Month: February 2017

Film Review: MARIA FERNANDA IN TIME (2017)

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Played at the January 2017 Sci-Fi/Fantasy Film Festival

MARIA FERNANDA IN TIME, 9min, Spain, Sci-Fi/Comedy
Directed by Xavier Pijuan

An overprotective mother produces an accident with terrible consequences in the space-time continuum in the scientific laboratory where his son works.

Review by Kierston Drier

A mixture of slapstick, bawdy, comic timing and recapitulation humor make MARIA FERNANDA IN TIME a hilariously enjoyable piece. Coming to us from Xavier Pijuan, this film explores the classic comic relationship between a loving but overbearing mother and her struggling-for-independence adult son. This classic comic duo is overlaid with the sci-fi twist of time travel, when our hero tells his mother not to touch the time-loop machine, and of course, she does.

Playing off the comedy found in the technology generation-gap lends itself well to this type of tale, as our hero realizes the only way to save himself, his colleagues and the world, is to get his mother to fix whatever she has done to mess up the machine. Thus our plot is complicated by both escalating tension and steaks, and our characters’ being doomed to repeat all the misfortunes of the last few moments.

What delightful about this piece, is that it’s plot is complication, but its’ humor is effectively simple. You love every character, despite their conflicts, you root for everyone regardless of their tragic flaws. You understand each character’s motives, and the humor is palpable, strong and engaging. A wonderful, short, brilliant piece of comedy that goes out with bang.

Watch the Audience FEEDBACK of the Short Film:

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Film Review: IM PERFEKT (2017)

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Played at the January 2017 Sci-Fi/Fantasy Film Festival

IM PERFEKT, 7min, Hungray, Sci-Fi/Fantasy
Directed by Zsuzsanna Koszti

The short film aims to show a date in 2046. How the technology can shape our lives in an everyday situation. What if someone else controls your senses.

Review by Kierston Drier

What happens when we can no longer create distinction between where we end and technology begins? How does create us? Define us? Reshape our views of the world and of each other? IM PERFEKT coming to us via director Zsuzsananna Koszti explores the world in the-not-too-distant future, when humanity can seamlessly move between the human/techno gap, and what joys and concerns come from that.

Our two young heroes have met for coffee after meeting digitally. Each of them has a perfectly designed prosthetic hand. Sexual and romantic tension runs overtly between them and the casual seductive flirtations create an instantly engaging dynamic between our characters. Yet, when the female’s hand loses power, her date suggests they switch hands to charge. Once they do however, they can still experience the physical sensations of their own hand, even while it’s in the power of the other. It’s titillating, although somewhat invasive, when our male protagonists puts the fingers of his counterparts’ hand in his own mouth, and rubs her hand up his own leg. And the flirtatious mood turns somewhat embarrassed and awkward, when she tells him to stop. A date turned busy by jumping in too fast might be a theme that rings as current no matter how far in the future it is. A refreshingly modern take on the online dating hookup scene, with the comic twist that hooking up might just as easily mean plugging into power. Despite the clearly inappropriately liberal use our male hero takes with his female counterparts’ hand, we still feel empathic towards him, that his flirtations went one step too far and ruined an otherwise lovely coffee. Which is why you have to smile when the twist comes. Technology gets a bad rap in this day and age for dividing us all, but in IM PERFEKT we get to see it bring us closer together and unite us all, despite our differences. With the slight moral of remembering to ask permission before you take your dates’ hand.

Watch the Audience FEEDBACK of the Short Film:

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Film Review: INTO THE DARK (2017)

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Played at the January 2017 Sci-Fi/Fantasy Film Festival

MOVIE POSTERINTO THE DARK, 14min, USA, Sci-Fi/Fantasy
Directed by Lukas Hassel

Sometime in the future, two men strapped in back to back, on a journey from Moon to Earth. Real Justice. Just Reality.

Review by Kierston Drier

 Director and main actor Lukas Hassel, brings to us the intense drama that is Into The Dark. A film that starts with no easy explanation, we open on our hero in a two person ship jetting through space. He is strapped in a pod, which is pressed back to back with his traveling partner, a slightly more optimistic fellow, we never see, but do hear. The discourse the two share is a fascinating breakdown of two people with completely different goals. Our hero’s counterpart seems to want to make a friend during this journey, and yet our hero seems bent on controlling what little he can, including the conversation. What is uncovered is that both our characters are in the process of paying the ultimate price for wrong doings we never learn about. The twist? It’s being live broadcast from space to the general public for entertainment and as a guard against other potential wrongdoers.

Fascinating as the concept alone is, Into The Dark has much to unpack for its short fourteen minutes. A prediction on the future of reality television? Maybe. A commentary on justice and the nature of punishment? Possibly. But what really hits this piece out of the park, as a piece of cinematic entertainment, is the acting. Hassel is our main character, and due to the nature of the film, nearly the entire piece is a close up on him, almost completely unmoving, in a tiny space. This is a dangerous and daring choice in filmmaking. It runs the risk of creating visual stagnation. Yet every moment in this piece is riveting. This is testament to intense and dramatic filmmaking, that is utterly simple, and that indicates incredible story telling.

A classic science-fiction in its form and function, Into The Dark nevertheless fails to entertain with dramatic and exceptionally engaging characters, story and twist.

 
Watch the Audience Feedback Video of the Short Film:


 

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Film Review: A CURE FOR WELLNESS (USA 2017) ***1/2

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a_cure_for_wellness.jpgGore Verbinski
Writers: Justin Haythe (screenplay), Justin Haythe (story by) |
Stars: Jason Isaacs, Dane DeHaan, Mia Goth

Review by Gilbert Seah

The director of THE PIRATES OF THE CARIBBEAN films turns serious with a new psychological thriller written by Justin Haythe (THE LONE RANGER and REVOLUTIONARY ROAD). Like the PIRATES OF THE CARIBBEAN films, A CURE ROR WELLNESS is over-long and can be shortened, but it is still a surprisingly entertaining suspensor, keeping the audience on the edge of their seats from start to finish.

An ambitious young executive, Lockhart (Dane DeHaan, his most memorable role being in CHRONICLE) is sent to retrieve his company’s CEO from an idyllic but mysterious “wellness center” at a remote location in the Swiss Alps. He soon suspects that the spa’s miraculous treatments are not what they seem. When he begins to unravel its terrifying secrets (Do NOT drink the water!), his sanity is tested, as he finds himself diagnosed with the same curious illness that keeps all the guests there longing for the cure. He is being watched and confined by Volmer (Jason Isaacs) who has darker designs for Lockhart. Lockhart, in the meantime falls in love with Hannah (Mia Goth) another patient at the facility. The question is whether Lockhart can escape or end up committed forever. The film might have been inspired by the classic THE CABINET OF DR. CALIGARI.

The film is realistically shot in English and part German as the mountainous parts of Switzerland is mainly German. The film was filmed largely at The Babelsberg Film Studio, located in Potsdam-Babelsberg outside Berlin, Germany, the oldest large-scale film studio in the world. (METROPOLIS was shot there.) The film is a handsome production, with special effects and stunning shots by cinematography Bojan Bazelli.

Relative newcomer Dane DeHaan makes a believable naive young executive falling prey to a dark evil that challenges his sanity. Equally good, if not better, is young Mia Goth who plays a waif who is as innocently creepy as Sissy Spacek in CARRIE. There is a nice cameo by English actress Celia Imrie (THE BEST EXOTIC MARIGOLD HOTEL) who plays a small but important role as a Baroness.

The film is a tad too long at 146 minutes with many repetitive scenes. How many times has Lockhart been warned by Volmer for roaming around and getting lost in the facility? How many times must Lockhart see the toilet handle shaking. And how many times must Lockhart wake up from a nightmare in cold sweat for the purpose of director verbinski scaring the audience with a false alarm?

To be fair to Verbinski, he has staged some very creepy scenes, the one in the village pub being one of he creepiest I have seen in a while , In this scene, Hannah puts on a song from the jukebox, that turns out to be the creepiest, haunting music I have ever heard. She dances in her skimpy dress with the heads of onlookers turning around to watch this strange creature dancing, only to have her felt up by the local village thug who yields a curved blade when later rescued by Lockhart. Lockhart is at the telephone making a long distance call at the point Hannah is being molested, the timing adding to the suspense, in the film’s best scene.

The film has not had that much publicity so far, but it comes with my high recommendation as a taut suspenseful thriller with super eerie European atmosphere. Creepy and scary, the film will keep one absorbed in suspense from start to end. The film also delivers, subtly, the message that wellness comes from oneself, through self-discovery.

Trailer: https://www.youtube.com/watch?v=4mcVodJmBlU

 

 

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Film Review: BEFORE THE STREETS (AVANT LES RUES) (Canada 2016)***1/2

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before_the_streets.jpgDirector: Chloé Leriche

Writer: Chloé Leriche

Stars: Rykko Bellemare, Kwena Bellemare-Boivin, Jacques Newashish

Review by Gilbert Seah

Things have not gone right, are still not going right and are going to get worse for a young adult Atikamekw man in the First Nations reserve of Manawan in Quebec. When the film opens, his girlfriend has left him, with him trying to win her back, unsuccessfully. Shawnouk (Rykko Bellemare) smokes up daily, is jobless and leaves a meaningless life with with his sister, mother and mother’s boyfriend, who happens to be an indigenous cop. Things get worse, when he accidentally kills his crime partner after a botched burglary.

When things have gone this badly, it can only get better. But this story of Shawnouk’s redemption shows that redemption does not come easy. It comes with humility, diligence and a self-discovery experience. All these issues make a heated subject for a super indigenous movie And writer/director Chloe Lerich does her subject justice. Lerich also produced, wrote and edited her film besides performing the directing duties.

BEFORE THE STREETS is an original and admirable first feature from director Chlore Leich. It is a moody piece that effectively capture the monotony of life with few opportunities on the reservation. The film also questions the rights deserved of these people – who have essentially got they land stolen from them. Now they have to suck up to the Whites. “Here come the shiflies”, says the indigenous cop, humorously about the Quebec police, at one point in the film.

There is a segment in the film where Shawnouk works in the canine department putting down stray dogs that are sick, or have bitten people. The metaphor is clear. Shawnouk finds it unbearable to work in such an environment.

One problem of the film has is Lerich’s fondness of closeups. As a result, only the closest object can be in focus and others in the frame appear blurred. The result is often many blurred images, especially at the very start of he film. There is also Atikamekw chanting at the start and end of the film – with the Atikamekw character screeching at a very irritating high pitch tone. It is a necessary piece, but hard on the eardrums.
Credit should be given to two excellent performances. The first is the actor Rykko Bellemare who plays the lead like an Atikamekw James Dean. He is able to capture both the audience’s sympathy and admiration for his downs and ups. The second is Jacques Newashish as the mother’s cop boyfriend, who is torn between the right and lawful thing to do.

For a debut feature Lerich’s film is an emotionally satisfying tale of redemption. The only question here is the credibility of the spiritual cleansing depicted. But it works through the personal change of Shwnouk, which is more important and effective than any jail term dished out by a Justice system. As in films like this, the ultimate question asked is: “Can there be any justice on stolen land?”

The film is shot mainly in he Cree language with a bit of French.

 

 

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Film Review: RINGS (2017)

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rings.jpgDirector: F. Javier Gutiérrez
Writers: David Loucka (screenplay), Jacob Estes (screenplay)
Stars: Matilda Anna Ingrid Lutz, Alex Roe, Johnny Galecki

Review by Gilbert Seah

 Directed by F. Javier Gutiérrez (BEFORE THE FALLS) and written by David Loucka, Jacob Aaron Estes and Akiva Goldsman, RINGS, the third film in the RINGS horror franchise (after THE RING and THE RING 2) attempts to blend in American psychological horror to the Japanese ‘watch the video – then you die’ scenario. It does not work.

When one goes to see an American remake of a cheap Japanese horror franchise, one had better keeps ones hopes low. The question is how low to keep ones hopes at to still NOT be disappointed. The film’s first 10 minutes set up the audience for these low expectations. A cute guy is seated, and sweating on an economy flight. When the girl next to him asks what is wrong, he explains that he has seen a video and is to die within 7 days and that he has 5 more minutes to survive. So, stupidly enough, he has to leave for the washroom when the seat belt sign is on. Black stuff flows on the floor, he is pulled on the floor by an unseen force and the plane crashes. All this makes absolutely no sense at all. And neither do much of the rest of the film. The odd thing is that the film gets really boring within the next 10 minutes.

The film’s main characters are two teens, who are very much in love. Holt (Alex Roe) leaves for University while Julia (Matilda Lutz) stays home pining for him. When Holt does the ‘watch the video and then die in 7 days’ gig, Julia drives up to save him. All these problems are caused by Holt’s Professor Gabriel (The Big Bang Theory’s Johnny Galecki). Somehow, the smart one seems to be Julia who has all the answers. Julia figures out that she has to free some girl in order to remove the curse which she is now caught with – which proves that she is not that smart after all. The villain of the piece turns out to be a blind fat priest called Burke (Vincent D’Onofrio – he played the recruit that shot himself in Stanley Kubrick’s FULL METAL JACKET) who might end up unforgettable in this role for all the wrong reasons.

The story turns into the horror story of a town that had a missing talented girl. The talented girl was kidnapped for almost a year, and put in chains in a basement by the priest, Burke. The attempt to Americanize RINGS with the video horror and this kidnapping story is a weak excuse of a plot that is just too flimsy to work. The tactic is not fooling anyone either.
The only thing going for the film are the scary images – most duplicated from the Japanese franchise.

For a horror flick, RINGS cost a massive $25 million to make. This will add to the estimated $500 million loss Paramount is is writing down from its film division this year. Watch the film, then sell your stock within 7 days.

Trailer: https://www.youtube.com/watch?v=NFB4eZSVgBE

 

 

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Interview with Jorge Gonzalez, Launch Pad Screenwriting Competitions

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The Launch Pad is a place dedicated to launching writing careers. Going well beyond what other competitions offer, we have created a platform that has helped more than 180 writers launch their careers. Utilizing our three competitions – pilots, features and manuscripts – as well as our advanced coverage services, we provide a hub that reaches far beyond a simple prize with your name listed on a site. The Launch Pad is a community of writers, executives, agents, managers and producers working together with one focus in mind – THE WRITER.

https://tblaunchpad.com/

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

Our competition has been able to get more writers signed in the last 4 years then any other competition out there. We pride ourselves in using our deep industry relationships with agents, managers, and executives to give writers the necessary exposure to take the next step in their writing career.

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

If you enter our competition we guarantee that your script will receive at least two complete reads from professional readers who have read or currently still read for major agencies, management companies, studios, and production companies. A large number of scripts receive additional internal reviews as well. We take great pride and responsibility in the submissions we receive and so we work tirelessly trading hundreds of emails, texts, and phone calls with reps to help everyone from our Top 75 to our Winners get the recognition they deserve.

MT: What are the qualifications for the selected films?

Our competition is open to writers of all levels. Their script needs to be an original work, which must be their sole property and not have previously sold or placed Top 25 or higher in one of our previous competitions.

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

That’s a really great question. I know for some of the bigger festivals that carry a lot of prestige like Sundance, TIFF, SXSW, and Austin, they are flooded each year with a huge number of entries. So the competition is fierce and many great films still may not make the cut. That said, I think those festivals really pride themselves in curating their films with thought provoking and unique films while simultaneously looking to identity new and emerging creators. There are also countless other respected festivals that are great ways for creators to gain recognition and get the exposure necessary to help their career. These festivals may be more accessible and a good first step along the journey.

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

For many of us here we come from a writing background and have also worked at management and production companies. Having been on both sides of the business we’re able to understand the needs of our writers and the reps that we work with. What gets us fired up is working with writers who if it weren’t for our competition may not have access to Hollywood and couldn’t otherwise get their material in the hands of some of the industries biggest agencies and management companies. The way that we see it is we’re here to try and help people jumpstart a professional writing career, and instead of climbing up from the bottom of a ladder we want to give them a boost so they can start half way up. With each of our competitions we’re able to help dozens of new writers land representation or set up their projects. Writers who have placed or won our competitions have sold six-figure spec scripts
to studios like Fox and Paramount and are currently writing for shows like Timeless, i-Zombie and Stranger Things amongst others. We’re truly humbled by the amount of success our writers have been able to achieve as a result of our competition.

MT: How has your FilmFreeway submission process been?

Film Freeway has been great. They have such a streamlined and easy way to connect with writers and have become the premiere hub for festivals and competitions.

MT: Where do you see the festival by 2020?

In space! Just kidding. We’ve been fortunate enough in the last year to partner with some of the biggest companies in the business. Just last year we partnered with Ridley Scott’s – Scott Free Productions, Roy Lee’s Vertigo Entertainment, and Brooklyn Weaver’s Energy Entertainment to name a few. These partnerships give us an opportunity to offer entrants prizes that include guaranteed signing and guarantee option opportunities from some of the biggest names in Hollywood. As we continue to grow we want to find new and innovative ways to partner with more companies to offer writers unique career opportunities that can’t be found anywhere else.

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

Oh man this is a tough one! I’d say its a tie between Toy Story and Gladiator. Two widely different movies but both were staples during different times in my life. Toy Story was definitely my go to VHS movie growing up, and Gladiator was the first DVD I ever bought. The movie is a masterpiece!

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

Strong characters who are led by their convictions regardless of their morality.

MT: How is the film scene in your city?

LA is the movie capital of the world. You really can’t go anywhere without running into someone who isn’t connected to the entertainment industry in some capacity. There is such a wealth of talent and creativity here that is remarkable. You never know who you’ll meet and as far as the the entertainment industry is concerned, there are so many chances to work or collaborate with amazing people. Los Angeles is one of those special cities where you can truly see your dream and passion come to life. Oh and lets not forget the never ending sunshine!

launch_pad

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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.

Interview with Patrice Francois, Festival Director IMAGINE THIS WOMEN’S INTERNATIONAL FILM FESTIVAL

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Imagine This Women’s International Film Festival: Imagine This Productions is dedicated to providing aspiring women storytellers and filmmakers a space to encourage and develop creative projects by women. ITP’s goal is to support women by sharing their work to the public, promoting equal opportunities, encouraging professional development, and serving as a resource informative network. 

http://imaginethisprods.com/
 
Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Patrice Francois: I believe our film festival is succeeding at proving a platform for underrepresent women filmmakers from all over the world. We’ve showcased films from Afghanistan and Palestine. Our 2016 Best Documentary short film, “Shireen of Al-Walaja” by director Daz Chandler, is about an intimate portrait of a dynamic and popular Palestinian resistance leader, who left her full-time job at the UN to return to her home village of al-Walaja and fight for her community. And one of the attendance thanked us for being risky and showing the film. He told us that many other platforms wouldn’t dare screen the film because of the sensitive subject. We feel that We’re not here to play politics, if you do good work and you have a great story to share, your story deserves to be seen no matter what.

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

PF: A very divers selection of films of unique and compelling stories. A number of films will touch on themes related to personal struggles within political and social conflicts across the world. Oh, a great after party with attendees and some of the filmmakers.

MT: What are the qualifications for the selected films?

PF: That’s easy. Must be made by a women filmmaker either directed, produced or written. And of course, a great story.

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

PF: Definitely. I’ve done the whole submit your film to film festivals and had endless discussions with other women filmmakers, so I know first hand how “un-fair” it can be sometimes. One of the main reason we started Imagine This. I think there’s just a lot of politics involved, I mean there’s politics involved in just about everything, but I’ve been to local film festivals that are supposed to be focused on indie, low budget films and some of the selected films have been made with well known actors and/or their budgets didn’t fit in “low” category.

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

PF: We understand the obstacles that exist for new and up-and-coming filmmakers. We decided it was important to help cultivate an appreciation for a wide range of unique and compelling stories, especially those from women who have been traditionally underrepresented in film.

MT: How has your FilmFreeway submission process been?

PF: We’ve seen a tremendous response, and are quite frankly blown away by the quality of submissions we’ve seen. We’re trending to doubling the amount submissions from last year.

MT: Where do you see the festival by 2020?

PF: It’s clear that there is tremendous female filmmaking talent out there, but there is still so much work to be done to create an inclusive environment that supports women storytellers, so I guess a bigger and better festival that’s more established in the NY film festival scene.

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

PF: Let see, I would say “Heat”. That scene between Robert De Niro and Al Pacino in the diner scene is one of my all time favorite scenes. Plus I love Val Kilmer, he’ll always have a special place in my heart as well as my mother’s, lol

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

PF: A film should have a great story and it should be compelling, it should be able to capture the mind of the audience, it should strike a chord, actors should run with the story and own it. the actors and the visuals should have a nice balance.

MT: How is the film scene in your city?

PF: Oh gosh, I live in the “country”, so there is no film scene in my town. I have to head down to the city to get my dose of art and culture, lol

imagine_this_2.jpg

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Interviewee Patrice Francois is an actor, screenwriter, filmmakers based in the Greater New York area. She is the co-founder of Imagine This Production and the festival director for Imagine This Women’s International Film Festival.

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.

Interview with Eric Simonson, Creative Director DOOR KINETIC ARTS FESTIVAL

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Oscar-winning “Lombardi” playwright Eric Simonson is bringing some major creative talent to Björklunden for the inaugural Door Kinetic Arts Festival in June. The week-long festival will provide Door County residents and visitors a peek at the creative process through two staged readings, a dance presentation and the premiere of a commissioned film by Campbell Scott, an award-winning filmmaker and actor, best known for “The Amazing Spiderman,” “Big Night” and “Longtime Companion.”

http://www.doorkinetic.com/

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

Eric Simonson: Like all film festivals, the most important thing we do is give a filmmaker a platform. We also invite artists to participate in the festival, which also includes art, dance and theatre. The point of DKAF is to encourage cross-polynization of artistic mediums. As the moving arts become more sophisticated, so does the way in which we express ourselves. DKAF offers 9 days in which which artists from all disciplines come together, see one another’s work, and exchange ideas — all in the inspirational environs of Door County, Wisconsin.

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

ES: Really innovative and rich storytelling experiences from filmmakers, playwrights, directors, actors, artists, choreographers and dancers. We also host several workshops and seminars — all open to the public — headed by internationally renowned artists.

MT: What are the qualifications for the selected films?

ES: Good story-telling, inventiveness in story-telling, economy, a willingness to branch out and express oneself in innovative ways.

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

ES: Yes. I believe that most festivals have challenging selection processes. There are so many good films out there, but screening committees are often too ad hoc and not fair. We strive for a thorough vetting of quality films at DKAF.

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

ES: We love a good story. We love creating and presenting things in Door County, which is an artist’s home for many working in different mediums. We want people to experience Door County first hand and to find inspiration to create more and better art.

MT: How has your FilmFreeway submission process been?

ES: Pretty Great. The folks FilmFreeway are always coming up with intriguing ways to make the submissions process easier, and allow the filmmakers to find the festivals that are right for them.

MT: Where do you see the festival by 2020?

ES: We’re new and very young. We don’t want to become an overly big festival, but we want the quality of our work to improve annually. We want to pack as much art and inspiration as we can in 9 days!

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

ES: 8 1/2 by Frederico Fellini. Hands down my favorite film of all time. Though CITIZEN KANE is up there too.

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

ES: GOOD STORY!

MT: How is the film scene in your city?

ES: I live in LA (if that’s what you mean). It’s hopping. In Bailey’s Harbor WI, there’s not much going on, though there is a growing local interest in filmmaking. Why not? The medium is becoming easier and easier every year.

door_kinetic_arts_festival_2

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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.

Interview with Doug Whipple, Executive Director NEW HOPE FILM FESTIVAL

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The New Hope Film Festival is sponsored by Comcast Corporation, Times Publishing Newspapers, Inc., Greater Philadelphia Media, and the Greater New Hope Chamber of Commerce. The 8th annual festival will take place from July 21 – 30, 2017. Decisions will be emailed by May 1, 2017.

Touted as the “emerging ‘Sundance East'” in a Huffington Post article, this internationally respected indie fest was founded by D. F. Whipple, an author screenwriter and long-time resident of the New Hope, Bucks County area. Whipple formed New Hope Film Festival with a group of artists who shared his passion for discovering and nurturing independent artists, especially those who’ve been overlooked by established festivals. This includes international films, which the Festival is eager to attract.

http://www.newhopefilmfestival.com/

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

A number of our films have landed distribution deals, for example Freestyle Digital Media picked up The Syndrome, but we’re doing a lot more than moving films through distribution channels. We’re changing lives. Formerly obscure filmmakers are gaining mainstream recognition. Two of my favorite examples screened at NHFF in 2010: Andreas Arnstedt, whose film The Dispensables (Die Entbehrlichen) earned a Best Debut Film nomination from German Film Critics Association and Sisir Sahana in India, who is now a respected educated and filmmaker.

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

Network with other, like-minded film industry professionals, gain inspiration from watching amazing films, gain worldwide exposure and potentially get mainstream press.

MT: What are the qualifications for the selected films?

Artistic merit, period.

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

Yes, absolutely! Politics. Too often, festivals invite films into their festival through the back door due to personal connections or affinity with the subject matter without seriously considering films that we submitted through publicly-available channels. This is something we never do. Everyone gets a fair chance here. We never invite films into the festival. In fact, this is why Director of Submissions Thom Mulligan and I started the New Hope Film Festival. He had experienced some frustrating experiences on the festival circuit after submitting his own film, Callous.

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

Fairness was our initial motivation, but as time went on we found that personal words of appreciation from filmmakers, and the differences we’re making in lives, motivate us to keep doing all of this incredibly hard, year-round. We love doing this!

MT: How has your FilmFreeway submission process been?

The platform is becoming important to us. It’s an easy platform to use and we’re getting some awesome films this way.

MT: Where do you see the festival by 2020?

We’ll be a 10-year-old film festival in 2020, so we should see even more mainstream submissions. We’re already receiving submissions from production companies with serious Hollywood credentials.

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

A reporter asked me this question last year and I discovered that it’s Blade Runner. But I’ve only watched it 3 times. I watch many NHFF films, at least in part, over and over, in the course of my duties as Executive Director.

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

A deep, sincere and organic connection to the material and the project. If you have this, the budget isn’t so important. We do care about production values, but I’ve seen no budget films leave audiences speechless during the final credits.

MT: How is the film scene in your city?

It’s ok. We’re seeing more local production and we definitely have some passionate fans, but we’ve built a festival in an art town that doesn’t even have a movie theater. Filmmakers who come to New Hope fall in love with the town and have a blast, but this is not a zany atmosphere of red carpets and searchlights. New Hope is a charming, intimate place for a film festival.

 
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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.