
The 6th Toronto Black Film Festival (TBFF) announced the official program and events lineup featuring over 60 films from 20 countries.
Netflix has released the trailer “The Trader” an official selection at this year’s 2018 Sundance Film Festival and winner of “Best Short Documentary” at the 2017 Hot Docs Documentary Film Festival. Trader debuts on Netflix on February 9, 2018.
A portrait of a man and his minibus. The Trader (Sovdagari) directed by Tamta Gabrichidze, follows Gela as he sells secondhand goods through rural Georgia, where money is meaningless, and potatoes are lucre.
https://www.youtube.com/watch?v=tOauOJg-fCQ
Three emerging filmmakers, Talal Derki (Syria), Tatiana Huezo (Mexico), and Chaitanya Tamhane (India) are the lucky recipients of the inaugural Sundance Institute Open Borders Fellowship presented by Netflix.
Designed to support distinctive new voices in world cinema, the fellowship includes a development grant, a trip to the 2018 Sundance Film Festival in Park City to receive the award and attend a curated slate of industry meetings, networking opportunities, panels, and screenings. Further, the filmmakers are eligible to receive year-round creative and strategic support from the Sundance Institute Feature Film and Documentary Film programs for their next feature-length project
The Open Borders Fellowship reflects the Institute’s longstanding commitment to world cinema. Through Labs and Workshops, financial support, and public engagement, the Institute’s Artist Programs strive to support underrepresented voices in regions of the world going through socio-political transitions and where freedom of expression is challenged.
Talal Derki was born in Damascus and has been based in Berlin since 2014. He studied film directing in Athens and worked as an assistant director for many feature film productions and as a director for different Arab TV programs between 2009 and 2011. Talal Derki’s feature documentary Return to Homs won the Sundance Film Festival’s World Cinema Grand Jury Prize in 2014. His most recent film, Of Fathers and Sons, premiered at IDFA, and is currently in the World Cinema Documentary Competition at 2018 Sundance Film Festival.
Tatiana Huezo’s most recent film, Tempestad, was one of the most acclaimed documentaries of 2016. Following its premiere at Berlinale, the film was Mexico’s official submission to the Academy Awards, and won four Ariel Awards, including Best Director and Best Documentary feature. She is currently working on her narrative feature debut, Night On Fire, which was selected for the Sundance | Morelia Screenwriters Lab this past Fall.
Chaitanya Tamhane’s debut feature, the Marathi language courtroom drama, Court, premiered at the 2014 Venice Film Festival, where it won Best Film in the Horizons section, and went on to appear on many best-of lists following its theatrical release last year and served as India’s submission for the Best Foreign-Language Film Oscar. He was selected by Alfonso Cuaron for the Rolex Mentor and Protege Arts Initiative, and is working on his currently untitled second feature.
The official trailer and poster debut today for Ted Geoghegan’s highly anticipated second feature film, the no-holds-barred action-thriller Mohawk. Mohawk will be released in select theaters and on VOD/Digital HD on March 2nd from Dark Sky Films.
After one of her tribe sets an American camp ablaze, a young Mohawk warrior finds herself pursued by a contingent of military renegades set on revenge. Fleeing deep into the woods they call home, Oak and Calvin, along with their British companion Joshua, must now fight back against the bloodthirsty Colonel Holt and his soldiers – using every resource both real and supernatural that the winding forest can offer.
Mohawk stars Kaniehtiio Horn (Hemlock Grove), Justin Rain (Fear the Walking Dead), and Eamon Farren (Twin Peaks: The Return) along with Ezra Buzzington (Justified, The Middle), and including Ian Colletti (“Arseface” from AMC’s Preacher) and Jonathan Huber, WWE Superstar Luke Harper making his big screen debut.
https://www.youtube.com/watch?v=0utooEV8F8o
Back to Burgundy[/caption]
This year, the 21st edition of the New Orleans French Film Festival will kick off earlier than usual, beginning on February 23 and running through March 1, 2018, and will spotlight 17 feature films, 5 shorts, a retrospective of the magnificent Agnès Varda, French-themed live music performances prior to screenings, and special lectures, all in the historic Prytania Theater.
“The New Orleans Film Society’s French Film Festival was founded to engage and celebrate the French influence on our beloved city,” said Fallon Young, Executive Director of the New Orleans Film Society. “That’s why, in New Orleans’ tricentennial year, we are especially pleased that the French Film Festival features the world premiere of a uniquely New Orleans story. Created by a local director, cast and crew, the short film Le Grande Remix depicts New Orleans as a diverse and vibrant city with global cultural influences.”
Feature length films include the most awarded and sought after French films of the year: Back to Burgundy (opening night), Double Lover (closing night), 4 Days in France, After Love, All That Divides Us, Catch the Wind, Félicité, Ismael’s Ghosts, Marie Curie: The Courage of Knowledge, Montparnasse Bienvenüe, Nocturama, Souvenir, This is Our Land, as well as Jean Luc-Godard’s 1960 classic Breathless. The Agnès Varda retrospective includes three of her films, Le Bonheur (1965), The Gleaners and I (2000), and Faces, Places (2017). The shorts program includes Prestige Ingredients, We Are the Freak Show, The Elusive, Retaliation, and Le Grand Remix.
The only female director of the French New Wave and the only female director to ever receive an honorary Oscar, Agnès Varda (born in Belgium in 1928) has occupied a singular and well-respected role within the film industry since her first film La Pointe Courte in 1956. The French Film Festival presents Agnès Varda: A Retrospective, which includes an under-seen example of her early, formally audacious fiction work Le Bonheur (1965), as well as two of her more recent autobiographical documentaries The Gleaners and I (2000), and Faces, Places (2017) which is a nominee for the Best Documentary at the 90th Academy Awards.
The retrospective program includes a free lecture on Varda (on Sunday Feb 25, at 5pm) from Loyola professor Jean Brager, who will speak on Varda’s journey as a female filmmaker in a male-dominated industry as well as the ways in which her aesthetics paved the way for the Nouvelle Vague. The lecture will be followed by the screening of her latest documentary Faces, Places in which she collaborated with the phenomenal French photographer JR in search of the people and their villages that define rural France and make it what it is.
What’s the connection of Congo and New Orleans? Join a free lecture by Freddi Williams Evans on Wednesday, Feb 28 at 7:15pm which will be followed by a screening of the Congo-set film Félicité. Evans will address the not so well known connections between Congo and New Orleans, as detailed in her essay “Enslaved Africans Perpetuated Cultural and Commercial Practices at Congo Square,” featured in the new book New Orleans & the World: 1718-2018 Tricentennial Anthology.
Louisiana musicians Helen Gillet, Bart Ramsay, Bruce Sunpie Barnes, Thibault, Pascal Valcasara, and George Trahanis will be performing French-themed live music prior to select screenings during the French Film Festival. Performances will begin 30 minutes prior to the start time of the related films.
Opening Night: Back to Burgundy | Friday, February 23 | 7:00-7:30 pm | Bart Ramsay
Shorts Program | Saturday, February 24 | 2:00 – 2:30 pm | Bruce Sunpie Barnes
After Love | Sunday, February 25 | 2:00 – 2:30 pm | Thibault
Ismael’s Ghosts | Sunday, February 25 | 7:15 – 7:45 pm | Pascal Valcasara
All That Divides Us | Tuesday, February 27 | 7:30 – 8:00 pm | George Trahanis
Closing Night: Double Lover | Thursday, March 1 | 7:30 – 8:00 pm | Helen Gillet
FUTURE[/caption]
The MidWest WeirdFest described as ‘a cinematic celebration of all things fantastic, frightening, offbeat, and just plain weird’ revealed the first seven feature films for the upcoming 2nd edition taking place March 9 to 11, 2018 at the Micon Downtown Cinema in Eau Claire, Wisconsin.
“We are delighted to unveil this first glimpse at some of the 2018 festival’s incredible program”, says fest founder and veteran programmer Dean Bertram. “The selection encapsulates MidWest WeirdFest‘s mission of showcasing a heady combination of the latest and most original horror, sci-fi, underground, and documentary films. We can’t wait for the festival’s audience to journey with us on another twisting, terrifying, and at times hilarious journey through the cutting-edge of this season’s weird cinema.”
The first seven feature films announced follow:
3 DEAD TRICK OR TREATERS (dir: Torin Langen)
After stumbling upon the graves of three murdered trick or treaters, a small town paperboy discovers a series of handwritten horror stories tacked to the children’s headstones. Penned by a deranged pulp author driven mad by his craft, the stories chronicle grisly tales of Halloween rites, rituals and traditions. Absent of dialogue and heavy on atmosphere, 3 DEAD TRICK OR TREATERS is a horror chiller unlike any you’ve seen before.
ATTACK OF THE TATTIE-BOGLE (dir: Pete Marcy)
A group of unlikely bunkmates gathers at a mutual friend’s cabin in remote Wisconsin. Armed with all the comforts of urban life, they are ready to celebrate Independence Day; but when the group is attacked, they are sent reeling. Confused, scared, and unprepared to handle real danger, survivors are forced to battle fears, balance egos, and summon their courage – or die. Forget “cabin in the woods” slashers in the style of FRIDAY THE 13TH. This edge of your seat film depicts believable adult characters being killed with unpredictable, rapidly descending, and brutal violence. It feels uncannily real, and is all the more disturbing for it.
BORLEY RECTORY (dir: Ashley Thorpe)
This spine-tingling film chronicles the true story of “The most haunted house in England”. Narrated by Julian Sands (WARLOCK, GOTHIC, LEAVING LAS VEGAS), and starring Reece Shearsmith (THE LEAGUE OF GENTLEMEN, SHAUN OF THE DEAD), BORLEY RECTORY features a stunning combination of live action re-enactments, animated photographs from the period, and eerie visual effects. Be prepared to be mesmerized and chilled in equal portions by the most haunting film of the festival season.
FAKE BLOOD (dir: Rob Grant)
Rob Grant and Mike Kovac receive a disturbing fan video inspired by their previous horror movie MON AMI, motivating them to investigate the responsibility of filmmakers in portraying violence in movies. In their pursuit of the truth they are unwittingly introduced to the real world of violent criminals and their victims. Few films have managed to so successfully examine the blurred lines between real and imagined violence. FAKE BLOOD will keep you engaged and unbalanced until the final frame.
THE FLATWOODS MONSTER: A LEGACY OF FEAR (dir: Seth Breedlove)
Ahead of its official release this April, MidWest WeirdFest proudly presents this special sneak-peak screening of the latest, highly anticipated offering from production company Small Town Monsters. It is a terrifying documentary that revisits one of the earliest and most famous alien encounter reports of American UFO lore. The film’s director, Seth Breedlove (BOGGY CREEK MONSTER, THE MOTHMAN OF POINT PLEASANT, INVASION ON CHESTNUT RIDGE) is the most important documentarian working in the UFO/paranormal/cryptid field today, and was the recipient of 2017’s “Cryptozoologist of the Year” award. Don’t miss your chance to be one of the first people on this haunted planet to see his latest film.
FUTURE (dir: Robert Cousineau, Chris Rosik)
A drunken train-wreck of a time traveler offers a suicidally depressed tea store barista a do-over. The catch is, the do-over comes at a murderous price. FUTURE is a poignant and funny low-fi sci-fi that begs the question: If you only had a few days left to live, and you felt like no one wanted you around, what would you do with that time? Would you climb a mountain, fall in love, invent a world saving device? Or would you eat all the junk you usually don’t let yourself have, and blow off work to get drunk with your old friends?
THE MOOSE HEAD OVER THE MANTEL (dir: Rebecca Comtois, Bryan Enk, Jessi Gotta, Matthew Gray, Shannon K. Hall, Jane Rose)
Lillian Hoffhienze-Bachman and her family move into the previously abandoned Hoffhienze ancestral home, where their hopeful new start becomes tainted by the discovery of a century’s worth of abuse, dysfunction and violence. Lillian becomes consumed by her sordid ancestry, terrified that the past might dictate her son’s future. The grisly events of the past 100 years are revealed through the eyes of the family’s victims… including the moose head hanging on the mantel wall. Influenced and inspired by the notorious real lives of H.H. Holmes, The Bender Family, Lizzie Borden, Carl Panzram and The Fox Sisters, this dark and unsettling anthology chills to the core.
Kate Bosworth, Yahya Abdul-Mateen II and Lynn Shelton[/caption]
Kate Bosworth, Yahya Abdul-Mateen II and Lynn Shelton join Gwyneth Paltrow as honorees of the 2018 Sun Valley Film Festival. Kate Bosworth will receive the Pioneer Award, Yahya Abdul-Mateen II will receive the Rising Star Award and Lynn Shelton receive the High Scribe Award and host the Screenwriter’s Lab. In addition, Sir Sly will be the special musical guests performing at the SVFF Awards Bash.
11 x 14. by James Benning[/caption]
A series of Special Screenings committed to an alternative view of film historiography has now completed the The Forum program lineup of the 2018 Berlin International Film Festival.
Since its foundation in 1971, the Forum has always shone a spotlight on historical films too, shaking the foundations of a cinematic canon whose main interest lies in feature films from Western Europe and North America. This year’s programme once again stands in opposition to such views and is dedicated to cinema from Africa, documentary and experimental film, “anti-cinema” films and salacious b-movies and “dirty” films.
Before becoming Nigerian prime minister, writer Abubakar Tafawa Balewa landed a bestseller with his biographical novella “Shaihu Umar”. In 1976, Adamu Halilu adapted the material into a film, which is set in the late 19th century and revolves around an Islamic cleric telling his life story, which bears the marks of slavery. Long thought lost, the film rolls for several prints were rediscovered in 2016 in the archive of the Nigerian Film Corporation and restored by Arsenal – Institute for Film and Video Art with the support of the German Federal Foreign Office. The splendid new digital version of Shaihu Umar now receives its first screening at the Forum.
The Geschichten vom Kübelkind (Stories of the Dumpster Kid) were shown at the very first International Forum of New Cinema in 1971 and have now been digitally restored. The series revolves around a rebellious “Dumpster Kid” played by Kristine de Loup, who always appears in a red dress and has various anarchic struggles with society. Ula Stöckl and Edgar Reitz shot Geschichten vom Kübelkind in 1969 with only their friends. Their series of 25 16mm short films of different lengths was a way of positioning themselves outside of the standard cinema system, with guests at a sort of pub-cum-cinema in Munich able to “order” individual episodes from a menu. Together with the documentary Der Film verlässt das Kino: Vom Kübelkind-Experiment und anderen Utopien (Film Beyond Cinema: The Dumpster Kid Experiment and Other Utopias) by Robert Fischer, a selection of the unique films is now to be screened again. A “pub cinema” much the same as the original screening set-up will also be installed at silent green Kulturquartier in Wedding on February 19, with these Special Screenings attended by Stöckl and Reitz.
Put together over five decades, the Arsenal and Forum archive still forms an important part of the institution’s work. This work involves a large amount of international exchange, which forms the subject of a public panel discussion on February 22 as part of Forum Expanded’s “Think Film No. 6 – Archival Constellations”. One of the participants is Viviana García Besné, who attends as a representative of the Permanencia Voluntaria film archive in Mexico, which was heavily damaged during the earthquake in September 2017. The archive’s treasures include many of the popular films built around the character of luchador Rodolfo Guzmán Huerta alias El Santo, a wrestling superstar and actor who always appeared in his iconic silver mask. He plays the role of “El Enmascarado” in his first film Santo contra Cerebro del mal (Santo vs. Evil Brain), which was shot in Cuba in 1961 by Joselito Rodríguez. A restored version has now been created in collaboration with the Academy Film Archive, which allows an important piece of Mexican popular culture to make its way back into cinemas.
11 x 14, the first feature-length film by James Benning, is film theory in images. It is composed of single shots, each of which individually narrate something and hold the film together via recurring elements. What is narrated is pure form. 11 x 14 was originally shown at the Forum in 1977. It has now been restored by the Austrian Film Museum in collaboration with Arsenal – Institute for Film and Video Art and returns to the Forum once again as a 35mm print. As the smallest unit of a festival, a film can also become its narrative.
In their 1985 documentary Yama–Attack to Attack, which is hardly known outside of Japan, Japanese directors Mitsuo Sato and Kyoichi Yamaoka created a portrait of the Tokyo district of Sanya, where day workers lived in wretched conditions and were exploited by Yakuza gangs in full view of the police and the Japanese elite. For documenting the excesses of a capitalism with fascist undertones, the two directors paid the price with their lives, as both were murdered by Yakuza henchmen. This underrated milestone in political documentary filmmaking will be screened at the Forum on a 16mm print with English subtitles.
Mohamed Zinet’s film Tahia ya Didou was shot in 1971 as a commission for the city of Algiers and blends documentary and fictional elements into a poetic, biting, passionate portrait of the director’s home city. Shelved by its original commissioners, it developed into a cult film following repeated screenings at the Cinémathèque d’Alger. A digital restoration of this imaginative work now receives its premiere at the Forum.
Kad budem mrtav i beo (When I Am Dead and Pale) by Živojin Pavlović is regarded as a key work of the Yugoslavian “Black Wave”. Shot in 1967, it tells the story of the irreverent Jimmy, who wants nothing more than to make it as a singer, regardless of his lack of talent. This punk film bursting with music also explores the bustling outskirts of Belgrade, which back then were still a work in progress. Following a digital restoration by the Jugoslovenska Kinoteka, this new version is screening for the first time at the Forum.
The Japanese “pink eiga” films form perhaps one of the most idiosyncratic phenomena in the whole of international cinema. Conceived to entice male audiences with erotic content, the genre also attracted numerous young directors who bent it to their will and created some of the most radical, avant-garde works in Japanese film. A considerable number of the Japanese directors most well-known today took their first steps with “pink film.” What’s less well-known is that one of the driving forces behind the “pinku eiga” genre is actually a woman, who was concealed behind the male pseudonym Daisuke Asakura. With its “Pink Tribute to Keiko Sato”, the Forum is showing three of the producer’s most original films. Atsushi Yamatoya wrote his absurdly titled 1967 film Inflatable Sex Doll of the Wastelands in parallel to his script for Seijun Suzuki’s classic Branded to Kill, to which the former work undoubtedly forms a twin of sorts. For Masao Adachi, 1971’s Gushing Prayer was one last attempt to couch social critique in sexually provocative form, before he turned his attention to political activism. Finally, the most recent work in the series is the debut film by Masayuki Suo, who later landed one of the biggest hits in Japanese film history with Shall We Dance. Abnormal Family from 1984 is his tribute to Yasujiro Ozu, who for all the stylistic similarities would hardly have been pleased by the degree of sexual permissiveness.
This year’s Forum program is to be opened with a concert by a group of Arab avant-garde musicians who will each provide a solo accompaniment to seven short films by Georges Méliès from 1899 to 1907. Supported by the Arab Fund for Arts and Culture (AFAC), Sharif Sehnaoui (electric guitar), Khyam Allami (synthesizer, oud, drums), Magda Mayas (piano), Tony Elieh (electric bass, electronics) and Abed Kobeissy (buzuk, electronics) will be giving their “Georges Méliès “Solitudes” Cine-concert” at the Delphi Filmpalast on February 16.
Love Jacked[/caption]
The 26th Annual Pan African Film and Arts Festival (PAFF) will take place Thursday, February 8 through Monday, February 19, 2018. The festival will open with Love Jacked directed by Alfons Adetuyi, and close with Traffik directed by Deon Taylor, starring Paula Patton, Omar Epps and Laz Alonso.
“The Pan African Film and Arts Festival has been recognized as one of the largest celebrations of Black culture and Black films,” mentions Ayuko Babu, PAFF Executive Director. “For 26 years, we have presented diverse and inclusive programming that features the creative work of leading disruptors in film and entertainment. The 2018 PAFF experience aims to step outside the ‘business as usual’ film festival norms and move the needle forward by amplifying the game-changing voices of influential, ethnic, millennial and LGBTQIA storytellers.”
With pride, PAFF shares reign as one of two international film and art festivals that screen a large selection of new Black films and exhibit fine art and unique crafts from around the world. This year’s confirmed lineup showcases over 170 films from over 40 countries within five continents and in 26 languages! What’s more, as an official Oscar-qualifying festival for shorts and live-action films, PAFF will hold special screenings for several works that are up for consideration for the 90th Annual Academy Awards
The festival will be held at the Cinemark Rave 15 Theatres/Baldwin Hills Crenshaw Plaza (3650 Martin Luther King, Jr. Blvd) in Los Angeles, California.