Filmmaking

  • Montclair Film Announces Student Winners of 2017 Emerging Filmmaker Competition

    Stephen Colbert and Steve Carell Montclair Film Festival Montclair Film announced the winners of the 2017 Emerging Filmmaker Competition (EFC), a program that screens work by students in grades 4-12 from the Tri-State Area and beyond.  This year, over 90 films were submitted in three categories: Cinemaniacs (grades 4-6), Storytellers (grades 7-9), and Visionaries (grades 10-12). Winning films were selected by a group of educators and industry professionals, and all winning films will be screened at the Montclair Film Festival’s EFC Showcase on Saturday, April 29, at 11:00 a.m. at the Wellmont Theater in Montclair, NJ. Montclair Film has also selected 15 students from across the area to participate in the Montclair Film Festival’s Junior Jury. The jurors will review a selection of films, meet with industry professionals to learn about the process of jury deliberation, adjudicate, and select a winning film for the festival’s Junior Jury Award, to be given on Saturday, May 6th, 2017. The Montclair Film Festival, in conjunction with the Montclair Special Education Parents Advisory Council (SEPAC), will also be featuring two Sensory Friendly screenings for families this year. Sensory friendly screenings feature lowered sound, raised house lights, and the freedom for young people with sensory sensitivities to move, speak, and view films in a friendly, judgement-free environment. This year’s screenings will be INTO THE WHO KNOWS!, screening Sunday, April 30 at 11:00 a.m. at the Clairidge (suggested for children ages 6 and up), and SWIM TEAM on Friday, May 5 at 4:30 p.m. at the Bellevue (suggested for ages 12 and up). The Montclair Film Festival will also feature a public art reception on Saturday, May 6 at 2:00 p.m. at the Investors Bank Film & Media Center, showcasing a collaborative student Air/Water Art Installation, co-presented by the Montclair Cooperative School that focuses on this year’s Community Climate Action Campaign. The piece, featuring thousands of re-purposed plastic bottles and mixed materials, will be on display throughout the Montclair Film Festival on the rear façade of the building, located at 505 Bloomfield Avenue. The reception is free and open to the public. “As our Education programs continue to grow, we’re incredibly proud of these students, both as filmmakers and film lovers,” said Montclair Film Education Director Sue Hollenberg. “We remain dedicated to creating meaningful experiences for students of all ages, and the diversity and reach of these programs are a demonstration of our commitment to teaching the art of film. We congratulate all of our students on their outstanding work.”

    2017 EMERGING FILMMAKER COMPETITION WINNERS

    Cinemaniacs (Grades 4-6) Grand Prize Narrative GREAT AUNT’S DISGUISE Hanmer Elementary Liv Hammer Cora Tinker Edie Carson Grand Prize Comedy HOW TO MAKE A FILM FOR DUMMIES The Pingry School Jordan Miller Vared Shmuler Jenna Hauser Meher Khan Storytellers (Grades 7-9) Grand Prize Comedy & Grand Prize Narrative SOCK MONSTER Middletown High School South Victoria Pater Courtney Voehl Olivia Parauda Cassidy Anontucci Milla Shinder Erik Pedersen Special Jury Prize Comedy BULLFROG Union Catholic Regional High School Zachary Reichgut Grand Prize Experimental IMPERCEPTIBLE Montclair Kimberley Academy Luke Gardiner Grand Prize Documentary PROJECT IDENTITY South Orange Middle School Alex Ferrandiz Sam Cohen Lucia Garritano Robin Kalderen Ray Feinleib Visionaries (Grades 10-12) Grand Prize Comedy TINY Middletown High School South Matt King Special Jury Prize Comedy (tie) THE INDUBITABLE MOLLY DAVIS Montclair Kimberly Academy Lily Jones Special Jury Prize Comedy (tie) PLANET OF THE DOGS Montclair High School Owen Plofker Grand Prize Experimental 1600 Middletown High School South Charlotte Larish Lisa Merola Maria Dragone Sage Levine Special Jury Prize Experimental THE SEARCH FOR HAPPINESS Columbia High School Jacob Hirsch Grand Prize Narrative PERSONAL SPACE Montclair High School Lucia Ledesma Aidan Champeau Jake Weinberg Lilli Herrick Jacob Manthy Petra Fox Jake Diamond Special Jury Prize Narrative (tie) BLACK & WHITE REVENGE Montville Township High School David Champion Jeff Gallup Heather Giudice Samantha Grossman Alec Grossman Jack Motherway Paul Riccio Veronica Tullo Special Jury Prize Narrative (Tie) FIND Morristown High School Kylee Strasser Grand Prize Documentary & Social Impact XENOPHOBIA The Hudson School Sean Riller-Miltner Special Jury Prize Documentary LOVE SHOULDN’T HURT Montclair High School Blythe Bahramipour Special Jury Prize Social Impact BEHIND CLOSED DOORS Passaic County Technical Institute Tiffany Cano Special Jury Prize Social Impact THE HURDLE Passaic County Technical Institute Tyrese Watkins THE 2017 JUNIOR JURY Abby Berberian, Bridgewater Raritan High School Aidan Champeau, Montclair High School David Chun, Millburn Alison Cottingham, Montclair Kimberley Academy Tyrell Dickerson, Academy 360 Soula Garcia, Bloomfield High School Hank Greenberg, Montclair High School Jackson Healey, Middletown High School South Kianni, Keys, Newark Academy Reymond Lamb, Montclair High School Noah Levine, Livingston High Daniel Mathis, Montclair High School Gabrielle Narcisse, Kent Place School Sophia Raines, West Orange High School Kayleen Silva, Ridgefield Park

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  • ‘8 BORDERS, 8 DAYS’ and ‘SWEETHEART DEAL’ Win True Productions + SIFF Documentary Filmmakers Grants

    [caption id="attachment_21780" align="aligncenter" width="1200"]8 BORDERS, 8 DAYS - Amanda Bailly Sham, Yaman and Lulu in Lesbos, Greece, September 2015 (Amanda Bailly) (8 BORDERS, 8 DAYS – Amanda Bailly)[/caption] Amanda Bailly’s film 8 BORDERS, 8 DAYS and co-directors Elisa Levine and Gabriel Miller’s film SWEETHEART DEAL have been awarded filmmaking grants  in the 2016 True Productions + SIFF $50,000 Documentary Filmmakers Grant program. True Productions founder Dwayne Clark, and his wife Terese Clark, have generously pledged to underwrite an annual $50,0000 grant for three years, this being the second year. “We are committed to producing true stories and both these documentaries touch our hearts. Both my wife and I are children of immigrants and we understand the plight of the immigrant. But we are especially touched by those seeking refuge from violence. In addition, when it comes to the topic of heroin addiction, we see Seattle and nearby communities struggling with solutions. We hope by supporting SWEETHEART DEAL, that we can keep the problem top of mind and perhaps spark more conversations around prevention,” said Dwayne Clark. “I am so grateful to True Productions + SIFF for investing in the story of this single Syrian mother and her children, who had no other option but to travel in a raft across the sea with smugglers,” director Amanda Bailly said. “It is through human stories like this one that I hope our country can understand what it means to close our doors to the millions of people in need of refuge.” 8 BORDERS, 8 DAYS is the story of one woman’s personal revolution in the context of one of the greatest human rights crises of our time. The film weaves between the intimate story of a fierce single mother of two from Syria, and an immersive experience of their eight-day journey to safety. Elisa Levine and Gabriel Miller’s film SWEETHEART DEAL, produced by Peggy Case, follows the lives of four women whose lives are ruled by heroin, and there is no help in sight – except from a ponytailed eccentric living in a Winnebago parked on Seattle’s notorious Aurora Avenue. “When Mary Ellen Mark and Martin Bell made STREETWISE back in 1984, they chose Seattle because it was considered America’s most livable city. They wanted to show that if the issue of homeless kids could be a problem in wholesome Seattle, it had to be a problem everywhere. The same holds true today for heroin addiction,” director Elisa Levine said. “This incredible support from True Productions + SIFF comes at a crucial point in our post-production process. We so look forward to sharing SWEETHEART DEAL with SIFF audiences when it is completed.” “Continuing with our second consecutive year, we are thrilled to have selected two powerful documentaries for the True Productions + SIFF Documentary Filmmaking Grant,” said Interim Artistic Director Beth Barrett. “8 BORDERS, 8 DAYS and SWEETHEART DEAL have tackled the issues of immigration and heroin addiction with such grace and thoughtfulness, and thanks to the dedication of Dwayne and Teresa Clark and True Productions, both films will be equipped with the necessary tools for launching into the festival and exhibition world.”

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  • Filmmakers: The Academy Launches 2017 Student Academy Awards Competition

    [caption id="attachment_21755" align="aligncenter" width="1200"]The Academy of Motion Picture Arts and Sciences presented its 43rd Annual Student Academy Awards® on Thursday, September 22, in Beverly Hills. Pictured (left to right): Foreign Animated film winner Ahmad Saleh, Animated film winner Echo Wu, Animated film winner Carter Boyce and Animated film winner Alicja Jasina. The Academy of Motion Picture Arts and Sciences presented its 43rd Annual Student Academy Awards® on Thursday, September 22, in Beverly Hills. Pictured (left to right): Foreign Animated film winner Ahmad Saleh, Animated film winner Echo Wu, Animated film winner Carter Boyce and Animated film winner Alicja Jasina.[/caption] The Academy is now accepting entries for its 2017 Student Academy Awards® competition. All Student Academy Award® winners become eligible for Oscars® consideration. The entry deadline for submissions is Thursday, June 1. New this year, the competition has expanded to allow two options for students at international film schools to submit their films. In addition to CILECT-member schools submitting one student film per international film school category, international students may now enter films that qualify through film festivals recognized by the Student Academy Awards Executive Committee. The U.S. competition is open to all full-time undergraduate and graduate students whose films are made within the curricular structure of an eligible accredited institution. For the third year, students are asked to submit their films online using FilmFreeway, a widely used festival and competition platform. The 44th Student Academy Awards presentation will be held on Thursday, October 12, at the Academy’s Samuel Goldwyn Theater in Beverly Hills. Past winners have gone on to receive 57 Oscar nominations and have won or shared 10 awards. This year one 2016 Student Academy Award winner received an Oscar nomination in the Documentary Short Subject category: Daphne Matziaraki, a Gold Medal winner in the Documentary category for “4.1 Miles.” Past Student Academy Award winners include acclaimed filmmakers Pete Docter, Cary Fukunaga, John Lasseter, Spike Lee, Trey Parker and Robert Zemeckis. In 1972, the Academy established the Student Academy Awards to provide a platform for emerging global filmmakers by creating opportunities within the industry to showcase their work.

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  • Film Independent Selects 10 Indie Filmmakers for 2017 Documentary Lab + Launches Fiscal Sponsorship Program

    [caption id="attachment_21677" align="aligncenter" width="1200"]Brooklyn/Alaska, Erica Sterne Brooklyn/Alaska, Erica Sterne[/caption] 10 filmmakers and six projects have been selected for Film Independent’s 2017 Documentary Lab.  The 2017 Doc Lab is a five-week intensive program designed to support filmmakers who are currently in post-production on their feature-length documentaries. “We’re thrilled to bring together this group of talented filmmakers for the seventh year of our Documentary Lab and provide them with career support and mentorship that will help elevate their unique visions and fully realize the potential of their stories,” said Kushner. This year’s Documentary Lab Advisors and Guest Speakers include Jennifer Arnold (Tig, A Small Act); Nels Bangerter (Editor, Cameraperson); Peter Broderick (President, Paradigm Consulting); Greg Finton (Editor, He Named Me Malala); Keith Fulton (The Bad Kids); Simon Kilmurry (Executive Director, International Documentary Association); Peter Nicks (The Force); Lou Pepe (The Bad Kids); and Chris Perez (Partner, Donaldson + Callif LLP). The organization also launched its new Fiscal Sponsorship Program, open to all types of eligible projects at every stage including documentary and fiction films and interactive media. Fiscal sponsorship is a legal arrangement between a 501(c)3 and an independent artist that gives them the eligibility to apply for grants and solicit tax-deductible donations for their project. “In response to what our members have told us they need, we’re happy to deepen our support by offering Fiscal Sponsorship, helping filmmakers gain access to new sources of project funding,” said Jennifer Kushner, Director of Artist Development. The 2017 Documentary Lab projects and Fellows are: Brooklyn/Alaska, Erica Sterne – director/producer Teenage boys from tough Brooklyn neighborhoods discover the natural world on an unlikely adventure through the remote Alaskan wilderness and are transformed by the physical and emotional challenges encountered along the way. Minding the Gap, Bing Liu – director/producer, Diane Quon – producer Bing, a 25-year-old Chinese-American skateboarder and filmmaker, returns to his hometown and reconnects with two skateboarders: Keire, an African-American 17-year-old and Zack, a white 23-year-old, who all share a history of childhood trauma. Over the next three years, their freewheeling lives unravel as they figure out who they hope to be. Shadow of His Wings, Lucas Habte – director/producer, Isidore Bethel – producer/editor Hoping to understand his Ethiopian father’s history of forced migration, an American filmmaker moves to Addis Ababa and falls in love with a young man who soon must flee homophobic death threats at home to become France’s first LGBT refugee from Ethiopia. A Taste of Sky, Michael Lei – director/producer In the dizzying heights of Bolivia’s capital of La Paz a gastronomical revolution is offering the possibility of hope to the country’s impoverished youth. We follow the trials and tribulations of GUSTU, the innovative cooking school and world-class restaurant of South America’s poorest country. A Woman’s Work, Yu Gu – director, Elizabeth Ai – producer Football and feminism collide in this feature documentary that follows three former NFL cheerleaders as they battle against their former teams and the NFL to reverse 50 years of illegal employment practices. Waiting for Kate…(female is not a genre) Amy Goldstein – director/producer, Anouchka van Riel –producer Waiting for Kate…(female is not a genre) takes us on the roller coaster of contemporary pop stardom, with an unprecedented inside look at the euphoric highs and destructive lows on the cutting edge of today’s music industry. image via Brooklyn/Alaska, Erica Sterne

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  • 11 Indie Filmmakers Awarded “Filmed in NC” Grants

    Cucalorus Film Foundation Eleven indie filmmakers have been awarded “Filmed in NC” grants, an initiative to support indie filmmakers in North Carolina. The grants are funded by the NC Film Office and awarded through the Cucalorus Film Foundation.  The eleven projects awarded range from narrative features to short docs and were chosen from 59 submissions. Embracing the diversity of the film industry, the “Filmed in NC” Grants are supporting five female directors, three projects from African American filmmakers, and one genderqueer filmmaker. Filmmakers will present a portion of their ongoing work at the 23rd annual Cucalorus Film Festival, taking place November 8 to 12, 2017. Grant recipients are: Alex Nomick for Sweet Nothing, a narrative about a college student struggling with his sexuality; Alicia Inshiradu for What The River Knows, a short chronicling the six months of a young married couple’s tragic life; Anna R. Jones for Chairman Jones – An Improbable Leader, a documentary about North Carolina’s first African American school board chairman; Anthony Reynolds for Times Like Dying, a feature about a vengeful farming family; Brendan & Jeremy Smyth for Mohmmed, a poetic look into forgotten refugees; Christopher Baker for Sarah’s Big Day, about a girl and her imaginary friend; Joanne Hock for Martin Hill: Camera Man, a documentary about an obsessed hoarder of filmmaking tools; Katina Parker for A Love Supreme: Black, Queer and Christian in The South, documenting the journey to reconcile Black Queer Christians with their families; Laura Hart McKinny for Extraordinary Ventures, a story of employment of teens and adults on the autism spectrum; Molly Lewis for Paradise: Downhill Skateboarding, about the downhill skateboarding culture of Western North Carolina; Ricky Kelly for Black Beach/White Beach: A Tale of Two Beaches, about the racial tensions that arise in Myrtle Beach during two national bike festivals every spring.

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  • Michael Almereyda Wins San Francisco Film Society Inaugural Sloan Science in Cinema Fellowship

    [caption id="attachment_20485" align="aligncenter" width="800"]Michael Almereyda Michael Almereyda[/caption] The San Francisco Film Society has selected Michael Almereyda as the inaugural recipient of the Sloan Science in Cinema Filmmaker Fellowship, which will support the development of the screenplay for his upcoming narrative feature project about Nikola Tesla. The Sloan Science in Cinema Filmmaker Fellowship is funded by the Alfred P. Sloan Foundation as part of their support of programs that cultivate and champion films that explore scientific or technological themes and characters. Under the auspices of its Artist Development program, the SF Film Society will award fellowships to filmmakers developing screenplays that tell stories related to science or technology. The Sloan Science in Cinema Filmmaker Fellowship will be awarded twice annually, and include a $35,000 cash grant and a two-month residency at FilmHouse, the Film Society’s suite of production offices for local and visiting independent filmmakers. Fellows will gain free office space alongside access to weekly consulting services and professional development opportunities. The Film Society will connect each fellow to a science advisor with expertise in the scientific or technological subjects at the center of their screenplays, as well as leaders in the Bay Area’s science and technology communities. In addition to the residency and grant, the Film Society’s Artist Development team will offer industry introductions to producers and casting, financing, and creative advisors — investing in fellows from early script development stages through to release. Additional filmmaker support programs include the SF Film Society / Kenneth Rainin Foundation Filmmaking Grant, the Documentary Film Fund and full-year FilmHouse residencies. “I’m grateful for the ongoing support and encouragement of the San Francisco Film Society and the Sloan Foundation,” said Almereyda. “I’m looking forward to spending time in San Francisco, meeting with advisors in the area and having access to the city’s rich cultural resources.” Michael Almereyda dropped out of college to pursue filmmaking, and wrote his first screenplay about Nikola Tesla, the very subject he returns to now. His films have alternated between fiction and documentary, and (with very few exceptions) have been self-generated, independent productions. Almereyda has received numerous awards and prizes, including a Guggenheim Fellowship for film/video in 2005, and a Creative Capital Grant for filmmaking in 2014. He has participated in five residencies at the MacDowell Colony in New Hampshire, most recently in 2015. Almereyda’s writing on film has appeared in the New York Times, Film Comment, Artforum, and booklets for the Criterion Collection. His film credits include Hamlet (2000), William Eggleston in the Real World (2005), Paradise (2009), Experimenter (2015), and Marjorie Prime, which premiered at the 2017 Sundance Film Festival and was awarded the Sloan Feature Prize. Tesla tracks the struggles and achievements of Nikola Tesla — one of the most brilliant and innovative scientific minds of his time — from his arrival in the US in 1884 to his solitary death in a New York hotel room in 1943. The story chronicles Tesla’s earliest patents and prototypes, his manufacturing partnership with George Westinghouse, and the fierce “Battle of the Currents” that brought Tesla’s ideas for alternating current head to head with the direct current system favored by Thomas Edison. Celebratory exhibitions at the 1893 World’s Fair lead to a coveted commission to design the titanic power station harnessing the force of Niagara Falls. Yet even at the peak of his fame and success, Tesla sets out to explore more radical ideas — the first applications of radio and radio-controlled machines, and the transmission of energy without wires. The film will highlight the glorious possibilities brought forth by technological advances while also admitting their limits, measured against the abiding mysteries of human feelings and desires. Applications are now being accepted for the next round of the Sloan Science in Cinema Filmmaker Fellowship. The early deadline for applications is April 18; the final deadline is April 25. Visit San Francisco Film Society for more details.

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  • 8 Female Filmmakers Selected for 2017 AFI Conservatory Directing Workshop for Women

    [caption id="attachment_20475" align="aligncenter" width="1200"]AFI 2016 Honorary Degree recipient Rita Moreno AFI 2016 Honorary Degree recipient Rita Moreno[/caption] The AFI Conservatory Directing Workshop for Women (DWW) — AFI’s filmmaker training program committed to increasing the number of women working as directors and showrunners in film and television — has revealed the eight participants for 2017–2018.   Following a recent kick-off event on the AFI Campus with DWW’s 2017 Distinguished Artist, filmmaker Paul Feig (BRIDESMAIDS, GHOSTBUSTERS, SPY and a four-time Emmy® nominee for TV’s THE OFFICE), the Class of 2018 will embark on a year of mentorship, collaboration and creation to make a short film or series — all in preparation for professional success in narrative directing. Feig, a longtime champion of female creators through his film and television work and his production banner Feigco Entertainment, fielded questions from the incoming DWW participants in an intimate meet-and-greet on Friday, February 3, on campus. “To meet with this amazingly impassioned group of diverse, talented filmmakers is a dream come true,” said Feig. “I salute the AFI for their strong support of female storytellers. We need their voices more than ever.” The DWW Class of 2018 filmmakers are: Beth de Araújo, Georgia Fu, Milena Govich, Tiffany Johnson, Katrelle Kindred, Nancy Mejía, Gandja Monteiro and Lorraine Nicholson. BETH DE ARAÚJO A dual citizen in the U.S. and Brazil, Beth de Araújo was born in San Francisco to a Chinese-American mother and a Brazilian father. She acquired a soccer scholarship to UC Berkeley, where she studied institutions, behavior and poetry, graduating with a BA in Sociology. She also spent a semester abroad at Hong Kong University creating an independent study focused on gender, sexuality and religion. She discovered she wanted to be a storyteller, leading her to acquire her MFA in Screenwriting at the AFI Conservatory. Her most recent screenplay, “I Want to Marry a Creative Jewish Girl,” based on her Gawker essay, won Best Screenplay Runner-up in the HollyShorts 2016 Screenplay Competition. Her latest short film as director/writer, INITIATION, premiered in September 2016 at the Oscar®-qualifying Los Angeles Shorts Film Festival. Currently, de Araújo is a staff writer/associate producer on a new one-hour comedy anthology series for Lifetime Movie Network, MY CRAZY SEX, which will premiere in early 2017. She will also make her TV directorial debut on two episodes of the series. GEORGIA FU Georgia Fu was born in Taipei, Taiwan, but immigrated to California with her parents when she was two years old. She found cinema as a way into understanding American culture, and ever since has had an avid passion for seeing life through the lens of film. For her undergraduate degree, she attended New York University’s (NYU) Tisch School of the Arts for Cinema Studies with a minor in East Asian Studies. In college, she gained valuable film experience working for the production company ThinkFilm and producer Barbara De Fina (GOODFELLAS). After college, she spent more than a year in Taiwan taking on the important task of relearning her native language, Chinese, at National Taiwan University. After Taiwan she was able to continue her passion for moving around the world, living in Paris and Hong Kong, while working at the photo desk at the International Herald Tribune. After her stint in journalism, she returned to her love of film by pursing her graduate degree at NYU’s Tisch Asia in Singapore. While at Tisch Asia, she made the short film GIGANTIC (2012), which screened at the Slamdance Film Festival and Chicago International Film Festival, where it was nominated for the Gold Hugo Award for Best Short Film. Her latest project, her Taiwan-shot NYU grad thesis film MISS WORLD, is currently in post-production. Fu is also completing a photo project on incarceration under the guidance of the VII Photo Masterclass in Berlin. In addition to her own films, she has often worked as either editor or assistant director on countless productions around the world, in places as varied as Prague, Los Angeles, China, Japan, the Philippines, Taiwan, Indonesia, Macau and Hong Kong. MILENA GOVICH Milena Govich is a director, actress, singer and musician. On Broadway, she performed in “Cabaret” at Studio 54, “Boys From Syracuse” and “Good Vibrations.” On television, she acted in starring roles on FINDING CARTER (MTV), LAW & ORDER (NBC) and CONVICTION (NBC), and recurred on a number of others, most notably RESCUE ME (FX). On film, she starred opposite Steve Guttenberg in A NOVEL ROMANCE (2011) and opposite Method Man in #LUCKY NUMBER (2015). She has regularly performed onstage in the popular For the Record performance series in Los Angeles. Govich has mentored with more than a dozen established film and television directors. She made her first official foray into directing this past year with the short film TEMPORARY. A native of Norman, OK, she graduated valedictorian from her high school and went on to graduate valedictorian from the University of Central Oklahoma with a double major in Pre-Med and Vocal Performance, as well as minors in Dance and Violin. She is currently developing TV and film projects with her husband and producing partner, writer David Cornue. TIFFANY JOHNSON Hailing straight out of Compton, Tiffany Johnson is a filmmaker and storyteller. Since graduating from film school, she has worked for several TV and film production companies such as CBS, Overbrook Entertainment and Film Independent, and has assisted Academy Award®-winning producer Peggy Rajski. For the past few years, she has freelanced as a producer on numerous live television award shows. Her credits include MTV Movie Awards, MTV Video Music Awards, NAACP Image Awards, People’s Choice Awards and the Primetime Emmys®. In 2014, she directed her second short film, LADYLIKE. A collaboration with creative partner Nicholas P. Williams, LADYLIKE screened at multiple festivals including the San Francisco Black Film Festival, the Lower East Side Film Festival and the Diversity in Cannes showcase, where she won the Director’s Choice Award. Johnson continues to develop her own projects, including the feature-film version of LADYLIKE. She is currently in post-production on her latest short film, DEAD GAY FICTIONAL. KATRELLE KINDRED A native of South Los Angeles, Katrelle Kindred is an award-winning director, writer and producer. After teaching English Language Arts in Compton, CA, Kindred completed her graduate studies in Film Production at USC’s School of Cinematic Arts. Her short film, SON SHINE (2013), played dozens of film festivals across the country, winning several awards including Best Narrative at the Humboldt International Film Festival; the San Francisco Black Film Festival’s Ava Montague Award; and Best Actor at the Los Angeles Women’s International Film Festival. Her producing work includes 2015’s Student Academy Award Gold winner LOOKING AT THE STARS, and THE BIG CHOP (2016), which was optioned to HBO. In the future, Kindred would like to continue creating honest stories that focus on global, social issues and on people often unheard. NANCY MEJÍA Nancy Mejía is a director/writer from Los Angeles, CA. A first-generation Salvadoran American, she endeavors to explore and share original portrayals of diverse, overlooked communities. She was awarded the 2014 Latino Film Fund Seed Grant and 2015 Latino Screenwriting Project Fellowship, a lab organized with consulting support from the Sundance Institute. Her short, MATEO (2014), about a Latino teen’s fraught relationship with his abusive father, aired on El Rey Network in celebration of Hispanic Heritage Month. Her dramatic screenplay “Jennifer’s Tigers” — a coming-of-age story following a relationship between an African-American girl and a Caucasian girl in the mid-20th-century American South — was a 2014 quarterfinalist for the Academy Nicholl Fellowship in Screenwriting and selected as part of the National Association of Latino Independent Producers’ 2015 Diverse Women in Media Residency Lab. Recently, she was a finalist for the 2016-18 ABC-Disney Directing Program. For the past year, she has been in development with MiTú network working on a scripted teen drama series. Currently, she is co-creating a supernatural comedy-horror series, DARK WOLF GANG. GANDJA MONTEIRO Gandja Monteiro is a director, writer and producer based in Los Angeles and São Paulo. Raised between New York’s Lower East Side and Brazil, she has been making films since she was 17 and traveling the world since she was just three months old. This early exposure to such vast cultures instilled a curiosity that has always inspired and informed her work. Since graduating in film from NYU’s Tisch School of the Arts, she has directed work in more than a dozen countries, four continents and eight languages. Her narrative short ALMOST EVERY DAY (2009) won international visibility in festivals such as Tribeca and Palm Springs, and went on to be shortlisted for the Academy Awards®. Monteiro has directed commercials and branded content for industry heavy-hitters such as Nike, Adidas, Coca-Cola, AT&T, Chevrolet and Smirnoff, among others. She recently wrapped production on her first TV project, an hour-long episode for HBO’s documentary series YOUTH, produced by Prodigo Films. LORRAINE NICHOLSON Director/writer Lorraine Nicholson most recently completed her third short film, LIFE BOAT. Nicholson’s first short, THE INSTANT MESSAGE, explores teenage sexuality in the internet age. Her second short, THIS MAGIC MOMENT, depicts the unconventional love between a movie star and her stalker. Additional writing and directing credits include R.I.P., an eight-episode web series on Blumhouse’s CrypTV, which champions new voices in filmmaking. Additionally, Nicholson brought her fresh perspective to up-and-coming artist Hana’s music video for “Clay,” and to a trio of stop-motion videos she co-directed for Grammy®-nominated artist Tommy Trash’s “Luv U Giv” EP. She also worked as a staff writer on Bret Easton Ellis’ series THE DELETED. Nicholson has honed her filmmaking skills working as an actress for 10 years. Her wide range of credits include the feature films CLICK (2006) with Adam Sandler, SOUL SURFER (2011) with Helen Hunt and Bobcat Goldthwait’s WORLD’S GREATEST DAD (2009). Born and raised in Los Angeles, Nicholson graduated from Brown University in 2012. The 2017 DWW Showcase for this year’s graduating class of participants, who began their work in the program last year, will take place on April 18, 2017, at the DGA Theater in Los Angeles.

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  • INTERVIEW: Joel Potrykus – The New King of Underground Cinema

    [caption id="attachment_18175" align="aligncenter" width="1000"]Joel Potrykus Joel Potrykus[/caption] Whether his characters are doing stand-up comedy, eating spaghetti in fancy hotels, or devoting their lives to conjuring the Devil himself, Grand Rapids native and filmmaker Joel Potrykus has no trouble making sure it gets really, really weird. Through three features, including last year’s critically acclaimed Buzzard, Potrykus has given audiences a peek at a certain kind of American that is rarely encountered on the average day. Like one of Austin’s wanderers in Slacker who’s read one too many Bret Easton Ellis novel, Potrykus captures a certain shocking, toxic masculinity that’s as subversively hilarious as it is alarmingly relevant. I had a chance to talk to Joel about his latest film, The Alchemist Cookbook, about a forest-dweller named Sean who really wants to get possessed by Satan. Josef: Your previous films, Buzzard and Ape, have flirted with elements of horror, but your most recent work, The Alchemist Cookbook, is the closest thing you’ve ever made to a genre film. At what point did you realize you were capable of tackling something that may have required a lot more precision in execution than some of your previous work? On the other hand, do you think your previous work has always had a pacing and tone that feels unrehearsed but is, in fact, extremely precise? Joel: Buzzard was very precise. Every tiny exchange between characters and prop was thought over for months and months. Sometimes, the more you prep, the more it looks improvised. With Cookbook I certainly wasn’t setting out to make a horror movie. It was black magic and a demon, but I still would never call it horror. I’m just trying to make movies that I would want to see. I’d want to see Cookbook even if I hadn’t directed it. I’m definitely not here to impose a political agenda on you or your films, but with more noticeable diversity campaigns online (#OscarsSoWhite for instance), did you make a conscious decision to cast people of color in the two lead roles, or was that something that came to you naturally during writing and pre-production? It was a choice from the start. I didn’t want to get pegged as the guy making movies about angry white guys in the suburbs. So I intentionally brought this one out into the woods with black guys. There were so many great movies I loved growing up that focused on black characters and rarely did they get the chance to mess around with the Devil and chemistry, even. I never want to tell a story that is predictable or cliched in any way at all. Ty Hickson, who plays Sean, said he’s never been offered a role like this. He was just as excited as I was to shake things up. Another really striking aspect of this film is its subtle comments on the nature of mental illness and how sometimes it can feel like you’re being possessed by some kind of invading force. The way it’s portrayed in the film seems like it came from a very personal place. Exploring mental illness through horror has surfaced to the mainstream in a big but ultimately disappointing way this year, with films like Lights Out seeming more exploitative than empathetic. How did you maintain that balance between entertainment, empathy, and realism in your portrayal of Sean’s mental state as it fluctuates throughout the film? My goodness, was Lights Out a disappointment. Love the short, but it’s a simple concept stretched way too far. To be honest, the movie is about a mental illness that overcame my grandfather when I was a kid. That type of paranoia is a lot scarier to the person suffering than it is to us. Most people could never imagine the waking nightmare of schizophrenia. I’ll never make a film about just one thing, or a film that lives in one mood or tone. Our everyday lives are full of drama, humor, and even horror. This type of mental illness is a straight up horror most of the time. It was important to try to get inside Sean’s head. The camera never strays from his perspective for a reason. I want the audience to question everything. [caption id="attachment_16518" align="aligncenter" width="1000"]The Alchemist Cookbook The Alchemist Cookbook[/caption] Moving away from the thematics of the film and more into technical aspects, what was it like shooting on an Alexa? If I’m not mistaken Buzzard was shot on a Mark III so this is a huge step up in terms of the range of images you’re able to capture. I noticed a lot more night scenes in this film that were confidently lit using dim candles, campfires, and other sources of natural or visible lighting. For the first week I hated the Alexa. It was heavy, bulky, and slowed my process down. But DP Adam J. Minnick is about the only guy I’d trust to see the scene the same as I do. So I was totally confident. The only artificial light used were blasting into the trailer in order to maintain consistent daylight effect throughout the long shooting day. Otherwise, all exteriors are natural light, which is important to Adam and me. I never want my movies to look like a movie. At night, in the woods, it’s dark. Really dark. I wanted no fake blasting full moon. I wanted the audience to strain to see things. We actually darkened night scenes to make them even blacker. I can imagine that you and the actor who played Sean, Ty Hickman, got very close over the course of this production. Tell me a bit about the casting process, and what it was like to spend all that time focusing mostly on one actor. Specifically, did it ever cross your mind to cast someone who was right for the role as well as being someone you wouldn’t mind spending a month alone in the woods with? Personality is important to me. Ty first got my attention after a scene in Gimme the Loot when he leaves a basement and hits a punching bag on the way out. One of the first things I asked him about is whether or not that was scripted. It wasn’t. He said, “who wouldn’t punch that?” Exactly. That’s the kind of actor I want to work with. Someone with instincts. On Cookbook I’d let the scene play out as scripted, then just let the camera linger and see what Ty would do. It threw him off for the first day or two, but once he understood that I was messing with him a little, he got into it. Those are my favorite moments – the unscripted ones, where I’m surprised. Even better if the actor can surprise himself. I hate sticking to the page and feeling like it’s a construction site. I want mistakes and surprises. Touching again on the intimacy of it all, how big was your crew on a day-to-day basis, and what was the lodging situation like while on-set? I remember you going dark on Facebook pretty much the entire time you were shooting, and I was scared you guys had run into a Blair Witch Project scenario. I wish we’d run into a real life witch or demon. Total bummer that those woods weren’t actually haunted. This was our biggest crew – around 20, I’d say. Not my usual style. Most of us crashed in a huge 10 room house that acted as our production headquarters, and a few stayed with friendly residents in Allegan, Michigan, where we filmed. I’m stoked to someday go back to the old set and look for the “pay up” tree and some props we hid around the woods. What was your relationship like with horror films growing up and into your adulthood? One of my favorite things about Sean is that he so desperately wants to be possessed by the Devil, while most characters in scary movies do everything they can to avoid such a fate. Was there any part of you that wrote that character with the meta elements in mind? Yeah, it’s rare to see a character actively pursuing evil. The original Evil Dead inspired me to make films at an early age. I’ve always been obsessed with horror and it’ll always be present in my work one way or another. An American Werewolf in London may be my favorite movie ever. Its tonal shifts are perfect. Just last night I watched Halloween III and the shitty new Ouija movie. [caption id="attachment_18176" align="aligncenter" width="1000"]The Alchemist Cookbook The Alchemist Cookbook[/caption] During our last interview I remember you talking briefly about the spaghetti scene in Buzzard, which has since become something of a legend amongst indie film buffs. But it seems like you just love to film people eating. Is there something that you feel is captured when the audience watches a character eat that can’t be conveyed any other way, or am I reading far too much into what’s ultimately just a nifty coincidence? Eating is one of the most private things we do. It’s something we need to do and something we love to do. I’m fascinated by watching people eating when they think no one is watching. I’m a sloppy eater, with no manners. I never really consciously thought that I need an eating scene in my movies, they just appear on the page. But some of my favorite scenes are when a character eats – I want to join Zack and Jack at the table during that Italian feast in Down by Law. I read somewhere that you’re currently not going to divulge whether or not the possum in the film is real. That’s fine! My only question is, whether or not it was real, that scene could not have been easy to shoot. Was it a scene that you had already planned out in your head or was it something you knew you’d have to figure out down the line? Well, magic happened and we got the shot in the first take. The evil spirits of cinema were on my side that night. I watched in fascination as the camera rolled. I’d like to know a little bit about your life as a teacher, and how your own experiences inform your lessons, or if any students have come to you as fans of your work and if that can actually help establish a connection with them without necessarily having to “prove yourself.” I try not to talk about myself or own work much, but generally students know who I am and sometimes ask direct questions about my movies. I think it lends some credibility to watch me talk about it in class. I like to cut through the textbooks and get to the reality of the industry, especially the indie world which is in constant motion. It’s great to expose film students to work that I consider important, like Aguirre, 8 1/2, Gummo, or even Wendy and Lucy. I also think it’s just as important to learn from others’ mistakes, so occasionally we dive into Birdemic or bad commercials. [caption id="attachment_18177" align="aligncenter" width="1000"]The Alchemist Cookbook The Alchemist Cookbook[/caption] You’re obviously responsible for launching Joshua Burge’s career, and he went from Buzzard to The Revenant in just a year’s time. Have you guys stayed in regular contact since making the film? I know if there’s anyone who’s going to keep his head from getting too big it’s going to be you. Well, I wouldn’t say I’m responsible for launching his career. And if I am, then he’s responsible for launching my career. It’s a total blast to see him get the recognition he deserves. The dude’s just got it. Hoping we work together on the next one. He still lives only a few minutes away from me, so I see him whenever he’s not in a far off land acting with the big shots. He’s still just Josh to me. Lastly, I feel almost obligated to ask what you’re working on next since that’s the question that ends most interviews, but I’d really like to know what your day-to-day is like when you aren’t actively working on a movie. A lot of aspiring directors forget to account for the downtime in between projects, and I’m curious how you keep your mind active when you aren’t talking to producers or actors or reading over budgets and rewriting drafts. I’m always working on at least one feature script. I’ve got three finished right now, but focusing on one to shoot next summer. Just looking for the money, as usual. Normally, I start my day looking at emails and Facebook in bed, oatmeal breakfast, then get to writing for a few hours, lunch, grade papers, read a chapter or two from whatever stuffy film theory book I’m into at the moment on my bus ride to the university, teach for a couple hours, watch some Howard Stern clips on YouTube, write for a little longer, dinner, watch an episode of Shark Tank, write, end the night with a movie in my office. I get set in my routines. **The Alchemist Cookbook is available for purchase on any website where movies are sold, including a pay-what-you-want option on BitTorrent** https://www.youtube.com/watch?v=2IFqOBquZjU

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  • Ten Narrative Film Projects Selected for 2016 IFP Filmmaker Labs

    2016 IFP Filmmaker Labs Ten narratives have been selected for the 2016 IFP Filmmaker Labs, IFP’s annual yearlong fellowship for first-time feature directors. The creative teams of the selected films are currently attending the first week’s sessions – The Time Warner Foundation Completion Labs – taking place May 23-27th in New York City. The IFP Narrative Filmmaker Labs are the only labs that support first-time feature directors with projects in post-production as they complete, market and distribute their films. The Labs provide filmmakers with the technical, creative and strategic tools necessary to launch their films and careers. Now entering its twelfth year with over 100+ first-feature filmmakers supported, the community of Labs alumni is comprised of some of the most exciting and critically-acclaimed artists working today across film, television, new media and VR; these include multi-hyphenate creators such as Amy Seimetz (“The Girlfriend Experience”), Alex Karpovsky (“Girls”), David Lowery (PETE’S DRAGON), Dee Rees (BESSIE), Andrew Dosunmu (MOTHER OF GEORGE), Tim Sutton (DARK NIGHT), Jennifer Phang (ADVANTAGEOUS), and Terence Nance (AN OVERSIMPLIFICATION OF HER BEAUTY). Recent 2015 IFP Labs Fellows have been already making their mark on the festival circuit. Just this year, THE ARBALEST won SXSW’s Narrative Grand Jury Prize and DONALD CRIED received distribution from The Orchard. Of the ten selected projects, seven have already premiered at top festivals including SXSW, Tribeca, Los Angeles Film Festival, Slamdance and Bentonville and two fellows are shooting new projects this summer. “To highlight and support diverse stories and storytellers has always been the mission of the IFP Labs and of IFP as a whole,” says Joana Vicente, Executive Director of IFP and the Made in NY Media Center. “This year’s Narrative Lab Fellows are a perfect example of this, and the boundless creativity and diversity in their work is evident in just how wide-ranging these films’ settings are: from Kyiv, Ukraine, to the Alaskan fish canneries, to right here in Brooklyn’s Borough Park neighborhood.” Under the artistic direction of IFP Head of Programming Amy Dotson and Program Manager and Producer Zach Mandinach, the supervising 2016 Narrative Lab leaders include Jon Reiss, director/producer and author (BOMB IT!; Think Outside the Box Office), Susan Stover, producer (WELCOME TO THE DOLLHOUSE; HIGH ART; HAPPY ACCIDENTS); Pierce Varous, producer (ALWAYS SHINE; H.) and founder of Nice Dissolve; Scott Macaulay, Filmmaker Magazine’s Editor-in-Chief and producer (JULIEN-DONKEY BOY). Individual Workshop Leaders include composer Keegan Dewitt (I’LL SEE YOU IN MY DREAMS; QUEEN OF EARTH), film editors Sabine Hoffman (MAGGIE’S PLAN; THE BALLAD OF JACK AND ROSE), Lee Percy (MARIA FULL OF GRACE; BOYS DON’T CRY), Jennifer Ruff (A WOMAN, A PART; GLASS CHIN),) and Marc Vives (MUSEUM HOURS; I USED TO BE DARKER), marketing experts Adam Kersh (Brigade Marketing) and Nick Camacho (Oscilloscope Laboratories), producers Anne Carey (THE DIARY OF A TEENAGE GIRL; THE SAVAGES), Mollye Asher (SONGS MY BROTHERS TAUGHT ME), Jodi Redmond (THE WITCH), and Darren Dean (TANGERINE), festival programmers Tom Hall (Montclair Film Festival) and Dan Nuxoll (Rooftop Films), and fellow filmmakers Ingrid Jungermann (WOMEN WHO KILL), Leah Meyerhoff (I BELIEVE IN UNICORNS), and Takeshi Fukunaga (OUT OF MY HAND). In addition to lead support from the Time Warner Foundation, additional support for the IFP Filmmaker Labs includes grants from The Academy of Motion Picture Arts and Sciences, Ford Foundation, Hollywood Foreign Press Association, New York City Department of Cultural Affairs, New York State Council on the Arts, and SAGIndie. Lab partners include The Adrienne Shelly Foundation, BMI, and Rooftop Films. The selected narrative projects for the 2016 IFP Filmmaker Labs and their attending Lab Fellows are: ALASKA IS A DRAG An aspiring superstar’s diva fabulous dreams are hard fought working at a fish cannery in Alaska. He dreams of escaping the monotony of fish guts and fist fights, but in the meantime, out of necessity he has learned to fight and is scouted by the local boxing coach and a new boy moves to town and wants to be his sparring partner. Shaz Bennett (Director, Writer, Producer), Jean-Pierre Caner (Producer, Consulting Editor). Los Angeles, CA. A BAD IDEA GONE WRONG A comedy about two would-­be thieves who accidentally arm the alarm system and have to break out of the house they just broke into. When they discover an unexpected housesitter, they suddenly have to deal with a hostage situation, double crosses, and discoveries that make their difficult escape even more dubious. Jason Headley (Director, Writer), Tim Fender (Editor). San Francisco, CA. COLD NOVEMBER A 12-year-old girl being raised within a matriarchal household is taken through the right of passage of killing a deer for the first time. Expectations dissolve into chaos, and Florence finds herself alone, relying on instinct and training to follow through with her decisions and pull herself together while simultaneously living through the aftermath of a recent family trauma. Karl Jacob (Director, Writer, Producer), Pete Ohs (Editor). Hibbing, MN. DAYVEON Dayveon is a twelve-year-old boy who is coming to terms with the death of his older brother. Torn between a loving sister who has become his sole caretaker and the sense of camaraderie offered by his local gang, he’s forced to make decisions that threaten to rob him of his innocence. Amman Abbasi (Director, Writer, Producer), Steven Reneau (Writer, Producer). Little Rock, AR. HEARTLOCK A convict realizes his best shot at escaping is to master the art of “ducking,” a specialized form of prison manipulation in which an inmate befriends a flawed guard for the purposes of blackmail. He targets a tough-as-nails female guard with an underlying vulnerability. However, it doesn’t take long for his plan to hit a snag: he falls in love with her. Jon Kauffman (Director, Writer), Chris Cummings (Writer), Dominic Laperriere (Editor). New York, NY. JULIA BLUE Julia, a bright university student, is preparing for a life abroad when she meets English, a damaged soldier returning from the war zone in eastern Ukraine. An unexpected romance sparks between the two, as Julia and English fall deeply for each other. From metropolitan Kyiv to a remote Carpathian village, Julia and English must decide if they are ready to build a future together in a homeland that is slowly being torn apart. Roxy Toporowych (Director, Writer), Nilou Safinya (Producer), Ben Kim (Editor). Brooklyn, NY. THE MISSING SUN After a solar flare powers down her remote community, Alma discovers her husband Terry comatose. Pursuing a series of bizarre clues, she soon believes Terry is astral traveling to reunite with his deceased ex-wife. Determined to bring him back, Alma seeks helps from Terry’s estranged, psychedelic son and from the leader of a new-age religion who believes the sun-storm may signal the end-times. Brennan Vance (Director, Writer, Producer, DP, Editor), James Christenson (Producer). Minneapolis, MN. POOR JANE Jane and Henry are in a loving marriage. Another man humiliates Henry at a Christmas party and Jane decides she no longer loves him. The following morning Jane tells Henry she’s going to Target, but instead checks into a hotel and stops answering her phone. Jane spends the holidays drinking, having impulsive encounters with men and contemplating whether or not she wants to remain married. Katie Orr (Director, Writer), Alex Orr (Producer), David Swinburne (Co-Producer). Atlanta, GA. SOLACE When her father dies, Sole, 17, numbs her emotions with food. She unwillingly lives with her estranged grandmother. Desperate to escape her grandmother’s controlling love and illicit relationship with the pastor, Sole enters a forbidden friendship with the rebellious teenage neighbors. Juggling these relationships spirals Sole out of control with food but it ultimately forces her to confront her pain. Tchaiko Omawale (Director, Writer, Producer), Eileen Cabling (Associate Producer), Amanda Griffin (Editor). Los Angeles, CA. UNTITLED HASIDIC FILM Given unprecedented access to New York’s Orthodox Jewish community, the film is a story of faith and fatherhood – performed entirely in Yiddish. Joshua Z Weinstein (Director, Writer, Producer, DP), Daniel Finkelman (Producer), Danelle Eliav (Co-Producer), Royce Brown (Co-Producer). Brooklyn, NY.

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  • Tisha Campbell-Martin, Naturi Naughton, Fran Burst Honored at Black Women Film Summit

    [caption id="attachment_11980" align="aligncenter" width="720"]Fran Burst, Mikki Taylor, Naturi Naughton, Sheryl Gripper, Tisha Campbell-Martin at The Black Women Film Network Fran Burst, Mikki Taylor, Naturi Naughton, Sheryl Gripper, Tisha Campbell-Martin at The Black Women Film Network[/caption] Last week, the Black Women Film Network (BWFN) hosted the 2016 Black Women Film Summit, featuring the popular “Untold Stories Awards Luncheon.” Actress/singer Tisha Campbell-Martin (ABC’s “Dr. Ken”), actress/singer Naturi Naughton (“POWER”), ESSENCE editor-at-large Mikki Taylor and film director and producer Fran Burst were honored at the2016 Black Women Film Summit held at the Intercontinental Buckhead. TV and radio personality Ebony Steele (“Coffee with America”) hosted the affair with music provided by DJ Salah Ananse. Scholarships were awarded to aspiring filmmakers Anita Salley and Martha Carswell. Additional luncheon attendees included comedian/writer Myra J, actress Charmin Lee and media personality Spirit. The Summit that day also included the “Reel Sista Talk” and “Marketing Your Film to Hollywood” panel discussions featuring Haj Chenzira Pinnock, Mikki Taylor, Shante Bacon and Saptosa Foster. On Saturday, the Summit hosted a number of seminars and panels including a Kids Acting Workshop, a Comedy Class led by Myra J, a “Screenwriting 101” workshop and “The YBF: Young, Black & Filming” panel. Additionally, authors James E. Chandler, Sr., Amber Saunders, Saunya M. Williams, Ph.D, and BWFN founder Sheryl Gripper showcased their titles at the Book Festival, while various black women filmmakers from around the country debuted their film shorts during the competitive Film Festival. At the end of the day, the winning films were announced: Best of Festival Masquerade Meleisha Edwards, Writer/Producer Best of Festival (Student Category) Suga Water Nakia Stephens, Writer/Producer Audience Participation Award Ms. Glo Angela Edmond, Writer/Director

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  • 3 Filmmakers Win 2016 Spirit Awards Filmmaker Grants

    FILM INDEPENDENT SPIRIT AWARDS The three winners of the 2016 Spirit Awards filmmaker grants were unveiled at the annual Spirit Awards Nominee Brunch hosted by Uzo Aduba and Rami Malek. This year marks the 31st edition of the awards show that celebrates the best of independent film. Winners for the remaining categories will be revealed at the 2016 Film Independent Spirit Awards in a tent at Santa Monica beach on Saturday, February 27. “This year’s recipients of the Spirit Award cash grants are so talented and we’re thrilled to be able to support them in this way,” said Josh Welsh, president of Film Independent. “Our hope is that these unrestricted grants will enable the filmmakers to continue to make great and daring work.” Mel Eslyn received the Piaget Producers Award. The award honors emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality, independent films. The annual award, in its 19th year, includes a $25,000 unrestricted grant funded by Piaget for the 9th year. Finalists for the award were Darren Dean, Rebecca Green and Laura D. Smith. Felix Thompson, director of King Jack, received the Kiehl’s Someone to Watch Award. The award recognizes talented filmmakers of singular vision who have not yet received appropriate recognition. The award is in its 22nd year and includes a $25,000 unrestricted grant funded by Kiehl’s Since 1851. Finalists for the award were Robert Machoian & Rodrigo Ojeda-Beck, directors of God Bless the Child, and Chloé Zhao, director of Songs My Brothers Taught Me. Elizabeth Chai Vasarhelyi, director of Incorruptible, received the Truer Than Fiction Award. The award is presented to an emerging director of non-fiction features who has not received significant recognition. The award is in its 21st year and includes a $25,000 unrestricted grant. Finalists for the award were Mohammed Ali Naqvi and Hemal Trivedi, directors of Among the Believers, and Elizabeth Giamatti and Alex Sichel, directors of A Woman Like Me.

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  • 13 Filmmakers Win 2015 Rooftop Filmmakers Fund Grant

    Actress Royalty Hightower in Anna Rose Holmer’s The Fits Rooftop Films has awarded thirteen cash and service grants to alumni filmmakers, including The Rooftop Filmmakers’ Fund Garbo NYC Feature Film Grants, which were awarded to directors Kitty Green and Sebastian Silva. Green will receive a monetary grant of $15,000 to help finish her new film, Casting JonBenet, and Silva will receive a $10,000 grant to support his film, Demon Me. “Kitty Green’s film Casting JonBenet represents the type of daring and meaningful cinema that Rooftop Films wants to support,” said Rooftop’s Founder and Artistic Director Mark Elijah Rosenberg. Green’s film is a sly and stylized documentary about the infamous murder of child model JonBenet Ramsey, using casting tapes and recreations by people from the community to create an emotional investigation of the case and its ramifications. “Like all our filmmakers, Green is working outside the mainstream, approaching a complex situation with narrative nuance and filmic innovation. We’re confident that all the films we’re supporting, from serious documentaries to outlandish fairy tales, are going to have a substantial impact.” Kitty Green’s previous films include Ukraine is Not a Brothel, which won the 2015 AACTA Award for Best Feature Length Documentary, and “The Face of Ukraine: Casting Oksana Baiul,” which won the Jury Award for best non-fiction short documentary at the 2015 Sundance Film Festival. Sebastian Silva’s work includes The Maid, Nasty Baby, and Crystal Fairy, all of which have won numerous awards around the world. COMPLETE LIST OF 2015 ROOFTOP FILMMAKERS FUND GRANTS Rooftop Films / GarboNYC $15,000 Feature Film Grant: Kitty Green, Casting JonBenet Rooftop Films / GarboNYC $10,000 Feature Film Grant: Sebastian Silva, Demon Me Rooftop Films / Brigade Festival Publicity Grant: Anna Rose Holmer, The Fits (pictured above) Rooftop Films / Technological Cinevideo Services Camera Grant: Khalik Allah, Jamaica Rooftop Films / Eastern Effects Equipment Grant: Lauren Wolkstein & Chris Radcliff, The Strange Ones Rooftop Films / Edgeworx Post-Production Grant: Anja Marquardt, Wolf Rooftop Films / DCTV Color Correction Feature Film Grant: Sarah J. Christman, Swarm Season Rooftop Films / DCTV Equipment and Services Short Film Grant: Ryan Mauskopf, Sloof’s Supershop Rooftop Films / DCTV Equipment and Services Short Film Grant: Nathan Kensinger, Managed Retreat Rooftop Films / Adrienne Shelly Foundation Short Film Grant For Women: Jennifer Reeder, All Small Bodies In addition to the above grants, Rooftop Films helped negotiate post-production services at Metropolis Films for alumni filmmaker Robert Greene. Robert Greene, Kate Plays Christine Rooftop Filmmakers’ Fund Short Film Grant: Christopher K. Walker & Michael Beach Nichols, Beast of Man Niki Lindroth von Bahr, Market Place Nathan Kensinger, Managed Retreat This year’s grantees join the ranks of past Rooftop Filmmakers Fund grantees, an illustrious group that includes Ana Lily Amirpour’s soon to be completed The Bad Batch, Gillian Robespierre with her indie hit Obvious Child, Jonas Carpignano’s recent Gotham award-winner Mediterranea, Lucy Walker with her Academy Award-nominated short documentary “The Tsunami and the Cherry Blossom,” Jeremy Saulnier’s FIPRESCI Critics’ award-winner, Blue Ruin, Keith Miller’s critically acclaimed and Tribeca Film Festival award-winning Five Star, and Benh Zeitlin’s Academy Award-nominated Beasts of the Southern Wild.

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