Competitive and non-competitive. Closing with the celebrated Vampires' Ball. Come to Oporto, Portugal, Capital of Cinema and classified as a World Heritage City by UNESCO.meanwhile

meet Mario Dorminsky festival founder: ready for Christmas !

Star Wars-The Last Jedi, Review: The Lost Jedi

George Lucas maintains that his Star Wars films were for kids. Back in the late 70s, when the trade-mark skewed angle intro rolling text greeted us as the film began, I was not a kid. Maybe the sensibilities of an Indian film-goer at 25 were akin to the school-kids in the West, but I loved what I saw. Since, I have seen most, if not all, the core movies and the spin-offs/anthologies, most of them likeable, but the 40^th anniversary release saw me pressing the time machine button repeatedly in an effort to turn teenager, and to find things to like. All my passwords were rejected, including ‘porg’. Then, somebody in the film’s shooting unit suddenly awoke, halfway into the 152 minutes screen-time, and fired all cylinders, only it was ‘too much too late’.

Porgs are small, owl-like creatures who inhabit Luke’s back of the beyond hideout, and hit it off with Chewbacca. They are cute, Disney-like, and designed by the writer-director of the film, Rian Johnson. Then there are variants of wolves, like living crystal chandeliers with fur. Talking of creatures, do these names give you a high? Banthas, Eopie, Varactyl, Tauntaun, Loth-Cat, Brezak, Nexu, Dianoga, Rancor, Caretakers, Yoda, ...you will find a few of them in The Last Jedi, and if they give you a real high, you are still 10-12 at heart.

A word about the visually dazzling crystolves--they inhabit a little-known planet, a metal one, so what seems like snow on the floor is actually salt. When the Resistance Force is discovered hiding there and has no choice but to launch a pre-emptive attack, they have only antiquated bi-plane ski-fliers as the launchers. The open cockpit machines rake up a red under-surface as they scrape along, and a burst of snow-like white smoke at the rear. Interesting, but what’s the point? The director’s nod to the snow-speeders of The Empire Strikes Back.

Time to tell you what’s the plot. Back in 2015, a scavenger woman called Rey, who had visions related to the Jedi, found the legendary Luke Skywalker in a self-imposed exile on an island. She now reaches out to him with his first light-saber, which was gifted to her. While Rey’s mission is to bring Luke back, as well as become a Jedi herself, First Order Supreme Leader Snoke is waiting for Kylo Ren to decimate the Resistance Force, led by Princess Leia, and her absent Jedi brother, Luke, who is in hiding. As usual, the Resistance is hopelessly out-numbered, out space-shipped and out-gunned.

While Luke explains to Rey in bits and pieces why he is reluctant to re-join the Force, the on-the-run force itself has to keep their handful of fighters alive, to fight another day. These moves include avoiding detection by their predators by travelling at the speed of light, leading suicide missions on enemy spacecraft, landing on a deserted former Force planet that is still armoured and stealing a password from the fortress-like enemy warship to send them off target. A crisis of leadership emerges, as an adventurous Commander is demoted to Captain and a woman is chosen to succeed him. An attack almost kills Leia, and prompts her brave-hearts to work out ways and means of dismantling the Kylo machine, which is in relentless pursuit. It is in this scenario that there is an apparition, a blast from the past. And no mark for guessing, for it couldn’t be any f-luke.

In his fourth feature, writer-director Rian Johnson (Brick, The Brothers Bloom and the time travel crime drama, Looper), is playing with a legacy that wants him to be 17 at 43, he says. More like 12, not 17, says I, especially if one goes by the dialogue. “I want you to fire every single bullet we have at that man,” “I need someone to show me my place in all this” “The Supreme Leader is dead. Long live the Supreme Leader,” and the entire hogwash about “the energy that binds everything” or such, mouthed by Luke Skywalker, while imparting training to Rey, among his first lines in more than 30 years as Skywalker. When Yoda (voiced again by Franz Oz) appears out of the blue, after a track-panning shot across his back and asks Luke whether he has even read the scared Jedi texts that he so reveres, you agree with the humour of the situation. Problem is, there is so much patriotic bombast that you can never be sure. Is Johnson writing claptrap stuff to egg on the young ones who know little about the tale, or does he have his tongue in his cheek?

Supreme Leader Snoke is more than the hologram he was in The Force Awakens—he is a twisted, floating, gold-robed slime, with folds of skin across all his visible body. He could easily be in black, but here is where Johnson goes into Ming the Merciless (Villain from Flash Gordon) recall mode. Imposing and terrifying at first, he then resorts to repeating levitation tricks. Any twelve-year old could see through his veneer, but not so Kylo Ren. In a reversal of pompous ego clashes, he meets a tame end. One needed more of him, and more crafty of him, to infuse some excitement. Andy Serkis does the voice—a decent job. Canto Bight, the idea of a casino city, is already part of the Star Wars universe, and Johnson just sweeps through the sweepstakes of his Monte Carlo/Las Vegas. Some real glam and terrific virtual reality is generated here, and then the camera sweeps past all of it, as if afraid that any more lingering will invite a PG13 rating.

On the heels of Murder on the Orient Express, Daisy Ridley reprises her Force Awakens role as Rey. A naturally off-beat and expressive face, most of the time it has to look blank or hopeless. There is little chemistry between her love/nemesis Kylo Ren, Adam Driver (Lincoln, This is Where I Leave You, Logan Lucky). Driver dons a permanent expression of slightly scarred intense nothingness. The two think they understand each other while Snoke thinks he can manipulate both. Keep thinking.

As Luke Skywalker, Mark Hamill is not the last Jedi. There is one more, currently under apprenticeship. But as the old war-horse who became a hermit on discovering that Jedis have a dark side to, Hamill is certainly the Lost Jedi. He has a group of Caretakers do his washing and cleaning, drinks the milk of giant birds and catches fish in the waters below with a 100 ft pointed rock. It is official that Hamill did not see eye to eye with Johnson on any part of his screen persona, and I am on Hamill’s side.

Benicio del Toro plays an undefined poker-faced character, who can do anything, from picking locks to decoding passwords to selling arms. Both his entry and exit are contrived. John Boyega as Finn, a former storm-trooper of the First Order who defected to the Resistance, is part of a handful of raiders who embark on a mission into enemy territory while Oscar Isaac is Poe Dameron, an X-wing fighter pilot in the Resistance who launches a foolish attack that kills many of his colleagues nut wants to redeem himself in the same mission. Both do a creditable job.

Besides Ridley, several other women have substantial roles too. Lupita Nyong'o as Maz Kanata, a pirate and long-time friend of Han Solo and Chewbacca (carry over from the last outing), Gwendoline Christie as Captain Phasma, the commander of the First Order's storm-troopers, Kelly Marie Tran (as Asian, as any Vietnamese) as Rose Tico, a member of the Resistance who saves Finn’s life at great risk, Laura Dern (Rambling Rose, Wild, Jurassic Park) as Vice Admiral Amilyn Holdo, an officer in the Resistance who shows some true grit, and how. No Star Wars can be complete without the mention of C3PO and R2D2. What’s more, they have clones too.

As an aside, do practice sabre (never mind the correct spelling) rattling and light combat (pun intended)—these martial arts can win you the Supreme Leadership of a few galaxies...ah well, at least of one galaxy, far, far away.

Seen usually in a cape, Carrie Fisher as Leia keeps your mouth gaping open as she floats in space, trying to get a hold, after being seriously injured in a First Order attack on here craft. You want her to live. She does. In fact, in a later scene, she comes off her recuperating bed to literally wield a stick. Had she lived on in real life, she would have turned 61 on December 27.

Recalls writer-director Rian Johnson, “...she was singing show tunes and dancing with crew members. She was lovely.”

Rating: ** ½

Trailer: https://www.youtube.com/watch?v=Q0CbN8sfihY

Danish director Rasmus Dinesen's documentary 'Michelen Stars: Tales from the Kitchen' (2017) recounts the history of the Michelen Guide's coming to being and its evolution into the canon go to book reference for the best culinary restaurants. The film travels to Michelen star restaurants around the globe to hear stories and perspectives from the kitchen by their award winning chefs. Produced by Jasper Jarl Becker, the film is being distributed by Juno Films. It recently screened at the 7th Annual Napa Valley Film Festival.

In a recent interview with Rasmus about his film, here is what he had to say:

What started your interest to make a film about Michelin?

RASMUS: My interest from Michelin comes all the way from childhood. When I was a little kid my father studied abroad in France in Strasbourg gastronomy. It hit me with lightning and has been a great passion ever since.

How much traveling did you have to do to make the film?

RASMUS: We did quite a lot of traveling from the Alps in Switzerland to Tokyo and Kyoto in Japan from New York to San Sebastian. It was a joyful ride, almost a dream come true to be eating my way through so many continents.

Did you visit all the Michelin restaurants (and eat in them)?

RASMUS: We did visit all the restaurants in the film and ate at most of them. A perk almost impossible to best.

Are there any Michelin restaurants in Denmark?

RASMUS: Actually we have quite a big pile of Michelin restaurants, most of them in Copenhagen. But now they are also scattered around the countryside too, like in Aarhus which is Denmarks 2nd biggest city. The most wellknown is NOMA and Geranium.

Were most chefs pretty open to speaking?

RASMUS: All the chefs were very open to speak, but I guess if I were an investigative journalist with many critical angles it could have been a totally other story, which of course I understand. But me asking them about their passion and dedication was no problem at all.

Can you explain for people who don't know what it means to get a Michelin for a chef?

RASMUS: Getting a Michelin star is key for many chefs. It's an honor of highest order. Getting two stars gives a lot more perspective and more guests will come to your restaurant. Getting the third and last star you never have to worry about filling your restaurant. In the whole world there is only 122 three star restaurants.

Was this a difficult film to make?

RASMUS: It was not difficult in the sense of not being able to finish the film, but a bit difficult to have as many characters in the film to talk. It is always easier to have a lead character, but in this film the concept of gastronomy was the link all the way through. 

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

RASMUS: Napa film festival I absolutely loved! What a great festival! What a great area! I'm definitely coming back again hopefully with a new film.

What will you be working on next?

RASMUS: My next film will be about wine pairing where Napa definitely will be of great interest.

Stills from the film.

Interview by Vanessa McMahon

One of the most important documentaries shown at the November 2017 edition of The Other Israel Film Festival held by the Manhattan JCC [Jewish Community Center] was Born in Deir Yassin by Neta Shoshani.  She introduces her production with text stating the essentials:

 April 1948: The Jewish state and army are soon to be established in Palestine. The underground paramilitary organizations – the liberal “Haganah” and the radical “Irgun” and “Lahi” are still in conflict over the identity of the new nation. “Irgun” and “Lahi” attack and conquer the Arab village of Deir Yassin near Jerusalem. Rumors of a massacre spread, causing a mass exodus of Arabs from all over the country. What happened in Deir Yassin is controversial to this day. Since 1951, on the streets of Deir Yassin, stands the “Kfar Shaul” government Mental Health Hospital.

Neta Shoshani’s documentary elucidates the 1948 massacre at Deir Yassin with archival material and numerous interviews with surviving senior members of the paramilitary organizations who participated or witnessed the killing.  Jewish authorities, including Haganah, the Chief Rabbinate, and David Ben-Gurion, had condemned the attack. The careful reconstruction of the event is accompanied by a parallel narration, the story of a Hanna Nissan who spent her life in the Yassin mental hospital built in 1951 on the ruins of Yassin. Her adult son Dror, who was born and raised in the hospital, and an East Jerusalem orphanage, visits Yassin and the hospital. He is filmed quoting from a copy of his mother’s file given to him by the hospital. It contained her medical records, letters and correspondence. None of the Jewish participants of the massacre disputed that it took place though accounts differed in detail such as the number of civilians from the village who were killed, the survivors, the motivation for the attack, and presence of armed Arab men among the villagers.  Lehi member Moshe Edelstein was horrified by the images of blown up women and children. According to Ami Isseroff, members of a Jerusalem youth group were ordered to bury remaining corpses because Irgun and Lahi members refused to complete the cleanup.  They were 17 years old and not prepared for the massacre. Yehoshua Zettler, Lehi Commander of Jerusalem, acknowledged that he ordered the destruction of Deir Yassin.   Uri Yankovski from the Haganah who took photos admitted that “they did a dirty job” but emphasized that “from a practical point of view Deir Yassin helped to reach our objectives”. The commander of the Irgun group, Ben Zion Cohen expressed pride in his role at Yassin “If there would have been more Deir Yassins not one Arab would be left in the land of Israel”.  The paramilitary combatants carrying out the attack apparently had no military training or information about Deir Yassin. Ben Zion Cohen reports initiating the attack after he was shot in the leg by a sniper. Combatants were ordered by Cohen to destroy everything, to blow up the houses one by one with the 28 bombs they had and throw grenades into the houses knowing that there were children and women inside. 

Dror’s mother pleads in a voice over with texts taken from her clinical files, that her son should not visit Yassin since it is an evil place and states that she named him Dror meaning freedom. She was diagnosed with signs of psychosis but no awareness of the illness. When the hospital staff advised her to have an abortion she refused, believing that having a child would balance her life. After her young son was taken from her, she escaped from the hospital and was found wandering the street medicated. Placed in a closed ward she was diagnosed as suffering from psychosis and amnesia.  A 1967 report about Dror notes the rich fantasy life of the six year old child, his requests to see his mother, and suggests that he be given up for adoption.  After some time in an East Jerusalem orphanage he became a member of a kibbutz and began exchanging letters with his mother. Grown up he succeeded in visiting her at the Kfar Shaud mental hospital. By that time his mother’s latest diagnosis stated that...” patient has paranoid hallucinations hearing voices warning her of murder…she is kept in isolation [and] attempts to heal her failed”. 

As ordered by Cohen, the Irgun went from house to house leaving no survivor behind though a girl about 6 years old was found alive by Uri Yankowski. Political leaders ordered that the massacre be covered up but also requested photos be taken. Meir Pa’il from the Haganah information service standing next to the photographer observed men, women and children lined up against a wall and shot. There was pressure to act because UN representatives were expected to show up. Meir did not see photos or ask questions assuming Zionists did not want them to be seen “If Jews commit a massacre it is an atrocity” Uri Yankovski never saw the pictures he took either but recalled clearly what he observed. Yehoshua Zettler reported that some survivors were trucked to Jerusalem. Those refusing to be moved were told that they would be shot.  It took two days to clean the site and get rid of the bodies.  30 half burnt corpses were stored in one room, a pile of burnt corpses was found at the entrance of the village. The cleanup crew included 17-year-old boys from the Haganah youth battalion. Sara Ben-Or from the youth group identified her post traumatic stress disorder as the consequence of being exposed as a young woman to the killed villagers and her discovery of a beheaded woman sitting on a chair. Most of the more than 100 victims were women, children and old men. When queried by Shoshani about the impact of their action which turned Arabs into refugees and the Israelis into occupiers, her respondents indicated that they were not aware of it but stressed that they failed to explain what happened.  

Her attempt to view the photos from the massacre failed because IDF argued that “[it] cannot release photos because it may be detrimental to foreign relations”. There is no remedy apart from a Supreme Court appeal.  When she again gets in touch with some former members of the para-military organizations involved in the Deir Yassin massacre who she had interviewed for the documentary they refuse to confirm their statements. All had received calls ordering them to be silent. This order was bizarre because their on the record statements were an important part of the documentary and there were apparently no attempts to prevent their use in the documentary. As her last remedy Shoshani filed a request with the Supreme Court to open the files. Her demand to release classified documents and photos of the 1948 massacre at Deir Yassin was denied in 2016 by three judges from Israel’s Supreme Court invoking the following reason:

The problems entailed is Israel’s foreign relations related to the events of 1948 have not been solved and the conflict has not ended yet. Therefore, we are convinced that publishing the documentation and photographs is liable to harm Israel’s foreign relations. We are particularly worried about the harsh visual effect. This effect is present in certain photos in the archive. Therefore, we find no grounds to intervene at this time.

Claus Mueller  filmexchange@gmail.com

Films about Nuclear Power and Radioactivity Wanted

From Hiroshima to Fukushima, from uranium mining to nuclear waste: The annual International Uranium Film Festival seeks movies, documentaries, animations and TV-reports about all things nuclear and radioactive. The Uranium Film Festival is devoted to the question of nuclear power and radioactive risks since its start in 2011 in Rio de Janeiro. During the last six years the in the world unique non-profit film festival has screened more than 200 nuclear documentaries and movies from independent filmmakers in Rio, Berlin, New York, Hollywood and several other cities around the world.

The best films receive the Uranium Film Festival's trophy. It is a piece of art produced by Brazilian waste-material-artist Getúlio Damado, who lives and works in the famous artist quarter Santa Teresa in Rio de Janeiro. Deadline for the film entry: January 31, 2018.

Next International Uranium Film Festivals are planned in 2018 in Rio de Janeiro (May/June 2018) and in Berlin (October 2018).

The Academy of Motion Picture Arts and Sciences today announced that nine features will advance to the next round of voting in the Foreign Language Film category for the 90th Academy Awards^®. Ninety-two films had originally been considered in the category.

The films, listed in alphabetical order by country, are:

Chile, “A Fantastic Woman,” Sebastián Lelio, director;

Germany, “In the Fade,” Fatih Akin, director;

Hungary, “On Body and Soul,” Ildikó Enyedi, director;

Israel, “Foxtrot,” Samuel Maoz, director;

Lebanon, “The Insult,” Ziad Doueiri, director;

Russia, “Loveless,” Andrey Zvyagintsev, director;

Senegal, “Félicité,” Alain Gomis, director;

South Africa, “The Wound,” John Trengove, director;

Sweden, “The Square,” Ruben Östlund, director.

Foreign Language Film nominations for 2017 are determined in two phases.

The Phase I committee, consisting of Los Angeles-based Academy members, screened the original submissions in the category between mid-October and December 11. The group’s top six choices, augmented by three additional selections voted by the Academy’s Foreign Language Film Award Executive Committee, constitute the shortlist.

Academy members eligible to participate in the Nominations round of voting in New York, London, Los Angeles and, for the first time, the San Francisco Bay Area, will screen the nine shortlisted films in theaters over a three-day period from Friday, January 12, through Sunday, January 14, with three films screening each day. Additionally, international members (who live outside of the U.K.) will be invited to opt-in to stream the nine shortlisted films on the Academy’s member site. Members must see all nine films before casting their ballots.

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.
  

Sales Agent and Producer Carlos Rincon has been working world markets for a decade, having started his career with international sales and distribution company Spotlight Pictures, where he worked on dozens of film titles including James Franco's films 'Sal' (2011) and 'Child of God' (2013). He now works for Premiere Entertainment Group as VP of Development & Acquisitions (Executive); the company has been in business for 15 years and has distributed film like 'The Painted Veil' (2006), 'The Illusionist' (2006), 'Scenic Route' (2013) and most recently 'Amanda and Jack Go Glamping' (2017).

Carlos attends all major international film markets. I recently interviewed him about his experience with Premiere Entertainment Group. Here is what he had to say:

How did you get your start in the film business? Did you know you always wanted to do sales?

CARLOS: My journey in the film biz began in late 2008 when I quit my job of nearly 10 years as a webmaster for a small business in order to pursue my passion - a job in the film industry. Whatever that meant. I enrolled in the Los Angeles Film School where I was able to gain production experience by working on several student films in different capacities within the three stages of filmmaking (pre-production, production, and post-production). Upon graduation, a stable job in distribution with a steady income began sounding more appealing. After a few internships, I somehow stumbled into the world of film sales. I had no idea what a sales agent was! 

Can you explain the function of the film market (AFM, Cannes, Berlin) for people who don't know?

CARLOS: Essentially the film markets are big trade shows where distributors (aka 'buyers') from all over the world gather to meet with sales agents (aka 'sellers') for the purpose of licensing content for their respective territories. Our job as a sales agent is to secure the best distribution deals possible which will bring the highest exposure to our films and make the most money back for our producers. We literally go territory-by-territory and meet with major distributors to pitch the films that we represent, and set up several screenings during the markets. Sometimes we might throw an after-party for buyers, if we think it will help push the film and land solid distribution offers. The film markets are the best setting to negotiate and close deals. Also, I think distributors feel more pressure to acquire films here than anywhere else; nobody wants to come home empty-handed. 

Can you tell us about the history of Premiere Entertainment Group and how it came into business?

CARLOS: Premiere Entertainment Group was formed in 2012 by CEO & President Elias Axume. Elias has a wealth of knowledge and experience having worked in film sales/distribution for close to 20 years. He was the head of sales for Myriad Pictures and Maya Entertainment, and began his career working for Elie Samaha at Franchise Pictures.

Can you name some of the titles the company is most proud of having worked on?

CARLOS: We are genuinely proud of every title that we have worked on. Otherwise, we never would have acquired a film if we didn't like it in the first place. Some of my favorite Premiere titles include this year's Tribeca premiere DEVIL'S GATE starring Milo Ventimiglia; AFTERNOON DELIGHT which won the best directing award in Sundance for Jill Soloway; and SXSW premiere SCENIC ROUTE starring Josh Duhamel. Also, it's hard not to mention the Bob Yari films that we have sold including Academy Award winner CRASH; THE ILLUSIONIST starring Ed Norton; Naomi Watts starrer THE PAINTED VEIL; THE MATADOR with Pierce Brosnan; and HOSTAGE starring Bruce Willis.

What does Premiere look for when considering acquiring?

CARLOS: There are many factors used to determine whether or not to acquire a film. We take into consideration the cast, genre, production value, and ultimately whether it is a good film that we enjoyed. We are not afraid to take a risk on a smaller indie that might appear tough on paper, as long as we believe in its potential. Above being sales agents, we are cinephiles first.

What are the many things Premiere can do when working on a film? (i.e. help make offer for talent and distribution, etc.)

CARLOS: Premiere can get involved on a film in numerous ways. If there is a project that we really like, then we can option the script and raise the financing to produce the film. We can also commit funds towards star talent that we would attach on projects that have private equity in place. We can pre-sell packaged projects. However, our bread-and-butter is acquiring completed films. There are thousands of indie films that are being produced each year. There is nothing quite like discovering a new film or talented filmmaker which we believe to be on the verge of breaking out. For example, in 2012 Premiere acquired the Sundance film MIDDLE OF NOWHERE directed by little known filmmaker (at the time) Ava DuVernay, who ended up directing the Academy Award nominated SELMA as her next feature film, and she is currently in post with Disney's A WRINKLE IN TIME.    

Many producers think they can handle distribution alone. Why should a producer use a sales agent?

CARLOS: The bottom line, it takes a full sales team working 24/7 and attending constant markets to get films sold. Most of the producers that I know are busy with a full slate of projects they are developing and have no time to change career paths as a full-time sales person. Also, producers do not have the same type of relationships that we do with distributors, who often prefer not to negotiate a film unless there is a sales agent involved. It is the same reason why an athlete doesn't represent himself, but hires an agent to handle the negotiating on his behalf with the sports teams. 

Does Netflix and all the digital platforms out there threaten the business of sales agents in the future?

CARLOS: Yes and no. While Netflix and Amazon have recently begun making a big splash by offering boatloads of money for exclusive rights to films premiering in popular festivals, the reality is they are acquiring such a small percentage of the overall indie films that are being produced. I think the digital platforms are much more concerned about producing their own original content versus acquiring something that is already completed where they have no creative input. There is also a growing myth about producers needing to choose between a digital platform or a sales agent; it's not an either/or. We, as the sales agent, go directly to the digital platforms (Netflix, Amazon, Hulu, YouTube Red) all the time as potential buyers. So, there is no question that digital platforms such as Netflix and Amazon are helping more than hurting the sales agents. Plus they provide another outlet for indie films.

Was the AFM market a good one for Premiere?

CARLOS: Indeed. It was a successful and busy market with well over 200 meetings for the company. We were able to secure some solid deals for films that we screened and generate a lot of interest for our newer titles which are still in post-production. Much of the market success is largely attributed to the quality of films that each sales agent represents.

What are some new projects Premiere will be working on?

CARLOS: Currently, we have a couple of films in post-production, including a co-production of an action/sci-fi film titled INCOMING starring Scott Adkins. We have optioned a few scripts which we are currently packaging, including a suspenseful female thriller titled LOCKED IN. Also, we will be introducing the romance drama FOREVER MY GIRL to the international market; the film will be released domestically on over 1,000 screens in January. Plus some exciting new projects which are under wraps, but stay tuned!

What are your top ten favorite films that have influenced you the most?

CARLOS:
1. 2001: A Spade Odyssey (Kubrick)
2. City Lights (Chaplin)
3. 400 Blows (Truffaut)
4. Sunset Blvd. (Wilder)
5. Los Olvidados (Buñuel)
6. Forbidden Games (Clement)
7. Germany Year Zero (Rossellini)
8. Once Upon A Time in the West (Leone)
9. The Shining (Kubrick)
10. Stroszek (Herzog)

Interview by Vanessa McMahon

A screening for families who did not forget to bring their favourite teddy for this Teddy Bear’s Picnic!

Premiere screening of Paddington 2, with some goodies given away like PADDINGTON 2 PRIZE PACKS !

Each pack contained Paddington 2 themed prizes including a bag, notebook, pencil case, pen AND a Moonlight Cinema Family Pass!

get the whole^ropgram and cities where the moonlight cinema happen https://www.moonlight.com.au/ 

Congratulations for their win to

Interlude - New Vision Award

INTERLUDE (PARENTHESE)  France / 2016 / 94 mins

Raphaël is 50-something and in a rut. Without telling his wife, he buys a sailboat and convinces his childhood friend Patrick, an eternal teenager, and Alain, a hypochondriac, to go on a tour of the Mediterranean Sea with him. Holidays just like in the old days! The three friends however soon notice that they are not as fit as they used to be and don't really share the same interests anymore. All that changes when they take two much younger women on board who join them on their tour...

My Enemy My Brother - Spirit Of Freedom Documentary

MY ENEMY, MY BROTHER is the real life story about two former enemies who become blood brothers for life: Zahed Haftlang was an Iranian boy who ran away from home to join the army. Najah Aboud was a 19-year old Iraqi who had been conscripted to fight in the war, leaving behind his wife and son. Both men fought in the Iran-Iraq war where Zahed found Najah critically injured in a bunker and decided to risk his own life to save him. Because of Zahed, Najah’s life was spared. Their lives diverged and they didn't see nor hear of one another for 20 years, until one fateful day.

Liyana - Spirit Of Freedom Narrative

A Swazi girl embarks on a dangerous quest to rescue her young twin brothers. This animated African tale is born in the imaginations of five orphaned children in Swaziland who collaborate to tell a story of perseverance drawn from their darkest memories and brightest dreams. Their fictional character's journey is interwoven with poetic and observational documentary scenes to create a genre-defying celebration of collective storytelling.

Owen - Short Film

Filmmakers have just three weeks to wrap up their films for Tropfest Australia, supported by foundation partner CGU Insurance, for their chance to win a spectacular bevy of prizes, and join the ranks of esteemed Tropfest legends continuing to make huge waves internationally. Submissions close on Thursday 11 January 2018.

The winner of Tropfest 2018 will be awarded a shiny new Equinox LTZ valued at over $45,000 courtesy of Holden, who have just joined Tropfest as Exclusive Automotive Partner. VIP Troppers can also rock up to the main event in style with Holden’s chauffeur service, and enjoy exclusive “tailgate seating” areas with prime view of the action.

The 2018 winner will be announced at the main event on Saturday 17 February 2018, and will join an impressive alumni including Alethea Jones (Fun Mom Dinner), Abe Forsythe (Down Under), Yolanda Ramke and Ben Howling (Cargo), Gregor Jordan (Ned Kelly), Nash Edgerton (The Square), and actor Matt Day.

“We can’t wait to see all the great films showcasing Australia’s vibrant multicultural diversity, so make sure you get in before the deadline! We’re always stunned by the sheer talent showcased in everyone’s submissions, and just like previous years, you can bet 2018‘s winner will go on to achieve incredible things in the industry,” said Tropfest Founder and Executive Chair John Polson.

Holden General Manager - Marketing Communications and Digital, Natalie Davey, says: “We love supporting creative thinkers and big ideas – that’s what Holden is founded on. Be it customising car design for Australia’s unique driving conditions, or creating films that speak our truth and celebrate our diversity, we’re all for fostering homegrown ingenuity.”

“We’re thrilled to be partnering with Tropfest to nurture local talent and support one of Australia’s key cultural events. The all-new Holden Equinox is the perfect prize for the 2018 Tropfest winner. From far-flung locations to red carpet premieres – our world-class SUV will get you and your crew there safely and in serious style,” she said.

Previous winners have consistently grown into Australia’s brightest talents. Alethea Jones (Tropfest 2012), whose debut feature Fun Mom Dinner stars Toni Collette and premiered at Sundance, will direct the hotly-anticipated Barbie film, with Anne Hathaway rumoured to play the lead role.

Abe Forsythe (Tropfest 2010) premiered his feature Down Under, an award-winning black comedy tackling the Cronulla riots, at Sydney Film Festival in 2016. Forsythe’s upcoming zombie rom-com Little Monsters will star Lupita Nyong’o (12 Years a Slave) and Josh Gad (Frozen).

Yolanda Ramke and Ben Howling’s finalist zombie film Cargo (Tropfest 2013) went viral after it was uploaded to YouTube with over 13 million views. The short has been adapted into a Netflix original feature starring Martin Freeman (The Hobbit).

Gregor Jordan (Tropfest 1995) jumped straight into directing Heath Ledger and Rose Byrne in Two Hands following his Tropfest win. He has since worked with the likes of Joaquin Phoenix and Anna Paquin (Buffalo Soldiers), Orlando Bloom and Geoffrey Rush (Ned Kelly).

Other past winners also include Nash Edgerton, whose upcoming dark comedy Gringo stars Charlize Theron and Amanda Seyfried; and Matt Day, who recently starred in Venice Special Jury Prize winner Sweet Country by acclaimed Australian director Warwick Thornton.

Tropfest’s 2018 winner will also receive a $10,000 cash prize courtesy of Kennedy Miller Mitchell, a film immersion course and ‘week of meetings’ in Los Angeles with agents, studio executives and other industry professionals courtesy of the Motion Picture Association, and a visit to the YouTube Space.

In Tropfest tradition, films must be no longer than seven minutes, and must contain the Tropfest Signature Item (TSI) – “ROSE.” It is entirely up to entrants as to how they include the TSI in their film, with filmmakers encouraged to be as literal or as subtle as they like.

Trop Jr, a film competition for entrants aged 15 years and under, will also close submissions on the same date. Finalist films will premiere in Parramatta on the event day.

Tropfest has grown significantly since its humble beginnings at the Tropicana Caffé in Sydney’s Darlinghurst in 1993, where an eager crowd of 200 showed up for a short film screening organised by Tropfest founder John Polson.  This year, tens of thousands of film lovers are expected to enjoy short films from 16 finalists in beautiful Parramatta Park.

Tropfest is supported by Foundation Partner CGU Insurance, Presenting Partner Melrose Park and Strategic Partners Western Sydney University, Parramatta Park Trust, and the City of Parramatta. Tropfest's Live Streaming Partner is YouTube Australia and is supported by Major Government Partner, Screen Australia.

For festival details, screening venues and regular updates on all things Trop visit:
Website: www.tropfest.org.au 
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