Interview with Festival Director Joel Knain (Azalea Film Festival)

 The Azalea Film Festival’s first goal is to acknowledge and award the many talented independent filmmakers, writers and performers who may not get the recognition they deserve through many commercial film festivals. The AFF recognizes filmmakers who demonstrate exceptional achievement in craft and creativity. All genre of films and music videos are accepted by AFF. Awards will be distributed, giving filmmakers, writers and actors the opportunity to be noticed. First place films of each category will receive an award trophy plus special recognition for the overall all Best Film.

http://www.azaleafilmfestival.com/

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

Joel Knain: One the biggest problems that filmmakers encounter is not realizing their dream of seeing their work on the big screen. Seeing it on the big screen is really a learning experience that we give to every film we select. There is a huge difference from watching it on your 24 inch computer monitor when you are editing it to seeing it projected on a 40 ft tall screen. It’s what every filmmaker wants for their film.

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

A wide variety.. Love stories, horror, comedy… Our selections come from all over the world including Australia, China, Mexico, Canada and France, to name a few. Plus, our films come from a diverse level of experience too. Some are in film school, and some have a fantastic resume in the industry already. It’s really awesome to see how each interpret the world.

What are the qualifications for the selected films?

First, they have all been completed after 1/1/2016. They have to be technically good. Poor sound, terrible lighting or framing, or bad editing will get you cut almost immediately, without question. Then the story comes into play. We want to be engaged when we watch a film.

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

I think most get fair deal in the smaller festivals. I don’t know about some of the larger festivals. Maybe they cater a little more to the marketing side of the business.

What motivates you and your team to do this festival?

Two things. First, we are filmmakers too. We went to a festival nearby and the format was a little different and we thought, well, maybe we can do it better. We wanted to have a fair, equal playing field for all films. Secondly, we are a non-profit and we utilize the net proceeds to help children and their families who are affected by autism. Autism affects 1 in 68 children born every day with no cure… Children can only adapt to life. So we give back to help those children.

How has your FilmFreeway submission process been?

FilmFreeway has been awesome for us. It’s fast, simple and we wouldn’t do it any other way. I’m glad we went exclusively with them.

Where do you see the festival by 2020?

Wow… that seems so far away. I hope that by 2020 we expand from a 2 day in one theater event to 5 or 7 days and multiple theaters. We are also looking into ways to showcase our films via other avenues of delivery.

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

If I had to guess, it would be Star Wars IV, A New Hope. I saw it in the theater when it was originally released and it was fantastic. Personally, I try to watch as many films as possible, and more than one time. Good and bad. You can learn so much from them. What works and more importantly, what doesn’t.

In one sentence, what makes a great film?

A great film is one that transports me inside the film, allowing me to escape for 90 minutes.

How is the film scene in your city?

Mobile has been growing in the film industry. Some or all of older films such as Close Encounters of a Third Kind and Under Siege were filmed here. More recently, a string of Nicholas Cage and Bruce Willis films came through in 2014-2016 and Jean Claude Van Damme just wrapped up filming last week. Our city offers a variety of landscapes for filmmakers to choose from. The Gulf of Mexico is right at our doorstep. And more importantly, the people love to see these filmmakers come in to town and welcome them like family.
 

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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 Miguel Sevilla (CINEMATOGRAFO INTERNATIONAL FILM FESTIVAL)

The CINEMATOGRAFO Originals Contest gives voices to emerging Filipino filmmakers from around the world. It is an annual competition that provides seed grants worth up to $100,000 for full-length features, either documentary or narrative.

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

Miguel Sevilla: Our festival centers in on a new generation of Filipino-American filmmakers who offer a different perspective owing to their different upbringing and experiences. Our festival aims to showcase this new generation and put them on the world stage, along with the best of the world.

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

Attendees can expect to experience new visions, new perspectives and new stories from a generation of storytellers that are part of the Filipino diaspora. Filipinos are one of the most migrant populations in the world and can be found in all corners of the world where they thrive in any industry.

What are the qualifications for the selected films?

As mentioned, we are looking for stories from the Filipino diaspora. The themes and genre may vary but what is important is that the filmmaker is part of the migrant Filipino generation, growing up and experiencing a different kind of life abroad from other Filipinos.

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

Over the years, we’ve seen a lot of niche film festivals launch alongside the major festivals. While the big ones showcase the elite art house content, that’s not to say that there is no market for films with a unifying theme or specialized content. The reality is that you can only program so much into a festival, and every film can’t be in Cannes or Sundance. But it’s a big world, a diverse world – and so are the stories in it. And as long as there is interest, there will be an audience. And festivals offer that platform where the audience can find those movies.

What motivates you and your team to do this festival?

Until now, there has been no institution that has given production grants solely to Filipino-American filmmakers. Our team’s passion is fueled by the Filipino’s passion for storytelling, wherever they may be in the world. And it’s about time we put that passion front and center.

How has your FilmFreeway submission process been?

Overwhelming. We received four times the number of submissions we expected and thus, are truly grateful for everyone who showed their support for the festival

Where do you see the festival by 2020?

Aside from being the premier Filipino-American film festival, I see the festival branching off into educational, training and technical support for all Filipino filmmakers outside the Philippines. I see the festival as a resource for all storytellers, unifying them into a vibrant community.

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

Chinatown by Roman Polanski

In one sentence, what makes a great film?

More than escapism, any film that makes you consider a point of view that you never had before and conveys empathy for a character that is truly opposite from who you are is most likely a great film.

How is the film scene in your city?

Incredibly diverse. The Bay Area is a melting pot for different cultures and the interests of moviegoers vary to a great degree.

 

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Interviewee Miguel Sevilla. Screenwriter, novelist and filmmaker, born and raised in the Philippines. Now based in California. Made directorial debut in 2008 with Cul de Sac. Nominated for FAMAS (Filipino Academy of Movie Arts and Sciences) in 2010.

 

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 Review: PUMPKIN, 15min., USA, Romance/Drama

Played at the February 2017 ROMANCE Film Festival

PUMPKIN, 15min., USA, Romance/Drama
Directed by Paula Neves

Alice’s best friend, Dan, lives in another country. When he gives her the bad news about his disease, Alice faces the scary feeling of being away, distant and powerless. And she tries, the best way she can think of, to show him support and love. Even if that means pushing away those people that are physically close to her.

Review by Kierston Drier

 his fifteen minute film from the US directed by Paula Neves is a piece to break your heart while it heals your soul. Pumpkin is a story about teenage photographer Alice and her long distance relationship with Dan, a charming and sweet boy from across the sea. Despite romantic interested right in front of her face, Alice only has eyes for Dan and he reciprocates her passion. Yet something is holding him back- that something is a terminal illness. Love knows no bounds it would seem, an Alice is unable to see the subtle hints that her love for Daniel may be ill-fated.

Some things are worth risking everything for, and Alice decides that, in order to see Daniel, she will give up the prom in her own high school, and the money in her new camera fund, to fly to see Daniel. The morning of the flight however, she gets a devastating call from Daniel’s’ mother.

Love makes us do crazy things. This is one of those stories that shows the drive of compassion from all angles. Daniel doesn’t leave Alice completely high and dry, his last ditch effort to contact her will reach her in the end. Alices’ best friend back home, won’t let her mourn Dan forever. From every angle love prevails, even when all seems lost.

Pumpkin has some notes in common with The Fault In Our Stars and with good reason- they are both stories that remind us how crazy love can make us, and the things we are willing to do to see it through. Pumpkin reminds us that a life cut short is still worth filling with love. The lives left behind are equally worthy of being loved.

 

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Film Review: FOUR DAY WEEKEND, 20min, USA, Romance/Drama

Played at the February 2017 ROMANCE Film Festival

  MOVIE POSTERFOUR DAY WEEKEND, 20min, USA, Romance/Drama
Directed by Nicole Jones

A middle-aged couple, married for twenty-three years, takes a four-day break from each other and the aftermath leaves their relationship shaken and tested but not broken.

Review by Kierston Drier

 Rich and deeply compelling, Four Day Weekend an American film from director Nicole Jones, is one woman’s recount of her journey through her 23 year marriage to her husband, through the lense of a four day weekend where they both have permission to seek extra-marital dalliances.

She, having been sexually adventurous in her youth, proposes the nourishes the idea in an attempt to give her husband a chance to explore his adventurous side. He, on the other hand, grapples with his feelings about this newly offered freedom.

This is a film that hits that magical sweet spot in the short film world- hitting every note perfectly. Emotionally compelling, heartbreaking honest, charmingly funny, expertly acted and brilliant composed, this piece still manages to be greater than the sum of its’ parts. Perhaps this is because, not only is it a well made film, but it tackles a unique subject matter with both sensitivity and sincerity.

Many love stories, address young love, or old and enduring love. Four Day Weekend tackles love right in the middle- a mature and well developed marriage of equals facing all the nerve-wracking insecurity that comes with trying anything new for the first time. Yet, despite the subject matter of infidelity, this is a piece that really does centre around love. The love of these two people in their marriage is unmistakingly clear. The lengths they are willing to go to make each other happy is a true testament to that.

A strong and powerfully made film, Four Day Weekend will engage you mentally, emotionally and philosophically, while still reminding you that love will always know no bounds. Bravo Nicole Jones, Bravo.

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Film Review: SUNDAY AFTER, 3min. Canada, Romance/Experimental

Played at the February 2017 ROMANCE Film Festival

  MOVIE POSTERSUNDAY AFTER, 3min. Canada, Romance/Experimental
Directed by Nathalie Cusson

What to do on a Sunday afternoon? There are many ways to spend spare time; The one depicted in this short film might be among the best options.

Review by Kierston Drier

 A silky smooth symbolic look at sensual visual stimulation, Sunday Afternoon is a delight for the senses. A Canadian experimental film directed by Nathalie Cusson, this piece is a three minute dive into erotic visual metaphor.

Set against hypnotic music, soft, velvety images and alluringly entrancing close ups of feathers, silk sheets and pearly droplets of water, Sunday Afternoon will have you tingling all over and unsure as to why.

As a three minute experimental film, this piece leaves itself open to interpretation, and yet it remains unmistakably clear. We may not be sure what we are looking at as the audience but we certainly know it’s sexy. It is the testament to good filmmaking, that a metaphor can be so clear and appealing, and remain utterly innocent of overt references.

Tantalizing while remaining obscure, Sunday Afternoon is a delight for the senses, and may very well give you some ideas for how you might want to spend your next long weekend.

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Film Review: CHARITY CASE, 3min, UK, Romance/Comedy

Played at the February 2017 ROMANCE Film Festival

CHARITY CASE, 3min, UK, Romance/Comedy
Directed by Sam Tibi

A young man’s attempt to show a beautiful girl his charitable nature backfires…

Review by Kierston Drier

 This delightfully fresh and comic look at chivalry gone awry, Charity Case comes to us from the UK by director Sam Tibi. In this simple, short and hilarious tale, our male hero tries to impress a beautiful woman at a cafe by tipping the barista. His plan backfires when, trying and failing to get her attention, he gives too much in the jar and runs short for his coffee. While the barista’s back is turned, our hero attempts to get his coins back- an ill fated idea indeed.

A short, humorous film that makes us question- is generosity still generosity if the gesture is done for self-gain? Is there such a thing as true altruism? It should be noted how expertly this film is able to get it’s emotional point across. In under three minutes, and with only one set, three characters and minimal dialogue, we know exactly who everyone is, and exactly what their motives are.

A simple and inviting slice of life with a keen moral- that honesty really is the best policy when it comes to meeting the girl of your dreams, or tipping the barista.

 

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Film Review: RUN FREE, 8min, Netherlands, Romance/War

Played at the February 2017 ROMANCE Film Festival

RUN FREE, 8min, Netherlands, Romance/War
Directed by Raynor Arkenbout

Escaping his execution at the hands of Nazi Soldiers, a rebelious Dutch teenager writes a brutally honest love letter to the girl who changed his life.

Review by Kierston Drier

The saying goes that all is fair in love and war. This is a film about both. RUN FREE is witty, charmingly comical and heartbreakingly innocent film about love that blossoms in the most unexpected places. Director Raynor Arkenbout tells the story of two Dutch teenagers who have fallen in love during the reign of the second world war. Naked and running for his life, our hero hides in a barn, where he composes a love letter to the young woman who made his life in the war worth living.

Touching and honest, this piece will strike chords with anyone who remembers the exhilaration and tragedy that often befalls young love. His letter outlines their meeting and the whirlwind romance that followed. Although our hero’s letter focuses strongly the sexual relationship the two of them have, he does not omit the emotional solace the two found in each other during the most trying times of their lives. The have both lost their families to war, and both had to learn fast how to make it on their own.

He ends the letter telling that if she can go on, and live in happiness, that’s worth it. To never feel bad for the way things ended. That knowing her made this war bearable. With that, he turns to face his pursuers.

A film of great simplicity yet packing maximum emotional punch, the most disarming and beautiful thing about Run Free is the way it captures the innocence of youth and recklessness of young love, the bravery it pushes us to, the sacrifice and compassion is breds in us. If there is something magical about Run Free it is knowing the love enables us see beauty in times of horror. It reminds us that a life filled with love is still worth living, even if it only allowed to live half as long.

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Film Review: INDIGO, 19min, Sweden, Romance/Drama

Played at the February 2017 ROMANCE Film Festival

INDIGO, 19min, Sweden, Romance/Drama
Directed by Paul Jerndal

Two young, lost souls in New York City share a common struggle – they are stuck in lives they do not feel they belong. She is an adored actress and he, a bike messenger. On the outside they seem like each others opposite, but on the inside they are the same- dehumanized by an internal loneliness that alienates them from feeling alive.

Review by Kierston Drier

What does it mean to have it all? Wealth, fame, beauty? Friends that love and support you? INDIGO discusses this concept with beautiful and evocative images and exceptional visual composure. Coming to us out of Sweden from director Paul Jerndal, this is a film that examines one day in the lives of two lost souls in the big city of New York. One is a beautiful and famous actress, the other is struggling bike courier. She is lavished with superficial compliments throughout her day working as a model and meeting with friends. He is scolded and shunned and generally mistreated all day.

Both have friends that go out of their way to meet with them and encourage them. Yet both seem utterly isolated- lonely in a crowded city. Both revert into their own minds once in privacy and both break down completely when faced with the prospect of meeting their friends for a night of drinking and dancing. When the two find each other on the dance floor at a club, their worlds meet and both are able to break out of their shell.

Subtle, thick with nuance and emotionally rich, this piece has stunning visuals and a staggering attention is cinematic detail. Gorgeous cinematography and the gripping complexities of the characters make this film worth more than one viewing. Not only is it visually dazzling, but it provides no easy answers. Our characters talk little of their feelings, we never hear their own thoughts or desires. We learn about them largely through the voices of their friends. Both are clearly loved and cared about, yet when we see them privately each one seems noticeably unhappy. Whether they are grappling with their mental health, their places in the world, the futility of their lives- it is unclear. What is obvious though, is that our characters are missing something. And it turns out to be each other.

INDIGO is a thing of beauty, it is a film that asks you to make up the backstory of the heroes, and focuses its’ attention on the moments they inhabit in the film. It is a film that sparkles with visual pleasure and reverberates with the messages “I was lost until I found you.” Check it out.

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Film Review: MY SCIENTOLOGY MOVIE (UK)

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

myscientologymovieDirected by Joh Dower

Review by Gilbert Seah

As the title implies, MY SCIENTOLOGY MOVIE is a cheaply made kind of tacky documentary on the subject of Scientology.

The film is written by and stars Brit. Louis Theroux, who is in almost every frame. It is kind of odd to see a Brit making an American documentary and is is comical to see how he infuriates many of his subjects – even those working with him. (Theroux raises questions about Rathbun’s, (a former Scientology senior member) own complicity in the church’s “terroristic” activities, leading to tensions between the two men.) Theroux had long sought to make a documentary about the Church of Scientology from the inside but was repeatedly refused by church officials. In 2011 his producer, Simon Chinn, suggested making a 90-minute feature about Scientology. Together with director John Dower, they looked for ways to make a documentary, without access to its subjects. To be different form other documentaries, they used the idea of “negative access”, illustrating the church by provoking a reaction from it.

In this documentary, the audience sees Theroux teaming up with former senior church official Mark Rathburn (called ‘Matty”) to create dramatic reconstructions of incidents within the church witnessed by Rathbun and other ex-Scientologists. They focus in particular on alleged violent behaviour by the church’s leader David Miscavige at its secretive Gold Base facility in California, which Theroux visits. They interview several actor to play the part of both Tom Cruise and Miscavige in order to react certain scenes. The actors doing the parts and coming for auditions bare an uncanny resemblance to the real people. The church retaliates by putting Theroux and his film crew under surveillance, leading to camera-wielding confrontations with a Scientology “squirrel buster” team and with church officials outside Gold Base.

A few of the re-enactments – such as the abuse by Miscavide towards his senior staff are shown. Theroux and Matty are shown in the background nodding in approval. But the entire doc that they made is never really shown but only bits and pieces of what they did, as well as them filming themselves and hastily assembled into this movie. All this looks like a bad patch up with no head or tail.

It is courageous to see the filmmakers to take a different approach to their Scientology doc but nothing is achieved that the audience has not see before. Alex Gibney had made the much better GOING CLEAR – SCIENTOLOGY AND THE PRISON OF BELIEF where Gibney circled the movement right from its beginnings, seeking to analyze its methods and impugn its motives. Gibney had footage of the real Tom Cruise and John Travolta. MY SCIENTOLOGY MOVIE, in contrast had to rely for on only one man, Matty all their information.
MY SCIENTOLOGY MOVIE turns out as annoying as Theroux its star. If one wants to know about Scientology, it is best to rent the Alex Gibney GOING CLEAR video. MY SCIENTOLOGY MOVIE just goes nowhere and gets there pretty fast.

Trailer: https://www.youtube.com/watch?v=s-9qUjE40wM

 

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Film Review: MR. GAGA (Israel/Sweden/Germany/Netherlands 2015) ***

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mrgaga.jpgDirected by Tomer Heymann

Review by Gilbert Seah

Timing is everything. MR. GAGA documentary about bad boy dance choreographer, Ohad Naharin is being released just a few weeks (though made earlier) after a similar documentary about another bad boy dance choreographer. The first doc called DANCER follows the troubled life of now 37-year old Sergei Polunin, acclaimed as ‘the most naturally gifted male ballet dancer of his generation’. Both films follow the same outline. They trace the influences (Ohad, dancing when young as a boy in the kibbutz) and childhood of the dancers, their troubles (marriage and choreograph methods), there talent and their rise to fame together with lots of footage of dance performances. Hopefully, MR. GAGA can still attract audiences after they have seen DANCER.

Ohad Naharin is the Israeli choreographer who’s revolutionized modern dance, even although he himself didn’t begin formal dance training until age 22. Now in his mid-60s, Naharin has headed up Tel Aviv’s famed Batsheva Dance Group since 1990, creating pieces and training dancers with “gaga” – a dance language he invented, whereby dancers feel the sensation of movement. In 1998, Naharin rebelled against censorship when he withdrew Batsheva from Israel’s 50th anniversary gala after organizers – bowing to pressure from religious groups – insisted he clothe his dancers more modestly.

The dance performances are well tracked and form the most interesting segment of the film – even f one is not an avid dance fan. Excerpts include:
2013 – The Hole
2015 – The Last Word
2003 – Mqnootoot
2011 – Sadeh (three times)
2005 – Three, the most homo-erotic, in that order.

The performances are put into perspective of the dance’s life, making them more relevant in the film.

As expected, the best insight into Ohad’s personality is provided by the dancers under his charge. They claim him to be ‘so strong’ and ‘so intense’. His intimidation can be seen when he tells them during their performances not to f*** it up, as it is his life. He would use words like: “Don’t f*** with me,” and “You are boring me”. These only goes to show that talent can never be substituted for hostility not matter how talented the antagonist is. There is no interview with his wife. It would have been even more interesting to know what living hell living with this man might have been. Director Heymann allows Ohad to have his say as well. Ohad claims that he is able to get the most of of his dancers. A former dancer recalls that everyday someone would leave the studio either yelling or crying.
Judging from most of his choreography, Ohad has a lot of aggression in him. His moves are fierce and hard and often include movements like falling and hammering. As expected, the genius and spoilt boy behaviour is incorporated in the same one person – in Ohad.

But Heymann keeps the audience on track with Ohad’s likability. If the audience hates the subject, it usually follows them hating the film. When the Government forces Ohad’s dance to wear leotards instead of their original skimpy outfits, he announces the change of costume to his dance troupe and subsequently resigns. This causes massive protests in the country. His wife and true love also dies of cancer and Heymann shows the power of dance to heal through Ohad,

The film is shot in English and Hebrew.

Trailer: https://vimeo.com/139907441

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