Interview with Festival Director Nicholas Marchese (Monmouth Film Festival)

Monmouth Film Festival, Inc. is a 501(c)(3) non-profit organization designed to promote and connect filmmakers from all over the state and country. The festival is more than an opportunity for artists to have their work showcased, it is a forum for educational opportunities through workshops, networking, Q&As and special panels with industry guests; that provide insight, growth and inspiration. Our unique platform strives to create an atmosphere where filmmakers of all levels, including high and low budget works, can be seen, heard and interact with movie-goers, promoters and other artists.

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Our primary mission is to promote, connect and educate filmmakers. For promotion, we work with companies such as iPitch.TV, who helps filmmakers pitch their films to the major studios; thus opening up distribution opportunities for the films that win at our festival. For connecting/networking, each year we hold an Industry Networking event, featuring special industry guests, press, artists and even reps from our partnered companies such as Backstage who all come together in Red Bank to meet and greet during the event. As a non-profit, education is one of our biggest focuses. We offer many different forums for education including workshops, Q&As, Internships for students and our annual Industry Film Panel; featuring a panel of esteemed industry professionals who take the stage to discuss their careers and offer insight and inspiration for the filmmakers in attendance. There’s much value in attending Monmouth Film Festival as both a featured filmmaker and aspiring filmmaker or artist. There’s something for everyone.

What would you expect to experience if you attend the festival this year (2017)?

Something fresh, exciting; the finest, top-quality independent cinema around. We’re different than most festivals around. We like to call ourselves ‘By Filmmakers, For Filmmakers’, meaning that as filmmakers ourselves, we understand the struggles and difficulties that go into making a film. So those who submit can be sure their films are receiving a fair shot when being judged for selections and awards. We are always reaching wider for films; looking for hidden filmmakers and talents across our state, country, and the world (as we are an international film festival). At Monmouth, there are no favorites, no special treatments, and no ‘good old boys club’. Every film gets the same fair opportunity to be chosen.

What are the qualifications for the selected films?

The story is above all in our selection process. Specifically, with independent cinema, your film should be an extension of yourself. We love to feel the voice of the filmmaker behind their film, especially when they come for a Q&A and can speak about the motivations behind it. We are open to all styles and techniques; which is why we have a diverse screening committee, all having niches in different categories including documentary, narrative, international art cinema etc…

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

I can’t really speak for other festivals selection process only because each are so different and of course, filmmaking itself is very subjective. What a story means or how it gets received can and usually is different from one person to another. What I can say, knowing from collaborating with many different programmers from different respected film festivals is that each has a different taste. Sometimes a film may be submitted that was technically perfect but doesn’t fit in with the vision for that particular festival. So the moral of the story is if your film doesn’t get accepted to a festival, it doesn’t mean it’s not good, it’s just not the right festival for that film. It’s difficult even for our festival that we only have a certain number of slots each year for films, so sometimes films that we very much enjoy get cut due to the tight time slots we have for programming. What I can comment on though in addition is that as a Filmmaker, and I have done this myself, do some research into the festivals you are submitting to. See what they’re all about. Who’s running them, who they work with and what value there is for you and your film being a part of it. Submission fees add up, so make wise choices when submitting. Eight out of ten times a not for profit festival like Monmouth Film Festival will always give you a better return for your money because we are here for you, the filmmaker, not ourselves and our interests.

What motivates you and your team to do this festival?

We love film. If I said nothing more, that should say it all! Along our own journey as filmmakers, having won many awards myself across multiple festivals, I have come to appreciate the opportunity to network with filmmakers and meet many important and distinguished guests across the industry who have always reached a handout. With that being said, not every festival I have attended lived up to its expectations. That’s what I wanted to change. I wanted to take the best aspects of all these festivals I attended and put them all into one. Together with a diverse team of artists from all interests and backgrounds, we are able to passionately drive forward to raise the bar each year higher and wider. I would like to say we have already made a bold mark after year one – having received rave reviews from critics and audiences along with top ratings – and next year, it will be ever bolder.

How has your FilmFreeway submission process been?

Submissions have been great. This year we are working with Withoutabox as well, trying to open our submissions to as many filmmakers as possible. We’ve been very happy with the submission numbers so far and already have a handful of films we are interested in screening August 2017. Submissions are open through June so don’t forget to submit! Feature, Shorts, Student Films, Trailers, Screenplays, TV Pilots and Web series; this year we have a category for every artist!

Where do you see the festival by 2020?

By 2020 I see Monmouth rising higher and brighter to a festival that filmmakers will call a “must submit” along the festival circuit. By that point we’ll have many more companies working with us, expanding our opportunities for filmmakers even further. Our community and tri-state area will recognize us for being an asset for artists all over and look forward to each year’s program. I would like to see us at that point operating as a year-round company, offering seminars, special screenings and educational workshops throughout the year. This is definitely a direction we are already moving in fast.

What film have you seen the most times in your life?

That’s a tough one! Being that I write a lot of comedy, I am a fan of the older Adam Sandler movies, so I can’t count the number of times I’ve seen “Happy Gilmore”. But next to that “My Cousin Vinny” and “The Graduate” aren’t too far behind!

In one sentence, what makes a great film?

Before the lights, camera, editing, locations and all of that, the characters are the single most important element to any film. Whether we like them, hate them, love them, they make us laugh or cry, we need to know these people so well, and invest in what they are trying to tell us; that’s why we keep watching. That’s why when they’re alone, we’re alone. When they’re scared, we are too. Characters well developed with much depth sell a film every time (same for documentaries too).

How is the film scene in your city?

Red Bank, NJ is the arts mecca of Monmouth County, New Jersey. For the past decade, Red Bank has been growing its way back to the top due to great venues such as Count Basie Theater and Two River Theater, where we hold our festival. We are glad to be a part of revitalizing the arts community and life within our County and State. It’s really an amazing sight when you can stand in the middle of a beautiful glass wall lobby and see so many passion artists travel into Red Bank from all over, coming together for one main purpose, film.

 

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
Voted #1 TV Contest in North America.
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Interview with Festival Director Darrell Holmes (Barnstorm Film + TV Script Fest)

Barnstorm is not just a screenplay competition, its focus is on helping you develop your script for production. Every submission receives script analysis from an industry professional and winners receive consultations from producers at Barnstorm Media.

 Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Barnstorm helps screenwriters turn their scripts into films. We offer free coverage on every submission. We offer production consultations to our finalists. And Barnstorm offers writer/directors the chance to submit a script to our FILMMAKER category for a chance to win the financing, equipment, production assistance, production design, costume design, music composition, and film editing to help make their film a reality.

What would you expect to experience if you attend the festival this year (2017)?

What are the qualifications for the selected films?

We are looking for original voices and stories.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Independent film has become a genre. Festivals are looking for films that fit the genre and/or have names attached. The same films play every festival throughout the season. Independent film is stale. Barnstorm is here to breathe some life into it.

What motivates you and your team to do this festival?

Barnstorm’s ultimate goal is to find and provide an avenue for overlooked filmmakers.

How has your FilmFreeway submission process been?

FilmFreeway has been great to us.

Where do you see the festival by 2020?

Since the goal of Barnstorm Fest is turn submitters’ scripts into films, by 2020 we would like have a fully formed distribution platform that features theatrical tours with our winning films and our own integrated online distribution platform. By 2020 we would like for Barnstorm to be a place for unique writer/directors to submit their work to see it taken from production to distribution.

What film have you seen the most times in your life?

Growing up, I had three VHS to choose from: Raiders of the Lost Ark, Drop Dead Fred and The Empire Strikes Back. The number of times I watched those films cannot be surpassed.

In one sentence, what makes a great film?

Disciplined expression.

How is the film scene in your city?

We’re based in Los Angeles where 90% of conversations are about film. That said, Los Angeles is one of the most expensive and most difficult cities in the country to make an independent film.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
Voted #1 TV Contest in North America.
Screenplay CONTESTSUBMIT your Short Screenplay or FEATURE Script
FULL FEEDBACK on all entries. Get your script performed
Screenplay CONTESTFIRST SCENE (first 10pgs) Screenplay CONTEST
Submit the first stages of your film an

Interview with Festival Director Anthony Michael Hobbs (Imagination Lunchbox International Children’s Film Festival)

 Imagination Lunchbox is a film production company based in Baltimore, Maryland. After screening films at numerous festivals across the country, they realized that there was a need for kid focused films in the Baltimore, Maryland and general area. It seemed only appropriate that a company well-known for kid centered films would be the perfect organization to help fill this need.

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Anthony Michael Hobbs: The Imagination Lunchbox International Children’s Film Festival is succeeding at giving a special opportunity for kid filmmakers who don’t get the chance to show their films, by having three categories: FOR kids, BY kids, and STARRING Kids; everything is about the kids!

What would you expect to experience if you attend the festival this year (2017)?

When people come to the film festival this year, they will experience a lot of effort and excitement as we show films by kid filmmakers, but also for ways to make the film festival better. I want everyone to come out and see what we have to offer, and then tell us what they like and what they would want to see next year. I hope that other kid filmmakers hear about us so they know they now have a place that will focus on their films.

What are the qualifications for the selected films?

We are actually still screening, but our selection qualifications are how much we think other kids will enjoy them, and which films will bring a variety to the festival. We want a variety of people, experiences, and even cultures. I’m looking forward to kids in Baltimore enjoying films by kids in Europe, Australia, Brazil, or where ever they come from!

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

Yes, I think some films don’t get a fair shake at film festivals because films that are by kids are not really taken seriously, and people think they are a joke or that the kids did not put a lot of effort into it, so it doesn’t get into the film festivals. Even some film festivals called children’s film festivals don’t really show films by kids.

What motivates you and your team to do this festival?

I am motivated to do this festival because I have gone to many film festivals before, and I have noticed that there are really no many festivals for kids; and the festivals that do exist don’t really do much for kids. When festivals do have kids categories they don’t show many films and don’t do much for the films because the focus is adults and their films. I have been to a few festivals that do better with this, but the kid films still only get a day or a small block of time. I am having this festival where the focus is the kids to give kid filmmakers a place and a festival where they will be the focus. I am starting small with a one day festival, but hopefully it will grow into more.

How has your FilmFreeway submission process been?

My FilmFreeway experience has been great! There are some days where we won’t get submissions and that gives us a chance to review films and catch up on the many that we have received. As soon as we catch up we get more submissions, but that is great. We always think we’ve been the best films, and then other people submit and you think that THOSE films are awesome too. Sometimes one person will submit multiple films, so that is interesting to see all the different ideas that one person has.

Where do you see the festival by 2020?

By the year 2020, I see the festival being a successful festival with over 300 submissions a year, and having so many people attend the festival we need a huge venue!

What film have you seen the most times in your life?

The film that I have seen the most times in my life is Pokémon movies. I actually watch a lot of movies a lot of times. I’ve watch Disney’s Aladdin a few times, as well as Disney’s The Lion King. When I really think about, I remember watching The SpongeBob Movie a lot of times. I also really like the old Teenage Mutant Ninja Turtles movie. That’s a favorite of mines too.

In one sentence, what makes a great film?

A great film has action, comedy, adventure, good script, good actors, and good music.

How is the film scene in your city?

In Baltimore, it seems like the film scene is off and on. Baltimore was really popular years ago, and then the film scene kind of went away. I think there is only two film festivals here, and neither have a youth or kid category. Sometimes Baltimore is the location for a few scenes of a film or television show, but not a lot happens anymore. I think that is because we don’t have tax credits like other cities.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
Voted #1 TV Contest in North America.
Screenplay CONTESTSUBMIT your Short Screenplay or FEATURE Script
FULL FEEDBACK on all entries. Get your script performed
Screenplay CONTESTFIRST SCENE (first 10pgs) Screenplay CONTEST
Submit the first stages of your film an

Interview with Festival Director Emi Onishi (UPTOGOOD Impact Film Festival)

Combining a traditional student film festival with a powerful online platform built for video-driven social impact campaigns, UPTOGOOD Impact Film Festival asks students to produce and share videos / short films that can catalyze positive social change by highlighting social issues and solutions in their communities—and to use our film festival to amplify that impact.

Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Emi Onishi: Our film festival succeeds at helping students promote and celebrate the art of impact storytelling, producing, and campaigning for social impact. With our online platform, built in community, and incredible media sponsors we are able to amplify the winning films and help bring more attention to the causes the filmmakers are addressing in their films and campaigns. Submission deadline is 4/5/17 and festival passes are now available at UPTOGOOD Impact Film Festival

What would you expect to experience if you attend the festival this year (2017)?

UPTOGOOD Impact Film Festival is a day-long event with film screenings, panel discussions and networking events that allow students, filmmakers, activists, nonprofits and practitioners to gather at the intersection of storytelling and social impact.

What are the qualifications for the selected films?

Eligible Applicants are U.S. high school students, college and film school students with a <10-minute video detailing a social issue that matters to them, and the steps one can take to make that issue disappear, submitted via online platform, UPTOGOOD.org

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

There is a lot of competition out there. Films are easier to make these days. The equipment and resources are readily available to most people. In many ways, you have to really submit your best work to film festivals in order to heighten your chances of being accepted into one.

With our festival, we focus primarily on social impact cinema. We live in an increasingly digital world with tools to mobilize a crowd. Millennials are the most cause-centric generation yet. It’s very exciting to see so many documentaries and social impact films being submitted. We do our very best with our staff and judges to make sure each film is watched and judged properly.

What motivates you and your team to do this festival?

There is a growing need to champion GOOD in today’s challenging world. We all care about what’s going on in the world and want do something good and make it a better place. A chance for meaning. We are inspired by the work of amazing storytellers and their ability to move people. We wanted to create a festival and platform where young storytellers can raise awareness on social issues and influence people’s perspectives to encourage debate and inspire actions on social issues. We believe impact and change can happen in numbers. it’s not always one person taking monumental action. It can actually be as simple as lots of people taking a little bit of action too. That is momentum, that is how things move, that is how we make an impact and arrive at a world that is UPTOGOOD. We’re looking forward to seeing as many people as possible getting UPTOGOOD with us even outside of the festival through UPTOGOOD.org.

The film festival offers a unique and timely intersection of social impact campaigning and video storytelling, while providing attendees with the chance to hear from speakers or professional organizations that are pioneers in the field.

Statistically, millennials are not only the largest, most educated and most diverse population in the United States, but they are also the most politically active and socially aware. A 2014 study by the White House Council of Economic Advisers has found that Millennials are the largest generation in the United States. Yet another study by the PwC Council of Economic Advisers has found that Millennials are the most diverse and educated in American history. On average, they also value the opportunity for positive social impact for their children, communities and society as a whole.

In short, millennials want to save the world — one person at a time. Our film festival is a gateway for them to voice their opinions and initiate real change.

How has your FilmFreeway submission process been?

It’s been very helpful in getting our film festival the attention it needed. This is our inaugural year so we were really focused on our submission call. Having our film festival listed on FilmFreeway allowed us to receive many great films and campaigns from around the U.S.

Where do you see the festival by 2020?

We hope to be reaching more people and creating large movements that can meaningfully affect communities and the world through the festival.

What film have you seen the most times in your life?

Any and all social impact films #StoriesThatMatter. We are strong believers in the power of storytelling and its ability to move people to foster new ideas, dialogue, empathy and reflection for social impact together.

In one sentence, what makes a great film?

A great film is memorable and has a story that had to be told through the medium of film.

How is the film scene in your city?

Bustling and busy! The UPTOGOOD Impact Film Festival runs out of Los Angeles which is the movie-making capital of the world. In addition to having Hollywood in our backyard, we are closely connected to an incredibly large community of social impact storytellers and documentarians.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
Voted #1 TV Contest in North America.
Screenplay CONTESTSUBMIT your Short Screenplay or FEATURE Script
FULL FEEDBACK on all entries. Get your script performed
Screenplay CONTESTFIRST SCENE (first 10pgs) Screenplay CONTEST
Submit the first stages of your film an

Movie Review: PERSONAL SHOPPER (France 2016) ***

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

personal_shopper.jpgDirector: Olivier Assayas
Writers: Olivier Assayas (dialogue), Olivier Assayas (screenplay)
Stars: Kristen Stewart, Lars Eidinger, Sigrid Bouaz

Review by Gilbert Seah

 After the modest box-office success of CLOUDS OF SILS MARIA, director Oliver Assayas (IRMA VEP, CLEAN) and actress Kristen Stewart reunite with a moody ghost story called PERSONAL SHOPPER. The title character, Maureen is as the title implies, a personal shopper for a wealthy German model and designer, Kyra (Nora Von Waltstätten). Maureen also has a ghostly encounter from her recently dead brother who she was quite close with.
The closeness is explained in two reasons – necessary to convince the audience why she is so determined to have a spiritual encounter with him. One is that he is her twin. Second is that the both suffer from the same health issue, though someone could live till a hundred with it. What happened to the brother is explained by the doctor as a rarity. But Maureen cannot indulge in any excessive physical activity.

Within the first 15 minutes of the film’s running time, the only thing established is that Stewart plays a personal shopper and that she has had one ghost encounter. The audience is obvious primed for a slow haul of a movie. Not much has happened except that Stewart has been walking around, mucking around and just looking at dresses for Kyra. The dresses are very glamorous, for those who like to look at dresses. Maureen is forbidden to wear the dresses. But she does, even masturbating in one of the sexier ones.

PERSONAL SHOPPER works off Maureen’s character with a few side incidents. Maureen rides along on a scooter, has a few ghostly encounters (though not fully explained who the apparitions are), runs errands and has an uncomfortable encounter with a stalker on her mobile phone. The film contains a loose narrative but a strong presence in Kristen Stewart’s character. Assayas is in playful mood here milking the most out of his actress.

One side incident involving a murder is done Hitchcock style. Maureen discovers a brutal murder just as in the scene in Hitchcock’s THE BIRDS when the first attack of the birds was discovered.

As a ghost story, the ghost appears as an apparition similar to old ghost films with dust stirred up with blurred figures. The seance scene also looks typical of those in early ghost stories.

In the end, one eventually asks whether this light hearted ghost story is any fun. Well it might be for director Assayas and his star, but it might be too much of a slow and long haul for others. Assayas leaves his film with an open ending that might have some audiences dissatisfied. But on the same hand, PERSONAL SHOPPER is not a film that lends to a Hollywood ending. Having one would have destroyed the entire atmosphere of the film Assayas had so carefully created.

The film is shot in English, with some French and German spoken (and an elaborate German song) with a moody setting in both Paris and London. Interesting but not great!

Trailer: https://www.youtube.com/watch?v=7hghXP4F3Qs

 

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Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: DONALD CRIED (USA 2015) ***

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

donald_cried.jpgDirector: Kris Avedisian (as Kristopher Avedisian)
Writers: Kris Avedisian (as Kristopher Avedisian), Kris Avedisian (screenplay)
Stars: Jesse Wakeman, Kris Avedisian, Louisa Krause

Review by Gilbert Seah

 DONALD CRIED is a weird title for a movie. The reason it is called that comes clear after half the movie has passed – and it is as weird a movie as its title. But not a bad one. DONALD CRIED is a two handler comedy about two losers. But don’t let what has been said turn you off this movie. Kris Avedisian who wrote and directed the film also stars as Donald and in DONALD CRIED has helmed a very original comedy piece that despite its simple setting, is an absorbing watch from start to end.

The first loser is Peter Latang (Jesse Wakeman). Peter had left his childhood home of Warwick, Rhode Island to reinvent himself as a slick, Wall Street mover and shaker. He is suddenly forced to return home to bury his grandmother. He hates Warwick. When the film opens, Peter arrives at the house and finds that he has lost his wallet on the train and unable to pay the cab driver. Peter is so annoying that the cab driver lets him off with the $15 fare instead of taking him to the train station to try to recover the wallet. Stranded and broke, Peter looks to the only person he can think of to help him out – his next door neighbour and former childhood friend Donald (played by Avedisian).

Then, the audience is introduced to an even greater loser – Donald.
Donald is a man-child who is more annoying than Peter. He speaks too close to ones face, is too much of a hugger and wears really bad clothes. Besides going on and on about things no one wants to hear about, Donald also unknowingly insults the one his is talking too. Imagine the question he asks Peter: “Do you masturbate still?” One scene has Donald at his place, almost naked reminiscing to Peter about old times. But the clincher scene has Peter waiting for Donald to finish playing his video game.

The rest of the film just follows the two ‘friends’ as they try to wrangle some cash that Peter desperately needs. They meet old acquaintances and do odd things like play football in the snow.

There are two segments that show the audience how f***ed-up Donald is. It is discovered that Donald had been impersonating Peter while is grandmother was sill alive. Donald pretended to be Peter so that the late grandmother would think her grandson had not left town. Another has Donald busting into the sex-making of Peter and his crush. These set-ups work well to test the relationship of the two buddies.

DONALD CRIED has begun its Toronto run at the Carlton Cinema from March 17th. The film won the American Independents Audience Award at AFI Fest and was an official selection at the 2016 SXSW Film Festival.

Trailer: https://www.youtube.com/watch?v=qc6lSzU5loo

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Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com

Film Review: THE SECOND TIME AROUND (Canada)

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

the_second_time_around.jpgDirector: Leon Marr
Writers: Leon Marr, Sherry Soules
Stars: Linda Thorson, Stuart Margolin, Laura de Carteret

Review by Gilbert Seah

 
Winner of the Audience Award for Best Feature Film at the Palm Beach Jewish Film Festival, and an audience favourite at numerous festivals such as Whistler Film Festival, U.K. International Jewish Film Festival, and Atlanta JFF, among others, THE SECOND TIME AROUND, the title tells it all, is about a second chance – a second chance at love. This is the kind of film that appears every 4 months or so, catering for the seniors, much like hits like COCOON.

Katherine Mitchell (Linda Thorson), a widowed yet vibrant senior, is not looking for love a second time – not at her age, and certainly not with grumpy Isaac Shapiro (Stuart Margolin). Her first line of dialogue in the film: “I prefer cut flowers to plants. When they die, you just throw them away.” She is entered into a convalescent home by her daughter, Helen (Laura de Carteret) after a hip injury. She is in a wheelchair. Convenient as made so by the script by Marr and Sherry Soules, both are widowed. Isaac and Katherine slowly fall in love, kissing and eventually taking their clothes off to sleep together (Don’t worry, the scene is done in good taste.)
The film moves at a slow pace suitable for the elderly that might be too slow for the video game audience. Director Marr (DANCING IN THE DARK) knows how to work his target audience. He has Mr. Shapiro sing to Katherine while dancing the song “The Second Time Around”. One cannot wish for a more romantic set-up. A few tears are also shed in the scene when the character Ben dies.

An artistically impressive seven is the one doe with shadows on he ceiling. Isaac drink and grumbles while Katherine leaves the room, shown as a shadow on the ceiling diminishing in size.

But as that title implies, the film is about a second chance in other areas as well. Katherine gets to Iive her dream of visiting the Opera House in Milan, Italy. But the film does not shy away from the realities of old age as well. As is the immobility, the intolerance of family members go caring for the elders, sickness an pain like athritis and migraines.

BAFTA Award Winner Linda Thorson (she was the first replacement of Diana Rigg’s Emma Peel in the popular TV series THE AVENGERS) delivers a sympathetic performance showing how dignified an prey her aged character can be. Stuart Margoloin (most famous for TV’s ROCKFORD FILES) also turns on his charm as her love interest. The two leads have good chemistry making the romance believable and charming. The late Don Francks (numerous TV series and the film FINIAN”S RAINBOW) who died last year has a small role as Murray.
The film has a good sweet ending with opera – Katherine’s first love. The soundtrack is full of beautiful music from famous opera pieces like Carmen and La Traviatta.

Trailer: https://www.youtube.com/watch?v=ptLJTYw4WEI

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Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
Great way to get your story out: http://www.wildsound.ca/logline.html

Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival:http://www.wildsound.ca

Watch recent Writing Festival Videos. At least 15 winning videos a month:http://www.wildsoundfestival.com