OH MY OH AGAMI – AUDIENCE FEEDBACK of the Short Film. WILDsound Film Festival

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OH MY OH AGAMI played to raves reviews from the audience at the January 2016 Film Festival.

Watch the Audience FEEDBACK Video:

  MOVIE POSTEROH MY OH AGAMI, 4min, Egypt, Documentary/Poetry
Directed by Hani R. Eskander

A visual poem depicting a life of an Agami resident who reminisces his childhood amidst the ongoing destruction and illegal construction.

Written and delivered by Mohamed El Tayef

Music score and SFX by Ali Sedky

Subtitles: Dahlia Sabbour

Shot, edited and directed by Hani R. Eskander

Director’s Statement:

The sporadic accelerated of random vertical expansion in Agami is a microcosm of what’s happening in Egypt. We cannot keep at this consistent and persistent trail of destruction and tasteless development and construction without having proper vision that translates to sustainable design, and this all cannot see the light of day without adequate implementation of law applied equally and fairly on all… This video is a cry for…

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THE FAUCET – AUDIENCE FEEDBACK of the Short Film. WILDsound Film Festival

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THE FAUCET played to raves reviews from the audience at the January 2016 Film Festival. It was also awarded Best Overall Performances at the Festival.

Watch the Audience FEEDBACK Video:

  MOVIE POSTERTHE FAUCET, 4min, USA, Comedy
Directed by Samip Raval & Danny Klimetz

There comes a time in each man’s life when he’ll have to come face to face with creations of his own genius.

Film Type: Short

Runtime: 4 minutes 28 seconds

Completion Date: June 30, 2015

Country of Origin: United States

Country of Filming: United States

Film Language: English

Shooting Format: Digital

Aspect Ratio: 16:9

Film Color:Color

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VAMPIRAS – AUDIENCE FEEDBACK of the Short Film. WILDsound Film Festival

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VAMPIRAS played to raves reviews from the audience at the January 2016 Film Festival.

Watch the Audience FEEDBACK Video:

VAMPIRAS, 5min, USA, Fantasy/Comedy
Directed by Wesley Armstrong

This is the story of two woman trying to save a secret in the city of Los Angeles.

Written by Bruna Rubio

Film Type: Short

Genres: sci-fi, drama, comedy, horror

Runtime: 4 minutes 40 seconds

Completion Date: August 24, 2015

Production Budget: 8,000 USD

Country of Origin: United States

Country of Filming: United States

Film Language: Spanish

Shooting Format: digital

Film Color: Color

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THE MEGA PLUSH – AUDIENCE FEEDBACK of the Short Film. WILDsound Film Festival

under5minutefilmfestival's avatarUnder 5 minute & Smartphone festival

THE MEGA PLUSH played to raves reviews from the audience at the January 2016 Film Festival. It was also awarded Best FILM at the Festival. An amazing achievement considering the quality of films presented at the festival.

Watch the Audience FEEDBACK Video:

  MOVIE POSTERTHE MEGA PLUSH, 4min, USA, Animation/Action
Directed by Matt Burniston

Set in the shadows of a gritty underworld, a war is brewing. The Mega Plush, a group of four plush toy vigilantes, are struggling against the uprising of the SOC (Society of Chimps) army. Good vs evil. Bear vs sock monkey. The question is “who has the stuffing to survive?”

http://www.themegaplush.com/

Film Type: Animation, Short

Genres: Action, Animation, CG, 3D

Runtime: 3 minutes 56 seconds

Completion Date: August 31, 2013

Production Budget: 0 USD

Country of Origin: United States

Aspect Ratio: 16:9

Film Color:Color

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ARTIFICIAL – AUDIENCE FEEDBACK of the Short Film. WILDsound Film Festival

fantasyscififestival's avatarFantasy/Sci-Fi FILM & WRITING FESTIVAL

ARTIFICIAL played to raves reviews from the audience at the January 2016 Film Festival. It was also awarded Best Cinematography at the Festival.

Watch the Audience FEEDBACK Video:

  MOVIE POSTERARTIFICIAL, 20min, Spain, Sci-Fi/Thriller
Directed by Luis Espinosa

A man goes to a job interview. What he doesn’t know is that he has already been selected. CORPSA offers to pay him 80,000 Euros if he agrees to be cloned. But more than just a lot of money depends on his decision.

Writer: Sergio Granda

Key Cast: Luis Espinosa

Film Type:Short

Genres: Sci-Fi, Horror, Fantastic, Thriller

Runtime: 19 minutes 45 seconds

Completion Date: July 15, 2015

Country of Origin: Spain

Country of Filming: Spain

Film Language: Spanish

Shooting Format: RED Epic

Aspect Ratio: 1, 2:35

Film Color: Color

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DISAPPEARED – AUDIENCE FEEDBACK of the Short Film. WILDsound Film Festival

fantasyscififestival's avatarFantasy/Sci-Fi FILM & WRITING FESTIVAL

DISAPPEARED played to raves reviews from the audience at the January 2016 Film Festival.

Watch the Audience FEEDBACK Video:

  MOVIE POSTERDISAPPEARED, 5min, Canada, Fantasy/Romance
Directed by Jon Silverberg

On the day he plans to propose to his girlfriend, a lowly shipping clerk finds a fountain pen that cause objects to vanish. He embraces the strange phenomenon as a novelty, until it threatens to impede his romantic plans, and very existence.

Producers: Jon Silverberg, Andy Hodgson Cast: Mackenzie Gray, Philip Granger, Alayna Silverberg

Genre: Sci-Fi/Comedy

Year: 2015

Film Type: Short

Runtime: 5 minutes 30 seconds

Completion Date: March 1, 2015

Country of Origin: Canada

Country of Filming: Canada

Film Language: English

Shooting Format: RED Epic

Aspect Ratio: 2:40:1

Film Color: Color

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YO SOY PEDRO – AUDIENCE FEEDBACK of the Short Film. January 28 2016 Film Festival

fantasyscififestival's avatarFantasy/Sci-Fi FILM & WRITING FESTIVAL

YO SOY PEDRO played to raves reviews from the audience at the January 2016 Film Festival. It was also awarded Best Musical Score at the Festival.

Watch the Audience FEEDBACK Video:

  MOVIE POSTERYO SOY PEDRO, 10min, France, Sci-Fi/Comedy
Directed by Jordan Inconstant

1977. Mackenzie and Banks are two Americans cops who encounter an alien that has just crashed. The police take him for a film actor and decide to bring it back to Hollywood studios. .

Film Type: Short

Genres: sci-fi, comedy

Runtime: 10 minutes 35 seconds

Completion Date: November 30, 2014

Production Budget: 10,000 EUR

Country of Origin: France

Country of Filming: France

Film Language: French

Shooting Format: HDV

Aspect Ratio: 2:35

Film Color: Color

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Interview with J. Michael Seyfert (Cine Pobre)

Cine Pobre is a self-funded filmmaking genre without a set of stylistic criteria nor format boundaries, involving many geographically separated creators with at least two things in common: a strong desire to tell our story and to do so with our own resources.

You can also find more info at
www.facebook.com/cinepobre/

I recently sat down with J. Michael Seyfert to talk more about the festival:

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

JMS: So far Cine Pobre has co-produced 8 films, and we provide post production talent and technical skills through camera stabilization workshops, and help with branding and niche market exposure. Cine Pobre Film Festival is like filmmaking itself, a collaborative and not a competitive concept.

Matthew: What would you expect to experience if you attend the festival? 

JMS: Personally , unless you’re talking about Orson Welles or Werner Herzog for example I am not keen on listening to a lot of self-congratulating trivia and gossip staged by most film festivals who appear more like cocktail parties. I appreciate excellent programming that has attitude and teeth, to be intriguing,  that’s what Cine Pobre delivers: New Eyes.

Matthew: What are the qualifications for the selected films? 

JMS: Anything goes, but must be self-funded and under $25,000 usd crowd-funding is also accepted, but productions financed by grants and film fund supported budgets are not accepted.

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

JMS: The business model of conventional festivals, of which there are literally thousands, is strictly a numbers game no matter how idealistic they may cloak themselves. As soon as an event gains some prestige it becomes elitist and exclusionary, rich in overhead and filmmaker exploitative.

Matthew: What motivates you and your team to do this festival? 

JMS: Curating the best self funded films to the widest audience is gratifying, as only the works of story tellers unbeholden to sponsors are censorship-free.

Matthew: How has the festival changed since its inception? 

JMS: Started with small screenings in rural areas to become the largest resource of self-funded film with over 10,000 shorts, features, documentaries, animation, experimental and music videos.

Matthew: Where do you see the festival by 2020?

JMS: We receive entries from about 100 countries and would love to curate films from all 190 states and territories on the planet.

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

JMS: Bye Bye Havana

Matthew: In one sentence, what makes a great film? 

JMS: A story so well told that it holds the attention of a 7 year old.

Matthew: How is the film scene in your city? 

JMS: Still emerging from provincialism…. However Cine Pobre is neither stagnant nor static. Over the past 13 years we have taken our screenings to rural areas in Mexico and different countries in Latin America. We hope to also develop events in Africa where many exciting self-funded filmmakers are emerging.

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.

Interview with Kristine Renee Farley (MayDay Film Festival)

The MayDay Film Festival originated in May 2009 at the University of Southern Indiana. It was created by a group of student filmmakers.. Year one was about showing off student films at their event to the student body. Since then, it has evolved into a full fledged festival showcasing films from all over the world.

Website: www.maydayfilmfestival.com

Twitter @MayDayFilmFest

I recently sat down with the Festival Director of the Festival:

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

Kristine Renee Farley: I consider MayDay Film Festival’s biggest achievement our audience members. Last year we had 500 people in attendance across our 2-day event. Sometimes it can be difficult for independent film to find an audience, but we don’t have that problem at MayDay. We’re also currently in negotiations with international distribution companies. We want to partner with one to get MayDay Film Festival official selections in front of their eyes, and hopefully the rest of the world.

Matthew: What would you expect to experience if you attend the festival this year (2016)?

Kristine: MayDay is alway a fun experience for attendees. We pride ourselves on not being a pretentious film festival. We have vendor booths similar to what you see at conventions. This gives filmmakers a chance to sell their movies as well as other merchandise like tshirts. But we also invite local businesses and artists to rent booth space as well. We want to be interactive with the whole community, and invite anyone who thinks indie film fans would like to buy their product a chance to get it out there. All the info to get a booth is on our website. We also always have a guest artist or two to do a Q&A panel. We’ve had cosplayer Collin Royster, Emmy-award winning writer of Friday the 13th Victor Miller, Jake Lloyd of Star Wars & Jingle all the Way, and the Star Wars 501st Legion in past years.

Matthew: What are the qualifications for the selected films?

Kristine: Our submission guidelines are pretty loose. We like to have a wide variety of films screen at MayDay. During the selection process, we try to keep a good balance of looking at the quality of everything from camera work, image, audio, acting, and story. A filmmaker may not have had the best camera when they made their film, but if the story is amazing, we’ll still take it. Likewise, if a film looks too beautiful to pass up, we sure won’t.

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

Kristine: I agree to a certain extent, yes. I think the bigger film festivals only take “independent” films that are only so just because a studio wasn’t involved. Yes, TECHNICALLY they’re “independent,” but they have huge stars and the best equipment. It makes sense for a festival to accept such movies because it will help their festival be more successful, so I can’t really discredit them for that at all. But I do believe that a lot of really amazing films that didn’t have the budget and didn’t have the stars do get ignored sometimes. Just because they don’t have that selling power. Which kind of leads into your next question…

Matthew: What motivates you and your team to do this festival?

Kristine: We want to give people a chance to get their films seen. That’s the whole point of making a movie! For people to see it! In addition to our fantastic & growing attendance numbers, filmmakers have the opportunity to secure booth space to sell their DVDs to the right audience – people interested in watching indie film.

For me personally, I’m also an actress working in TV & indie film. It’s a wonderful opportunity to see who’s making amazing films & to check out other actors & actresses who are getting work. We have films that come to us from all over the country & the world. It’s a wonderful networking opportunity for anyone in the indie film scene.

Matthew: How has the festival changed since its inception?

Kristine: This festival has changed SO much! It first started as a few students at the University of Southern Indiana showing off short films that they had made that school year. Then the Filmmakers’ Club was created to give students a more organized foundation to create their films since the school doesn’t have a film program. Each year it’s gotten bigger & bigger, incorporating local filmmakers and businesses. Now we’re in an actual movie theatre (Shout out to Showplace Cinemas in Evansville, IN! They’re the best!), showing films on 3 screens, and have international selections each year. I started helping with the fest in year 3. We had 38 submissions total. This year we had 40 our first day. We’re up to 470 currently, and we don’t close submissions until May 1st! We’ve had to bring on more people to get through the first round of watching films.

Matthew: Where do you see the festival by 2020?

Kristine: I certainly hope we continue to grow as much as we have already. At this time, we’re a not for profit event in the sense that we make absolutely no profit, haha. All fees & admissions go straight back into the festival costs. A lot of the time myself and the other coordinators will spend money out of pocket to make sure everything goes off without a hitch. I’d certainly like to see it begin to turn a profit because we have some amazing ideas to expand the MayDay brand into other film related events. If I had my way, we’d have a different themed event each month!

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

Kristine: The absolute most times is probably Harry Potter and the Sorcerer’s Stone. I may have been a teenager when it came out, but I geeked hard core over it. My sister and I were probably watching it 3 times a day that summer we were off from school. I started developing a bit of a British accent. It was pretty crazy, haha. As an adult, it’s probably either Kill Bill or Kiss Kiss Bang Bang. Those films just never get old for me. I notice something new each time I watch them. If you’re talking indie film, you should totally check out Bounty Killer. God, I love that movie.

Matthew: In one sentence, what makes a great film?

Kristine: Oy. ONE sentence? And “great” is so subjective… I’d have to say, “A great film understands it’s audience.” Understanding your audience and how your film is perceived really helps tell a great story. That sentence also allows for films that may not be technically sound, but are still entertaining. &#X1f60a AND it transcends genres. Someone who loves horror may not like romantic comedy, but that doesn’t mean either genre isn’t great.

Matthew: How is the film scene in your city?

Kristine: Well, I’m living in New York City now, so pretty awesome, haha. Back in Evansville, things are pretty hopping, too. The work I got there and the experience I gained have been invaluable to me in pursuing my career. Last year at MayDay Film Fest in particular, the quality of local films skyrocketed. Evansville, IN is definitely holding their own against some of the best films from around the country. Some even won awards against them too! I continue to be impressed year after year at how much my friends & associates in indie film have grown.
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Dave Merson Hess (Rush Process Festival of Handcrafted Animation)

Rush Process celebrates handcrafted animation. The festival’s first edition – set for August 27-28, 2016 in Houston, Texas – will combine curated and competition screenings with filmmaker Q&As and a DIY animation jam. RP aims to screen visually and emotionally stunning, non-digital animation.

I recently sat down with Festival Director Dave Merson Hess to talk more about the festival:

What is Rush Process succeeding at doing for animated filmmakers? 

On the screening side, we’re bringing handcrafted animated films to an enthusiastic audience that appreciates the gesture of choosing to work with tangible, analog materials. And with our workshops, we’re encouraging absolutely everyone to embrace low-budget, DIY animation as both a rich area for visual exploration and an accessible entry point into personal filmmaking.

What would you expect to experience if you attend the festival?

Eye-opening screenings of handcrafted animated shorts from around the world, workshops offering the opportunity to collaborate with complete strangers who share a passion for time-based collage and scribbling, and snacks. We’ll definitely have snacks.

What are the qualifications for the selected films? 

I’m not involved with judging, but I can tell you that we only screen handcrafted animation. These are painstakingly produced films made by hand, with real ink and paint, and often by lone practicioners. To quote our site, handcrafted is “a materials-focused practice at the intersection of DIY, auteur-driven cinema and analog animation art.”

What makes a great independent film? 

A great independent film: 1) chooses the discomfort of honesty and doubt over audience-pandering via formula and cliche, 2) embraces the limitations of the particular context of its own making, and 3) demonstrates a passionate dedication to a unique and highly developed personal or collective vision.

What motivates you and your team to do this festival?

The opportunity to become DIY animation enablers for as large an audience as possible, and the genuine feeling that we’re filling a niche programming void.

>Where do you see the festival by 2020?

I see the workshop element expanding dramatically. Imagine a DIY animation-focused Hack Week, with independent animators, artists and film lovers of all ages meeting and collaborating on free-form, time-bound production challenges.

How has the festival changed since its inception?

Well, 2016 will be our first edition but I’ve been working on Rush Process for a year and a half. It began as an idea for a monthly screening series, then after some reshuffling and delays it morphed into a full-fledged animation festival. On the workshop side, we were inspired by Tom 7’s Crap Art Manifesto, and our friends at Beta Theater’s Make-A-Movie Night, which was this rad monthly happy hour event where filmmakers got together in teams and each made a short start-to-finish in about three hours.

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

As a teen: Elvira: Mistress of the Dark, Wayne’s World, and Jan Svankmajer’s “Alice”.

While in film school: “Rehearsals for Extinct Anatomies”, by The Brothers Quay.

As an adult: I’m not really someone who re-watches films much anymore. Despite this tendency, the films I’ve spent the most time with in the last five years have been: Penny Lane’s “The Voyagers”, Terence Nance’s feature, “An Oversimplification of Her Beauty”, Karolina Glusiec’s “Velocity”, and my friend Dax Norman’s whole body of work.

How is the film scene in your city?

On the production side, it’s relatively small and a bit fractured, with grant-funded video artists at one end of the spectrum, indie genre filmmakers at the other, documentarians somewhere in the middle, and the vast majority of local film professionals focused on industrials and commercial work.

In terms of curating and screenings, Houston’s film scene is downright incredible. We’ve got Mary Magsamen at Aurora Picture Show bringing the likes of Jodie Mack and Roger Beebe, Houston Cinema Arts Fest, annual festivals hosted by the Museum of Fine Arts Houston, even more screenings at the CAMH, video art/installations/transmedia madness at Civic TV Collective, Peter Lucas’s “Jazz On Film”, the Menil projecting work in a museum context (William Kentridge, anyone?), plus Mystical Crystal Revelations Movie Club showing rad cult flicks, and newer nomadic programmers like Suplex starting to screen stuff around town.

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Bio:
Dave Merson Hess is an animator, media arts educator and film curator based in Houston, Texas.
Twitter: @lofiaction

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.