TAIWAN
Gatao 2: Rise of the King (Yen Chengkuo, 2018) North American Premiere The Last Verse (Tseng Yingting, 2017) New York Premiere Missing Johnny (Huang Xi, 2017) New York Premiere On Happiness Road (Sung Hsinyin, 2017) North American Premiere The Bold, the Corrupt and the Beautiful (Yang Yache, 2017) New York Premiere
THAILAND
Premika (Siwakorn Jarupongpa, 2017) North American Premiere Sad Beauty (Bongkod Bencharongkul, 2018) North American Premiere Tears of the Black Tiger (Wisit Sasanatieng, 2000)
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TIFFxInstagram Shorts Festival Unveils 2018 Jury + New Share Her Journey Prize

The TIFFxInstagram Shorts Festival, launched in 2016, in partnership with Instagram to discover and celebrate emerging, diverse, and creative voices from the global film community is back for a third year. This year, the TIFFxInstagram Shorts Festival is committed to meeting gender parity within its final selection with the addition of the new Share Her Journey Prize. TIFF’s Share Her Journey campaign is a five-year commitment to championing women, both in front of and behind the camera, by investing in their skill development. The TIFFxInstagram Shorts Festival is supporting this initiative by enlisting an all-woman jury made up of some of the industry’s most creative, knowledgeable, and experienced experts. This year’s jury features award-winning UK writer, director, and Share Her Journey Ambassador Amma Asante (@iammasante); leading arts-marketing guru and #oscarssowhite creator April Reign (@reignofapril); TCM and FilmStruck host, author Alicia Malone (@aliciamalone), rapper, comedian, and Ocean’s 8 star Awkwafina (@awkwafina), and activist, artist, and actor Sarain Fox (@sarainfox). Since the launch of TIFFxInstagram Shorts Film Festival, jury members have included Isabelle Huppert, Lake Bell, Ava DuVernay, Xavier Dolan, Ashton Sanders, Director X, and Priyanka Chopra. The Share Her Journey Prize recipient will be selected by Amma Asante. Eligibility for the prize is based solely on a film’s direction by an individual who identifies as a woman. Additional jury members will be revealed in the coming weeks. “In many ways, the TIFFxInstagram Shorts Festival is reflective of the ever-evolving nature of storytelling and digital media. The film industry is going through a period of change, and the addition of the new Share Her Journey Prize reinforces our commitment to achieving gender parity,” said Malcolm Gilderdale, Director of Content, Creative, and Digital at TIFF. “With the support of our amazing partners at Instagram and the generous participation of our jury, we are grateful to have the opportunity to champion the brilliant work that we know will be presented during this year’s edition of the TIFFxInstagram Shorts Festival.” Last year saw entrants from regions all over the world — including submissions from America, Europe, Asia, and Africa — whose films reached more than 64 million users on the social platform. The 2017 TIFFxInstagram Shorts Festival featured the Fan Favourite Award winner, Canadian-born, Paris-based filmmaker Justin Wu for Overtime, and Jury’s Choice Award winner Confession, by Russia’s Natalia Gurkina. In early 2018, the TIFFxInstagram Shorts Festival was nominated for a Webby Award in the category of Social: Promotions & Contests. “We’re thrilled to once again collaborate with TIFF to celebrate the craft of short filmmaking through the TIFFxInstagram Shorts Festival.” said Claudine Cazian, Head of Entertainment Partnerships at Instagram. “More than 800 million people come to Instagram to engage with a positive, highly engaged community where they can express their creativity around shared interests. The TIFFxInstagram Shorts Festival is just another way in which creators can showcase their inspiring work and connect with new fans all over the world.” To enter, filmmakers may submit a 60-second-or-less film on Instagram using the hashtag #TIFFxInstagram and complete the submission form at tiff.net/shortsfestival. The deadline for submissions is June 18. Entries must be submitted from a public Instagram account that must remain open until August 21. Winners will receive a round-trip flight to Toronto and three nights’ accommodation to attend the Toronto International Film Festival this September, and get a chance to network with the film community at the popular Industry Conference and see a selection of exciting film premieres. The winning short films will also be showcased on TIFF and Instagram’s digital channels.
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BREACH, NOSOTROS, and AFGHAN CYCLES Win Top Awards at 21st Brooklyn Film Festival

[caption id="attachment_30003" align="aligncenter" width="1200"] Breach directed by Lorenzo Monti[/caption] Breach directed by Lorenzo Monti picked up the coveted best of the fest Grand Chameleon Award, as well as Best Experimental Film at the Brooklyn Film Festival’s 21st edition: THRESHOLD, which wrapped on Sunday. Felipe Vara de Rey’s Nosotros won Best Narrative Feature and Sarah Menzies’ Afghan Cycles took home the award for Best Feature Documentary. “It has been a wonderful festival. Everything we were hoping would happen, actually did,” said Marco Ursino, Brooklyn Film Festival Executive Director. “We envisioned this edition as a sanctuary where people of different backgrounds and cultures could have an honest and civilized conversation stimulated by 119 projects which, I feel, did bring back interest in politics and in the social condition of people who live so far away and yet experience the same things we are going through here in the U.S.” This year’s festival was comprised of 119 features and shorts from 30 countries spread over six continents. The lineup included 19 world premieres, 21 USA bows, 37 east coast debuts and 30 first-time screenings in NYC.
2018 Brooklyn Film Festival Winners
GRAND CHAMELEON AWARD – BREACH by LORENZO MONTI [caption id="attachment_30004" align="aligncenter" width="1249"] Nosotros[/caption] Best Narrative Feature – NOSOTROS by FELIPE VARA DE REY Best Documentary Feature – AFGHAN CYCLES by SARAH MENZIES Best Short Documentary – GIVE by DAVID DE ROZAS Best Narrative Short – COUNTERFEIT KUNKOO by REEMA SENGUPTA Best Animation – LA MORT, PERE & FILS by PARONNAUD VINCENT and WALTGENWITZ DENIS Best Experimental – BREACH by LORENZO MONTI Best New Director – BROTHERS by BRAM SCHOUW Best Brooklyn Project – ONE BEDROOM by DARIEN SILLS-EVANS
Spirit Awards
Feature Narrative – ICE CREAM by SABA RIAZI Feature Documentary – STREET FIGHTING MEN by ANDREW JAMES Short Documentary – CHRISANTO STREET by PALOMA MARTINEZ Short Narrative – BONOBO by ZOEL AESCHBACHER Experimental – GENESIS by ABTIN MOZAFARI Animation – LES ANIMAUX DOMESTIQUES by JEAN LECOINTRE
Audience Awards
Feature Narrative – ARE YOU GLAD I’M HERE by NOOR FAY GHARZEDDINE Feature Documentary – MY NAME IS PEDRO by LILLIAN LASALLE Short Documentary – DAVID’S VOICE by GRAHAM HILL Short Narrative – CASUALTIES by HOLLY VOGES Experimental – DUPPY by JUSTIN MORRIS Animation – HI-FIVE THE CACTUS by CHRISTOPHER THOMAS
Certificates of Outstanding Achievement
Producer – MICHAEL ANGELO ZERVOS & LUKE SHIROCK for TOMMY BATTLES THE SILVER SEA DRAGON Screenplay – Director/Writer MARINA MICHELSON for BIOPHILIA Cinematography – VLADIMIR EGOROV for FAITH Editing – ROMANY MALCO, JR. for PRISON LOGIC Style – WENDY MCCOLM for BIRDS WITHOUT FEATHERS Original Score – Composer SIMON TAUFIQUE for ARE YOU GLAD I’M HERE Actor Female – LAURA ESTERMAN for CAN HITLER HAPPEN HERE? Actor Male – ROMANY MALCO for PRISON LOGIC
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‘Eighth Grade’ ‘Won’t You Be My Neighbor?’ Among Winners at 2018 Seattle International Film Festival

[caption id="attachment_27753" align="aligncenter" width="1200"] EIGHTH GRADE[/caption] The Seattle International Film Festival (SIFF) today announced the winners of the 2018 Golden Space Needle Audience and Competition Awards. Eighth Grade received the Golden Space Needle Audience Award for Best Film and a Best Actress Award for Elise Fisher. Won’t You Be My Neighbor won Best Documentary and Grand Jury prizes went to The Reports on Sarah and Saleem, Dead Pigs, Rust, Inventing Tomorrow, and Thunder Road. Artistic Director Beth Barrett said, “Executive Director Sarah Wilke and I were thrilled to present Ethan Hawke with the Festival’s Outstanding Achievement Award in Cinema before a screening of Blaze, his latest directing effort, as well as welcoming Melanie Lynskey back to the Festival for a special screening of Seattle based local film, Sadie. We also had an incredible lineup of local films, and our documentary film selection continues to be among the best in the country. Back for the second year was SIFF’s New Works-in-Progress Forum, where we screened two narrative and two documentary features in the midst of their creative process to the Seattle audience of industry and festival attendees, as well as continuing our exploration of the intersections between cinema and Virtual Reality at our first Pop-up event, SIFF VR Zone at Pacific Place.”
2018 GOLDEN SPACE NEEDLE AWARD WINNERS
The 2018 Golden Space Needle Awards are created by Seattle Artist, Piper O’Neill. GOLDEN SPACE NEEDLE AWARD – BEST FILM Eighth Grade, directed by Bo Burnham (USA 2018) First runner-up: The Last Suit, directed by Pablo Solarz (Argentina/Poland/Spain/France/Germany 2017) Second runner-up: Champions, directed by Javier Fesser (Spain 2018) Third runner-up: C’est la vie!, directed by Olivier Nakache, Eric Toledano (France/Canada/Belgium 2017) Fourth runner-up: Supa Modo, directed by Likarion Wainaina (Kenya/Germany 2018) GOLDEN SPACE NEEDLE AWARD – BEST DOCUMENTARY Won’t You Be My Neighbor?, directed by Morgan Neville (USA 2018) First runner-up: Pick of the Litter, directed by Don Hardy Jr., Dana Nachman (USA 2017) Second runner-up: Return to Mount Kennedy, directed by Eric Becker (USA 2018) Third runner-up: The Most Dangerous Year, directed by Vlada Knowlton (USA 2018) Fourth runner-up: The Russian Five, directed by Joshua Riehl (USA 2018) GOLDEN SPACE NEEDLE AWARD – BEST DIRECTOR Gustav Möller, The Guilty (Denmark 2018) First runner-up: Pablo Solarz, The Last Suit (Argentina/Poland/Spain/France/Germany 2017) Second runner-up: Megan Griffiths, Sadie (USA 2018) Third runner-up: Debra Granik, Leave No Trace (USA 2018) Fourth runner-up: Albert Dupontel, See You Up There (France 2017) GOLDEN SPACE NEEDLE AWARD – BEST ACTOR Miguel Ángel Solá, The Last Suit (Argentina/Poland/Spain/France/Germany 2017) First runner-up: Jakob Cedergren, The Guilty (Denmark 2018) Second runner-up: Ethan Hawke, First Reformed (USA 2017) Third runner-up: Jim Cummings, Thunder Road (USA 2018) Fourth runner-up: Ben Foster, Leave No Trace (USA 2018) GOLDEN SPACE NEEDLE AWARD – BEST ACTRESS Elsie Fisher, Eighth Grade (USA 2018) First runner-up: Rhaechyl Walker, My Name is Myeisha (USA 2018) Second runner-up: Sophia Mitri Schloss, Sadie (USA 2018) Third runner-up: Thomasin Harcourt McKenzie, Leave No Trace (USA 2018) Fourth runner-up: Ana Brun, The Heiresses (Paraguay/Uruguay/Germany/Brazil/Norway/France 2018) GOLDEN SPACE NEEDLE AWARD – BEST SHORT FILM Emergency, directed by Carey Williams (USA 2017) First runner-up: About the Birds and the Bees, directed by J.J. Vanhanen (Finland 2017) Second runner-up: Wishing Box, directed by Wenli Zhang, Nan Li (USA 2017) Third runner-up: Cats Cradle, directed by Jonathan Napolitano (USA 2018) Fourth runner-up: Wave, directed by Benjamin Cleary, TJ O’Grady Peyton (Ireland 2017) LENA SHARPE AWARD FOR PERSISTENCE OF VISION Presented by Women in Film – Seattle Dana Nachman, Pick of the Litter (USA 2017) This award is given to the female director’s film that receives the most votes in public balloting at the Festival. Lena Sharpe was co-founder and managing director of Seattle’s Festival of Films by Women Directors and a KCTS-TV associate who died in a plane crash while on assignment. As a tribute to her efforts in bringing the work of women filmmakers to prominence, SIFF created this special award and asked Women in Film – Seattle to bestow it.
SIFF 2018 COMPETITION AWARDS

SIFF 2018 OFFICIAL COMPETITION WINNER
GRAND JURY PRIZE The Reports on Sarah and Saleem (d: Muayad Alayan, Palestine/Netherlands/Germany/Mexico 2018) JURY STATEMENT: The Official Competition Jury Award goes to a work that through its complex and multi-dimensional characters tells a familiar story of infidelity in an original and wholly disarming way. We were struck by the unexpected journey taken by the two female leads towards empowerment, particularly given the political and social climate of a modern day divided Jerusalem. The Official Competition Jury Award goes to The Reports on Sarah and Seleem. SPECIAL JURY MENTION The Heiresses (d: Marcelo Martinessi, Paraguay/Uruguay/Germany/Brazil/Norway/France 2018) JURY STATEMENT: We would like acknowledge The Heiresses, a remarkable first feature from Paraguay by Marcelo Martinessi. 2018 Entries: The Devil’s Doorway (d: Aislinn Clarke, United Kingdom 2018, World Premiere) Garbage (d: Qaushiq Mukherjee, India 2018, North American Premiere) The Heiresses (d: Marcelo Martinessi, Paraguay/Uruguay/Germany/Brazil/Norway/France 2018, US Premiere) Leave No Trace (d: Debra Granik, USA 2018) Luna (d: Elsa Diringer, France 2017) Pig (d: Mani Haghighi, Iran 2018, North American Premiere) Team Hurricane (d: Annika Berg, Denmark 2017) The Reports on Sarah and Saleem (d: Muayad Alayan, Palestine/Netherlands/Germany/Mexico 2018, North American Premiere) Something Useful (d: Pelin Esmer, Turkey/France/Netherlands/Germany 2017, North American Premiere)
SIFF 2018 IBERO-AMERICAN COMPETITION
GRAND JURY PRIZE Rust (d: Aly Muritiba, Brazil 2018) JURY STATEMENT: For highlighting a very important social issue, through an inventive structure and phenomenal performances, we present the Ibero-American Competition Jury Award to Aly Muritiba’s Rust. SPECIAL JURY MENTION Rush Hour (d: Luciana Kaplan, Mexico 2017) JURY STATEMENT: The Jury wants to also recognize a wonderful discovery, told with a subtle, unique point of view. For her examination of suffering and humanity inside of an increasingly automotive environment, the Ibero-American Competition Jury awards a special mention to Luciana Kaplan’s Rush Hour. 2018 Entries: Champions (d: Javier Fesser, Spain 2018) Giant (d: John Garaño, Aitor Arregi, Spain 2017) Gold Seekers (d: Juan Carlos Maneglia, Tana Schémbori, Paraguay 2017) The Heiresses (d: Marcelo Martinessi, Paraguay/Uruguay/Germany/Brazil/Norway/France 2018, US Premiere) Killing Jesus (d: Laura Mora Ortega, Colombia/Argentina 2017) Lots of Kids, A Monkey and a Castle (d: Gustavo Salmerón, Spain 2017) Marilyn (d: Martin Rodriguez, Argentina/Chile 2018, North American Premiere) Retablo (d: Peru/Germany/Norway 2017, North American Premiere) Rush Hour (d: Luciana Kaplan, Mexico 2017) Rust (d: Aly Muritiba, Brazil 2018) Virus Tropical (d: Santiago Calcedo, Colombia/Ecuador 2017)
SIFF 2018 NEW DIRECTORS COMPETITION
GRAND JURY PRIZE Dead Pigs (d: Cathy Yan, China/USA 2018) JURY STATEMENT: For building an epic world, grounded in humanity, purposefully depicting the intricacies of the characters who exemplify the changes of a modernizing China, the New Directors Competition Jury award goes to Cathy Yan for Dead Pigs. SPECIAL JURY MENTION Scary Mother (d: Ana Urushadze, Georgia/Estonia 2017) JURY STATEMENT: Using striking and haunting visuals, this filmmaker confidently creates intimate and empathetic characters while depicting the struggle for artistic expression in a society that does not allow the full breadth of it. The jury would like to recognize Ana Urushadze with a special mention for her filmScary Mother. 2018 Entries: After the War (d: Annarita Zambrano, Italy/Belgium/Switzerland 2017) Amateurs (d: Gabriela Pichler, Sweden 2018) The Blessed (d: Sofia Djama, Algeria/France/Belgium/Qatar 2017) The Charmer (d: Milad Alami, Denmark/Sweden 2017) Dead Pigs (d: Cathy Yan, China/USA 2018) Sashinka (d: Kristina Wagenbauer, Canada (Québec) 2017, US Premiere) Scary Mother (d: Ana Urushadze, Georgia/Estonia 2017) Shuttle Life (d: Tan Seng Klat, Malaysia 2017, US Premiere) Supa Modo (d: Likarion Wainaina, Kenya/Germany 2018) Retablo (d: Alvaro L. Delgado-Aparicio, Peru/Germany/Norway 2017, North American Premiere)
SIFF 2018 NEW AMERICAN CINEMA COMPETITION
Thunder Road (d: Jim Cummings, USA 2018) JURY STATEMENT: For the bold and unpredictable lead performance and commitment to telling a hilarious and ultimately heartbreaking story of shifting family relations in the face of personal adversity and tragedy, the New American Cinema Competition Jury award goes to Thunder Road by Jim Cummings. 2018 Entries: Jinn (d: Nijla Mu’min, USA 2018) My Name is Myeisha (d: Gus Krieger, USA 2018) Noble Earth (d: Ursula Grisham, USA 2017, US Premiere) Prospect (d: Zeek Earl, Chris Caldwell, USA 2018) Sadie (d: Megan Griffiths, USA 2018) Thunder Road (d: Jim Cummings, USA 2018) Tyrel (d: Sebastián Silva, USA 2018) Wild Nights with Emily (d: Madeleine Olnek, USA 2018)
SIFF 2018 DOCUMENTARY COMPETITION
GRAND JURY PRIZE Inventing Tomorrow (d: Laura Nix, USA 2018) JURY STATEMENT: For it’s compelling cast of young visionaries from around the globe who are engaged and looking for solutions to the world’s environmental problems, Inventing Tomorrow offers us a sense of optimism and the certainty that science matters. SPECIAL JURY MENTION Afghan Cycles (d: Sarah Menzies, USA/France/Afghanistan 2018) JURY STATEMENT: For portraying a side of Afghanistan that we don’t usually see and the self confidence and bravery of the young women, we would like to acknowledge Afghan Cycles with a Documentary Competition Special Jury Mention. 2018 Entries: Afghan Cycles (d: Sarah Menzies, USA/France/Afghanistan 2018, US Premiere Inventing Tomorrow (d: Laura Nix, USA 2018) MATANGI / MAYA / M.I.A. (d: Stephen Loveridge, United Kingdom/USA 2018) People’s Republic of Desire (d: Hao Wu, China 2018) Queerama (d: Daisy Asquith, United Kingdom 2017) The Return (d: Malene Choi, Denmark 2018, US Premiere) Unarmed Verses (d: Charles Officer, Canada 2017, US Premiere) Warrior Women (d: Elizabeth A. Castle, Christina D. King, USA 2018, US Premiere)
SIFF 2018 YOUTH JURY FEATURES & FUTUREWAVE SHORTS AWARDS
YOUTH JURY PRIZE FOR BEST FILMS4FAMILIES FEATURE Zoo (d: Colin McIvor, Ireland 2017) JURY STATEMENT: For its well-developed, heartwarming plot, spectacular scenery, and believable acting. YOUTH JURY PRIZE FOR BEST FUTUREWAVE FEATURE My Name is Myeisha (d: Gus Krieger, USA 2018) JURY STATEMENT: For its creative and non-linear storytelling that incorporates multiple art forms, including poetry, rap, beat-boxing, and dance, and its holistic portrayal of victims of police brutality. In addition, SIFF presents FutureWave Shorts during ShortsFest Weekend. These inspiring original short films represent some of the best short filmmaking from around the world. WAVEMAKER AWARD (GRAND PRIZE) iRony (d: Radheya Jegatheva, Australia 2017) JURY STATEMENT: We found that the animation was excellent, smart, and gorgeous. This film was paired with emotional and poignant prose about technology in this new world, sustaining our curiosity and interest throughout. PRODIGY CAMP SCHOLARSHIP The winner will be awarded a $1000 partial scholarship to the Prodigy Camp. Roommate (d: Jinho Rhee, USA 2017) FUTUREWAVE SHORTS AUDIENCE AWARD iRony (d: Radheya Jegatheva, Australia 2017)
SIFF 2018 SHORT FILM JURY AWARDS
LIVE ACTION GRAND JURY PRIZE Caroline (d: Celine Held, Logan George, USA 2017) JURY STATEMENT: “Perfect” and “flawless” were two words our team used multiple times to describe this intense drama. A searing portrait of motherhood, it sent our blood pressure through the roof and arrested our attention until the very last second with its clever and powerful ending. The winner of the 2018 Live Action Short Jury Award goes to Caroline by Celine Held and Logan George. SPECIAL JURY MENTION Creme de Menthe (d: Jean-Marc E. Roy & Philippe David Gagné, Canada 2017) JURY STATEMENT: Unlike the liqueur for which it is titled, this film is bittersweet and complex, a poignant reminder of every grown child’s desire for parental validation, even posthumously. What the captivating lead finds instead are small victories amidst her “rush” to judgement and the rubble of her father’s later life. Our special mention award goes to the understated and masterful Creme de Menthe by Jean-Marc E. Roy and Philippe David Gagné. SPECIAL JURY MENTION The Victory of Charity (d: Albert Meisl, Austria 2017) JURY STATEMENT: This Austrian farce manages to create comedic gold with a mismatched pair of music professors: turning an act of charity–however maliciously motivated–into a hilarious treasure hunt around Vienna. For its endlessly humorous crafting of two endearingly ridiculous characters, on an earnest and equally ridiculous quest, we award a Special Mention to the short that left us in stitches, The Victory of Charity by Albert Meisl. DOCUMENTARY GRAND JURY PRIZE Juck [Thrust] (d: Olivia Kastebring, Julia Gumpert, Ulrika Bandeira, Sweden 2018) JURY STATEMENT: An unapologetic, empowering, and affecting call to action that demands attention. SPECIAL JURY MENTION The Driver is Red (d: Randall Christopher, USA 2017) JURY STATEMENT: An invigorating revelation of an important, lesser known part of history, full of inventive visuals and tension-filled storytelling ANIMATION GRAND JURY PRIZE Between the Lines (d: Maria Koneva, Russia 2017) JURY STATEMENT: A delightful and whimsical story from a skilled, emerging new voice in animation. SPECIAL JURY MENTION The Driver is Red (d: Randall Christopher, USA 2017) JURY STATEMENT: An invigorating revelation of an important, lesser known part of history, full of inventive visuals and tension-filled storytelling.
SIFF 2018 CHINA STARS AWARDS
CHINA STARS BEST FILM AWARD The Taste of Betel Nut (d: Jia Hu, p: Wei Sun, China 2017) CHINA STARS BEST FIRST FILM Dead Pigs (d: Cathy Yan, China/USA 2018) CHINA STARS BEST NEW TALENT Girls Always Happy (d: Mingming Yang, China 2018)
SIFF 2018 DOCUMENTARY FILM GRANT PROGRAM
The 2018 Clark Family Legacy Film Grant in the amount of $50,000 was awarded to Jordan Schiele for his film The Silk and the Flame and the Áegis Living Film Grant in the amount of $25,000 was awarded to Sarah Menzies for her film Afghan Cycles. These grants are given to documentary filmmakers who are working with excellence and integrity to bring important human stories to life. Both films were screened at this year’s Festival.
SIFF 2018 SCREENPLAY COMPETITION
GRAND PRIZE WINNER Youth Decay by Brandon Hall FINALISTS Anh Sang by Barry Brennessel Kibou by Cassie Hayasaka and Keith Hayasaka Plan B by Paige Gresty SEMI-FINALISTS Amelia Was Here! by Millie West Kelley’s Coffin by Jon Hartz Pale Souls by Michael Lavine The Rodeo King of Brooklyn by Paul Longo Seattle ‘94 by Charles Freeman Strange Trails by Jordan Short
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GIANT to Open and NY Premiere of OUT OF STATE to Close CCNY 5th The Americas Film Festival of NY

[caption id="attachment_29978" align="aligncenter" width="1200"] Giant (Handia)[/caption] Giant (Handia) will open the fifth annual The Americas Film Festival of New York (TAFFNY) – a cultural project of The City College of New York’s Division of Interdisciplinary Studies at the Center for Worker Education (CWE) – which runs from June 7 to 15, 2018. [caption id="attachment_24175" align="aligncenter" width="1200"] Out of State (d. Ciara Lacy)[/caption] TAFFNY closes on Friday, June 15 at 6 p.m. with the Awards Ceremony of The Americas Short Films Competition at the National Museum of the American Indian, which is followed by the New York premiere of Out of State by Native Hawaiian filmmaker Ciara Lacy. “Out of State” is a character-driven documentary that chronicles the experience of two men who find their cultural identity while housed in a private prison, thousands of miles from their island home of Hawaii. “TAFFNY is in its fifth edition and through the years it has been growing,” said Dr. Juan Carlos Mercado, dean of the Division of Interdisciplinary Studies. “This year, we wanted to honor the students and faculty of City College’s MFA program in film, one of the oldest film schools in the U.S. and the only public institution in New York City to offer a BFA in film. The film school was founded in 1941 by Dada artist and filmmaker Hans Richter and was originally the Institute for Film Techniques. Among the list of people who studied or took classes at CCNY’s film program are Woody Allen, Judd Hirsch, Stanley Kubrick, Jackie Mason, Richard Schiff, Eli Wallach and Ben Gazzara. TAFFNY aims to create a new culture of cinematography appreciation by providing a dynamic space for the public and artists to meet, reflect on multiculturalism and diversity in our society, while promoting the work of new and emerging filmmakers. TAFFNY presents feature-length films, documentaries and shorts and animations that represent the rich diversity of cultures, languages and stories of the Americas. The festival will also offer workshops, debates and lectures. It will host The Americas Short Film Competition, exclusively dedicated to the promotion and exhibition of short-length audiovisual works by emerging filmmakers. The Americas Short Film Competition is exclusively dedicated to the promotion and exhibition of short-length audiovisual works by emerging filmmakers. The festival’s competition will showcase films with a maximum length of 20 minutes that portray contemporary concerns of filmmakers living in the region. This year, TAFFNY screens 40 short films in competition for The Americas Award in the categories of animation, documentary, experimental and fiction. The Americas Panorama is an exciting program that will bring the richness of the cultures of The Americas through eight award winning, feature-length films in fiction and documentary. The films reflect the multiplicity of stories and identities that form the “American” experience, ranging from documentaries that explore the complexities of community in a globalized world to stories, both personal and social, of perseverance, memory and love. via CCNY
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47th Molodist Kyiv International Film Festival Awards: THE SAINT Wins Grand-Prix

The Festival Jury of the 47th Molodist Kyiv International Film Festival in Kyiv, Ukraine awarded the winners in 6 categories, along with the festival‘s Shoot&Play competition. The Grand-Prix of the festival for the best first full-length film, the Scythian Deer was awarded to Andrius Blaževičius for his film The Saint (Lithuania, Poland, 2016). Prize for best full-length film is awarded to Hlynur Pálmason for his film Winter Brothers (Denmark, Iceland, 2017). Special Jury Diploma of Full-Length Competition is awarded to The Load by Ognjen Glavonić (Serbia, France, Croatia, Iran, Qatar, 2018). Prize for Best Short Film is awarded to The Blissful Accidental Death by Sergiu Negulici (Romania, 2017). Prize for Best Student Film is awarded to Close Ties by Zofia Kowalewska (Poland, 2016). Special Jury Diploma of Student Films Competition is awarded to Ocean Swells by Sverre Matias Glenne (Norway, 2016). Teen Screen Competition Jury has awarded its prize to Half Ticket by Samit Kakkad (India, 2016). Special Jury Diplomas of Teen Screen Competition are awarded to Supa Modo by Likarion Wainaina (Kenya, Germany, 2018) and Behind the Blue Door by Mariusz Palej (Poland, 2016). Prize for Best Film in National Competition is awarded to Weightlifter by Dmytro Sukholytkyy-Sobchuk (Ukraine, Poland, 2018) – for virtuosic directing and impressive imagery. Special Jury Diplomas of National Competition are awarded to Unavailable by Nikon Romanchenko (Ukraine, 2017) – for delicate view and particular tone. And to The Wonderful Years by Svitlana Shymko and Galina Yarmanova (Ukraine, 2018) – for subtle display of an unknown world. Audience Award of the 47th Molodist KIFF went to the film Silent Night by Piotr Domalewski (Poland, 2016). The best film of Shoot&Play competition is Your Choice Will Benefit You by Anastasiia Khomenko. Prize for Best LGBTQ Film of Sunny Bunny competition program is awarded to The Heiresses by Marcelo Martinessi. Special Jury Diplomas of Sunny Bunny Competition Jury are awarded to The Cakemaker by Ofir Raul Graizer and Hard Paint by Filipe Matzembacher and Marcio Reolon. The Scythian Deer for the contribution to world cinematography was awarded to the German actor Jürgen Prochnow.
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NATHAN’S KINGDOM, Coming-of-Age Film on Autism, Premieres at Dances With Films Festival [Trailer]

Nathan’s Kingdom, a dramatic motion picture about one young man’s battle with autism and the fantasy world to which he and his sister escape, premieres on the West Coast at this year’s acclaimed Dances With Films Festival on Wednesday, June 13, 7:15 PM at TCL Chinese Theatres, Auditorium 1, 6925 Hollywood Blvd., Hollywood, CA 90028. Actors from the film, including writer-director Olicer Muñoz, will be in attendance. Jacob Lince, 24, takes away any preconceived notion of what an actor on the spectrum should “act” like, as his character, Nathan, leads the audience into a dark fantasy while he struggles with his teenage opiate-addict sister, Laura, (played by Madison Ford), his sole and loving caregiver. Rather than surrender to social services, Nathan and Laura risk it all to find “Nathan’s Kingdom” — as they battle monsters, endure mythical wars, and confront an underground civilization of ghouls — in hope of finding a fictitious kingdom with the potential to transform their lives forever. ”I was adamant that the title role of Nathan be played by an actor on the autism spectrum,” says the film’s writer-director-producer Olicer J. Muñoz, 38, who contacted the Performing Arts Studio West (PASW), a one of a kind non-profit and state-funded training facility for adults with developmental disabilities. Through the organization, Muñoz auditioned dozens of actors and discovered his lead actor, Lince. Muñoz began writing the script upon graduating with an M.F.A. from the prestigious American Film Institute (AFI). Earlier in his career, the bi-lingual (Spanish) filmmaker worked with Academy Award winner (“Scared Straight”), Emmy and Peabody Award winning producer Arnold Shapiro who instilled in Muñoz the golden rules of filmmaking. “Shapiro taught me how to master a story and allow the narrative to take on a life of its own. It was under his watch that I began writing and developing Nathan’s Kingdom,” says Muñoz, whose family hails from Mexico. Muñoz counts Oscar-winning directors Guillermo del Toro, Peter Jackson and Alejandro Gonzalez Inarritu as his directing role models. Nathan’s Kingdom was co-produced by Michelle Opitz who received her B.F.A. from Chapman University where she met Muñoz and later studied at the American Film Institute (AFI). Emily Beach (Brown Eyed Girls Productions) is also co-producer under Opitz’s and Beach’s banner. Visual effects, CGI animation, combined with live action and unique sound design enhance the highly stylized fantasy film sequences that reflect the inner workings of Nathan’s imagination. Nathan’s Kingdom had its world premiere in March 2018 at the Sedona International Film Festival where it won its prestigious “Director’s Choice – Heart of The Film Festival Award.” https://www.youtube.com/watch?v=yuDbF42I5l8
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Horror Film THE TOKOLOSHE to Open, LGTB Love-Story RAFIKI to Close 39th Durban International Film Festival

[caption id="attachment_29914" align="aligncenter" width="1200"] The Tokoloshe[/caption] A thriller/horror film and a LGTBI love-story have been selected respectively as the opening- and closing films of the 39th Durban International Film Festival (DIFF), which takes place from July 19 to 29, 2018. In a bold move to shift perceptions of how African stories can be told cinematically across genres, the DIFF has selected a South African debut thriller/horror feature The Tokoloshe, directed by Jerome Pikwane, for opening night and Kenyan director, Wanuri Kahiu’s tender story of lesbian love, Rafiki as its closing film. “With the current global focus on giving women a voice in a world dominated by masculinity and systemic misogyny, we wanted to book-end the festival with films that tell stories about woman, their strength and their survival. We also want to showcase, from a cinematic point of view, that there are many ways to tell these stories,” says Manager of DIFF, Chipo Zhou. [caption id="attachment_29920" align="aligncenter" width="1600"] The Tokoloshe, Jerome Pikwane[/caption] The Tokoloshe is directed by Jerome Pikwane, co-written with novelist Richard Kunzmann and produced by Dumi Gumbi and Cati Weinek of The Ergo Company. In The Tokoloshe, which stars Petronella Tshuma, Dawid Minnaar, Kwande Nkosi, Harriet Manamela and Yule Masiteng, a young woman, crippled by suppressed emotions, must find the courage to face an insatiable demon, wrought in her own childhood, when she tries to save the life of a girl-child abandoned in a rundown Johannesburg hospital. “Using the horror genre I wanted to investigate how we suppress trauma, and what happens when the trauma comes to the surface. In effect, the Tokoloshe in South African mythology has become a foil for abuse that is ingrained in our society, ” says director Jerome Pikwane. “And the characters, their journey, their relationships are the focus and not the beautiful shots nor the CGI, although we have that too.” “The film is not quite what one expects from its title, so I dare audiences to see beneath the surface,” says Zhou. “It is a horror film, crafted so intricately, unveiling the menace that is our everyday burden as woman in this country. But the film depicts the story of a survivor, not a victim. It is a chilling story, one that needs to be told now and is particularly relevant as it gives voice to the voiceless.” [caption id="attachment_29915" align="aligncenter" width="1199"] Rafiki[/caption] Closing film Rafiki, directed by Wanuri Kahiu, produced by Steven Markovitz (SA) and starring Samantha Mugatsia and Sheila Munyiva, is a touching tale of two very different girls living in Nairobi, who fall in love. Co-written with Jenna Bass (SA), the film was the first Kenyan feature film to be invited to Cannes Film Festival 2018 as part of the Official Un Certain Regard selection, and was a project in the 2012 Durban FilmMart. “Over the years of developing this film, we have seen worrying developments in the anti-LGBTI climate in East Africa,” says director Wanuri Kahiu. “Local films and international TV shows have been banned because of LGBTI content. This has muffled conversations about LGBTI rights and narrowed the parameters of freedom of speech. My hope is that the film is viewed as an ode to love, whose course is never smooth, and as a message of love and support to the ones among us who are asked to choose between love and safety. May this film shout where voices have been silenced.” [caption id="attachment_29917" align="aligncenter" width="1200"] Rafiki[/caption] “We are delighted to be able to screen Rafiki at DIFF,” says Zhou. “The film speaks to the issues of patriarchy that has led the film to be banned in its own country, and closes a festival with a programme packed with films dealing with a host of current challenges that those marginalised in our society, and especially woman, are “loudly” grappling with.” “At this time alongside the #MeToo and, closer to home, the “#ItsNotOk campaigns, that seek to expose the perpetrators of violence against woman, these films bookend a conscious and carefully curated selection of cinematic themes that also run as threads through the Durban FilmMart and through our new Isiphethu industry programme for emerging and micro-budget filmmakers.” DIFF opens at The Playhouse on July 19 and runs until July 29. The closing film is on July 28.
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Diverse Films from 19 Countries on 2018 Stony Brook Film Festival Program

[caption id="attachment_29880" align="aligncenter" width="1200"] Aurora Borealis: Északi fény[/caption] The 2018 Stony Brook Film Festival presented by Island Federal Credit Union presents films of great diversity this summer, both in their themes and their settings. The schedule for the ten-day Festival, held at Staller Center at Stony Brook University from July 19-28, is available online at stonybrookfilmfestival.com. Alan Inkles, founder and director of the Stony Brook Film Festival, comments, “Films from nineteen different countries, from Scotland to Spain, Argentina to Afghanistan, and coast to coast across the United States, promise to take filmgoers on an extraordinary journey. We have carefully curated this Festival to give patrons a great mix of the best in new independent films. Many filmmakers and actors are coming to the Festival to represent their films and will take the stage for questions and answers. It’s a highlight of the Festival to hear from them.” This year the Stony Brook Film Festival travels from a war-torn past to an embattled future, from light-hearted comedies to heart-stopping thrillers, and from modern class struggles to sexual abuse stories that feel straight out of the #MeToo movement. Some of the films take place over decades, while others unfold in real time. There are social-media addicted mobsters, Shakespearian partygoers, and a shoe-stealing soccer prodigy. The opening night film, Shelter, is an international spy thriller from returning filmmaker Eran Riklis (Lemon Tree, Zaytoun) that follows an Israeli agent protecting a Lebanese informant in Germany, and features actress Golshifteh Farahani (best known to U.S. audiences from Paterson, and to Stony Brook audiences from My Sweet Pepperland and About Ella) as well as acclaimed Israeli actress Neta Riskin. (Thursday, July 19 at 8:00 pm) The closing night film, Aurora Borealis: Északi fény, was directed and co-written by the incredible Márta Mészáros, who—with 65 directing credits to her name going all the way back to 1954—is one of Hungary’s most accomplished female directors. A film that is part mystery and part war-drama, it not only uncovers atrocities during the Soviet occupation of Hungary, it also confronts secrets from the past and the measures people will take to protect those they love. (Saturday, July 28 at 8:00 pm)
Premieres at the Stony Brook Film Festival
The World Premiere of Dean Darling on Saturday, July 21st at 4:00 pm is an ambitious, coming-of-age drama created by local, Long Island talent and shot entirely in Smithtown and Coney Island on a miniscule budget. The film was written and directed by Calogero Carucci and features Douglas Towers, Joel Widman and Allison Frasca. [caption id="attachment_29879" align="aligncenter" width="1200"] The Etruscan Smile[/caption] Acclaimed actor Brian Cox returns to the Stony Brook Film Festival in the U.S. Premiere of The Etruscan Smile, in which a rugged, old Scotsman who has reluctantly left his beloved Scottish Isle for medical treatment finds his life transformed by a new-found bond with his baby grandson. This gem also stars Thora Birch, JJ Field, and Roseanna Arquette, with several of the actors planning to be in attendance at the 9:30 pm screening on Saturday, July 21st. Other U.S. Premieres include Octav, a nostalgic, life-affirming story from Romania (Saturday, July 21st at 7:00 pm), Outdoors, a captivating film about a city couple building a home in the country from Israel (Tuesday, July 24 at 7:00 pm), Growing Up, a riotous, romantic comedy from Spain (Friday, July 20 at 9:30 pm), and A Dysfunctional Cat, a quirky story about two Iranians navigating their arranged marriage—and a very bizarre cat—while living in Germany (Wednesday, July 25 at 7:00 pm).
Female Filmmakers at the Stony Brook Film Festival
Fourteen films are by female directors, with Growing Up written and directed by Spanish filmmaker Clara Martínez-Lázaro, and A Dysfunctional Cat, written and directed by Iranian-German filmmaker Susan Gordanshekan. Another female-helmed feature, The Tale, has writer and director Jennifer Fox recounting her personal story of sexual abuse at a very young age in an intense, unnerving and cathartic work starring Laura Dern, Elizabeth Debicki, Ellen Burstyn and Isabelle Nélisse (Friday, July 27 at 7:00 pm). Other women filmmakers include writer and director Isabel Coixet, whose film The Bookshop was adapted from the novel by Penelope Fitzgerald about a widow who puts her grief behind her and opens a bookshop in a small, seaside town in England (Friday, July 20 at 7:00 pm). Virna Molina, who co-wrote and co-directed Symphony for Ana, recounts the struggle of high school students during the bloodiest coup d’etat in Argentina (Thursday, July 26 at 7:00 pm). Writer and director Samantha Davidson Green, whose Thrasher Road is a big-hearted father/daughter road trip, screens on Sunday, July 22 at 9:30 pm. Skye Borgman, director of the documentary Abducted in Plain Sight, recounts the absolutely bizarre double-kidnapping of Jan Broberg in the 70’s (Sunday, July 22 at 4:00 pm). Female-directed short films have been chosen that will stretch boundaries and touch hearts– shorts by Amy Wang, writer/director/actress Ashley Grace, Tesia Walker, Jackie L. Stone, and Helen Crosse.
Films with Heart and Films with Guts
Other selected films include My Brother Simple, a heart-warming and humorous story about a young man trying to take custody of his mentally-handicapped adult brother, screening on Sunday, July 22 at 7:00 pm. The Guilty, an edge-of-your-seat thriller from Denmark that takes place entirely in an alarm dispatch facility, screens on Monday, July 23 at 9:30 pm. Trauma, an intense documentary about the medics and pilots of a US Black Hawk medevac unit in Afghanistan screens on Tuesday, July 24 at 9:30 pm. Wednesday, July 25 at 9:30 pm showcases Funny Story, a dark comedy about a womanizing former TV star trying to reconnect with his estranged daughter. The emotional journey of A Boy, A Girl, A Dream unfolds in real time against the backdrop of the 2016 Presidential election on Thursday, July 26 at 9:30 pm. Other shorts include stories about a young woman with cerebral palsy falling in love, an Israeli patient finding out she has an Arab doctor, a foreman protecting her workers from the Department of Labor, and a law school student trying to explain a rather dire situation to police detectives. Images credit: The Etruscan Smile (Rosanna Arquette and Brian Cox pictured), photo credit: Po Valley Productions Aurora Borealis: Eszaki feny (Closing Night feature, Franciska Töröcsik pictured) photo credit: The Hungarian National Film Fund
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Pawel Pawlikowski’s COLD WAR to Open 2018 Sarajevo Film Festival [Trailer]

Cold War by Oscar-winning director Pawel Pawlikowski, winner of the Best Director Award at this year’s Cannes Film Festival will open the 24th edition of Sarajevo Film Festival on August 10th. Cold War is a passionate love story between two people of different backgrounds and temperaments, who are fatally mismatched and yet fatefully condemned to each other. Set against the background of the Cold War in the 1950s in Poland, Berlin, Yugoslavia and Paris – the film depicts an impossible love story in impossible times. Staring in the film are Tomasz Kot, Joanna Kulig, Agata Kulesza, Jeanne Balibar and Cédric Kahn. A day after the screenings, the festival-goers will have a chance to talk with Pawlikowski within the Festival’s Coffee with… program. Pawel Pawlikowski was born in Warsaw and left Poland at the age of fourteen first for the UK, Germany and Italy, before finally settling in the UK in 1977. He studied literature and philosophy in London and Oxford. Pawlikowski started making documentary films for the BBC in the late 1980s. His documentaries, which include FROM MOSCOW TO PIETUSHKI, DOSTOEVSKY’S TRAVELS, SERBIAN EPICS, and TRIPPING WITH ZHIRINOVSKY, have won numerous international awards including an Emmy and the Prix Italia. In 1998, Pawlikowski moved into fiction with a low budget TV film, Twockers, which was followed by two full-length features, Last Resort and My Summer of Love, both of which he wrote and directed. Both films won British Academy of Film and Television Arts (BAFTA) awards, as well as many others at festivals around the world. He made The Woman in the Fifth in 2011, and his most recent film, IDA, won the 2015 Foreign Language Academy Award, five European Film Awards, a Bafta and a Goya, among many other prizes. Pawlikowski returned to Poland in 2013 while completing Ida. He currently lives in Warsaw and teaches film direction and writing at the Wajda School. Pawlikowski visited Sarajevo in 2014 to present his film IDA at the 20th Sarajevo Film Festival, film that won the Oscar for best foreign language film. https://vimeo.com/271271263
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French Filmmaker Bruno Dumont to Receive Pardo d’onore Manor Award at Locarno Festival

French filmmaker Bruno Dumont will receive the Pardo d’onore Manor award at the 71st Locarno Festival. Dumont will be a guest at the Festival in Piazza Grande on Saturday August 4 for the world premiere of the miniseries Coincoin et les z’inhumains. Born in Bailleul in the French part of Flanders in 1958, Bruno Dumont is one of the most original directors on the international scene today. Many of his films have proved controversial during a career stretching back over two decades, in which he has focused his rigorous, austere and uncompromising gaze on the mystery that lies within the reality of daily life, meticulously exploring the question of the existence of evil and the banal forms it can take. Dumont made his directing debut at the age of 38 with his first full-length feature, La vie de Jésus (1997), shot in his own native city of Bailleul. It was an immediate success, bringing him a César nomination for best first film and also a special mention in the Caméra d’or section at Cannes, where it was selected for the Directors’ Fortnight. Dumont carried on his highly personal cinematic research in his second full-length feature L’Humanité (1999), which won the Grand Prix at Cannes. In 2003 Dumont moved away from locations in Northern France for the first time to make his third film Twentynine Palms (2003), set in California. He returned to France to make Flandres (2006), which brought him his second Grand Prix at Cannes. Mystery is central to Dumont’s idea of cinema: in Hadewijch (2009) and Hors Satan (2011) he once again explored the sacred through the everyday. In 2012 Dumont made Camille Claudel 1915, on aspects of the life of the noted French sculptress, with Juliette Binoche in the title role. The film was presented at the Berlinale in 2013. Dumont began working for television with the series P’tit Quinquin (2014), which aired on ARTE. The move also brought humor into Dumont’s filmic world for the first time, a shift in genre which he repeated in his next feature film Ma Loute (2016), a blend of comedy and drama shown in competition at Cannes in 2016. The next change of tone was even more extreme, as the filmmaker tackled the challenge of a rock musical with Jeannette, l’enfance de Jeanne d’Arc (2017), based on a play by Charles Péguy. During the 71st Locarno Festival Dumont will be presenting his new miniseries Coincoin et les z’inhumains, due for theatrical release in Switzerland and screening on ARTE in September. Carlo Chatrian, Artistic Director of the Locarno Festival: “Bruno Dumont is one of those directors who best typify 21st century cinema. His films are deeply rooted in philosophical, literary and film tradition and yet are forward-looking at the same time; they are the best possible riposte to those who claim that the cinema has nothing left to discover. His films are essays on men and women, on the absurdity intrinsic to existence, but also on the eternal problem of evil. They are also exhortations not to cease thinking about such issues, even when the noise from the images all around us becomes deafening. Dumont’s presence in Locarno will provide an opportunity to look back over some of the stages in his remarkable career and also, first and foremost, to discover the sequel to the series which took the Directors’ Fortnight by storm four years ago. I can’t think of a better way for miniseries to make their Piazza Grande debut than with this offering that combines slapstick comedy with a political message.” Bruno Dumont will receive the Pardo d’onore Manor award in Piazza Grande on the evening of 4 August. The Festival tribute will also include screenings of several titles in his filmography to date. On Sunday 5 August the Festival audience will also be able to see the filmmaker in a panel discussion at the Spazio Cinema. Recipients of the Pardo d’onore award at past Festivals include Samuel Fuller, Jean-Luc Godard, Ken Loach, Sydney Pollack, William Friedkin, Jia Zhang-ke, Alain Tanner, Werner Herzog, Agnès Varda, Michael Cimino, Marco Bellocchio, Alejandro Jodorowsky and, in 2017, Jean-Marie Straub and Todd Haynes. The Pardo d’onore is supported by Swiss department store chain Manor. The 71st Locarno Festival will take place from 1 to 11 August 2018.
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