Month: November 2017

Interview with Festival Director Gabriel Muelle (Bogotá Music Video Festival)

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ENG: The purpose of the Bogotá Music Video Festival is to celebrate the art of music videos, the joy of music and the passion for filmmaking. We bring the music video art to different screens around Bogotá and top that with live music, exhibitions and academic and industry events.

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

Gabriel Muelle: We’re creating a new space for creators and filmmakers to show their work, see what is happening in the city, the country and the rest of the world and to network. In recent years the production of films and videos has increased drastically, but it’s easy to find that your work gets lost on the immensity of the internet and the exhibition circuits. We curate our selection very carefully trying to find what’s good and relevant, besides things like it’s popularity or present reach.

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

Awesome new music from all over the world and from every style, amazing innovative music videos, mind-blowing films, picnics, parties, great bands live and many creative people like filmmakers, musicians, photographers and designers hanging out and having a good time!

What are the qualifications for the selected films?

We like to have a broad and diverse selection, so we can have a big budget production next to a small hand drawn intimate animation. The important thing for us is that every film in the selection tells something to the viewer, connects with spectators in a meaningful way via strong images, breathtaking rhythm, surprising narration or just a good concept and a creative integration with the music.

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

I do believe some jewels can remain undiscovered for a long time. There’s just so many films being produced and distributed right now that is hard to find the right place for your movie and even for programmers it’s hard to find space in a festival or screening for all the good movies that get submitted.

What motivates you and your team to do this festival?

We really enjoy sharing good work. When we find a movie we like we want everyone else to go see it and enjoy it as much as we do. That and having the opportunity to connect people and generate new creative relationships and possible collaborations is all the incentive we need to do our festival.

How has your FilmFreeway submission process been?

We are very happy with FilmFreeway, it’s a great platform. It gives good exposure to festivals and is very easy an reliable to use both for festivals and filmmakers sending their projects. It makes possible for us to reach people from far away places and cultures, find some common ground and find great work from all over the world for us to share in our festival.

Where do you see the festival by 2020?

Every edition of the festival gives us many opportunities to learn and grow, to find our public and meet new people making exciting work and to create new experiences for everyone involved and find new ways to show good films. So, by 2020, we see the festival as an important meeting point in the creative, film and music ecosystems in our country and the latin-american region where people like to come and participate because they already know is gonna be a good time and it’s going to have a very positive impact on their careers.

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

The music video I’ve seen the most in my life is probably Come to daddy by Aphex Twin, directed by Chris Cunningham. I was obsessed with it growing up and had recorded it in a vhs tape from the tv so I could re-watch it every time I wanted. It opened my mind to new images, new possibilities, new works and sounds.

In one sentence, what makes a great film?

The ability to find a way to move the insides of its audience by any means necessary but in a way that happens to be the only possible way for itself.

How is the film scene in your city?

It’s amazing! We are producing exciting films, we have amazing festivals and a big number of young persistent people doing their best to make movies and show them to every one who wants to see.

Bogotá Music Video Festival - 1.jpg
*****

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.

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Interview with Festival Executive Director Steffanie Finn (WINTER FILM AWARDS INDIE FILM FESTIVAL)

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New York City’s Winter Film Awards (WFA) is a volunteer-run and operated celebration of the diversity of local and international film-making. Our Mission is to recognize excellence in cinema and to promote learning and artistic expression for people at all stages of their artistic careers with a focus on nurturing emerging filmmakers and helping them gain recognition and contacts to break into this difficult industry. We pride ourselves on our diverse collection of Festival selections, allowing our audience to enjoy films they normally wouldn’t think to seek out.

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

George Isaacs: Seeing your film on the big screen with a real audience in New York City beats pretty much everything!

Winter Film Awards is all about showcasing the work of emerging filmmakers. It’s so hard for emerging filmmakers without huge budgets or celebrity contacts to get their work seen! We firmly believe that it is critical to provide an absolutely fair and bias-free selection process, and we require at least four judges to view and score each submission. To ensure a diverse slate of films, we make an enormous effort to seek out filmmakers from around the world and are incredibly proud of the awesome films we screen.

Each year, we award over $100,000 in cash, prizes and distribution opportunities. Since SEO and google presence is critical for a film’s success, each selected film gets a page on our website with links to their social media and we have a team of bloggers who write about most of our films for posting on our website, social media and a press release.

And, we ensure that attending filmmakers are interviewed live on the red carpet and post that to social media.

At Winter Film Awards events, filmmakers see fantastic films in a terrific theater, make life-long connections, get their work seen by NYC distributors, get useful filmmaking tips, experience the wonders of New York City and have a whole lot of fun.

What would you expect to experience if you attend the festival this year (2018)?

In addition to our awesome parties and events, we host a variety of panels to help your career – including sessions on getting financing, producing the best sound on a budget, legal issues for indie film and casting considerations, plus we’ve had New York City and State representatives explaining the permit and tax credit process. For our 2018 Festival, we are excited to team up with EarthAngel to host a session on Green Filmmaking for the indie filmmaker.

We also throw the fanciest Awards Ceremony Gala of any Indie Film Festival in town, complete with live performances at one of the most beautiful venues in New York City.

What are the qualifications for the selected films?

We don’t have specific qualifications other than basic awesomeness – we accept all genres and all lengths. Our screening judges have a wide range of interests and include film industry professionals, film enthusiasts and film students from around the world; each film must be viewed by at least four judges including at least one woman. To keep them from getting burnt out, we have at least 50 judges at any given time and they are assigned just 2-3 hours of viewing per week.

We provide our judges with virtually no information about the submitted film in order to ensure there is no bias in scoring. They score each film on ten technical points (cinematography, acting, directing, etc) and give an overall score. These scores are then averaged together and run through an algorithm to determine a final overall score for each film. We then craft the program based upon score and available screening minutes – we generally accept the top scoring 8-12 films for each category. Basically, if four people with wildly different experiences and tastes love your film, your film is awesome and we want to screen it.

The absolutely most important thing for an indie filmmaker to do in order to qualify for any Film Festival is to make sure the film’s sound is excellent. Terrible sound will tank your chances immediately!

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

There are a lot of film festivals out there, and it is important to do your research before submitting your film. The “big boys”, like Sundance, generally are looking for celebrities and big budgets – emerging filmmakers are unlikely to have any chance there. Don’t overlook smaller festivals!

Be sure to check out the Festival carefully before submitting – if your film doesn’t meet their basic criteria, it will be turned off within a few minutes. And, be sure to submit your final work – Festivals will judge your film based upon what they see, not promises that sound or color will be fixed in some future edit.

Legitimate Film Festivals take submissions judging very very seriously. Make sure the Festival is legitimate — go through their website to see what sorts of films they show and how they showcase them on their site. Make sure they have live screenings in a real cinema, and look for a written policy on how they make their selections. Take a look at films the festival has shown in previous years – if you keep seeing the same names, they are probably mostly showing films by their friends; you want to see a nice variety of countries and directors in there. Don’t only apply to the big boys – your chances of getting in are miniscule. Look for local festivals first – festival organizers love showing
local films so you have a better chance of acceptance.

What motivates you and your team to do this festival?

Hosting a Festival is an enormous amount of work! We do it for love of film and
filmmakers – it is so exciting to meet everyone and we are so proud of the integrity of our organization and our process. We keep in touch with our filmmakers after the festival ends and cheer them on throughout their careers.

How has your FilmFreeway submission process been?

FilmFreeway is fantastic! From an organizer’s perspective, it is so simple to gather, promote and review submissions. Administration of the Festival’s listing is easy and the customer support is really terrific.

Where do you see the festival by 2020?

We continue to grow year over year. Our dream is to become the Tribeca of the little guy. Emerging filmmakers with limited budgets work so hard and deserve to be celebrated.

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

Probably The Rocky Horror Picture Show (I was a weird teenager). Otherwise, the three films I will always watch if they are on TV are: Fight Club, The Breakfast Club and Working Girl. I’ve seen Working Girl at least 100 times and I always cry at the end.

In one sentence, what makes a great film?

A great film needs a special magic combination of story, originality, wit, and production values.

How is the film scene in your city?

New York City’s film scene is crazy! It’s a $9Billion industry here and NYC is a world leader in indie film production. There are tons of film students, alternative screening venues, film festivals and events. It’s all very exciting!

Winter Film Awards -1.jpg

*****

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.

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Interview with Festival Director Jef Gray (The International Peace & Film Festival (IPFF))

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The International Peace & Film Festival (IPFF) combines the excitement of independent film with the goodwill of cultural exchange. The impact of blending a peace and film festival brings numerous benefits to audiences through the diversity of talent in cinematic art, fashion, performance and diplomatic representation. IPFF is held annually in Orlando, Florida and features screenings of selected films, an expo of local vendors, fashion show of national costumes and awards for top filmmakers.

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

Jef Gray: We’re very devoted to the filmmaker experience in the festival, we use modern facilities, attract cultural and business crowds and give as much flexibility as possible to filmmakers to accommodate their schedules and travel constraints. We also host a large awards ceremony to recognize the cinematic achievements of both film and content.

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

Our festival occurs in January 2018, and will be in an IMAX level theater, complete with lounge, bar, and enhanced dining menu’s. We are hoping to make it free to the public to draw larger crowds and incorporate vendor booths and a national costume fashion show, Called ‘Izuminka’, during the awards ceremony.

What are the qualifications for the selected films?

We are a peace festival at heart, so films with a base in culture, ecology, quality of life or the human journey are ideal. We only accept digital submissions through FilmFreeway.com as that platform is easier to manage. We have the typical genres of narrative, documentary, shorts, students and video. We’ve had fantastic stories from humor to intense drama screened, but we draw the line on themes that are too political, special interest, or violent.

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

Absolutely, Yes! The idea of independent film should focus on the undiscovered or up and coming filmmakers, in my opinion. Yet there are studio backed indy films with multi-million dollar budgets competing with entry level filmmakers? That creates a tremendous divide where the beginner cannot get their craft in front of audiences, while a studio ‘uses’ the festivals to build market share. I feel it violates the idea of the beginner artist trying to make his or her mark.

What motivates you and your team to do this festival?

Simply, the love of film and culture. An international film festival is like a crash course in diplomacy, awareness of world issues and amazing talent without borders. Each event creates amazing friendships that last long after the crowds go home.

How has your FilmFreeway submission process been?

Awesome, they make it so easy for us. I looked around when I first began trying to set up the submission platform, and their system is the best.

Where do you see the festival by 2020?

Ideally, running for a week, rather than 3-4 days, more sponsors to support longer knowledge sharing sessions and a venue where international cuisine can be incorporated. I’d also like to add more international performing and visual arts in the program. Definitely have the Festival Channel in full throttle on Roku/Amazon.

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

The Fifth Element, it’s a family favorite that is quoted way too much at home 🙂

In one sentence, what makes a great film?

A great film is a journey that leaves you inspired in such a way that you have a new perspective at the end.

How is the film scene in your city?

Dismal, we are changing that 😉

Links: http://peacefestival.us
Facebook: https://www.facebook.com/internationalpeacefestival/
Video: https://youtu.be/VHgL5De_9Oc

Director Bio:
Jef Gray is the founder and director of the International Peace & Film Festival. Gray is an accomplished publisher, technologist and public speaker with a background in philanthropic work on children’s charities and the Russian Speaking Community in the USA. He holds two associate of science degrees from the Community College of the Air Force and a Bachelor of Science in Liberal Arts from the University of the State of New York.

international peace-1.jpg

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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.

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Interview with Festival Director Hermoine Macura (WORLD OF WOMEN FILM FAIR MIDDLE EAST)

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The World of Women’s Cinema – WOW Film Fair Middle East is the first women’s short film fair that promotes and awards the talents of women directors, producers, writers, editors and cinematographers in the film industry internationally. It is an event that offers emerging and established filmmakers the opportunity to screen short works giving a thematic perspective of … “seeing the world through the eyes of women”.

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

Hermoine Macura: We are the first and only women’s film festival across the Middle East’s 22 Arab countries.

We offer a platform to recognize women of excellence in film as well as offer a platform for new and upcoming women film makers as well as men who direct films with a strong female narrative. We source, promote, educate and support women filmmakers in our region most of all.

What would you expect to experience if you attend the festival this year (2018)?

We have 2 full days of screenings, workshops and panel discussions as well as a gala dinner to recognize our winners as well as other leading women in our community. There is something for everyone. We are community event.

What are the qualifications for the selected films?

You can find out more about submissions here:
http://wowmiddleeast.com/submissions

We select the finalists based on a variety of facets including style, script, content and creativity. We also like to support young people with an award especially for up and coming directors.

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

Yes – it’s tough out there and there are so many entries so sometimes you can be
overlooked. It’s even worse if you’re a woman – just look at the statistics.

What motivates you and your team to do this festival?

As a woman in leadership, I believe it is a divine responsibly to give back and due to my success in the media I felt this was the best way to do so. When I reached the top in my career, I realized there was hardly any women there which is why I felt a deep need to launch our project. Also the greatest breakthroughs in society happen first in media and arts and in the expression of those who dare to dream.

How has your Film Freeway submission process been?

Amazing – as a non-profit project. They make things so much easier and are so
professional.

Where do you see the festival by 2020?

A major part of Expo 2020 – to be held in Dubai. A leading festival globally. A platform for local talent.

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

All the mafia ones – they inspire me and anything Pacino or directed by a woman.

In one sentence, what makes a great film?

The script and story-telling style as well as unique direction etc.

How is the film scene in your city?

It’s developing and growing year on year. It’s really exciting to watch the new
generation open up and express themselves as well as share it with the world! We
have a wonderful ruler here – His Highness, Sheikh Mohammad bin Rashid Al
Maktoum, the Vice President and ruler of Dubai – who is a major supporter of the
youth and women. There has never been a better time than now to be in our part of the Middle East.

wow-1.jpg

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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.

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Interview with Festival Director Mark Lyminster (RAINBOW UMBRELLA FILM FESTIVAL)

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Following the success of UNRESTRICTED VIEW FILM FESTIVAL and UNRESTRICTED VIEW HORROR FILM FESTIVAL, we are delighted to announce our first LGBT Film Festival, RAINBOW UMBRELLA, which will take place at THE HEN & CHICKENS THEATRE on 12th – 14th January 2018. The programme will be announced in December 2017 and tickets will go on sale at unrestrictedview.co.uk

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

Mark Lyminster: The Rainbow umbrella film festival is I believe succeeding in giving a voice to independent LGBT film makers, a chance for their work to be seen and aired as well as meeting like minded film makers once the festival is up and running.

What would you expect to experience if you attend the festival this​
year (2017)?
​
I think you would expect to experience a warm and welcoming environment filled with positive film makers actors crew and audience, the feeling of belonging and a chance to share ideas and experiences of life and of film making.

What are the qualifications for the selected films?

The qualifications for the films are that they are made with a elements of truth, a journey for the characters and stories we can all connect and relate too.

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

Our aim is be open minded and as fair as we can be to give all films a chance to be seen and shared with a wider audience.

There are so many elements that go into making films and I think sometimes films are not given a chance if they are not firing on all cylinders so to speak.

​
What motivates you and your team to do this festival?

We are motivated by the passion people have to tell stories and to share these experiences, we have a good range of selectors for the festival all of whom bring their own energy and passion to the process.

How has your FilmFreeway submission process been?

The submissions have been very interesting, from the very slick and polished to the more rough and ready,it has been good too see a wide range of topics and from all around the world.

​
Where do you see the festival by 2020?

 
It would be amazing for the festival to extend to a week, a real celebration of wonderful LGBT film making, a must see event in peoples diaries would be great and playing in a lovely modern cinema complex, maybe even in several cinemas simultaneously.

​

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

The film I have seen the most times is Clue staring Tim Curry, a fab cast a three different endings to a wonderful colourful and camp who-dun-it

​
In one sentence, what makes a great film?

  Peoples stories

How is the film scene in your city?

 
We are very very lucky with the film scene here in London,so much going on and catering for everyone.

 

The Rainbow umbrella film festival -1

 *****

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
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Interview with Festival President Sabine Mondestin (OPEN WORLD TORONTO FILM FESTIVAL)

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At OWTFF we welcome filmmakers and artists from all walks of life. We also welcome productions from any countries and years. The Open World Toronto Film Festival is a 3 days Glamorous event with Red Carpets, Winners Award Acceptance Speech, Networking and Masterpiece Screenings.

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Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?
​
Sabine Mondestin: Open World Toronto Film Festival(OWTFF) is succeeding at giving exposure to new talent and unknown talent. We give a special attention to every submission. We know how hard it is to create a project that you are proud of so we treat it with respect. We try to share the promotional materials of most of our submissions in our social medias. We watch all submissions with a sense of respect and admiration toward the filmmakers, because we really love what we do. ​

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

This year is all about glitz and glamour. We have at least 10 photographers per
night to capture the event. We also will have Rain Cosmetic and Hollywood Eye
Magic to do some makeup touch up before having your pictures on the Red
Carpet…But before everything you will have the chance to discover some amazing
talented filmmakers from Toronto and all over the world.
​
What are the qualifications for the selected films?

OWTFF provides an equal chance of winning for all entrants, regardless of size
and budget. Entries are judged on quality of craft and creativity. Our main goal
is to help artists gain publicity, media exposure, and momentum, as well as pay
tribute to their ingenuity.

At OWTFF we welcome filmmakers and artists from all walks of life. We also
welcome productions from any countries and years.

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

It really depends on the Festival…I feel that some of them are too focus on who’s in the projects and who did the project. It’s hard for new talents to get
recognition in those conditions. ​
​
What motivates you and your team to do this festival?

We are film lovers are we really respect and admire new filmmakers. We pride ourselves on being good marketers and good event planners. We knew we will be able to give the exposure the news filmmakers deserve.

How has your FilmFreeway submission process been?

It’s been amazing year we received lots of submissions from all over the world
and the choice was so hard due to the abundance of marvelous projects.​
​
Where do you see the festival by 2020?

We still going to follow our mission to introduce new talents from Toronto and
from all over the world and we will keep screening films from new talent even if
it’s a student film.

We are working hard to collaborate with new partners to bring the light on some
of the most remarkable talents and yet unknow filmmakers. We also want to
introduce new technology to the OWTFF. ​
​

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

I personally love films with an underlying message, like Equilibrium from Kurt
Wimmer with Christian Bale, Revolver from Guy Ritchie, The Nines from John
August with Ryan Reynold …But I also love most of the film of Quentin Tarantino
and Ava Duvernay. I think the one I watched most is Equilibrium and V for
Vendetta.​
​
In one sentence, what makes a great film?

A film needs to make you feel something …If you don’t care about the story or
the characters in my mind it’s not a great film.​

How is the film scene in your city?

Toronto is great! We create some local show that are commercially viable
worldwide, “Orphan Black” for example.

The talents are very diverse and the scene is open minded. It is exhilarating
and inspiring. For sure we always hope for more funding but if you are ready to
work there is help for filmmakers if you are willing to do the work to find it.

OPEN WORLD TORONTO FILM FESTIVAL-1.jpg

 *****

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.

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Film Word of the Week: Nickelodeon

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By Kierston Drier

Anyone born after the 1980’s is likely to conjure up the classic warm-and-fuzzy nostalgia at hearing the word “Nickelodeon”. The image likely involves Saturday morning cartoons, flannel feet pajamas, and sugar-crusted cereal. But the history and origin of this family-friendly word trails back long before the TV network used it to brand their franchise. Believe it or not, the word Nickelodeon travels back to the 1880’s, and, diving even deeper, into Ancient Greece. Surprised? Don’t be. Today on Film word of the Week we will break this down.

 

Nickelodeon can trace its base root word “odeon”  from  “Melodeon” which means ‘Music hall.” The root of that word can be linked to the Greek work “Oideion”  which loosely means “building for musical performances.” This is likely based on the ritual practice of community-wide attendance at theatrical performances. A practice that was viewed by the Greek civilization of as a form of society-wide catharsis. Centuries later, when the jukebox was in its’ infancy, the word “Nickelodeon” would come into existence in relation to it, as the machine would offer a round of songs for a nickel.

 

When the development of commercial cinema led to the creation of theatre houses, admission prices were low to attract the masses, averaging around five cents. This low admission price, coupled with the long-running variety of short cinema reels and often serialized pieces, led to high popularity among the growing middle class. The word “Nickelodeon” began being associated with the movie theatre, and the jukebox became…well, the jukebox.

 

In 1979, when Parent Company Warner Cable was an opportunity in creating commercial-free children’ programming under the name, to give them an edge over competitors, they launched the channel, as the first ever all children’s network. Although it struggled at first and failed to gain widespread excitement, after some rebranding the channel would take off. In the mid-1980’s Nickelodeon went from a day-time children’s’ programming channel to a 24-hour channel when it launched “Nick-at-Nite” and later, created an educational preschool programming section called “Nick Jr.” From Pinwheel to Teenage Mutant Ninja Turtles, Nickelodeon has had notable success as the first children’s programming channel.

 

While Nickelodeon may have shaped many-a-childhood, the origins of this film word stretch out all the way back to Ancient Greece. Who’d have thought? Just one more cocktail fact to throw around at your next film-related party.

nickelodeon

 

Film Review: GOD’S OWN COUNTRY (UK 2017) ****

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Submit your Screenplay to the Festival TODAY

Trailer

Spring. Yorkshire. Young farmer Johnny Saxby numbs his daily frustrations with binge drinking and casual sex, until the arrival of a Romanian migrant worker for lambing season ignites an intense relationship that sets Johnny on a new path.

Director:

Francis Lee

Writer:

Francis Lee

Stars:

Josh O’Connor, Gemma Jones, Harry Lister Smith

2017 sees the arrival of three critically acclaimed gay films .  BPM from France, this one from the U.K. (at point of writing with a 99% rotten tomatoes rating) about a young Yorkshire sheep farmer and from Italy, CALL ME BY YOUR NAME.  While the latter also deals with first love, unlike that sugar-covered unreal gay love story, GOD’S OWN COUNTRY is a hard look at gay life – acceptance and reality, the way it happens in real life.

The film is set in Yorkshire, around Johnny Saxby (Josh O’Connor) who lives on the family farm with his father, Martin (Ian Hart) and grandmother, Deirdre (Gemma Jones).  Due to his father having suffered from a stroke, and his grandmother’s age, much of the day to day running of the farm falls to Johnny.   As his friends have left for university, there is little time for socializing.  What time there is, he fills drinking excessively on his own at the pub. With the lambing season fast approaching, Johnny’s father tells him that they have advertised for extra help for the farm that arrives in the form of a Romanian worker, Gheorghe (Alec Secareanu).  When the two are sent out into an isolated place to look after the sheep (shades of Ang Lee’s BROKEBACK MOUNTAIN), the two form a relationship after some initial rough sex and hostility.

When the two return to the farm, both Derdre and Martin discover what the two have been unto resulting in Gheorghe leaving the farm.  Whether Johnny will make a stand and go out to get him back takes up the rest of the film.

What makes the film work for both the gay and hetro-sexual audiences is the honesty of the portrayal of the couple’s love.  The film also serves as a coming-of-age rite of passage journey for Johnny who before just engages in casual encounters.  This is aided by the film’s sheep farming setting, which unlike many pictures with a farm setting, just cater to one or token farm scenes.  In GOD’S OWN COUNTRY, the sheep, landscape, Yorkshire scenery and farming are in the forefront.  There are many eye-opening facts that can be learnt about sheep farming from the film like a lamb dying from a breech birth. 

The rough macho life of men are on display – as in the rough sex practised by Johnny.  Sexual gratification can be obtained without the fuss of a second hook-up or a budding relationship.  The land is just as rough, but tenderness is also present, as witnessed by Gheorghe as he takes care of a weak lamb that almost dies.

The film contains one perfect scene somewhere in the middle when Johnny and Ghoerghe sit together overlooking the beautiful yet somewhat barren Yorkshire landscape.  It is a rare moment, a turning point in the life of both, when the two lovers appreciate the beauty of GOD’S OWN COUNTRY and nothing else in the world but that and their love matters.

GOD’S OWN COUNTRY is in many ways just as perfect a gay love story.

Trailer: https://www.youtube.com/watch?v=q1YAhyU6-tA&vl=en

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Film Review: DINA (USA 2017)

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Dina Poster
Trailer

An eccentric suburban woman and a Walmart door greeter navigate their evolving relationship in this unconventional love story.

Directors:

Antonio Santini, Dan Sickles

DINA is a romantic comedy combined with the element of the documentary.  It follows the real life romance (bliss and troubles; warts and all and a lot of warts at that) of a real life couple Dina Buno and Scott Levin.  They are not the flashy Hollywood type romantic comedy couple but everyday normal looking folk.  They are decent looking but not overtly attractive.

Dina is an outspoken and eccentric 49-year-old (she looks younger) living in suburban Philadelphia.  She had a past marriage and a bad accident which has resulted in her living alone and not wanting to settle down again.  But things never go as expected.  Dina falls in love with Scott (as seen wen the film begins) who seems a decent and loving and simple guy working as a Walmart greeter.  She invites her fiancé Scott, to move in with her.  Scott has never lived alone.  Having grown up neurologically diverse in a world blind to the value of their experience, the two are head-over-heels for one another, but shacking up poses a new challenge.

Though they constantly whisper sweet nothings to each other, their awkwardness is also present.  This is observable during their short holiday trip to Ocean City, as Dina has never seen the ocean before. Other events shot in the film include Dina’s racy bachelorette party and on honeymoon in the Poconos.

One wonders at the authenticity of parts of this documentary – when an incident is re-enacted or on-the-spot.  The best example is the one with the couple on the bus arguing as they are lost.  Is the cameraman sitting behind them on the bus filming their predicament as it happens, or is this a set-up?

The film hints of Dina’s previous marriage and the problems associated with it.  That relationship seems more intriguing than the one on display in this film.  To make the film more interesting, the problem of sex is introduced into the relationship.  All romantic comedies have a problem that the couple faces which they will overcome.  Scott is uncomfortable with touching and being affectionate, thus posing a problem as Dina who is very compassionate.  The camera follows them as they often argue and bicker.  The odd thing is that Scott always agrees with Dina but never proves himself.

DINA is brightened up by occasional musical interludes made up of popular tunes like “I am a Lady” and “We are Family” as well as songs written and performed by Michael Cera.

DINA, about a not so perfect couple with a not so perfect romance ends up a not so perfect movie.  The question is whether audiences would want to spend 90 minutes and hard earned money watching something too ordinary.  The film will be a tough sell.  Audiences want to go to the movies to escape from their humdrum lives not watch one on screen.  But the film did win the Grand Jury Prize at the 2017 Sundance Film Festival, which might be the reason the film got distribution.
Trailer: https://www.youtube.com/watch?v=f4BSWA7pWuc

 

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Film Review: NOVITIATE (USA 2017) ****

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Novitiate Poster
Trailer

Set in the early 1960s and during the era of Vatican II, a young woman in training to become a nun struggles with issues of faith, the changing church and sexuality.

Director:

Margaret Betts

Writer:

Margaret Betts

Stars:

Margaret Qualley, Julianne Nicholson, Dianna Agron

Films with the Catholic Church as its subject have always painted a ghastly picture of the religious institution.   Recent films like the Foreign Film Oscar Winner IDA and the Best Picture Oscar Winner SPOTLIGHT immediately come to mind.  But is the Peter Mullan’s 2002 biting satire THE MAGDALENE SISTERS that bear the closest resemblance to Margaret Bett’s equally scathing drama NOVITIATE.  THE MAGDALENE SISTERS and NOVITIATE take different paths but both make good companion pieces.  

NOVITIATE begins with Cathleen (Margaret Qualley) at a church altar, questioning God on her choice of becoming a nun.  The film flashes back to 1964, 10 years earlier to follow the chain of events that led her to make this decision and how she has come to question that decision.  By immersing the audience into the single character of Cathleen, Betts brings her audience to the first lesson in ‘novitiation’ or “Becoming a nun 101”.  It is an eye-opening and gruelling lesson.

Cathleen enters a convent, convinced she’ll never be more in love with anyone except for God.  Her mother, (Julianne Nicholson) is totally against the idea, chastening her daughter telling her she knows nothing about religion or that love for God.  Betts puts the audience on Cathleen’s side, but later on in the film, turns the audience back to the mother;s side, when the church has gone so wrong that Cathleen’s decision might not have been the right one.

The church gone wrong arrives in the form of the Reverend Mother (Melissa Leo).  When the film opens, the Pope and higher ups in the Vatican decided on reforms (called Vatican II) to modernize the Church so that it be more relevant in current times.  The Reverend Mother must learn to relinquish authority after the news of planned reforms from Vatican II.

Melissa Leo steals the show, aided by three segments containing well written dialogue for her character.  One is her opening speech stressing that there is no love without sacrifice.  Another is her defence against the Archbishop when confronted on her authority and the last is her confrontation scene with Cathleen’s mother.

One glaring problem of the film is Cathleen’s make-up.  It is clear to everyone that nuns or those in training are not allowed any makeup.  Yet, Cathleen is seen with eye shadow, powder and light lipstick.

Betts keeps her film always interesting by the addition of several subplots that back up the main one of Cathleen.  One is the abuse of Sister Sissy who ends up being sent home.  Another is Sister Mary Grace’s service at the convent.  She is sincere, loving and open but finally is forced to confront the Reverend Mother.

NOVITIATE ends with the note that after the Vatican’s reforms (which are signalled as progressive in Betts’ film, 90,000 nuns have since left convents all over the world.  This poses the disturbing implication that these 90,000 nuns must have been against these reforms and have been practising cruelty of the past.

Trailer: https://www.youtube.com/watch?v=8kKexutLfE0

 

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