Teddy Bear’s picnic and advanced screening of Paddington 2 in Sydney Dec 16

December 7, 2017, 2:31 am

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Résultat d’images pour Paddington 2

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To celebrate the first day of the summer school holidays Moonlight Cinema, presented by NAB, is hosting a Teddy Bear’s picnic and advanced screening of Paddington 2 on Saturday 16 December, 2018.

There isn’t a better way to kick-off summer than this special Moonlight event. Before the film starts the evening will be jam-packed with games and activities, roving performers, face-painting and even an appearance from Paddington himself. It’s the perfect opportunity to say hello and take a photo before you see him on Moonlight’s big screen!

The much-anticipated sequel looks every bit as charming and whimsical as the first film, and finds Paddington happily settled with the Brown family in Windsor Gardens, where he has become a popular member of the community, spreading joy and marmalade wherever he goes. Ben Whishaw is again voicing the titular mischief-maker, with Hugh Grant and Brendan Gleeson joining the cast.

And don’t forget to bring your favourite teddy! Moonlight Cinema will be giving away FIVE Paddington 2 prize packs. To enter, simply bring your teddy to our Teddy Bear's Picnic, follow @moonlightcinema on Instagram and upload your teddy photo with the hashtag #PaddingtonAtMoonlight for your chance to win.

This awesome family night out won’t break the budget either, family passes to select G and PG rated films at Moonlight are just $50, so it’s one of the most affordable outings a family of four can have!

On gorgeous green lawns in Sydney’s Centennial Parklands, Moonlight Cinema brings a relaxed festival atmosphere to film-watching. The kids can run around and make new friends before the film starts, then cuddle up with Mum and Dad as the film begins to roll.

Being a BYO event, Moonlight Cinema is a low-cost, easy night out for everyone. If you’re too busy to BYO don’t stress, Moonlight can provide you with everything you need – hot food, drinks, snacks and bean bed rental. For a luxury experience, Moonlight’s Gold Grass offers reserved bean beds in a premium viewing location and waiter service

So gather the kids, a few snacks and head down to Centennial Parklands at 7pm to experience all the fun on offer. Then, cosy-up together as the sun sets and enjoy the marmalade filled adventures on the big screen.

Bring the family, a picnic and your favourite furry friend - you’re sure for a big surprise.

WHAT:
Paddington 2 Advanced screening and Teddy Bears Picnic at Moonlight Cinema

WHERE & WHEN:
Belvedere Amphitheatre in Centennial Park, Sydney, Saturday 16 Dec
Gates open 7pm, screening starts 8:30pm

Waterloo, NSW 2017
Australia

open.php?q=719869

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Babylon Relaunches in Strasbourg

December 7, 2017, 3:06 am

≫ Next: Interview with Dan Damman and Chris Thomas for 'Awarewolf' (2017) at Napa Valley Film Festival

≪ Previous: Teddy Bear’s picnic and advanced screening of Paddington 2 in Sydney Dec 16

Programme 2017-18 - New Project Selection Announced

Founded and run by London-based Scenario Films, feature film development programme BABYLON is expanding into Continental Europe, where its future base will be in Strasbourg and its emphasis on multi-lingual creativity and European co-production.

Since 2007 BABYLON has offered project-based training for teams of screenwriters, directors and producers, to promote and strengthen cultural diversity within the independent film sector and to provide an international platform for emerging filmmakers, particularly those of migrant background and double culture. Among its alumni are Sally El Hosaini, Umut Dag, Mai Masri, Tereza Kotyk, Veit Helmer, Show-Chun Li and Mitko Panov.

2017-18 sees the 9^th Edition of the programme, which will have a special emphasis on promoting cultural and industrial ties between the regions of the Upper Rhine, working in French and German, jointly funded by MFG-Baden-Württemberg (Germany); la Ville et Eurométropole (VEM) de Strasbourg (France); la Région Grand Est (RGE) Alsace Champagne – Ardennes Lorraine (France); the Film Commission Nord Baden and Creative Commission Mannheim (Germany); and the Förderung Film und Medienkunst der beiden Kantone Basel-Stadt und Basel-Landschaft (Switzerland).

The first residential workshop will take place in Strasbourg and Mannheim, 15th-21st December 2017, with consultants Gareth Jones and Arash T. Riahi, followed by online mentoring during the rewrite phase and a second residential workshop at Cannes in May 2018.

Eight projects have been selected for this year’s programme:

Bye Bye Kelly by Mathieu Z’graggen (writer/director), producer David Braun, Alpaga Films

Chaque Instant S’Envole by Christian Sonderegger (writer/director), producer Moïra Chappedelaine Vautier, Ciaofilm

Denis Reichle, emprises de guerre by Fanny Spindler (writer/director), producer Laurence Milon, La Huit

Die Wäscherin by Matthias Drescher, Julie Alfonsi and Barbara Antičević (co-writers), producer Andrea Steiner, FFL

Les Monstres by Antoine Delelis (writer/director), producer Paviel Raymont, Les Films du Tonnerre

My Cousin by Simone Wendel (writer/director), producer Mario A. Conte, Projekt Gold

Stockflecken by Sabina Gröner (writer/director), producer Pascal Trächslin, Cineworx Filmproduktion

Wende by Jens Wischnewski (writer/director), producer Simon Buchner, simonsays.pictures

For further information on the programme, please visit the Babylon Website.

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Interview with Dan Damman and Chris Thomas for 'Awarewolf' (2017) at Napa Valley Film Festival

December 7, 2017, 8:08 am

≫ Next: Interview with Writer/Director Nick Pollack for 'And Though the Music Ended, We Danced on Through the Night' (2017)

≪ Previous: Babylon Relaunches in Strasbourg

Interview with Dan Damman and Chris Thomas for 'Awarewolf' (2017) at Napa Valley Film Festival

Writer/director Chris Thomas co-directed short film 'Awarewolf' (2017) with director Dan Damman. The film tells the story of an young boy who is forced to prematurely become a professional yoga athlete by his despondent and no longer pliant mother who lives vicariously through him. The film is beautifully produced with a remarkable performance by newcomer Nicolas Yurkevich. It screened at the 7^th Annual Napa Valley Film Festival where I had a chance to interview both filmmakers together.

For those who haven't see the film, what does 'awarewolf' mean?

DAN: There's a werewolf toy that the boy, Parker, plays with in the short and his mother tries to separate him from it. The werewolf represents both the boy's innocence, and his eventual transformation into either a competitive young person like his mother, or a more aware young man. A werewolf is controlled by the full moon, forced to change into something he is not. Parker’s full moon is his mother’s modeling, which seems to be going in the wrong direction.

CHRIS: The big theme is self-awareness, We wanted to play around with the idea of a mother's ego telling herself she's aware because she's so focused on what's best for her child, while her child points out that maybe she's not.

Do you think people do yoga more for trendiness now than for actual mindfulness and miss the point?

CHRIS: I think people are drawn to yoga for both the spiritual aspect and exercise, which is great. We need a place to check in with ourselves and make sure that we're treating other folks well. I think that a therapists office is the best place for that, but as long as folks are seeking out input to make themselves more compassionate, we're for it. We're just pointing out that it's funny that we can bring our competitive nature, even to a yoga studio and then miss the point of the yoga sutras, which are a practice in self-awareness.

DAN: There's nothing wrong with looking at the asana's as just an exercise too, but it's almost like it should be called something other than "Yoga". What happens on the mat in the studio, a classroom, meditation room, a church, in a plant medicine circle, etc. is not the beginning and end of an experience, but maybe more of touchstone to bring intention from that experience into the world…being kind to other humans, and approaching difficult situations with love instead of judgment are what I try to remind myself to practice.

How did you find the Nicholas? He was great!

DAN: We auditioned quite a few kids and no one felt right. A friend recommended Nicholas who had never acted before, but is a dancer in the SF Ballet. We met him and his incredibly supportive family and knew right away he was Parker. Everyone else we had seen acted like a little adult, focused on acting with their heads. Because Nicholas is a dancer, he was very aware of his body and could just relax into being himself. He was also great on set. Please, any casting agents out there, this kid is good!

Did it take you a long time to make? And, was it an experiment to make a feature out of it?

DAN: It took a few months to nail down the concept and script, and 3 days to shoot. We already had a feature script which is in the same world as the short, but different story and characters. We wanted to do the short to test out the tone of the feature. In the feature, an overzealous mommy blogger goes undercover to expose a charismatic guru's hellbent plan to bring his competitive yoga to the Olympics. A sort of Devil Wears Prada for the yoga world, it has the backdrop of yoga as a big business, which feels timely. As it explores elements of narcissism, power, and sexual harassment, it’s, unfortunately, incredibly relevant to what’s happening right now.

How did you and your partner Chris Thomas start working together?

CHRIS: We had met through a mutual friend who is a comedian and editor. We found a connection through music first, then started working more closely doing video work to change the political climate in 2006. In 2007, we began writing together and started to focus more on film.

You recently attended the Napa Valley Film Festival Fest. How was that experience?

DAN: We were ecited to attend Napa since it’s local for us, but also because we wanted to do what we could to show support for the area after the recent fires. The short has been to seven festivals so far and the experience in Napa was one of the favorites for us. Lots of events, parties and screenings that, as filmmakers, we got to attend for free. Which isn't always the case. Everyone that we met from the staff was kind, helpful, professional, and fun to hang out with.

CHRIS: They also seem to do what they can to keep things artistic and ... weird. For example, your badge says "artist" rather than filmmaker, which is a nice touch. The Friday bash featured an active outdoor Lucha Libre wrestling ring and bowl of nacho cheese chips the size of a car. How can you have a bad festival with amazing wine and food in the Napa Valley?

How have audiences reacted to the film?

DAN: Really well. Some folks learn that there really is such a thing as competitive asana competitions and the usual response is “That seems like an oxymoron!” The short won “Best Comedic Short” at the Maui Film Festival and after the showing, the actor Connie Britton (who was there with Beatrice at Dinner) came up to Chris and said “I loved your short, I want to be in the feature!” Getting affirmation from an actor that we really respect felt really good, and the possibility of her in the feature takes things to a whole other level.

What will you work on next?

CHRIS: We have a few projects that we are working on including a musical about raising a baby in the techy-go-go former-hippy Mission District in San Francisco - which is what I'm doing right now - but the main focus is to move forward on the feature comedy with production hopefully starting in summer 2018.

Interview with Dan Damman and Chris Thomas for 'Awarewolf' (2017) at Napa Valley Film Festival

Film stills from 'Awarewolf' (2017)

Interview by Vanessa McMahon

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Interview with Writer/Director Nick Pollack for 'And Though the Music Ended, We Danced on Through the Night' (2017)

December 7, 2017, 8:09 am

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Nick Pollack and Aaron Bush from 'And Though the Music Ended, We Danced On Through the Night' (2017) Nick Pollack (left) and Aaron Bush (right).

Australian film team writer/director Nick Pollack and producer Aaron Bush attended the 2017 Napa Valley Film Festival with their 30 minute short film 'And Though the Music Ended, We Danced on Through the Night'. The film follows three frenetic characters hanging on at the end of their rope after what might be a tragic accident. Reminiscent of Aronofsky's 'Requiem for a Dream' (2000), the lives of these three desperate characters are intertwined as they stand at the tipping point into either salvation or madness.

The film was co written by Nick Pollack and Ryan Hayward and produced by Aaron Bush, Nick Pollack and Marisa Zamora.

I interviewed Nick Pollack during the festival about their film. Here is what he had to say:

Were the events in the film based on a true story or a fictional experiment?

NICK: It was a little of both - a real event inspired the nucleus of the story, but we built a wider fictional world around that. It spawned a very depressing ‘cinematic universe’ if you will. The origin of the script was a short story that my good friend Ryan Hayward wrote six years ago of a woman whose son had died in a car accident, yet she kept paying his phone bill, just so she could hear his voice, and leave short messages on the answering service. I read it and it was such a strong, heartbreaking visual which got me thinking about how the son had died, what life she must have now, how else she maintained his memory and everything that surrounded that fictional scenario. So Ryan and I wrote an initial draft based on the mum’s story. And while people who read it liked how it read on the page, we weren’t getting much traction in terms of them wanting to see it as a film. We were hearing that it seemed like an extended public service announcement for not using a mobile phone while driving. So we looked at how we could tell a wider story, about how different people who were dealing with different types of loss processed it. We came up with the narratives of a woman dealing with the loss of a relationship and an academic man dealing with the loss of his life and memories with early stage Alzheimer’s. It was after a few draft that we realized we could link the three character’s stories and have them all intersect at the pivotal climatic moment.

The title of the film is very symbolic. What, in your words, does it mean for you?

NICK: As a film maker, I’m attracted to titles that say something. It’s the first impression you get to make with a potential viewer and you want to intrigue them, yet also stand out from the multitude of viewing options they have at a film festival, online or through a streaming service. This title though - AND THOUGH THE MUSIC ENDED WE DANCED ON THROUGH THE NIGHT - refers specifically to the major theme running through the film, being ‘loss’ and what we do to process it. How do we find the strength to keep going once that thing we held close - the ‘music’ as it were - has ended? How do the characters find the strength to keep ‘dancing’ after they have lost a child, a lover or their memory to Alzheimer’s, and the darkness that that loss brings, being ‘the night’ of the title?

Additionally, music plays a crucial role in my filmmaking also, which is why the scripts that I write tend to have lyrical titles; title that sound like they could be a line from a song. It’s not always the case, but this project and our next one ‘ANY GIRL WHO LOVES THE BEATLES IS BOUND TO BREAK YOUR HEART have long, somewhat abstract titles. Plus, it’s a marketing tool - a longer title beginning with the letter ‘A’ is going to stand out a lot more on the festival guide or a sales document than a film with a short title nestled back among the ‘P’ films. And maybe deep down I have a vendetta against the folks who put the letters up on the marquees outside cinemas and I just want to make their life hell putting up our film title. :)

Does the Aboriginal man ever finish his book? Or is that meant to be kept a mystery?

NICK: Ha, it’s an interesting question, and I guess it feeds into what the title is about - does he keep dancing once he has lost everything? We actually shot a small sequence which didn’t make the final film where his bracelet fell off as he retreats back into the bush after the accident, implying that he may be lost in bush, with no way to return to society, and no way for anyone who found him to know who he was. But it was cut to maintain a level of… not tying up all the loose ends, I guess. So I think you can believe whatever you wish - if you’re an optimist, he managed to get back to the nursing home and finish his book. If you’re a pessimist, maybe he was lost in the bush to perish. Or perhaps a realist will imagine something in-between both those options.

I love the feeling of anxiety and disconnection in the film. Do you think in the digital age we are more connected or separated?

NICK: It’s a subject I’m fascinated with also. Are we better off with what social media and technology provides us or are we on a societal decline? You can’t deny we are more connected, but those connections are lot more ephemeral. We know more about each others lives than we should and we are given a level of voyeurism into those lives that is questionably unhealthy. What’s the saying - ‘you’re never more alone than when you’re in a crowd’ - I think it’s made it much easier to connect with people, but also much harder to stand out in that crowd and in the noise of everyone else trying to connect. That’s what I wanted to cover especially in Abigail / the nurse’s story, and how the pull of ‘needing to know’ (and the power that social media can give us) can turn a person who is otherwise a together, compassionate soul - what’s more caring and empathetic than nurse, right? - into someone who is essentially a stalker. But each character also uses technology to help them maintain the connection they had to what they have lost - Joanne keeps the recording of her son’s voice to keep his memory alive, Percy uses his computer and online research to build his database so he can record all his memories before they are lost to his disease and Abigail uses social media to maintain the connection to the boyfriend she lost.

The acting is superb. How did you go about casting it?

NICK: Thank you so much - yes, the acting really is what holds the film together. Given the jumping time-lines (Abigail’s story is in the past, Percy’s in the present and Joanne’s in the future), the emotional core of this film could have failed spectacularly if we weren’t so blessed with our talent. The casting process on this one though was really identifying who we wanted and approaching them. We didn’t have a casting director or casting sessions - I just wrote some very impassioned letters. Debra Lawrance was on board for almost two years before we started shooting, and was the only person we ever approached to play Joanne. Ryan, my co-writer, had performed with Debra in a play several years ago so he had a connection with her, but there was never anyone else we could have thought to play the role. Thankfully, she responded to script immediately and we were off to the races, which was a godsend. Debra is a hugely respected actor locally and hence she is also very selective in what she does these days, so it was a major blessing to have her on board from the beginning.

Casting ‘Percy’ was a little more tricky. Australia has many incredible actors of Aboriginal background, but they are all in such high demand at the moment that everyone we approached couldn’t fit it in their schedule for a long time after we were hoping to film. Then, rather serendipitously at the beginning of last year, Quentin Tarantino came to Sydney and held a special event where he screened his favorite Australian film – Fred Schepisi’s THE CHANT OF JIMMIE BLACKSMITH (1978). Mid screening, I turned to Bushy and whispered ‘How amazing would it be if we could get ‘Jimmie Blacksmith’ in our film?’ So taking a chance at a long shot, I reached out to him with a heartfelt letter, begging him to consider our small film. The following day I get a phone call and a voice on the other end saying “Nick? It’s Tommy Lewis. I read your script. I love it. Let’s do it”. That was a very great day, let me tell you - to realize we had lined up two legends of the Australian screen in our film. We topped that off with the trifecta of the amazing Emily Gruhl who came recommended to me by another actor Tom Carney who said ‘she’s the next big thing’, and we were equally blessed to have to her respond so well to the character of Abigail that she agreed almost instantly to do it. So all in all, the casting process was incredibly fortuitous. The real pleasure for me was setting the scene, calling ‘Action’ and just letting them do what they know to do, I had to do very little directing on set. It was a dream cast for these roles.

Do you plan to make this a feature in the future?

NICK: We get asked that a bit actually, and I guess it makes sense, to build upon a world that is already established. But I really only see this as a stand alone piece. There are definitely ways we could make the short film bigger, perhaps tell more characters stories and how they feed into this moment that we covered. But we all kind of agreed that this feels like the story - half an hour is all that this film needs to reveal it’s nuances.

You both work as a solid team. How did you both meet and start working together?

NICK: Sometimes I think we were thrown together as punishment for terrible things we did in a past life. We met at a production house we were based at in 2004 - I was editing and had just started directing commercials and Bushy was running the camera department. We’ve worked on a multitude of projects together since, so 13, 14 years together. I think we work well because our skills complement each other - I call him a ‘bulldog producer’ because he just gets things done, with very little messing about. He’s very vocal and he just makes things, in a very practical sense, happen. You can always rely on him to deliver on what’s required - Bushy’s very much a man of his word. I would say he sees the bigger picture, whereas, I see the finer details within a project and the script and how they all feed into each other. I know ‘’why’ things have to happen in a certain way, and he takes care of ‘the how and the where’ so that they do actually happen in that way. However, I must point out that the person who actually held everything together is our other incredible producer Marisa Zamora, the most hard working, dedicated producer I’ve ever worked with. Unquestionably, this film would not have been made without her pulling everything together behind the scenes. We are blessed to have her on our team. I think the team works so well is because neither of us is trying to compete to do the others role, and no one steps on anyone elses toes. I’ve seen producers that are ‘frustrated directors’ who get on projects looking to put their stamp on it, but Marisa and Bushy respect the director’s and the writer’s job. They’ll make suggestions that more often than not make the project far greater, but they are more concerned with helping to deliver a unified creative vision, than to make the vision their own.

You recently attended Napa Valley Film Fest. How was that experience?

NICK: In a word – Wow! We both remarked throughout the festival that we didn’t see one bad film - the curating of the films was impeccable and we felt humble having been a part of the very select group of film from around the world. The parties were off the hook, the screening venues had such a wonderful rustic charm that we rarely get to experience living in the city, and the people who attended were so nice to us at every turn. Plus everything seemed to run smoothly, something to be particularly congratulated given the fires and rebuilding stage the area was going through at the time. We met some lovely people - film makers and Napa / San Fran locals - who we have stayed in contact with after the event, who have extended genuine invitations to visit and stay with them if we ever pass through their cities. It was the perfect place to premiere our film. A really special experience.

How did audiences react to your film?

NICK: The response we’ve had has been overwhelmingly positive when we screened it to audiences. It’s always intriguing to see what one audience takes from a moment that another doesn’t. For instance, the scenes with Abigail hacking into the websites garnered a few hearty laughs at the last screening whilst at other screenings, they gasp at her audacity. But the most rewarding feedback has been how moved the audience has been at reveal of the final climax. To see and hear a room being moved to tears is a really special feeling - to know you have been a part of something that is that engaging on a emotional level makes the effort worth it. People have been really kind to us after the screenings also, sharing deeply personal stories of their own that they felt connected to our film through.

What are you working on next?

NICK: We have been trying to get our musical romance feature ANY GIRL WHO LOVES THE BEATLES IS BOUND TO BREAK YOUR HEART into production for several years now. It’s a tricky one as it’s set against the Sydney Festival, which runs for 3 weeks in January each year. We keep aiming to film within that time frame, but lining up everyone’s schedules (and the ever elusive finance) is a game of chess. I have just finished writing that story into a novel as well to try and build an audience before the film is made, but I’m learning that that is a task in itself to get out there into people’s hands (shameless plug - it’s out on Amazon and the Kindle store, so please have a read and let us know what you think). I’m working on several other scripts of my own, plus I’m helping a local writer Cam Pascoe with a screenplay that I’d like to direct, a thriller set against the visually stunning northern Australian cane fields. It’s an exciting premise with a twist for the antagonist, so hopefully we can make that in 2018 if things line up. In the meantime, it’s back to the world of commercial directing in Sydney and finishing book three of a childrens middle grade book series called ‘ZODEE ACK, MY IMAGINARY ENEMY’.

Tom E. Lewis from 'And Though the Music Ended, We Danced On Through the Night' (2017)

Tom E. Lewis from 'And Though the Music Ended, We Danced On Through the Night' (2017) still shot.

Interview by Vanessa McMahon

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BIFF Supports Bahamas Humane Society

December 7, 2017, 9:59 am

≫ Next: BIFF announces the Finalists of the 2017 Screenwriting Residency Program

≪ Previous: Interview with Writer/Director Nick Pollack for 'And Though the Music Ended, We Danced on Through the Night' (2017)

Kim Aranha, President Bahamas Humane Society

The Bahamas International Film Festival (BIFF) will partner with the Bahamas Humane Society, lead by President Kim Aranha

Join your host, Philip Hiller

Saturday, December 16th
6:30pm - 8:30pm Dinner
8:30pm Movie
Location: Captain’s Table, Lyford Cay

Slim Aarons: The High Life

directed by Fritz Mitchell

Donation of $180.00

3 Course Dinner with Paired Wine and Movie
Followed by a conversation with Mary Aarons

Purchase Your Tickets

Part proceeds donated to the
Bahamas Humane Society for the construction of new kennels

"As the Bahamas Humane Society expands and plays a more integral role in the nation so we need to have more recognition. BIFF has stepped forward as a responsible and caring organization, who recognizes the importance of the BHS, by offering us the opportunity to benefit from a premier showing of the Slim Aarons film, BIFF has given the Bahamas Humane Society an opportunity to become more visible in the community, and the BHS will receive a generous percentage of the money raised through ticket sales” said Kim Aranha.

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BIFF announces the Finalists of the 2017 Screenwriting Residency Program

December 7, 2017, 10:02 am

≫ Next: Grace Jones will be honored with the Career Achievement Award at this year’s Bahamas Film Festival

≪ Previous: BIFF Supports Bahamas Humane Society

FINALIST

Screenwriters Residency Program
December 10 - 13
(Harbour Island)

ALEPPO, Written by Robert Dantas

ENDINGS, Written by Jason Mott

FREEDOM SOLDIER, Written by Armelle Lajus

RED MENACE, Written by Tad Daggerhart

SEMI FINALIST

9 WORDS, Written by Bennett Fisher
A BRAND NEW WORLD, Written by Kerel Pinder
ALEPPO, Written by Robert Dantas
ENDINGS, Written by Jason Mott
COME HAND, Written by Corey Roberts & Scott Simonsen

FREEDOM SOLDIER, Written by Armelle Lajus
MARVEL, Written by Margaret Ford Rogers & Dane Krogman
QUEEN OF THE RING, Written by Alston Ramsay
RED MENACE, Written by Tad Daggerhart
SPYTOWN, Written by Adam Tobin
THE DISPATCHER, Written by Heidi Van Lier
THE SAND RECKONER, Written by Christopher Colpitts
YOUTH, Written by Brett Marty

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Grace Jones will be honored with the Career Achievement Award at this year’s Bahamas Film Festival

December 7, 2017, 10:07 am

≫ Next: “Mudbound”, directed by Dee Rees, will be the BIFF closing film

≪ Previous: BIFF announces the Finalists of the 2017 Screenwriting Residency Program

The Bahamas International Film Festival (BIFF) announced today that iconic actress, singer, songwriter, supermodel, and record producer Grace Jones will be honored with the prestigious Career Achievement Award at this year’s Film Festival, taking place December 10-17.

Serving as the Festival’s most prestigious symbol of recognition, awarded in appreciation of the lifetime achievements of an actor, BIFF’s Career Achievement Award will be bestowed to Jones on the evening of Friday, December 15th at The Ocean Club, A Four Seasons Resort, Bahamas The announcement was made by BIFF Founder and Executive Director Leslie Vanderpool.

In addition to receiving BIFF’s Career Achievement Award, Jones will present her latest film, “Grace Jones: Bloodlight and Bami” - the acclaimed documentary from director Sophie Fiennes.

Said Vanderpool, “Grace’s trademark charisma has fueled memorable performances for decades, but in watching her amazing body of work, the depth of her performances is unmistakable and equally as memorable. Having Grace in The Bahamas to receive the Career Achievement Award and present the highly acclaimed ‘Bloodlight and Bami’ is a huge honor for the festival and the audiences who will share in the experience. Grace is an legend, an icon and we are extremely thrilled to recognize her amazing career at the Bahamas International Film Festival.”

Filmed over the course of a decade, the documentary, “Grace Jones: Bloodlight and Bami”, from director Sophie Fiennes (The Pervert’s Guide to Ideology) offers a stylish and unconventional look at the Jamaican-born model, singer, and New Wave icon.

Grace Jones, the statuesque Jamaican model-turned-singer, actress and icon has made a career performing versions of herself. But who is the real Grace Jones behind the masks and makeup? This film moves between her personae onstage and off. Don't expect a traditional music biography with sit-down interviews and archival footage. This treatment is as stylish and unconventional as its subject. In the subtitle, "bloodlight" refers to the studio signal for recording and "bami" is a Jamaican flatbread. They stand for art and life.

Filmmaker Sophie Fiennes has previously made films about a philosopher, a dancer, and an artist. Each time, she conjures a fresh style for the material. (One of her early documentaries, Hoover Street Revival, profiled Jones' brother Noel, the Los Angeles preacher). With Grace Jones, filmed over 10 years, we gain entry to her private spaces: her family in Jamaica, in the studio with long-time collaborators Sly & Robbie, and in Paris with her one-time image maker and lover, Jean-Paul Goude. In negotiations glimpsed on camera, she demonstrates that you wouldn't want to go against her. "Sometimes you have to be a high-flying bitch." Yet we also catch her in sweet and vulnerable moments.

Interspersed throughout the film are performances from a 2016 concert staged for Fiennes' camera. Strutting the stage like an Amazon in heels, Jones performs songs such as "Slave to the Rhythm,""Love is the Drug" and "Amazing Grace" with multiple costume changes. This might be the first documentary with a credit for Corset Designer. Whatever mysteries she conceals, one thing is for certain: we can't take our eyes off her.

The Bahamas International Film Festival will showcase more than 82 films from 28 countries, including 12 world premieres, 4 international premieres and 57 Caribbean premieres. All of the films will be Bahamian premieres.

BIFF 2017 takes place from December 10-13 in Harbour Island and December 14-17 in Nassau. The Festival’s opening night in Harbour Island will begin with a screening of Sean Baker’s critically acclaimed drama 'The Florida Project’ starring Willem Dafoe.

The full lineup can be viewed at www.bintlfilmfest.com.

About the Bahamas International Film Festival

The Bahamas International Film Festival (BIFF) is a nonprofit organization committed to providing the local community and international festival-goers with a diverse presentation of films from The Bahamas and around the world. In addition to showcasing films that might not otherwise be released theatrically, BIFF provides unique cultural experiences, educational programs, and forums for exploring the past, present and future of cinema. BIFF aims to raise the level of filmmaking, participation and education throughout The Bahamas and the world.

BIFF has created a legacy of excellence in presenting The Bahamas as a premier film destination to the international cinematic community. Apart from showcasing 1000+ local and international films, we have introduced our culture to more than one million film professionals and enthusiasts from around the world.

BIFF has attracted A-List celebrities such as Johnny Depp, Nicolas Cage, Laurence Fishburne, Chaz Ebert, Debra Messing, Danny Glover, Heather Graham, Alan Arkin, Sir Sean Connery, Roger Corman, Daryl Hannah, Sophie Okonedo, Anna Faris, Naomie Harris, Zoe Kravitz, Lenny Kravitz, Sydney Tamiia Poitier, Roger Guenveur Smith, Lee Daniels and many more

For additional information, please visit www.bintlfilmfest.com.

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“Mudbound”, directed by Dee Rees, will be the BIFF closing film

December 7, 2017, 10:11 am

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The Bahamas International Film Festival (BIFF), announced today that Netflix’s highly acclaimed drama “Mudbound”, directed by Dee Rees, will be the official closing night film at this year’s festival, which takes place December 10-17. The announcement was made by BIFF Founder and Executive Director Leslie Vanderpool.

Carey Mulligan, Mary J. Blige, Jason Clarke, Garrett Hedlund, Jonathan Banks and Jason Mitchell lead the ensemble cast of “Mudbound.”

Set in the rural American South during World War II, Dee Rees’ “Mudbound” is an epic story of two families pitted against one another by a ruthless social hierarchy, yet bound together by the shared farmland of the Mississippi Delta.

“Mudbound follows the McAllan family, newly transplanted from the quiet civility of Memphis and unprepared for the harsh demands of farming. Despite the grandiose dreams of Henry (Jason Clarke), his wife Laura (Carey Mulligan) struggles to keep the faith in her husband’s losing venture. Meanwhile, Hap and Florence Jackson (Rob Morgan and Mary J. Blige), sharecroppers who have worked the land for generations, struggle bravely to build a small dream of their own despite the rigidly enforced social barriers they face. The war upends both families’ plans as their returning loved ones, Jamie McAllan (Garrett Hedlund) and Ronsel Jackson (Jason Mitchell), forge a fast but uneasy friendship that challenges the brutal realities of the Jim Crow South in which they live.

The official closing night screening of “Mudbound” will take place on Sunday, December 17^th at the Baha Mar in Nassau.

Said Leslie Vanderpool, “At the height of awards season, the buzz around ‘Mudbound’ is amazing. The film exhibits masterful storytelling and performances and is a perfect close to our 14^th edition.”

The 2017 Bahamas International Film Festival will showcase more than 82 films from 28 countries, including 12 world premieres, 4 international premieres, and 57 Caribbean premieres. All of the films will be Bahamian premieres.

The full BIFF lineup can be viewed at www.bintlfilmfest.com.

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Junod, japanese animation, will have a special screening, out of competition at BIFF

December 7, 2017, 10:17 am

≫ Next: BIFF 2017, 14th edition meet the jury

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The film tells the story of the swiss doctor who came to Hiroshima for Red Cross after the bombing saving thousands. It is seen through the eyes of two young girls who magically travel through time...

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BIFF 2017, 14th edition meet the jury

December 7, 2017, 10:28 am

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BIFF JURORS

December 10 – 13 Harbour Island

December 14 -17 Nassau

New Visions Jury

Jill Bohling
A24 | New Visions Head Juror

Jill Bohling joined A24 in 2013 and has enjoyed helping the company grow from a small NY based distributor to the Academy Award-winning studio behind Moonlight, now producing original content and distributing internationally. A24 is also responsible for favorites including The Lobster, The Witch, Room, Amy, Ex Machina, and Spring Breakers, and TV shows such as Amazon’s Comrade Detective and NBC's The Carmichael Show. Jill has loved being a part of a team that finds and gives a platform to new and original voices.

Breyant Marshall
University Of Bahamas Film Critic | New Visions Juror

Breyant T. Marshall is aspiring filmmaker whose interests range from creating cultural documentaries to thought-provoking indie films. Her latest project is entitled “Adelaide: From the Enslaved to Freedom”, where she documented the history and culture of this famous slave site. Breyant is also working on a digital archive, where she videos Bahamian authors.

Jib Polheums
Producer | New Visions Juror

Jib Polhemus has worked in the entertainment business for over 20 years. Recently founded the literary management company, SourceManagement + Production where he represents writers and directors. He is also President of Simon West Productions where he produces Film and TV with director, Simon West (Con Air, Tomb Raider, Expendables 2). As President of Simon West Productions, he has developed and sold numerous high profile projects to Warner Brothers, Universal, FOX, Paramount, Sony and others including BLACK HAWK DOWN directed by Ridley Scott. Recently, he Produced GUN SHY starring Antonio Banderas and Olga Kurylenko and Executive Produced STRATTON starring Dominic Cooper and Connie Nielsen. Previously, he Executive Produced WILD CARD starring Jason Statham and Stanley Tucci for Lionsgate. In addition, he co-produced blockbuster EXPENDABLES 2, starring Sylvester Stallone, Arnold Schwarzenegger, Bruce Willis, and Executive Produced STOLEN starring Nicolas Cage. In 2011, he co-produced The MECHANIC, starring Jason Statham and Ben Foster, and also Associate Produced Paramount’s mega-blockbuster LARA CROFT: TOMB RAIDER, starring Angelina Jolie. In television, he has developed and sold shows to most of the top networks including CBS, NBC, FOX, ABC and WB. He is currently developing shows for e1 and Lionsgate.

In his free time, Mr. Polhemus is on the advisory board of Bahamas International Film Festival, lectures for the Columbia College of Chicago (LA) and judges the screenplay contest for UCLA Master’s Writing Program. He resides in Los Angeles, CA.

Spirit Of Freedom Jury

Arianne Rocchi
Magnolia Pictures | Spirit Of Freedom Head Juror

Arianne Rocchi is the VP of Publicity at Magnolia Pictures/Magnet Releasing. Joining Magnolia over ten years ago, Mrs. Rocchi has worked on films including Food Inc., Blackfish, the Oscar-winning Man on Wire, and this year’s Oscar nominated I Am Not Your Negro. Magnolia's busy schedule saw her work on over 29 films last year, ranging from Denmark’s nominated entry for Best Foreign Film, A War, to the disturbing documentary Tickled. She also worked with Amazon Studios on the release of The Handmaiden from director Park Chan-wook and with Werner Herzog on the release of Lo and Behold: Reveries of the Modern World. Prior to her time at Magnolia, Arianne was in the marketing department at Landmark Theaters.

Brenda Barry
First Miss Bahamas & Entrepreneur | Spirit Of Freedom Juror

Style, elegance and beauty personifies this bahamian model and ballerina. Brenda Barry is a first of many. Brenda Barry was crowned the first winner of Miss Bahamas in 1961, first bahamian Director of the Red Cross in Nassau, Bahamas and one of the first female bahamian owners and assistant manager of The Landings in Harbour Island, Bahamas, now owned and managed by her daughter Tracy Barry. The Landings is an incredibly beautiful boutique hideaway with an huge international reputation.

Ide Thompson
University Of Bahamas Film Critic | Spirit Of Freedom Juror

Ide Amari Thompson is a “true true” Bahamian-American writer and poet who hopes with his work to “wake the sleepers wide.” As a Junior at the University of the Bahamas studying History, English, and Linguistics, Ide is well suited to integrate and interrogate Bahamian and Caribbean social life and ways in which these cultures interact with and are influenced by other cultures. He believes that all forms of literature and especially film are avenues by which various groups can learn about not only their difference but more importantly their commonalities.

Short Film Jury

Sam Morrill
Vimeo Director of Curation | Short Film Head Juror

Sam Morrill joined Vimeo in 2009 where he currently serves as its Director of Curation, leading Vimeo’s five-person Curation Team. From customer support, to content acquisitions, to curating Vimeo’s lauded Staff Picks channel, Sam has experienced Vimeo’s growth and evolution from a variety of different angles. In 2016, Sam led the launch of Vimeo Staff Pick Premieres, a weekly program in which the most celebrated short films from the festival circuit premiere online exclusively on Vimeo. When he’s not watching videos, he’s probably traveling, watching baseball or searching for the last golf ball he hit into the woods. Sam resides in his hometown of Brooklyn, New York.

Billie Carroll
Professional Blogger | Short Film Juror

Billie Carroll is a professional blogger, social media influencer and entrepreneur living between the Bahamas and NYC. Raised in the Bahamas, Billie continued her education in the US where she studied advertising and psychology at SMU. Billie proceeded to move to NYC to work in the fashion industry.

As a content creator, Billie partnered with countless brands to build social media campaigns for her audience. With this experience, Billie is using her platform to curate & market her next project a boutique here in Nassau, Bahamas.

Elise Barnett
University Of Bahamas Film Critic | Short Film Juror

Elise Barnett, nineteen year old university student, is an English Language major and first generation college student. Upon enrollment at The University of The Bahamas, Elise received recognition as the recipient of the President’s Scholar Award for the 2015-2016 academic year, and in 2017, won the annual Templeton “Laws of Life” Essay competition. As an aspiring author and linguist, Elise actively engages in recreational reading and writing.

University Of Bahamas (UB) & BIFF Collaborate:

UB students given a once in a lifetime opportunity to become film critiques!

Through a proposed partnership with the University of The Bahamas (UB), by Breyant Marshall (Deputy Senate Speaker and Senator for the School of English Studies), Bahamas International Film Festival (BIFF) has been offering many opportunities to students. One such initiative is a competition that gave students the chance to wet their feet in the film industry: the “Written Word Series-Bahamas International Film Festival Movie Critique Competition.”

A private pre-screening, featuring one of BIFF’s 2017 Spirit of Freedom Documentaries was showcased exclusively for the UB participants of the competition. Following the film participants had the opportunity to conduct and question and answer session with the filmmaker. From this competition Ide Thompson, Breyant Marshall, and Elise Barnett were winners based on their critique. Their work will be published, and they will receive access to the entire film festival.

In addition, they were selected to become jurors for BIFF’s 2017 competitive film categories (along with international industry professionals).

“Giving back is what separates one organization from another” claims the founder and executive director of BIFF, Leslie Vanderpool, as she spoke to students at UB. She continued that: “Helping communities is a core component of our identity. And what better way to do that but to do that through a partnership with the University of The Bahamas”.

Overall, BIFF was more than excited to work with students at UB towards a greater appreciation of film in the nation.

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Master Class in acting by Glen Kalison

December 8, 2017, 5:00 am

≫ Next: Daddy’s Home 2, Review: Audience’s at home too

≪ Previous: BIFF 2017, 14th edition meet the jury

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Master Class In Acting
Saturday, December 16, 2017
9:00am – 12pm
$60.00

Taught by Glenn Kalison

Glenn Kalison is a leading entertainment executive who founded of Relativity Education, an educational unit born inside the film studio, Relativity Media. He is also an accomplished actor, a leading performance coach, and recognized expert in the fields of performing and media arts education. He has offered his expertise as a frequent guest contributor for Backstage, the leading publication for casting news and advice. In addition, Kalison has been cited as an industry expert in articles published by CNN and The Wall Street Journal.

As a perennial New York actor, Kalison has appeared in such films as The Good Shepherd, Mystery Team, and TV shows such as Elementary, Smash, Law and Order (all three), Lights Out, As the World Turns and Guiding Light. He also has an extensive theatrical resume including “The Language Archive” produced by Tony-winning group, Roundabout Theater Company.

Kalison holds a Master of Fine Arts from University of California, Irvine and a BS in Business Administration from Lehigh University. Kalison is a proud member of the Screen Actors Guild, American Federation of Television and Radio Artists, and Actors Equity Association.

For more information call 242 698 -1800

About the Bahamas International Film Festival

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Daddy’s Home 2, Review: Audience’s at home too

December 8, 2017, 1:39 am

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Daddy’s Home 2, Review: Audience’s at home too

When you can count twelve credited parts, and five of them are children, you might yourself arithmetically challenged. For relief, the film is titled Daddy’s Home 2, which, thankfully, does not make you look for your abacus. But you do realise that in this case, 2 is 1 too many. Okay, so we will make no comparisons to the first outing a couple of years ago, and accept that in part II, as in Chapter I, the two Daddies are going to be Mark Wahlberg and Will Ferrell. To reconfirm, both are producers too. And to add to star value, they have hired Lethal Weapon, Mad Max Mel Gibson too.

Following the events of the first film, Brad and Dusty (Will Ferrell and Mark Wahlberg) must deal with their own fathers, sweet natured Don and meddling Kurt (John Lithgow and Mel Gibson), who both decide to visit them for the festivities, and land up a week before Christmas, on different flights, at almost the same time. Dusty's conflict with his stepchild's biological father, Roger (John Cena), continues, Kurt insists on having a ball and poking fun at everybody and the children have a host of problems of their own.

Along the way, we have a long scene where a pre-teens kid learns bowling at nine-pins and how to kiss another girl around his age, a little girl learns to wield a gun and shot a turkey, a spoilt little ‘lady’ insists on maintaining the thermostat at 85 degrees (Fahreinheit!!) which roasts the inmates, an old man reveals during a stand-up comic act in front of his 40-ish son that he has divorced his wife, snowballs hit a bald man (the same, aspiring, stand-up comic) on his head four times in succession, a man who should have known better saws off a cell-phone tower, mistaking it to be a Christmas tree, and the Lothario grabs the waist of any available woman and leads her out of the hall to...

Towards the end, you have to be reminded that everybody meant well, and even the macho step-father breaks into a song.

Daddy’s Home has two writing credits—John Morris (Hot Tub Time Machine, We’re the Millers, Daddy’s Home) and director Sean Anders (Sex Drive, Horrible Bosses 2, Daddy’s Home). Script-wise, in Daddy’s Home, it was a step-father (Wahlberg) visiting Dad Ferrell to establish healthy contact with his step-children. By the time we move on to step two, you have two grandfathers materialising out of wafer-thin air and three other fathers interacting in a sort of family Christmas, not to mention the mothers and their sisters and the children. Designed as a Christmas release, the film is more X Mess than Xmas. Gibson has lines that go something like, “How many co-Dads do we have? Who did you say you were...? How does that relate me to you?” 100 minutes of confusion confounded.

Thankfully, the women do not come out as crazy as the men. But why waste names like Ferrell, Wahlberg, Gibson (completely out of sorts), Linda Cardellini (Legally Blonde, Brokeback Mountain, Avengers: Age of Ultron; and some beauty) and John Lithgow in a movie that will just come and go? Incidentally, Lithgow did a movie called Santa Claus: The Movie, in which he played the villain—a toy manufacturer who plans to take over Christmas. That might have been more interesting than the syrupy, teary grandpa he plays here, though he’s not bad this time either. Professional wrestler and rapper John Cena provides one of the few funny moments in the film, by the sheer paradox of the scene.

It is more than obvious that the writers were desperate for laughs, and most of the scenes that might have seemed funny on the laptop have transposed tit the big screen as either dilly or pointless. A case in point is Ferrell’s suitcase being thrown out of the car boot into the bushes by Wahlberg because it does not fit as they are driving to a holiday resort for the Christmas week. Funny?

In case you need to know who were the Daddies, the Grand-Daddies, the co-Daddies, the step-Daddies, the ex-Daddies (....is there such a thing?), see below.

Will Ferrell as Brad Whitaker, Don's son, Sara's husband, Dylan and Megan's stepfather, and Griffy's father

Mark Wahlberg as Dusty Mayron, Kurt's son, Sara's ex-husband, Karen's husband, Dylan and Megan's father and Adrianna's stepfather

Mel Gibson as Kurt Mayron, Dusty's father, Sara's ex-father in law, Karen's father in law, Dylan and Megan's grandfather, and Adrianna's step-grandfather

John Lithgow as Don Whitaker, Brad's father, Sara's father in law, Dylan and Megan's step grandfather, and Griffy's grandfather

Linda Cardellini as Sara Whitaker, Brad's wife, Dusty's ex-wife, mother of Dylan, Megan, and Griffy

John Cena as Roger, Karen's ex-husband, and Adrianna's father

Scarlett Estevez as Megan Mayron, Dusty and Sara's daughter, Dylan and Griffy's sister, Brad's stepdaughter, and Adrianna's stepsister

Owen Vaccaro as Dylan Mayron, Dusty and Sara's son, Megan and Griffy's brother, Brad's stepson, and Adrianna's stepbrother

Alessandra Ambrosio as Karen Mayron, Dusty's wife, Adrianna's mother, and Dylan and Megan's stepmother

Didi Costine as Adrianna, Dusty's stepdaughter, Karen and Roger's daughter, and Dylan and Megan's stepsister

Chesley Sullenberger as Brad's stepfather

Daddy’s home. Keep him company. 2 is company. Even if you are 3 or 4 or 5, stay at home, avoid going to the cinema where this Baddy is playing.

Rating: * ½

Trailer: https://www.youtube.com/watch?v=p8shgJX14HQ

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ALex Deleon's Walls of Fame

December 8, 2017, 3:23 am

≫ Next: 15 Documentary Features Advance in 2017 OSCAR® Race

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15 Documentary Features Advance in 2017 OSCAR® Race

December 8, 2017, 3:48 am

≫ Next: 2018 Sundance Film Festival’s New Frontier: Crossroads of Film, Art and Technology

≪ Previous: ALex Deleon's Walls of Fame

The Academy of Motion Picture Arts and Sciences today announced that 15 films in the Documentary Feature category will advance in the voting process for the 90th Academy Awards^®. One hundred seventy films were originally submitted in the category.

The 15 films are listed below in alphabetical order by title, with their production companies:

“Abacus: Small Enough to Jail,” Mitten Media, Motto Pictures, Kartemquin Educational Films and WGBH/FRONTLINE

“Chasing Coral,” Exposure Labs in partnership with The Ocean Agency & View Into the Blue in association with Argent Pictures & The Kendeda Fund

“City of Ghosts,” Our Time Projects and Jigsaw Productions

“Ex Libris – The New York Public Library,” Ex Libris Films

“Faces Places,” Ciné Tamaris

“Human Flow,” Participant Media and AC Films

“Icarus,” Netflix Documentary in association with Impact Partners, Diamond Docs, Chicago Media Project and Alex Productions

“An Inconvenient Sequel: Truth to Power,” Paramount Pictures and Participant Media

“Jane,” National Geographic Studios in association with Public Road Productions

“LA 92,” Lightbox

“Last Men in Aleppo,” Larm Film

“Long Strange Trip,” Double E Pictures, AOMA Sunshine Films and Sikelia

“One of Us,” Loki Films

“Strong Island,” Yanceville Films and Louverture Films

“Unrest,” Shella Films and Little by Little Films

The Academy’s Documentary Branch determined the shortlist in a preliminary round of voting. Documentary Branch members will now select the five nominees from among the 15 titles.

Nominations for the 90th Academy Awards will be announced on Tuesday, January 23, 2018.

The 90th Oscars^® will be held on Sunday, March 4, 2018, at the Dolby Theatre^® at Hollywood & Highland Center^®in Hollywood, and will be televised live on the ABC Television Network at 6:30 p.m. ET/3:30 p.m. PT. The Oscars also will be televised live in more than 225 countries and territories worldwide.

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2018 Sundance Film Festival’s New Frontier: Crossroads of Film, Art and Technology

December 8, 2017, 6:59 am

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(Top, L-R) *VR_I, Credit: Courtesy of Sundance Institute;**The Sun Ladies VR, Credit: Lucid Dreams Productions;* DICKGIRL 3D(X), Credit: Cinesaurus. (Bottom, L-R) *On My Way**, Credit: Courtesy of Sundance Institute;* *Frankenstein AI: A Monster Made by Many**, Credit: Courtesy of Sundance Institute;* *Awavena**, Credit: Tashka Yawawnawa/Lance Troxel.*

Innovative Independent and Experimental Work to Premiere, Including Artificial Intelligence, Augmented Reality, Virtual Reality Storytelling, Site-Specific Installations, Films and Live Performances

Park City, UT — As the intersection of art and technology grows more crowded, Sundance Institute showcases a curated collection of cutting-edge independent experimental media works by creators who are pushing the artistic development of the new mediums of VR, AR, mixed reality (MR) and AI. The 2018 edition of New Frontier at the Sundance Film Festival offers some of the most innovative independent production and experimentation at the crossroads of film, art and technology that is being created today. Programmers assembled an international slate of VR, MR, and AI from a mix of invitations and submissions to an open call for VR work earlier this year.

New Frontier’s footprint at the Festival has continued to evolve, responsive to increased demand. This year, New Frontier programming encompasses three venues:

The New Frontier Exhibition at Kimball Art Center will host immersive dance and cutting edge VR & MR works as well as works involving Artificial Intelligence (AI).
New Frontier at The Ray, where works will range from VR, MR, and AR to AI and new media technologies. The Box at New Frontier at The Ray, a 40-seat mobile VR cinema, will showcase four different mobile VR programs over the course of the Festival.
The VR Bar at Music Cafe offers a selection of The New Frontier mobile VR program, plus world premieres of hot, late-breaking VR content created by some of the most exciting companies in the field.

Robert Redford, President and Founder of Sundance Institute, said, “Technology-enabled storytelling continues to develop into a thriving industry. It’s essential to protect the creative spaces where creators can develop work and reach audiences independent of commercial pressures. The work that we showcase at New Frontier sets the agenda for the year in creative cross-media storytelling.”

Shari Frilot, Sundance Film Festival Senior Programmer and Chief Curator, New Frontier, said, “This year’s artists push the boundaries of a host of new technologies in powerful and surprising ways. The story creates the body and the corpus takes on new meaning, offering a new framework for personal interactions in modern society.”

New Frontier alumni include Doug Aitken, Joseph Gordon-Levitt, Chris Milk, Nonny de la Peña, Pipilotti Rist and Jennifer Steinkamp. The Institute’s support extends well beyond its curated slate of Festival projects, and includes the annual New Frontier Story Lab, which offers mentorship and development opportunities for new media storytellers, New Frontier Day Labs in cities nationwide and the New Frontier Residency Program, which combines the might of partners such as MIT Media Lab's Social Computing Group and Jaunt Studios to drive groundbreaking data-visualization and VR storytelling tools, training and resources to independent artists.

In addition to the New Frontier program announced today, films across all categories, including works in the Shorts, Special Events and new-this-year Indie Episodic sections, have been announced and are listed at sundance.org/festival.

FILMS AND PERFORMANCE

★ / Austria (Lead Artist: Johann Lurf) — This film, compiling shots of clear night-time skies from throughout film history in chronological order, reveals that what humans may regard as an absolute image is actually quite unstable. This instability occurs not only of evolving technological parameters, but also as a result of period-specific trends in culture.

A Thousand Thoughts / U.S.A. (Directors and screenwriters: Sam Green, Joe Bini, Producers: Janet Cowperthwaite, Sam Green, Josh Penn) — A live cinema portrait of the legendary classical music group the Kronos Quartet. Green narrates the film and Kronos performs the soundtrack live. A meditation on music itself – the act of listening closely to music, the experience of feeling music deeply, and the power of music to change the world. Cast: David Harrington, John Sherba, Hank Dutt, Sunny Yang.

Deep Astronomy and the Romantic Sciences / U.S.A. (Director and screenwriter: Cory McAbee, Producers: Cory McAbee, Daryle Conners, Steve Holmgren, Richard Cole) — A live sci-fi event, presented in the form of two master’s classes, featuring music, animation and artwork. Topics include the colonization of other planets, sentimentality reform, transdimensional drifting, the proper way to view the universe and the reason that humans exist. Cast: Cory McAbee.

Organ Player / U.S.A. (Director and screenwriter: Narcissister) — This hybrid performance/documentary film explores how ancestral data is stored in our bodies, impacting the lives we lead. On the personal level, the film investigates how the artist's complex family history compelled them to create the masked, erotic performance character Narcissister. Cast: Narcissister, Sarah Lumpkin, Oscar Lumpkin, Bernard Lumpkin, Carmine Boccuzzi.

NEW TECHNOLOGIES

Experience Realistic Touch in Virtual Reality / U.S.A. (Lead Artists: Andrew Mitrak, Greg Bilsland, Joe Michaels, Jake Rubin, Key Collaborator: Dr. Bob Crockett) — HaptX brings realistic touch to virtual reality for the first time. The innovative technology lets VR users feel the shape, movement, texture and temperature of digital objects. By providing advanced haptic feedback and natural interaction, HaptX enables unprecedented levels of realism in virtual experiences.

Awavena / U.S.A, Australia, Brazil (Lead Artist: Lynette Wallworth, Key Collaborators: Nicole Newnham, Tashka Yawanawa, Laura Soriano de Yawanawa) The Yawanawa, an indigenous Amazonian people, see immersive technologies as tools they can co-opt to share their connected worldview. Inviting artist Lynette Wallworth to their community, the Yawanawa share the visions of Hushahu, their first woman Shaman, and our technology renders visible the luminous world they have always known. Cast: Hushahu Yawanawa, Tata Yawanawa, Mutum Community.

ARTIFICIAL INTELLIGENCE

Frankenstein AI: A Monster Made by Many / U.S.A. (Lead Artists: Lance Weiler, Nick Fortugno, Rachel Ginsberg, Key Collaborators: Nick Childs, Hunter Owens, Brandon Powers) — By challenging dystopian perspectives around Artificial Intelligence, this immersive experience reimagines Shelley’s seminal work to examine the cultural ramifications of pervasive, ubiquitous technology. Participants interact with an artificial intelligence, co-creating a shared narrative around the implications of unleashing this naive, intelligent "monster,” both mythical and imminent, into the world.

TendAR / U.S.A. (Lead Artists: Samantha Gorman, Danny Cannizzaro) — A humorous and provocative installation that combines interactive storytelling, AR and emotion/face recognition technology to promote discussion about current topics in biometric data and artificial intelligence. Your guide: a fish-like creature who amusingly analyzes the partners collaborating in the experience, their emotions and the world around them.

VIRTUAL/MIXED REALITY INSTALLATIONS

Zikr: A Sufi Revival / U.S.A. (Lead Artists: Gabo Arora, John Fitzgerald, Matthew Niederhauser, Key Collaborators: Selim Bensedrine, Igal Nassima, Jennifer Tiexiera, Wilson Brown) — This interactive social VR experience uses song and dance to transport four participants into ecstatic Sufi rituals, while also exploring the motivations behind followers of this mystical Islamic tradition, still observed by millions around the world.

Elastic Time / Switzerland (Lead Artist: Mark Boulos, Key Collaborators: Robin Mange, Javier Bello Ruiz) — A mixed reality interactive documentary about space-time, narrated by astronomer Tony Stark (Harvard-Smithsonian Center for Astrophysics). A real-time hologram of your body is integrated into the observatory room; using the controllers, you bend space and time to your will, creating black holes, wormholes and time portals. Cast: Tony Stark.

Hero / U.S.A. (Lead Artists: Navid Khonsari, Vassiliki Khonsari, Key Collaborators: Brooks Brown, Mark Harwood, Sinclair Fleming) — An immersive, large-scale installation that explores humanity in our modern era of civilian warfare. In this vérité VR experience with multi-sensory engagement, participants embark upon their own primal journey. When everyday life is disrupted by profound crisis only human connection can inspire hope. Cast: Masoume Khonsari, Perla Daoud, Samer Sakka, Sam Sako, Said Faraj, Sue Shaheen.

VR_I / Switzerland (Lead Artists: Gilles Jobin, Caecilia Charbonnier, Sylvain Chagué, Key Collaborators: Jean-Paul Lespagnard, Carla Scaletti, Camilo De Martino) — Blending art with technology, VR_I resulted from the encounter between Swiss choreographer Gilles Jobin and the founders of Artanim, Caecilia Charbonnier and Sylvain Chagué. In this contemplative virtual dance piece, five spectators, immersed together and in real time, use avatars to investigate a performance among surprising effects of scale. Cast: Susana Panadés Diaz, Victoria Chiu, Diya Naidu, Gilles Jobin, Tidiani N'Diaye.

BattleScar / U.S.A., France (Lead Artists: Martin Allais, Nico Casavecchia, Key Collaborators: Arnaud Colinart, Raphael Penasa, Andrew Geller, René Pinell) — New York City, 1978: When Lupe, a Puerto Rican-American teen, meets fellow runaway Debbie, the Bowery's punk scene and the Lower East Side are their playground. This coming-of-age narrative explores identity through animation and immersive environments as Lupe's handwritten journals guide users through her year. Cast: Rosario Dawson.

DICKGIRL 3D(X) / United Kingdom (Lead Artist: Sidsel Meineche Hansen, Key Collaborator: James B Stringer) — DICKGIRL 3D(X) is the non-binary version of EVA v3.0, an avatar purchased online and appropriated by the artist. Through DICKGIRL 3D(X), the viewer becomes a post-human pleasure-seeker in an encounter with a submissive clay-like sculpture.

SPHERES: Songs of Spacetime / U.S.A. (Lead Artist: Eliza McNitt, Key Collaborators: Darren Aronofsky, Ari Handel, Jess Engel, Arnaud Colinart) — Dive into the heart of a black hole and uncover the hidden songs of the cosmos. In this interactive VR experience, the breakthrough discovery of gravitational waves transforms how we see the Universe. Fall into the darkness, and you will find the light.

Wolves in the Walls (Chapter 1) / U.S.A. (Lead Artists: Pete Billington, Jessica Shamash, Key Collaborators: Edward Saatchi, Saschka Unseld, Jennine Willett, Zach Morris) — All is not as it seems when 8-year-old Lucy’s imagination proves to be reality. Help her discover what's hiding inside the walls of her house in this immersive fable, based on the work by Neil Gaiman and Dave McKean, and choreographed by acclaimed immersive-theater company, Third Rail. Cast: Elisa Davis, Elizabeth Carena, Cadence Goblirsch

Chorus / U.S.A. (Lead Artist: Tyler Hurd, Key Collaborators: Chris Milk, Megan Ellison, Justice) — Crystals, lasers, monsters, heroines. Transform into fantastical female warriors in this social virtual reality experience. Six people can band together to battle evil in this epic journey of empowerment, all orchestrated to the song "Chorus" by Justice.

MOBILE VR LINEUP

Dinner Party / U.S.A. (Lead Artists: Charlotte Stoudt, Laura Wexler, Angel Manuel Soto, Key Collaborators: Rachel Skidmore, Bryn Mooser, Erik Donley) — A short virtual reality thriller that dramatizes the incredible story of Betty and Barney Hill, who in the 1960's reported the first nationally known UFO abduction case in America. Cast: Malcolm Barrett, Sarah Sokolovic.

Dispatch / U.S.A. (Lead Artist: Edward Robles) — A small-town police dispatcher faces the greatest challenge of his career during an all-night crime spree. Cast: Martin Starr, Julianna Guill, Graham Shiels, Beth Grant, Samuel Stricklen, Kelly Jenrette.

Eyes in the Red Wind / South Korea (Lead Artists: Sngmoo Lee, Jongmin kim, Youngsam Jung, Key Collaborators: Jaehyun Park, Myuonggoo Ji, Youngsik Yu) — Friends and family members gather to throw a ‘soul scooping’ ritual, to pacify the soul of a drowned man. When a possessed shaman reveals the murderous truth behind the death on the table, lust and secrets come to the fore. Cast: Sungmi Kim, Jaehyun Kim, Jeongmi Lee, Nara Kim.

Masters of the Sun / U.S.A. (Lead Artists: will.i.am, apl de ap, Taboo, Key Collaborators: Pasha Shapiro, Ernst Weber, Sara Ramaker, Eddie Axley) — In 1983, Los Angeles was spared from utter destruction driven by an ancient evil. The ghetto became ground zero for drug epidemic that transformed citizens into soul-sucking zombies through Z-Drops, until a ragtag crew used one weapon to take their city back: hip-hop. Cast: Rakim, Queen Latifah, Jason Isaacs, Stan Lee, KRS-One, Slick Rick.

Micro Giants / China (Lead Artist: Yifu Zhou, Key Collaborators: Teng Wang, Shuyi Qiao, Jia Zhang) — A computer-generated VR experience that gives an unprecedented and highly engaging perspective of insect life. When participants enter into the micro world, tiny flowers and insects in normal life now become mighty trees and beasts. Cast: Pantawit Kiangsiri.

On My Way / U.S.A. (Lead Artist: Yung Jake, Key Collaborators: Mike Rosenstien, Ari Kuschnir, Andrew Schwartz) — In a Tesla, multiple Yung Jakes rap about money, cars, drugs and things of that nature, among interactive elements. Cast: Yung Jake.

Space Explorers: A New Dawn / Canada, U.S.A. (Lead Artists: Paul Raphaël, Felix Lajeunesse, Key Collaborators: Morgan Spurlock, Ryan Horrigan, Stéphane Rituit) Experience the journey of NASA astronauts as they navigate the trials and sacrifices of their training and missions. An immersive VR experience that shines a light on mankind’s most ambitious endeavor to understand our planet, our universe and our origins. Cast: Jessica Chastain, Jeanette Epps, Jessica Meir, Victor Glover, Michael Gernhardt.

The Sun Ladies VR / U.S.A. (Lead Artists: Maria Bello, Celine Tricart, Christian Stephen, Key Collaborators: Wesley Allsbrook, Tim Gedemer, Mark Simpson) An in-depth look at the personal journey of Xate Singali: from her roots as a famous singer in Kurdistan, through ISIS sex slavery, and to her new life as a soldier on the front lines as she starts a female-only Iraqi fighting unit called the Sun Ladies. Cast: Maria Bello.

The Summation of Force / Australia (Lead Artists: Narelle Autio, Trent Parke, Matthew Bate, Key Collaborator: Anton Andreacchio) — In a moonlit suburban yard, two brothers battle one another in a mythic game of cricket. A study of the motion, physics and psychology of elite sport; a cosmic, dreamlike and darkly beautiful metaphor for life. Cast: Jem Autio Parke, Dash Autio Parke.

Your Spiritual Temple Sucks / Taiwan (Lead Artist: John Hsu) — Mr. Chang arrives to his “Spiritual Temple,” a place that represents one’s destiny. To solve his marital crisis and financial problems, he summons his guardian - The Thunder God. They attempt to tidy his life, which turns out to be a big mistake…with hilarious consequences. Cast: Ctwo, Sun Ke-Fang, Han Chang, Andy Tsai, Wei Hao Tseng, Liu Kuan-Ting.

The Sundance Institute New Frontier Program is supported by the John D. and Catherine T. MacArthur Foundation, Cindy Harrell Horn and Alan Horn, Lyn and Norman Lear, Time Warner Foundation, Ewing Marion Kauffman Foundation, John S. and James L. Knight Foundation, Turner, 21st Century Fox, Comcast Ventures, Unity Technologies, Dell, The Fledgling Fund, ThoughtWorks, and Vimeo.

The Sundance Film Festival®
The Sundance Film Festival has introduced global audiences to some of the most groundbreaking films of the past three decades, including Boyhood, Beasts of the Southern Wild, Fruitvale Station, Whiplash, Brooklyn, Twenty Feet from Stardom, Life Itself, The Cove, The End of the Tour, Blackfish, Me and Earl and the Dying Girl, Super Size Me, Dope, Little Miss Sunshine, sex, lies, and videotape, Reservoir Dogs, Hedwig and the Angry Inch, An Inconvenient Truth, Precious and Napoleon Dynamite. The Festival is a program of the non-profit Sundance Institute®. 2017 Festival sponsors include: Presenting Sponsors – Acura, SundanceTV, and Chase Sapphire®; Leadership Sponsors – Adobe, Amazon Studios, AT&T, DIRECTV, Dropbox, Omnicom, Stella Artois® and YouTube; Sustaining Sponsors – Canada Goose, Canon U.S.A., Inc., Dell, Francis Ford Coppola Winery, GEICO, Grey Goose Vodka, High West Distillery, IMDbPro, Lyft, Unity Technologies and the University of Utah Health; Media Sponsors - Los Angeles Times, The New York Times and Variety. Sundance Institute recognizes critical support from the Utah Governor's Office of Economic Development, and the State of Utah as Festival Host State. The support of these organizations helps offset the Festival’s costs and sustain the Institute's year-round programs for independent artists. Look for the Official Sponsor seal at their venues at the Festival. sundance.org/festival

Sundance Institute
Founded in 1981 by Robert Redford, Sundance Institute is a nonprofit organization that provides and preserves the space for artists in film, theatre, and new media to create and thrive. The Institute's signature Labs, granting, and mentorship programs , dedicated to developing new work, take place throughout the year in the U.S. and internationally. The Sundance Film Festival and other public programs connect audiences to artists in igniting new ideas, discovering original voices, and building a community dedicated to independent storytelling. Sundance Institute has supported such projects as Boyhood, Swiss Army Man, Manchester By the Sea, Brooklyn, Little Miss Sunshine, Life, Animated, Sonita, 20 Feet From Stardom, Beasts of the Southern Wild, Fruitvale Station, Sin Nombre,Spring Awakening, A Gentleman’s Guide to Love and Murder and Fun Home. Join Sundance Institute on Facebook, Instagram, Twitter and YouTube.

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HEARTSTONE by Guðmundur Arnar Guðmundsson, winner of the European University Film Award 2017.

December 8, 2017, 7:01 am

≫ Next: 30th European Film Awards: Watch it live this saturday!

≪ Previous: 2018 Sundance Film Festival’s New Frontier: Crossroads of Film, Art and Technology

The European Film Academy (EFA) and Filmfest Hamburg congratulate HEARTSTONE by Guðmundur Arnar Guðmundsson, winner of the European University Film Award 2017.

picture: Claudia Höhne

The award will be presented tonight, Friday, 8 December, in the framework of the European Film Awards Weekend in Berlin, at the welcome reception hosted by the Creative Europe Desks.

The nominated films were viewed and discussed in 19 universities in 19 countries and each institution selected its favourite film. One student representative from each university then attended a two-day deliberation meeting to decide on the overall winner.

From the jury statement: “HEARTSTONE is a story about exploration of identities and growing up within an isolated Icelandic community. It highlights the pressure placed on people to conform to particular gender conventions and social norms. The film offers an individual and unique perspective on the difficulty of experiencing and suppressing same-sex attraction in small, disconnected communities. As an up and coming talent, Gudmundur Arnar Gudmundsson delivers an immersive story visualized by overwhelming natural landscapes and beautiful performances. It stands out not only because it is a good film, but also because it explores relevant contemporary issues within today’s society.”

The aim of this initiative by the European Film Academy (EFA) and Filmfest Hamburg is to involve a younger audience, to spread the “European idea” and to transport the spirit of European cinema to an audience of university students. It shall also support film dissemination, film education and the culture of debating.

The initiative is supported by the Körber Foundation (www.koerber-stiftung.de) and the Joachim Hertz Foundation and is realised in co-operation with NECS–European Network for Cinema and Media Studies (www.necs.org).

The European Film Awards Ceremony with the presentation of the winners will take place on Saturday at 19.00, streamed live at www.europeanfilmawards.eu.

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30th European Film Awards: Watch it live this saturday!

December 8, 2017, 7:30 am

≫ Next: Fest Anča 2018: Call for Entries

≪ Previous: HEARTSTONE by Guðmundur Arnar Guðmundsson, winner of the European University Film Award 2017.

This Saturday, European filmmakers, EFA Members, guests, nominees and winners will gather to celebrate European cinema at its finest at the 30th European Film Awards in Berlin!

Don't miss the chance to follow the EFA Weekend and watch the ceremony live on the European Film Awards website www.europeanfilmawards.eu on Saturday, 9 December:

11.30 CET Agnieszka Holland: keynote & debate

17.00 CET Red carpet interview program with Knut Elstermann

19.00 CET Awards Ceremony

The ceremony will be also televised live by Cosmote in Greece, Movistar Telefonica in Spain, Curzon Home Cinema in the UK and ERR in Estonia, and broadcast in various other territories on the following days:

Estonia ETV2 Mon 11 Dec 23.15 EET

Estonia ERR Website Sat 9 Dec 19.00 CET LIVE

Greece COSMOTE CINEMA 2HD Sat 9 Dec 20.00 EET LIVE

Greece COSMOTE CINEMA 2HD Mon 11 Dec 18.00 EET

Portugal RTP2 Sat 9 Dec 22.05 GMT

Spain Movistar Xtra Telefonica Sat 9 Dec 19.00 CET LIVE

UK Curzon Home Cinema Sat 9 Dec 18.00 GMT LIVE

Also, the Lithuanian Creative Europe Desk and Lithuania Film Centre are inviting to a European Film Awards ceremony live streaming event in Vilnius, Skalvija Cinema Centre.

Facebook & Twitter & Instagram

Backstage Live: Take a peak at presenters and winners backstage and follow the statuettes onto the stage with Facebook Live.

There will be postings of the winners in real-time for followers on Facebook and twitter: www.facebook.com/europeanfilmawards

@EuroFilmAwards | Twitter – don't forget to use the EFA hashtag #efa2017!

Speeches of the winners will be also posted on Facebook, just a few minutes after the speech.

Behind the scenes posts and stories will be available on Instagram: @EuroFilmAwards

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Fest Anča 2018: Call for Entries

December 8, 2017, 7:59 am

≫ Next: Animation film producers from Central and Eastern Europe signed the Ljubljana Accord

≪ Previous: 30th European Film Awards: Watch it live this saturday!

WE WANT YOUR FILM!

Fest Anča International Animation Festival has launched a call for entries for its 2018 edition. Animated short films, student films, music videos and films for children are among the competition categories.

Fest Anča will take place in Žilina, Slovakia between June 28 and July 1, 2018. Only digital copies submitted before February 25, 2018 will be considered for the festival.

Submissions are free and winners are awarded cash prizes. Find out more at our website. Submit your film via our online submission system.

Competition awards for Fest Anča 2018 are:

- Anča Award (EUR 800) for the best short animated film

- Anča Student Award (EUR 400) for the best short animated student film

- Anča Music Video Award (EUR 400) for the best animated music video

- Anča Kids’ Award (EUR 400) for the best short animated film for children

- Anča Slovak Award (EUR 700) for the best Slovak short animated film

- D Award - a distribution award for a short animated Slovak film

Fest Anča International Animation Festival - the only Slovak multimedia festival focused on animated film and digital games - is based in a former train station that has been transformed into a vibrant cultural center.

The festival aims to showcase contemporary, progressive animated films, and commemorate the cream of the genre. The long-term vision is to approximate well-known international festivals by uniquely showcasing this art form in Slovakia.

The festival features an international competition of animated short films and music videos, as well as non-competitive screening sections. Attendees can additionally enjoy presentations, exhibitions, workshops, film screenings for children, and numerous accompanying events.

The lively and inspiring summertime festival atmosphere is supported by a camp site, twilight screenings, live music concerts, and a tasty range of refreshments.

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Animation film producers from Central and Eastern Europe signed the Ljubljana Accord

December 8, 2017, 8:02 am

≫ Next: Other Worlds Austin in full gear

≪ Previous: Fest Anča 2018: Call for Entries

A new initiative under the name CEE Animation Workshop brought together twenty-four independent producers of animated films from sixteen Central and Eastern Europe (CEE) countries. They came to Ljubljana to network, consult, learn and share their producing experience. Throughout the workshop, all participants discussed the current situation in animation and identified potential common steps to encourage and support the growth of the animation industry. These steps and strategies have been summarised in a document signed by all participants, namely The Ljubljana Accord.

This year, the European Commission developed the Animation Plan For Europe, published in September 2017, which aims to invigorate the animation industry in the entire EU. Independent producers from the CEE countries, for the past few years gathering at the Visegrad Animation Forum, share the view that steps for the future need to be defined by a common voice that would represent the specificities of the CEE region more accurately. The CEE Animation Workshop has brought producers from the CEE countries together for the first time. The degree of importance of this event was immediately recognized even by Creative Europe Desks – MEDIA offices. “CEDs from a total of nineteen countries agreed to pull their forces together, which is a clear statement of recognition of the role of independent producers as key movers towards the creation of quality animated content in CEE,“ explains Sabina Briški Karlić, on behalf of CED Slovenia.

The CEE Animation Workshop was the first occasion bringing producers from so many countries together to discuss strategic issues concerning coproduction but also their relationship to the region’s broadcasters and film funds. The result of this five-day work is a document called The Ljubljana Accord which is divided into eight categories such as e.g. National and Regional Funds, Local Broadcasters, Education in the sector or Digital platforms, etc., on more than seven pages of concrete strategies. “We all contributed to, discussed and signed the Ljubljana Accord to prove that this is an act of larger understanding and the declaration of a will to work together as a region under one distinctive brand that we call CEE Animation,” adds Juraj Krasnohorsky, producer from Slovakia and VAF member. Juraj Krasnohorsky, Matija Šturm – producer from Slovenia, VAF member, Pavlína Kalandrová – CED Czechia and Sabina Briški Karlić – CED Slovenia were the key organizers of the CEE Animation Workshop. This document will also serve as a guideline for future dialogue with the European Commission.

CEE Animation Workshop was hosted by the Animateka International Animated Film Festival (December 4-6, Ljubljana). An AnimatekaPRO pitch for six selected projects from the Ex-Yugoslavian countries was organized for the first time. Having completed a training session with an expert tutor, Anna Vášová, teams presented their projects in front of an international jury of professionals. The winner is a Serbian short film, LIGHTS&SHADOWS (d. Rastko Ciric, p. Iva Ciric, Milan Stojanovic (SENSE). Special Mention goes to LILIANA (d. Milanka Fabjancic, p. Kolja Saksida (ZVVIKS), Slovenia). The winning project will be invited to the VAF Třeboň 2018 pitching competition held on May 1-3, 2018 in the Czech Republic.

The CEE Animation Workshop was a networking and training event co-organized by the Creative Europe Desks – MEDIA from Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Czechia, Georgia, Estonia, Hungary, Latvia, Lithuania, Macedonia, Moldova, Montenegro, Poland, Romania, Serbia, Slovakia, Slovenia and Ukraine and the market access platform Visegrad Animation Forum. The local partners are Slovenian Animated Film Association and Motovila Institute in cooperation with the Animateka International Animated Film Festival.

Visegrad Animation Forum

www.visegradanimation.com

marta.obrsalova@visegradanimation.com

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Other Worlds Austin in full gear

December 8, 2017, 8:20 am

≫ Next: The 2nd International Film Festival & Awards • Macao Opened today with a Gala Screening of PADDINGTON 2

≪ Previous: Animation film producers from Central and Eastern Europe signed the Ljubljana Accord

DQhtCEPVAAAeGq7.jpg:large

#EventHorizon writer Philip Eisner and @OtherWorldsATX Founder @BearsFonte during the Q&A after the films 20th Anniversary Gala Screening at #OtherWorlds2017!!!

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Programme 2017-18 - New Project Selection Announced

FINALIST

SEMI FINALIST

Jill Bohling A24 | New Visions Head Juror

Breyant Marshall University Of Bahamas Film Critic | New Visions Juror

Jib Polheums Producer | New Visions Juror

Arianne Rocchi Magnolia Pictures | Spirit Of Freedom Head Juror

Ide Thompson University Of Bahamas Film Critic | Spirit Of Freedom Juror

Sam Morrill Vimeo Director of Curation | Short Film Head Juror

Billie Carroll Professional Blogger | Short Film Juror

Elise Barnett University Of Bahamas Film Critic | Short Film Juror

Innovative Independent and Experimental Work to Premiere, Including Artificial Intelligence, Augmented Reality, Virtual Reality Storytelling, Site-Specific Installations, Films and Live Performances

Facebook & Twitter & Instagram

Jill Bohling
A24 | New Visions Head Juror

Breyant Marshall
University Of Bahamas Film Critic | New Visions Juror

Jib Polheums
Producer | New Visions Juror

Arianne Rocchi
Magnolia Pictures | Spirit Of Freedom Head Juror

Ide Thompson
University Of Bahamas Film Critic | Spirit Of Freedom Juror

Sam Morrill
Vimeo Director of Curation | Short Film Head Juror

Billie Carroll
Professional Blogger | Short Film Juror

Elise Barnett
University Of Bahamas Film Critic | Short Film Juror