– The Academy of Motion Picture Arts and Sciences today announced that 10 live action short films will advance in the voting process for the 90th Academy Awards®. A record 165 pictures had originally qualified in the category.
The 10 films are listed below in alphabetical order by title, with their production companies:
“DeKalb Elementary,” Reed Van Dyk, director (UCLA)
“The Eleven O’Clock,” Derin Seale, director (FINCH)
“Facing Mecca,” Jan-Eric Mack, director, and Joël Jent, producer (Dschoint Ventschr Filmproduktion)
“Icebox,” Daniel Sawka, director, and Camille Cornuel, producer (Iceboxthefilmco)
“Lost Face,” Sean Meehan, director, and Sam McGarry, producer (Soma Films)
“My Nephew Emmett,” Kevin Wilson, Jr., director (New York University)
“Rise of a Star,” James Bort, director, and Boris Mendza, producer (Fulldawa Films)
“The Silent Child,” Chris Overton, director, and Rachel Shenton, writer (Slick Films)
“Watu Wote/All of Us,” Katja Benrath, director (Hamburg Media School)
“Witnesses,” David Koch, director (Lux for Film, Diez Films and Paradoxal)
Members of the Short Films and Feature Animation Branch viewed all the eligible entries for the preliminary round of voting.
Short Films and Feature Animation Branch members will now select five nominees from among the 10 titles on the shortlist. Branch screenings will be held in Los Angeles, London, New York and San Francisco in January.
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.
Exportable skill-sets and expertise serving animation: Annecy, a global "brand"!
Following Annecy Goes to Cannes and Animation Is Film, and with a future event planned for South Korea in 2019, Annecy continues to reach worldwide and export its expertise.
"All these steps are essential in our strategy for global expansion and enable us to promote films and artists from around the world to ever-increasing audiences." Patrick Eveno
These actions are developed around several key points:
Accompanying emerging movie fields:
On the agenda for these international forays: touring universities and animation studios, and meeting with local institutional representatives as well as with the sector’s professional entities in order to sketch out the most encompassing picture of things and analyze the territory’s context and dynamic potential.
The goal is also to accompany an entire sector in its volition to cooperate internationally, either through co-productions or else student exchanges.
This is why CITIA’s next trip, to Singapore, will include the École Émile Cohl and the Atelier de Sèvres in the aim of exploring various schools and universities, setting up future joint projects which may develop into exchanges, perhaps even leading to the opening of a satellite school in the country.
Accompanying talents:
As part of the Animation du Monde structure, Annecy continues to assist creative talents via workshops in selected countries (storytelling, storyboard and pitches, etc.). At the outcome of these workshops, winners are announced who will automatically participate in the 2018 Mifa Animation du Monde pitch sessions. This year, Africa and the Andean nations will benefit from this opportunity.
Partnering with major markets:
>>> Continuation of our cooperation with Ventana Sur to spot and then bolster South American animation.
For more information
>>> 1st joint endeavor with DISCOP, the African continent’s Number One audiovisual market. This year the Annecy International Animation Film Festival and its Market (Mifa), the DISCOP Markets and the African Animation Network (AAN) have partnered to launch a call for projects for a Pan-African animation pitch contest.
For further information
It should likewise be remembered that the Annecy International Animated Film Festival radiates throughout the world thanks to the Best of Annecy 2017 program which condenses a selection of prize-winning short films from last year’s festival with short opening sequences crafted by the students of GOBELINS, l’école de l’image.
The Best Of also encompasses specific programming for younger viewers: Best of Annecy Kids. This includes 10 funny and poetic short films, for children 5 and over, even if the younger ones will love them too!
From Georgia, moving on down through Mexico, Clermont-Ferrand, Geneva, Tahiti, Tokyo, Los Angeles, Jerusalem, Peno (Peru), Montreal and on to Cape Town and Buenos Aires: Annecy is circling the globe!
Film Still: "The Miseducation of Cameron Post"
Nate von Zumwalt
Following what's felt like an unusually protracted Sundance Film Festival offseason, and one marked by what Festival Director John Cooper calls a “rejuvenated idea” of the 24-hour news cycle, the 2018 program announcement arrives at a pivotal time for audiences and artists. If we approach 2018 still processing the tumult and instability of the past year, this year’s program of films are primed to serve as a careful distillation of the times – and a representation of what that looks like across a broad spectrum of voices.
Below, John Cooper and Director of Programming Trevor Groth walk us through another year of intense decision-making and shed light on the tapestry of voices that will come to define the 2018 Sundance Film Festival. Stay tuned for more programming announcements next week.
Was there anything about this year’s programming process that surprised you or deviated from year’s past?
John Cooper: The selection process only becomes more challenging with the increasing quality of the projects, but our programming staff is incredibly diligent and thoughtful. Independent film has been evolving rapidly over the past several years in terms of technical innovation and how films can look better for less money. There is a growing appetite among audiences for alternative voices and points of view, and we’re seeing that reflected in the filmmaking. The important thing is that it comes from a place that feels fresh – it’s done organically, not just because you’re supposed to be hitting all your quotas.
What are some of the larger themes that we see threaded throughout the various feature film categories?
John Cooper: We’re seeing what I refer to as ‘portraits of the lives of incredible people.’ These are often people who are outliers in their own fields, including a number of films by and about women, as well as a variety of projects exploring the experience of African-American men in our country. But these stories pop up as both comedies and dramas, and while they don’t necessarily address the present moment, they resonate with the times we live in.
Trevor Groth: I like to make the connection of seeing strong, complex women on screen both in the dramatic films and the documentaries. A lot of these documentary subjects are so impactful in the fields they come from, but they all faced great struggle on the way to becoming trailblazers. That includes names like Joan Jett (Bad Reputation), Ruth Bader Ginsburg (RBG), Gloria Allred (Seeing Allred), Jane Fonda (Jane Fonda in Five Acts), and M.I.A. (MATANGI / MAYA / M.I.A.).
And then on the dramatic side, the women characters we see are multidimensional and complex and allow these great actresses to stretch themselves in these really challenging and rewarding roles. It’s partly the films and the stories, but it’s also the quality of the actresses’ talent – Maggie Gyllenhaal, Chloe Sevigny, Chloe Grace Moretz, Kristen Stewart, Elle Fanning, Keira Knightley… the list goes on.
Last year we noted a trend towards citizen journalism in documentary film, but also saw works that challenged the nonfiction rubric by employing narrative techniques. Where do we stand a year later?
JC: It’s fascinating, because some of these films are the manifestation of a generation of kids born with cameras in their hands. In Minding the Gap, the director Bing Liu only starts making films to capture his friends skateboarding, but as their lives begin to evolve and become more complicated, he starts documenting their true life stories. We see the blossoming of this really talented documentary filmmaker.
More broadly, in a year that has rejuvenated the idea of television journalism covering every scandal and every political detail, documentaries are the last bastion of uncovering the truth. Many of the films in these documentary categories serve to provide a deeper dive into these stories – they slow things down so that we can understand the ramifications in our world. Films like Dark Money or The Devil We Know are great examples.
TG: We’re also showing Quiet Heroes and Believer, which both confront issues specific to Utah. Quiet Heroes focuses on the one hospital in Utah that took on patients during the AIDS crisis, and Believer is about the band Imagine Dragons’ lead singer’s personal crusade to make the church more accepting of homosexuality.
There are also a handful of documentary filmmakers screening narrative films – Crystal Moselle (Skate Kitchen) and Jeremiah Zagar (We the Animals) both will premiere in NEXT. What’s the story there?
JC: And there’s also Jennifer Fox and Bart Layton. The younger generation is not taking any one track in their storytelling. They don’t just stay in documentary or dramatic, they also start creating in VR and episodic.
TG: Our NEXT programmers have become even braver. We also have a documentary in that category, which is a new choice. There are lots of very specific, dynamic ideas on how to tell a story and what those stories are. NEXT continues to be more radical and less conventional.
Premieres is a perennial home for returning auteurs and luminaries, but this year’s slate of directors seems particularly notable: Debra Granik, Gus Van Sant, Brad Anderson, the Zellners, and Joshua Marston.
TG: All but four of the filmmakers in the Premieres section have had films screen at previous Sundance Film Festivals. There’s something about screenwriters in our Premieres sections this year – there are some really heavy hitters: Tony Gilroy (Beirut), Jim Taylor and Tamara Jenkins (Juliet, Naked), Oren Moverman (The Tale). We’re so director centric that it’s nice to throw a nod to those writing talents.
JC: I think a lot of returning filmmakers come back when they’re ready, and when I say ready, I mean, is it the right kind of film? It’s about having a film that has them returning back to their own roots just as much as their Sundance roots.
Shashi Kapoors don’t die: Part I
Showbiz is often cruel, usually ruthless. It takes so many factors to make it as an actor, luck or lineage included. Then, you need to stay on, weather flops and hits, and keep grabbing opportunities, in the hope that the next one will do it for you. Son of Prithviraj Kapoor, Balbir (Shashi) Raj Kapoor had done his bit of drama at his Papajee’s Prithvi Theatre, like his two older brothers (Ranbir) Raj Kapoor and Shamsher (Shammi) Raj Kapoor. They had even moved on—Raj was already a producer–director while in his early twenties while Shammi had got his act together.
The most angrez (British) of the trio, he was in love with fellow actress Jennifer Kendal. Shashi looked the most chocolatey, sho... cute. Shammi as evolving the image of a lady-killer. Raj was incubating in his creative inner-self a socialistic portrayal of the deprived lot of the early 50s. Shashi was seen as a child in Aag, Sangram and Awara and was following the family tradition.
His first films were released in 1961, two years after he had become a Dad to first-born Kunal. Char Diwari and Dharamputra. Actress Nanda, already a heroine of some standing, stood by him when most other leading ladies refused to work with this newcomer. Neither film served to establish him as an actor to contend with. In the following year, Prem Patra was a Bimal Roy production, and Shashi says he really learnt to face the camera under Bimalda’s direction. No commercial success, though. He got his first musical success with Mehndi Lagi Mere Haath, also a reasonable box office collection. I had yet to see a Shashi film till then, though I had been exposed to the films of the other two Kapoor brothers, and developed quite a fondness for Shammi.
Householder
Even before he was established as an actor in Hindustani films, Shashi made his international move, and appeared in the Ismail Merchant-James Ivory English film, Householder. But I first saw him in Yeh Dil Kisko Doon, a remake of a 1935 Vittorio De Sica starrer, Darò un milione--a cynical millionaire announces that he intends to disguise himself as a hobo and give a million Italian lire (one lakh rupees in the Hindi version) to anyone who dies him a favour. As a result, every bum around is given the royal treatment, on the off-chance that they could be the unseen, unphotographed millionaire. Five outstanding Mohammed Rafi playback songs, to which Shashi gave lip sync, remain hummable half a century later. Shashi was endearing, honest and so sincere. The film? Just about average.
By now he had worked with a list of reputed directors, like Bimal Roy, Yash Chopra and Krishan Chopra. Roy’s banner sent for him again, in Benazir, though Roy thought it best to leave writing and directing to silent films’ fame, S. Khalil, who was also an actor. This was a second look at Shashi, for Bimal Roy. Tanuja and he made a comely couple, and the film had its moments. Not enough to catapult either, though. From the complex, populist plot of Yeh Dil Kisko Doon, here he was, in a Muslim social, and not in the lead. I found him unpretentious and easy.
1964 was easily the first big year in his short career so far. Of the four films he had bagged, one was Waqt and the other Jab Jab Phool Khile. Both jangled at the box-office. Shashi played the youngest of three brothers in the multi-starrer, Waqt, while he was cast as a Kashmiri boatman in JJPK. More than three decades later, JJPK was remade as Raja Hindustani. Not known for comedy, he was part of the rip-roaring Mahmood-Om Prakash rib-tickler, Pyar Kiye Jaa. Two solo hits were soon going to put him in the big league.
Aamne Saamne and Haseena Maan Jayegi were murder mysteries of sorts, with superb music. Both turned out to be money-spinners. In quick succession, two more vehicles did it for Shashi: Sharmilee and Aa Gale Lag Jaa (1973), but I’ll stop at Sharmilee, 1971. The year meant so much to me. I had seen Sharmilee and liked Shashi in it. And was soon destined to meet him.
Gifted with a keen sense of observation, I used to do mimicry at home and among friends. My brother, Riaz, who passed away in 2007, used to ask me to get on with it, whenever we had some visitors at home. Earliest impressions were of Biswajit in Bees Saal Baad (1962), though rumour has it that it all began with the song ‘Mohabbat men aese’ (Anarkali, 1953), at age 1 ½. Prithviraj, after Mughal-e-Azam (1960), had become everybody’s favourite while choosing an actor to imitate. By 1970, I had become a semi-professional compère-cum-mimic at events like musical shows, fund-raisers and annual get-togethers. At one such show, Shashi Kapoor was invited as the Chief Guest, and I was holding the microphone.
He was to come later into the programme, and, in the meanwhile, we had songs and dances. Somebody needed time to set the stage, and I was asked to go in front of the curtain and keep the 1,000-strong audience engaged and entertained. I announced that I would now do an impression of Prithviraj Kapoor, and barely had I uttered the name, in walked KapoorSaahab’s son, Shashi, to thunderous applause. As he acknowledged the appreciation and settled down, almost right in front of me, in the first row, barely 10 feet away, I froze. How do you do a comic impression of an actor’s father, also an actor, to his face? How do you, at all of 19 years old, gather those guts?
But the stage was now dead silent, as was the audience, and the show had to go on. I could not even change the item, having already announced it. Trusting my instinct and Shashi’s reputation, I told him what I was going to do, sought his permission, and was pleasantly surprised when he actually chuckled. What’s more, he clapped enthusiastically when the item was done. That is how I ‘met’ Shashi Kapoor for the first time. A while later, Shashi and his guests were invited on the stage for a felicitation ceremony and given mementoes. They included producer-director Subodh Mukerji. Subodhda (the da is a suffix of respect among Bengalis, and Mukerji was a Bengali) was the man who had made super-hits like Junglee, Shagird and Sharmilee (the latter two as producer). He gave me a whack on the back and said that I should come and see him for a likely acting assignment, in his next. Mr. Romeo.
It did not quite happen that way. My route to the Subodh Mukerji Productions’ (SMP) office was circuitous. About 1 km towards the left from my newly acquired home in Bandra were the offices of Nasir Hussain Films (ground level) and Tahir Hussain Films (one floor above, in the same building). On the right, also about 1 km away, was the SMP office. Some incredible circumstances led to me being associated with the Hussain brothers’ films Anamika and Yaadon Ki Baaraat. They referred me to SMP, since Subodh Mukerji and the Hussain brothers were pals. And as destiny had ordained, I found myself acting in Mr. Romeo, directed by Subodh’s son Subhash, and starring a new girl Rinku Jaiswal, real name Rose Nathan, as the heroine. Subodhda had forgotten all about the whack on the back and the invitation to act, but when I reminded him, he retorted good-humouredly, “I hope I did not whack you too hard!”
Shashi, the Mr. Romeo, in bandages, horizontal, play-acting to win Rinku; vertically, friends play along, including one tall one
You could call the Anamika role a cameo and the Yaadon Ki Baaraat footage landed on the editing floor. Mr. Romeo was my biggest exposure till that time. Of course, only an easily misled filmgoer would have felt at any stage of its production that this movie would be the next big thing. It was based on Neil Simon’s play (and Frank Sinatra starrer movie), Come Blow Your Horn, and I played one of the playboy hero’s hanger-on friends. We had several days of shooting, during which I got to know Shashi Kapoor quite well. And since some members of the direction department called him ShashiBaba, I too started using this moniker. Surprisingly, with his British wife, his Caucasian looking children, his work in several UK films, Baba did not seem out of place at all. Mr. Romeo also led to my second and last acting assignment with ShashiBaba in the lead.
Koi Jeeta Koi Hara was an abandoned film, resurrected by the SMP camp, with Sameer Ganguly (Shagird, Sharmilee) directing. Of the original main cast, Shashi survived. Saira Banu came back from marriage induced retirement to complete the film. Romesh Sharma replaced Jeetendra. Being a crime drama cum romantic triangle, it had a number of villains, from the ‘President’ (Pinchoo Kapoor) to his assassin and successor, Ranjeet. Smaller fry in the syndicate included Narendranath, Viju Khote and Siraj Syed. Me? Gangster? Right.
This one had slightly greater potential for a longer run, but it was mauled to shreds by the Government of India’s Censor Board, since by the time it was submitted for censoring, an Internal Emergency had been proclaimed in India, and no crime or violence or sex or liquor could be shown on screen, least of all a crime syndicate boss calling himself President. Koi Jeeta Koi Hara was mauled by the Board and blown to bits, till very little was left to see, and some of that had to be literally blown-up, to deliberately make it out of focus and thus illegible. That Sholay was also released during the emergency is another matter altogether.
Over the two films together, I must have enjoyed Shashi’s company for several weeks. Besides, we met at several other venues on a variety of occasions, including the Hyderabad Filmotsav and the International Film Festival of India, Goa. Prithvi Theatre, the monument that Jennifer and Shashi built to the grand tradition of Prithviraj Kapoor, was his second home in the years after he gave up films altogether. We met there too, time and again. And, without meeting him, I was on the radio, lending my voice to the advertising campaigns of Shashi starrers, like Chor Machaye Shor, produced by my mentor and guru, Mr. Ameen Sayani. Of the only two films that I have sub-titled into English, one was New Delhi Times, a later day ‘art-house’ film, in which he played a newspaper editor.
Friendly, warm, punctual, gifted with a dead-pan sense of humour, unassuming and with no star airs whatsoever—these words come pouring out when I remember Shashi. All of them are happy memories, except the occasions when I met after all the terrible things happened to him: the passing away of Jennifer, his over-indulgence in eating and drinking, his paralysis, his heart attack, his kidney failure. So much suffering for such a nice man!
While suffering paralysis, and also short on memory, he recognised Simi, his co-star in Sidhhartha, a person with whom I share my birthday, and greeted her by name. I am, and never could be, anything more than a speck in his Heat and Dust career, so no such luck for me when I saw him seated in the Prithvi Cafe one evening. I never had to introduce myself to him, but on that day I did. He folded his hands and looked at me in the eye, without saying a word. As he held his hands together, and held the half vacant stare, tears rolled down my eyes, and I quickly turned away.
Shashi Kapoor died in Mumbai on 04 December 2017, aged 79.
Shashi Kapoor did not die!
Shashi Kapoors don’t die...
Soon: Part II
We've been talking about it for years but now it has launched. Action On Film has combined with The Hollywood Dreamz International Film Festivals and Writing Competitions to create the most sensational 10 Days in Film Festival History with the Brand New AOF presents MEGAFest. The show is comprised of a minimum of Ten Festivals, Writing Competitions, Awards and more. Ten festivals all at once with ten times more of what every filmmaker or writer wants including seminars, parties, screenings, live events, award shows, industry, celebs and more.
The festivals that will form the MEGAFest are: The Hollywood Dreamz Film Festival and Writers Event II, The 14th Annual Action On Film International Film Festival and Writers Celebration, The Michael DePasquale jr Icon Awards III, The Dr. Robert Goldman Legendary Stunt Awards II, The Script Summit Written Word Competition I presented by WeFixYourScript.com, The Polish Short Film Festival Internationale II, The World Cinema Iran IV and the Young Storytellers Awards and Competition FREE to Kids 15 and Under.
MEGAFest will take place at the Brenden Theaters in Las Vegas once again, with sold out audiences and celebrities like Bill Duke (Predator, Bird On A Wire, Deep Cover), Glynn Turman, Donny Boaz (Six), Michelle Lukes (Strikeback), John Savage, Michael Pare, Rikishi, JJ Perry, James Lew and many others. The event will once again take place in August.
Event Creator Del Weston said, 'This is the biggest thing to happen to film festivals in a very long time. Most festivals cater to one genre or group but with MEGAFest, you get it all. It is inclusive, open to all ages, open to both straight and gay projects, action and non action films with a great series of documentary, mature themes, animation, pilots, family, experimental and of course foreign and international films and shorts.
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| Henry Baur as Père Noel |
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| Henry Baur and René Faure |
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| Lea Massari, Pascale Brouillard and Robert Hossein |
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| Robert Hossein |
The Award Will Be Presented December 30th in Anacapri
CAPRI, Italy, November 28, 2017 – Italian-American filmmaker Jonas Carpignano, director of “A Ciambra,” the movie which will be representing Italy for consideration as Best Foreign Language film at the 90th Oscars®, will receive the ‘Rising Star Award’ at the 22nd edition of Capri, Hollywood – The International Film Festival, which takes place here from December 27, 2017 through January 2, 2018. The award will be presented to the 33-year-old director on December 30th following a special screening of his film at Cinema Paradiso in Anacapri.
Carpignano, who lives and works between Rome and New York, has received praise for his debut movie “Mediterranea.” “A Ciambra,” his second feature film whose producers include Martin Scorsese, recently received a nomination to the prestigious Spirit Awards as Best Foreign Language Film. It was named ‘Best European Movie’ at the Directors’ Fortnight of the 2017 Cannes Film Festival. The story takes place in Gioia Tauro (Calabria) and explores the relationship of a Romani community with African immigrants and Italian residents.
“The Capri in the World Institute is presenting the ‘Rising Star’ award to this amazing and groundbreaking work by Carpignano, for a film that has been praised by the international media and that will be representing Italy for Academy Award consideration,” said Lina Wertmuller, the festival’s Honorary President. “Italian filmmakers are highly appreciated in the United States as it is obvious from the Spirit Awards nominations received by Luca Guadagnino’s ‘Call Me by Your Name,’ and ‘A Cambria’ - said Pascal Vicedomini, Capri Festival's founder and producer - We are pleased to contribute to spreading the word about Italian cinema to the world through our two back-to-back festivals of Capri, Hollywood and Los Angeles, Italia.”
The following awards have previously been announced for this year’s edition of Capri Hollywood: “Cinderella the Cat” by Alessandro Rak, Ivan Cappiello, Marino Guarnieri and Dario Sansone was ‘Best European Animation Movie”; “Penalty” by Aldo Iuliano will receive the Capri Award as ‘Best Short Movie’; “Clive Davis: The Soundtrack of My Life” has been named Best Documentary Film'; British filmmaker Trudie Styler will be receive the “Person of the Year” Award; and the ‘Educational Award’ will go to the movie “Beyond the Sun” directed by Argentinian Graciela Rodriguez and featuring a cameo by Pope Francis’.
The 22nd edition of the Capri, Hollywood - The International Film Fest will be chaired by the Oscar®-winning Italian make-up artist Alessandro Bertolazzi and is dedicated to the beauty and talent of Elizabeth Taylor. The festival traditionally offers a fundamental contribution to the season of the global Awards, bringing celebrities and awaited film productions to the Gulf of Naples.
Since 1995 Capri Hollywood has promoted tourism in southern Italy during the winter highlighting new ideas for recreation and exploration of the region; the event has the support of the Italian Ministry of Culture, (Cinema Division) and of the Municipality of Anacapri.
The cinema’s always had a love affair with casinos and gambling. Maybe it’s because, in the now famous words of screenwriter William Goldman: “In Hollywood no-one knows anything about what’s going to be a hit film.”
So every time a studio commits millions of dollars to a project, it’s a huge gamble as to whether they’ll get their money back, let alone make a profit.
Admittedly, there are some exceptions. For example, Disney are surely already counting the billions of profits that Star Wars: The Last Jedi is certain to generate, but such sure-fire successes are hard to come by.
But whatever the reasons, there are countless movies where casinos are almost another character in the action from classic Bond films to knockabout comedies like The Hangover and even ones where they really are at the heart of the action like Casino.
And, of all the games we see being played in them, poker is probably the one that offers the most dramatic possibilities. For example, it can represent conflict between two or more characters on not just a physical but on a mental level too, as well as allowing for sudden changes of fortune by wining it all, or even losing everything.
Another very fitting connection is that many of the skills that great poker players need are ones that they share with actors. Namely they need to have total control over their facial expressions, remaining completely neutral whether they’re holding a royal flush or a hand that’s going to need a whole load of bluffing to turn into a winner. This supreme level of self-assurance also has to hold firm when opponents suddenly surprise them with an unexpected move.
But controlling the face is only part of it. It extends to exuding the same level of calm nonchalance through body language in general, from resisting the urge to cross the arms to avoiding shifting uneasily in the seat.
Obviously, some actors would find this easier to carry off than others. It would be hard to imagine someone like Jack Black or Amy Poehler being able to keep a lid on it long enough to amass a tidy pot, but others have certainly demonstrated they have the icy cool to succeed and here’s our top five.
Daniel Craig
When Craig first hit the screen as Bond back in 2006 it ushered in a new, more ruthless character for the spy. It was hard to know what exactly was going on behind those icy blue eyes and a determined chin suggested a character who was more than sure about his own abilities. In fact, it could almost be the blueprint for a poker player built to succeed. So it was only fitting that in his debut as Bond he was involved in a life or death poker game with arch enemy Le Chiffre in Casino Royale. Although luck certainly played a part in his success in that game something tells us he’s also the sort of player who might suddenly surprise with an explosively unpredictable move.
Nicole Kidman
Throughout many of her roles, both in films an on TV, Nicole Kidman’s shown the sort of cool and controlled demeanour in the face of extreme provocation that surely makes her a natural for the poker table too. For example in last year’s surprise TV hit Big Little Lies she effectively managed to hide the abusive relationship she was in to almost all of the other characters in the series, until its final, explosive conclusion. Similarly, in Sophia Coppola’s remake of the Clint Eastwood movie, The Beguiled, she had to conceal her growing feelings for the wounded soldier played by Colin Farrell who was hiding in the girls’ school she ran. So, when it comes to poker, we think that she would remain unmoved, at least on the surface, whatever action was taking place on the table.
Jude Law
He may have played the young pope in Paolo Sorrentino’s series on Sky Atlantic but we’ve more than an inkling that he wouldn’t be out of place around the poker table either. The secret of this actor’s success would probably lie in the fact that he has an easy, charming manner that’s relaxed and unthreatening, no matter what’s really going on in his mind. With a calm and reassuring voice that’s beautifully modulated, it’s easy to imagine Law being able to deliver any kind of news, good or bad, in the same measured way that’s sure to keep moods level and calm. This could form the basis of the sort of poker strategy that most of us could master, namely to quietly get on with our game being polite and totally unthreatening to the players around us while still following our own agenda and taking the pot in dramatic circumstances.
Elisabeth Moss
Although she’s recently started getting more recognition for her film work, for example in the Palme D’Or-winning The Square, it’s in her TV roles that Elisabeth Moss has really shown just how good a poker player she could turn out to be. Moss first really reached public recognition in her role as the ambitious copywriter Peggy Olsen in Mad Men. In the face of the sexist environment and hard-to-please boss Don Draper, she succeeded against all the odds. Then, this year, in her appearance as Offred in the TV adaptation of Margaret Atwood’s The Handmaid’s Tale she again had to remain resilient and hopeful in the dreadful circumstances that she found herself in and where one slip to show her true thoughts and feelings could certainly have proved fatal. So cautious, but dogged, resilience would definitely be her playing style.
Leonardo di Caprio
We’ve chosen the last actor on our list not for any one particular facet but for his sheer adaptability to play any number of different characters and roles depending on what the circumstances demand, but always with at least a hint of wildness behind them. You only have to look at his filmography to see this. From Jack in Titanic to millionaire aviation freak Howard Hughes in Scorsese’s The Aviator and from Jordan Belfort in The Wolf of Wall Street to the title role in J. Edgar Hoover you really do never know what you’re going to get from di Caprio – and that can be a fantastic quality for any poker player to have if they really do want to keep their opponents guessing.
These are just five examples of actors who, we think, have the makings of poker stars but you may well have your own ideas. But whoever did make it to our fantasy Hollywood poker tournament one thing would be for certain - and that’s that none of the multi-millionaire players would be frightened by the size of the buy-in or even really need to win for the money!
"From the first few minutes of this film I immediately realized that I was in store for something entirely different.
It doesn’t play like your typical monster horror movie, rather it shows us the horror of humanity and exposes some of our darker natures and obsessions, as well as highly compromised morality, all in the name of science.
Chimera is a very intelligent film, and unlike some big studio movies that feel the need to thump the viewer over the head with obvious plot points, Haeems assumes that his audience is equally intelligent and will accept this film as it is presented to them. "
Ben Ragunton
Read the full review by Ben Ragunton, December 7, 2017
“You name it, We talk about it.”
Ben and Keith – The Two Gay Geeks
Keith Lane is TG Geeks Sound Engineer, Producer, Website Co-Administrator, and general Jack of all Trades.
Keith has always been a lover of Science Fiction and it was this love of sci-fi, especially Doctor Who, that introduced him to Ben and sealed the deal for their relationship 20 years ago.
Besides Science Fiction, Keith enjoys Opera, photography, and cooking.
Keith comes to this website and TG Geeks webcast from his previous involvement with Slice of Sci-Fi where he was a contributor and sometimes script-writer and producer and he is an occasional contributor to Technorama Podcast.
Keith has hopes that this website and TG Geeks Webcast can be something fun for all involved and especially our readers and listeners.
Ben Ragunton comes to TG Geeks as its news host and occasional commentator on a variety of subjects.
When Ben received his first iPod he started to explore the wild and wooly world of podcasts. It was then that he discovered Slice Of SciFi and knew this was something that he wanted to do. Then in 2010 he became the co-host of the new podcast Fusion Patrol, and shortly afterwards joined Slice Of SciFi, first as geek commentator and then later as one of the show hosts. Since then he helped start up No Baggage Attached Podcast as well as TG Geeks with his husband, Keith Lane.
Ben has an unquenchable thirst for a variety of geeky things, especially in the area of science fiction and comic books. As he’s fond of saying, Babylon 5 introduced him to his husband, and it was Doctor Who which sealed the deal!
Ben is also a musician and can sometimes be seen singing with various choral groups in the greater Phoenix valley, as well as sometimes performing as a guitarist for a variety of functions. He is also an amateur photographer, and whenever the opportunity allows for it, can be seen with his husband walking around Disneyland.
TG Squared Studios, LLC (TG Squared Studios) owns and operates the website TG Geeks - The Two Gay Geeks
"so professional, so stylized, so futuristic that it’s on par with the most popular movies from Ridley Scott. Writer, director and producer Maurice Haeems and cinematographer David Kruta should be proud of themselves for this achievement.
Chimera is going to be one of thee science fiction titles to watch for in 2018, and it’s going to be a serious contender for numerous awards whether it hits the film festival circuit or goes straight-to-DVD. It’s a beast. A crystal clear, suspense amplifier and a stunning work of art not typically seen in this genre of film.
Yeah, I guess I liked it!"
by MGDSQUAN
Michael is a Senior editor at The Horror Society. His full review is available here.
Horror Society is your voice for independent horror. That means film, music, art and performance. Our goal is to support those in the industry, share with fans and create a sense of community. Horror Society is a website that focuses on indie news, reviews, and more
HORROR SOCIETY™ is a small but personal place where you will find news from the independent and mainstream horror scene, upcoming movies and DVDs, events and conventions, reviews, interviews, on-set reports, and more. If you truly want to be a part of this ever-growing site and would like to contribute stories, articles on horror, or showcase your own work, please contact us. We are always looking for writers and indie artists to let us know whats going on in the horror world.
Website I Facebook I Twitter I Westone 114 Wellington Street Leeds LS1 1BA United Kingdom I contact I Profile on filmfestivals.com I SUBMIT
Future femmes make movies.
Future femmes make history.
Are you a future femme?
Join us now.The Future Femme Film Festival is now open for entries.
Anyone who identifies as a Future Femme may enter.
Does your movie: elevate future femme perspectives, support the advancement of future femme talent, and empower future femmes through cinema?
Enter now: FutureFemmeFest via Film Freeway. Take 50% your entry with this code filmfestivalscomff
The Future Femme Manifesto
A future femme is someone who doesn’t ask for permission.
A future femme knows her worth, her value, and her goals.
A future femme doesn’t need anyone to open doors for her.
A future femme doesn’t take no for an answer.
A future femme ignores an irrelevant establishment.
A future femme creates iconic, inspirational content on no one’s terms but her own.
Learn what it means to be a future femme here:
Future Femme Fest is a celebration of cinema. We bring the film festival experience to you via live competitions and our streaming partners.
The Future Femme Short Film Fest begins its UK tour in May 2018.
Finalists & winners will have the chance to find an audience at 8 live events throughout the UK.
May 10 - 14 2018
Future Femme Short Film Competition
York Everyman Cinema
June 2018
Future Femme screenings
Leeds Everyman Cinema
July 2018
Future Femme screenings
Harrogate Everyman Cinema
Each weekend event will comprise of:
Thursday evening networking event, 8-12am
Friday night film screenings block, 8-11pm
Saturday film matinee block, 2-5pm
Sunday film screening block & awards, 5-9pm
Anyone who identifies as a Future Femme may enter.
Enter now: Future Femme Short Film Fest
$1000 cash for each category.
A chance to find an audience through Femme Fest screening events / community worldwide.
Rules
Movies under a running time of 60 minutes can be entered in the Future Femme Short Film Fest. Anyone who identifies as a Future Femme (man, woman, dog, non-binary, trans, LGBTQI) may enter. Entry fees are non-refundable.
Terms & Conditions
1. Authority to Enter into this Agreement.
In order for CineLove to accept your submission, you must assure that you have the right to enter this contest and would be in a position to grant CineLove non-exclusive distribution rights for this project.
1.1 You represent and warrant that you are at least 18 years old (or the age of majority where you reside, whichever is older), can form a legally binding contract by accepting an agreement online (without exchange of paper), and have the full right, power and authority to enter into and comply with a distribution agreement.
1.2. If you submit to CineLove, you represent and warrant that you are legally entitled to do so because:
You are the sole author or creator of the Submission (for example, you are contributing an original screenplay you have written completely on your own); or
You are the sole holder of rights in the Submission because all rights in the Submission have been assigned or transferred to you (for example, you are contributing a concept video you created and all talent who helped you create the concept video assigned all their rights to you).
You are the nominated person for an artistic collective who have given you permission to enter their work on their behalf.
You are the manager or agent of the filmmaker and have express permission to submit their work in the CineLove.
2. Submission Deadlines
Submissions will be accepted until May 5, 2018. Early entry is encouraged but in no way guarantees acceptance.
3. Submission Format
Films must be submitted via online screener ONLY.
We do not accept subsequent cuts or more complete versions of submitted films, therefore changing or updating the originally submitted link is not accepted.
4. Submission Eligibility
All submissions must have been completed after 1 January 2000.
5. Submission Fee
All submissions are to be paid via credit/debit card. The submission fee is non-refundable.
6. Notification
Future Femme Fest will endeavour to notify all entrants of our choices in writing by Tuesday, May 1st 2018. Successful submissions will receive further instructions from Future Femme Fest via email.
7. Scheduling
Screenings are scheduled at the discretion of Future Femme Fest. Every effort will be made to adhere to the published schedule. Future Femme Fest reserves the right to make changes at any time for any reason. Future Femme Fest will not be liable for any costs claimed as a result of a change in scheduling.
8. Withdrawals
No film may be withdrawn from the festival programme after its selection.
December 1, 2017 Opening Date I December 31, 2017 1st Deadline I February 28, 2018 2nd Deadline I April 30, 2018 3rd Deadline I June 30, 2018 4th Deadline I August 31, 2018 5th Deadline I September 30, 2018 6th Deadline I October 31, 2018 Notification Date I November 1 – 3, 2018 Event Date I
Website I Facebook I Twitter I Profile on filmfestivals.com I SUBMIT
Horror of Damned is a horror film festival, supporting the best up and coming horror filmmakers from around the world.
MISSION
WE SCARE BUT WE CARE
Our mission is to give everyone the opportunity to show personal skills and passion
in horror productions and, low cost of submission reflect how much we care.
Our goals are to provide talented horror filmakers in all world.
We will announce the Horror of Damned winners to our propriety email list of thousand industry professionals.
We blog about Horror of Damned winners on our website.
We are active on social media and regularly post about Horror of Damned winners on Twitter and Facebook.
Our efforts are intended to raise the public awareness of Horror of Damned winners and foster the credibility they deserve.
Benefits of Participating:
Promotional Laurels - give your film opening and graphics that wow factor!
Publicity Enhancement - Winners are announced to a database of thousand email industry professionals as well as additional international media outlets.
Social Media Push - Facebook and Twitter announcements of winners and updates from our filmmaking community can be shared with your own lists
Feature Horror Films
min. 50 min
Awards for:
Best Feature horror film
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Short Horror Films
up to 40 min.
Awards for:
Best Short Horror Films up to 40 min.
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Short Horror Films up to 15 min.
Awards for:
Best Short Horror Films up to 15 min.
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Mini Horror short Films up to 5 min.
Awards for:
Best Mini Horror short Films up to 5 min.
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Horror Series min 2. episode
Awards for:
Best Horror Series min 2. episode
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Horror soundtracks/songs up to 10 minutes
Awards for:
Best Horror Soundtracks/music
Festival is open to any film that might be considered a horror film, or anything of a disturbing nature, dark art and/or frightening.
AWARD ANNOUNCEMENTS
The awards will be announced 1st November 2018.
LANGUAGE
Entries in any language other than English or Italian should be subtitled in English or Italian.
FORMATS
Entries can only be submitted via FilmFreeway with a secure link of an online copy through vimeo or other host (youtube etc..).
No hard-copies of films will be considered.
Email us with questions.
NOTIFICATION
Filmmakers of selected films will be notified by email.
OTHER
Festival is open to any film that might be considered a horror film, or anything of a disturbing nature, dark art and/or frightening.
There is NO 'Film Made By' date.
To the best of my knowledge, all of the statements in this submission are true.
The film, video or music is not subject to any litigation nor is threatened by any litigation.
Authorized to submit this film to the festival.
Certify that you have full rights to the use of the music in the entered work.
Entry fees are non-refundable.
Dear filmmakers friends do not miss these Festivals in Focus.
> PARTNERS FESTIVAL NEWS
The Future Femme Film Festival is now open.
FutureFemmes make movies.
FutureFemmes make history.
Future Femme Fest is a celebration of cinema. We bring the film festival experience to you via live competitions and our streaming partners.
Movies under 60 minutes running time can enter FutureFemme Short Film Fest.
Prizes
$1000 cash for each category,
A chance to find an audience through FemmeFest screening events/community worldwide,
The Future Femme Short Film Fest begins its UK tour in May 2018.
Finalists & winners will have the chance to find an audience at 8 live events throughout the UK.
We're the festival that filmmakers love. You've worked hard to make your film. Now it's time to share it with a great audience inside a beautiful theater and experience firsthand why MovieMaker Magazine calls us one of the 25 Coolest Film Festivals in the World!
The festival once again returns to early April and we anticipate another great year with incredible films and film-hungry audiences. We've got an amazing venue, excited audiences and all we need are your films. Plus this year we're expanding to a second weekend which gives us an opportunity to screen most films at least three times.
The Phoenix Film Festival has been named one of The 25 Coolest Film Festivals and a Top 50 Worth the Entry Fee by MovieMaker Magazine and has been called the most filmmaker-friendly festival out there. The Phoenix Film Festival is a program of the 501c(3) non-profit Phoenix Film Foundation, started in 2000, and it has quickly become Arizona's Largest Film Festival.
Email I Phone: +1 480-513-3195 I 7000 E Mayo Blvd Suite 1059 Phoenix, Arizona 85054 United States I Website I Facebook I Twitter I Instagram
After a successful and commendable execution of ARY Film Festival in 2017, the festival is back again for its second edition in 2018 for which submissions are now open till December 31st 2017.
The 3 day festival commenced in May 2017 and screened 33 films, which were shortlisted by the jury from around 400 entries received from all over the world. Apart from the regular entries, the festival also came up with special screenings of internationally acclaimed films such as Maheen Zia’s ‘Lyari Notes’, ‘Brave Heart: The Lizzie Velazquez Story’ contributed by the American Film Showcase and Anjum Shehzad’s ‘Mah e Mir’. Additionally, Academy award winner Sharmeen Obaid Chinoy’s ‘Song of Lahore’ was also premiered at the festival. Delhi International Film Festival was also one of the collaborating partners of the festival.
Voted one of the top 50 Film Festivals worth the Submission Fee in 2016 AND 2017 by MovieMaker Magazine, the Julien Dubuque International Film Festival acknowledges emerging filmmakers from around the world, with a strong emphasis on discovering and encouraging new talent. In recognition of the time and talent of the independent filmmaker, awarding over $40,000 in cash and benefits, including a $10,000 Best of the Fest award.
Over $40,000 in cash and benefits to be awarded**
SIFF creates experiences that bring people together to discover
extraordinary films from around the world. It is through the art of cinema that we foster a community that is more informed, aware, and alive.
The Seattle International Film Festival is presented each year from mid-May to mid-June. It is the largest film festival in the United States, presenting more than 400 features, documentaries and short films to an audience of 155,000 each year. SIFF is consistently ranked as one of the top festivals in North America, and is an Academy Award-qualifying festival for short films.
SIFF started out as an event aimed squarely at Seattle filmgoers, renowned for their strong support for independent cinema and their sophisticated, maverick tastes. Through the years, Seattle audiences have proven themselves to be remarkably astute judges of a film's theatrical strength in the American marketplace. This, in turn, has made SIFF a great testing ground for new films. Our emphasis on keeping the Festival an event aimed first and foremost at filmgoers, provides the films themselves with the kind of genuine audience response that has attracted the participation of so many filmmakers and film distributors.
filmfestivals.com profile I Website I Facebook I Twitter I Youtube I Awards I SUBMIT
December 31, 2017 1st Deadline
February 28, 2018 2nd Deadline I April 30, 2018 3rd Deadline I June 30, 2018 4th Deadline I August 31, 2018 5th Deadline I September 30, 2018 6th Deadline I October 31, 2018 Notification Date I November 1 – 3, 2018 Event Date I
Horror of Damned is a horror film festival, supporting the best up and coming horror filmmakers from around the world.
Website I Facebook I Twitter I Profile on filmfestivals.com I SUBMIT
The categories for the contest are:
1) Feature-length screenplays
2) Short screenplays
3) Feature-length movies
4) Short movies
NYC Independent Film Festival is a celebration of the true independent filmmaker, documentaries, short and feature-length films, music videos, and animation. Whether a submission is comedic, dramatic, or something in between, The NYC Indie film Fest is eager to embrace fresh ideas and storytelling.
The festival aims to discover the Artist Filmmaker, showcasing them to the entertainment industry and the NYC public. All NYC Indie screenings take place in the historic center of NYC, Time Square which is the perfect home for an event geared toward creating incredible opportunities for independent voices.
NYC Indie Film Festival honors the Best in Category which includes Best Narrative Feature, Best Documentary, Best Short Documentary, Best Short Narrative, Best Super Short, Best Music Video, as well as Best Director and Best Screenplay.
Profile on filmfestivals.com I Website I Facebook I Twitter I SUBMIT I Contact Dennis Cieri
Submissions for 2018 Sonoma International FilmFestival (March 21-25, 2018) open on August 1, 2017.
Acceptances will be sent out by email in early February, 2018. Please do not contact office before that date.
Thank you to all of our filmmakers for submitting your creative work to us. We had an unprecedented number of great films in 2017 and look forward to seeing all the submissions for the upcoming 21st SIFF.
Sonoma International Film Festival's blog I Website www.sonomafilmfest.org I Facebook I Twitter I SUBMIT I Past Winners I Contact Kevin W. McNeely I 707-933-2600 I 103 E. Napa St. Suite A Sonoma, California 95476 United States
Fantasporto 2017 February 24 - March 4, 2017
PARTNER FESTIVAL WITH FILMFESTIVALS.COMlast call for entriesFantasporto’2018 | Oporto International Film Festival announces our Call for Film Entries for the 38th annual festival, running February 20th till March 4th.This Call is for Fantasy, Horror, Sci-Fi features and shorts in the Fantasy competition. The Director’s Week is for features only, in all genres except fantasy. Deadlines for Entries for 2018 edition are October 30th (Early Call) and December 5th (Final Call). Films can be submitted now using the film submission website www.fantasporto.com Fantasporto enjoys incredible loyalty and support from the large film-appreciating community all over the World. In the last edition, Fantasporto was attended by over 20,000 enthusiastic genre film fans and over 200 members of the film press and industry. Considered in 2015 as the first of the independent film festivals in the world by TRIPPER, Fantasporto is among the top film festivals for the discovery of new talent, having revealed countless of now famous directors, producers and actors. Check the Regulations on the site www.fantasporto.com. Fantasporto'sblog I Website I Submit I Facebook I Twitter I Contact Mario Dorminsky I Entry Form |
The 2018 Annual WorldFest-Houston International Film & Video Festival is now open for entries! Info on All Winners info is submitted to Seoul, Korea ~ Concorto, Italy & the USAFilmFestival, Dallas at no extra cost!
WorldFest Houston's blog I Website: http://www.worldfest.org I Submit I Facebook I Twitter I Contact Hunter Todd
"Top 25 Festivals Worth The Entry Fee" - Movie Maker Magazine
"Makes the cutting edge accessible" - Huffington Post
New Media Film Festival intersects the interactivity of new technologies & formats for Media & Cinema which exemplify the power of the cinematic arts to inspire and transform. A festival where we Honor Stories Worth Telling that are created by people of All Ages-All Cultures-All Media.
Each entry is considered for Screening in a state of the art theatre, The Landmark, owned by Mark Cuban and/or Competition and/or Distribution $45,000.00 in Awards will be given out. Each programmed content is in consideration for a Best of Category, Audience & Grand Prize Award.
Email I + 1 310-288-1100 I Website I Facebook I Twitter I 2017 Award Winners I Photos I Videos I SUBMIT
The New York Festivals International TV & Film Awards honors the World’s Best TV and Films at its annual gala at NAB Show in Las Vegas next April. Founded in 1957, NYF TV & Film Awards offers a powerhouse of categories including: 30 categories for documentaries and dozens of categories for news, drama and performers. New York Festivals welcomes network, studio, independent, and student productions of all lengths across all platforms. Late entries accepted until January 5th, 2018. For more information visit: http://www.newyorkfestivals.com/tvfilm/
New Categories for 2018: Magazine Feature, International Affairs Documentary, Use of Technology in Promos, Digital Documentary, Digital Reality TV Drama, and Tourism
Enjoy industry visibility in front of the animation professionals attending Cannes during Animation Day in Cannes (second edition). take advantage of free promotion to buyers and media on our Animation Day in Cannes Newsletters, animation Day in Cannes website, filmfestivals.com pages dedicated to Animation Day in Cannes and our Youtube channel, which will be offered for buyers and Media.
Info I Submit Now I Website I Facebook I Twitter I Contact Laurie Gordon
MORE FESTIVALS CALLING
http://www.filmfestivalspro.com/channel/festivals/call_for_entry
DEADLINES APPROACHING FAST: Browse by dates, genre... in the search engine
THE DISCOVERY SECTION Browse our site for other festival calling now.
Add a film listing to your profile, your free entry in the film directory on filmfestivals.com
http://www.filmfestivals.com/en/node/add/film
Feed your blog profile, promote for free
http://www.Filmfestivals.com/node/add
PROMOTE YOUR FILM AND GET READY FOR THE FESTIVAL CIRCUIT.
We can offer Festival consulting and marketing services to fit your film ambitions.
- The 500€ Festival Fast Track
The Festival Fast Track service offers you a presence in the film showcase page with links and video streaming. The Film promotion Showcase is a combination of online services, (charged 500€ or about $690) that will bring recognition from our international audience who trust us as the only international media totally dedicated to the festival circuit. The Film promotion Showcase includes all those features:
- Film directory Database listing of your film. Ready for a quick initial evaluation.
- Your film and logo featured on the Showcase Section (linked from all pages) to highlight the film blog itself (example here) including a dedicated page.
- Newsletter messages: 2 runs to our newsletter audience of 125 000 (4 lines) sample
- Editorial on filmfestivals.com about your film, 1 article guaranteed.
- One week long banner campaign on our sites. 728X90 pixels
- And we include your film in our monthly blast to festival programmers and other festival staffers
- The 350€ Film Showcase Booster
The package includes the previous packages benefits less the banner campaign.
- The 150€ Filmmakers Showcase Eblast to festival Programers
The package and includes your ad in the eBlast with 4 lines promo : visual, title, link to trailer, synopsis 190$ 150€
We can also brainstorm with a range of packages include your film blog promotion with banners and newsletter ads
We can also discuss a Cannes presence as we are a regular partner of Cannes Market.
We can work with you on a consulting basis around a viral campaign
We help some filmmakers and assist them in the Festival Circuit designing the strategy, handling festival submissions, waiving submission feees, negotiating screening fees...
Just ask me bruno@m21entertainment.com
Kind regards
Bruno Chatelin
Filmmaker Brian Metcalf wrote, directed, produced and DP'd his found footage vampire tale 'Living Among Us' (2018). In one of the late actor John Heard's last performances, this horror/sci-fi flick follows some documentarians as they make an ethnological study on vampires living among mortals. Produced by Brian's Red Compass Media production company, Vision Films is handling international sales and US distribution in association with Sony Pictures Home Entertainment. Coming to theaters on February 2nd, 2018.
In a recent interview about his experience making this film, here is what Brian had to say:
Why do you think vampire tales/myths live so strongly in the human collective psyche?
BRIAN: I think there is a very strong fascination with vampire tales/myths with the public today. Some may see vampires as these seductive and elegant creatures and others may see them as these hideous monsters. Perhaps some see them as alienated and misunderstood creatures that they can relate to with their own lives or past childhoods. Some women I have spoken to see them as the bad boy types that they find attractive. I could psychoanalyze this topic for hours.
Do you really think vampires live among us?
BRIAN: While I don't necessarily believe there are vampires in the Hollywood sense, I believe there might be some derivitive of them. It seems a lot of the myths are based off of a real disease called Porphyria (The Vampire's Disease) where people had a genetic disorder that caused skin burns to sunlight exposure, gums receding which gave the appearance of fangs and blood drinking would help relieve pain and symptoms. Famous people in the past who had this disease were King George III and Mary Queen of Scots.
How did you go about the casting process? And was John Heard great to work with?
BRIAN: The casting process involved the help of a casting director as well as reaching out to name talent ourselves. It involved having some of the cast read for parts and others being filmed to see how they looked on camera. John Heard was great to work with. Unfortunately, he passed away 3 days after doing final ADR with us. He had this amazing ability to say his lines so comfortably and naturally.
Do you have any anecdotes of events that took place when filming?
BRIAN: I remember that one of our leads had makeup done that made him look grotesque due to sun exposure. He decided to leave during break to run to the bank and had quite a few stares from people. I also remember us filming a scene at this house location we had rented where a group of stoners living in the house were to be killed. The neighbors got frightened because of all the screaming going on within the house.
How has the film been received at film festivals and markets?
BRIAN: It has been very well received in the film festivals and markets. We are being distributed theatrically and on VOD in the US through Vision Films and in association with Sony Pictures Home Entertainment which is distributing us on DVD in the US. We recently won an award at the South African Film Festival and have just been selected at the very prestigious Fantasporto Film Festival in Porto, Portugal, which is considered one of the top 25 film festivals in the world by Variety. We have also just won the Round Two of a bi-monthly film contest from Magic of Horror and we have just been asked to premiere opening night of the Silver Scream Film Fest coming up. I want to put out a special thank you to Bruno Chatelin who has a wealth of knowledge and has been helpful with advising me on the film festival circuit.
What are your favorite and most inspiring vampire films ever made?
BRIAN: There are many vampire films that have been very inspirational. Films such as Let The Right One In, Interview with the Vampire, Near Dark to Fright Night - all great films. But what I didn't want to do was copy off of them so I wanted to subvert the myth a little bit. While they still have some of the same trappings as other vampire films, I based these vampires more on the real disease, Porphyria, to a degree. I also wanted to take a different filmmaking approach than these other films - almost deciding to go somewhat of a French New Wave approach that always makes you aware of the filmmaking process with this film.
You wrote, directed, produced, acted, DP'd the film. Do you think one has to wear many hats these days to make an indie film?
BRIAN: I think that in order to properly tell your vision, it might be very important to wear all these hats not to mention the limited budget you may have to work with. Also, nobody will truly care about your film as much as you do when it comes to working on it. Attention to detail is extremely important. At the same time, it is important to find like-minded people who are willing to take this journey with you as filmmaking is very much a collaborative process.
You've been directing for some time. How did you get your foot into the industry?
BRIAN: I started out as a visual effects artist to later becoming creative director. Having had the chance to work with some really great names out there, I later moved on to directing commercials, music videos and then my first short film which led to my first feature. But on top of getting my foot into the door, it has also been about trying to constantly learn to hone my skills as a writer, director, producer and actor which has involved multiple classes, speaking with seasoned veterans and watching a huge variety of films.
Congrats on Vision Films distribution. How has it been to partner with them in selling the film?
BRIAN: Vision Films has been absolutely wonderful to work with. Lise Romanoff, the founder, has been very helpful and shares the same vision (no pun intended) that I do in terms of where we see this film going. Her and her team have all be great and inspirational.
What will you be working on next?
BRIAN: I have several projects I am working on. I am helping to produce a documentary about peace activist Ghiyath Matar called Little Gandhi that is being considered for an Oscar. I also have a neo-noir crime-drama film that I am in the process of writing and another project called Strange Ones that I plan to wrap up by next year.
Link to the official site:
Interview by Vanessa McMahon
December 1, 2017 Opening Date I December 31, 2017 1st Deadline I February 28, 2018 2nd Deadline I April 30, 2018 3rd Deadline I June 30, 2018 4th Deadline I August 31, 2018 5th Deadline I September 30, 2018 6th Deadline I October 31, 2018 Notification Date I November 1 – 3, 2018 Event Date I
Website I Facebook I Twitter I Profile on filmfestivals.com I SUBMIT
Horror of Damned is a horror film festival, supporting the best up and coming horror filmmakers from around the world.
MISSION
WE SCARE BUT WE CARE
Our mission is to give everyone the opportunity to show personal skills and passion
in horror productions and, low cost of submission reflect how much we care.
Our goals are to provide talented horror filmakers in all world.
We will announce the Horror of Damned winners to our propriety email list of thousand industry professionals.
We blog about Horror of Damned winners on our website.
We are active on social media and regularly post about Horror of Damned winners on Twitter and Facebook.
Our efforts are intended to raise the public awareness of Horror of Damned winners and foster the credibility they deserve.
Benefits of Participating:
Promotional Laurels - give your film opening and graphics that wow factor!
Publicity Enhancement - Winners are announced to a database of thousand email industry professionals as well as additional international media outlets.
Social Media Push - Facebook and Twitter announcements of winners and updates from our filmmaking community can be shared with your own lists
Feature Horror Films
min. 50 min
Awards for:
Best Feature horror film
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Short Horror Films
up to 40 min.
Awards for:
Best Short Horror Films up to 40 min.
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Short Horror Films up to 15 min.
Awards for:
Best Short Horror Films up to 15 min.
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Mini Horror short Films up to 5 min.
Awards for:
Best Mini Horror short Films up to 5 min.
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Horror Series min 2. episode
Awards for:
Best Horror Series min 2. episode
Best Story
Best Soundtracks/music
Best Makeup FX
Best Costumes
Best Pathos Emotions
Best Actor/Actress
------------------------------
Horror soundtracks/songs up to 10 minutes
Awards for:
Best Horror Soundtracks/music
Festival is open to any film that might be considered a horror film, or anything of a disturbing nature, dark art and/or frightening.
AWARD ANNOUNCEMENTS
The awards will be announced 1st November 2018.
LANGUAGE
Entries in any language other than English or Italian should be subtitled in English or Italian.
FORMATS
Entries can only be submitted via FilmFreeway with a secure link of an online copy through vimeo or other host (youtube etc..).
No hard-copies of films will be considered.
Email us with questions.
NOTIFICATION
Filmmakers of selected films will be notified by email.
OTHER
Festival is open to any film that might be considered a horror film, or anything of a disturbing nature, dark art and/or frightening.
There is NO 'Film Made By' date.
To the best of my knowledge, all of the statements in this submission are true.
The film, video or music is not subject to any litigation nor is threatened by any litigation.
Authorized to submit this film to the festival.
Certify that you have full rights to the use of the music in the entered work.
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Filmmaker Brian Metcalf wrote, directed, produced and DP'd his found footage vampire tale 'Living Among Us' (2018). In one of the late actor John Heard's last performances, this horror/sci-fi flick follows some documentarians as they make an ethnological study on vampires living among mortals. Produced by Brian's Red Compass Media production company, Vision Films is handling international sales and US distribution in association with Sony Pictures Home Entertainment. Coming to theaters on February 2nd, 2018.
In a recent interview about his experience making this film, here is what Brian had to say:
Why do you think vampire tales/myths live so strongly in the human collective psyche?
BRIAN: I think there is a very strong fascination with vampire tales/myths with the public today. Some may see vampires as these seductive and elegant creatures and others may see them as these hideous monsters. Perhaps some see them as alienated and misunderstood creatures that they can relate to with their own lives or past childhoods. Some women I have spoken to see them as the bad boy types that they find attractive. I could psychoanalyze this topic for hours.
Do you really think vampires live among us?
BRIAN: While I don't necessarily believe there are vampires in the Hollywood sense, I believe there might be some derivitive of them. It seems a lot of the myths are based off of a real disease called Porphyria (The Vampire's Disease) where people had a genetic disorder that caused skin burns to sunlight exposure, gums receding which gave the appearance of fangs and blood drinking would help relieve pain and symptoms. Famous people in the past who had this disease were King George III and Mary Queen of Scots.
How did you go about the casting process? And was John Heard great to work with?
BRIAN: The casting process involved the help of a casting director as well as reaching out to name talent ourselves. It involved having some of the cast read for parts and others being filmed to see how they looked on camera. John Heard was great to work with. Unfortunately, he passed away 3 days after doing final ADR with us. He had this amazing ability to say his lines so comfortably and naturally.
Do you have any anecdotes of events that took place when filming?
BRIAN: I remember that one of our leads had makeup done that made him look grotesque due to sun exposure. He decided to leave during break to run to the bank and had quite a few stares from people. I also remember us filming a scene at this house location we had rented where a group of stoners living in the house were to be killed. The neighbors got frightened because of all the screaming going on within the house.
How has the film been received at film festivals and markets?
BRIAN: It has been very well received in the film festivals and markets. We are being distributed theatrically and on VOD in the US through Vision Films and in association with Sony Pictures Home Entertainment which is distributing us on DVD in the US. We recently won an award at the South African Film Festival and have just been selected at the very prestigious Fantasporto Film Festival in Porto, Portugal, which is considered one of the top 25 film festivals in the world by Variety. We have also just won the Round Two of a bi-monthly film contest from Magic of Horror and we have just been asked to premiere opening night of the Silver Scream Film Fest coming up. I want to put out a special thank you to Bruno Chatelin who has a wealth of knowledge and has been helpful with advising me on the film festival circuit.
What are your favorite and most inspiring vampire films ever made?
BRIAN: There are many vampire films that have been very inspirational. Films such as Let The Right One In, Interview with the Vampire, Near Dark to Fright Night - all great films. But what I didn't want to do was copy off of them so I wanted to subvert the myth a little bit. While they still have some of the same trappings as other vampire films, I based these vampires more on the real disease, Porphyria, to a degree. I also wanted to take a different filmmaking approach than these other films - almost deciding to go somewhat of a French New Wave approach that always makes you aware of the filmmaking process with this film.
You wrote, directed, produced, acted, DP'd the film. Do you think one has to wear many hats these days to make an indie film?
BRIAN: I think that in order to properly tell your vision, it might be very important to wear all these hats not to mention the limited budget you may have to work with. Also, nobody will truly care about your film as much as you do when it comes to working on it. Attention to detail is extremely important. At the same time, it is important to find like-minded people who are willing to take this journey with you as filmmaking is very much a collaborative process.
You've been directing for some time. How did you get your foot into the industry?
BRIAN: I started out as a visual effects artist to later becoming creative director. Having had the chance to work with some really great names out there, I later moved on to directing commercials, music videos and then my first short film which led to my first feature. But on top of getting my foot into the door, it has also been about trying to constantly learn to hone my skills as a writer, director, producer and actor which has involved multiple classes, speaking with seasoned veterans and watching a huge variety of films.
Congrats on Vision Films distribution. How has it been to partner with them in selling the film?
BRIAN: Vision Films has been absolutely wonderful to work with. Lise Romanoff, the founder, has been very helpful and shares the same vision (no pun intended) that I do in terms of where we see this film going. Her and her team have all be great and inspirational.
What will you be working on next?
BRIAN: I have several projects I am working on. I am helping to produce a documentary about peace activist Ghiyath Matar called Little Gandhi that is being considered for an Oscar. I also have a neo-noir crime-drama film that I am in the process of writing and another project called Strange Ones that I plan to wrap up by next year.
Link to the official site:
Interview by Vanessa McMahon
