LAND OF MINE (Under Sandet)(Denmark/Germany 2015) *****Top 10

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

land_of_mineDirector: Martin Zandvliet
Writer: Martin Zandvliet
Stars: Roland Møller, Louis Hofmann, Joel Basman

Review by Gilbert Seah

The Danish entry for this year’s Academy Award for Best Foreign Film, LAND OF MINE is a film where hate dominates, but a film in which a hidden story needs to be told. It is a film that took a while to reach screens in Toronto, having premiered two years ago at the Toronto International Film Festival. It is a difficult film to watch, but an essential one. I have seen the film three times and is my favourite choice for the Winner for Best Foreign Film after TONI ERDMANN.

The film begins with the title, May 1945, five years after the German Occupation in Denmark. A Dane sergeant, Carl Rasmussen (Roland Møller) is driving along the road while German troops are evacuating. He sights a German stealing a Danish flag and lets him have it. “You are not welcome here,” he screams. This same sergeant is responsible for 14 young German POWs with no prior training, given the dangerous task of dismantling the land mines left on the west coast of Denmark.

Based on a true but previously hidden story, Martin Zandvliet’s LAND OF MINE is a tension-filled drama about Denmark’s darkest hour when a group of German POWs – most of them young boys – were sacrificed in the aftermath of WWII. With minimal training, they must remove 45,000 land mines from the local beach, among 2.2 million that the Nazis planted along the western coast. The POWs are just boys, recruited late in the war as older able-bodied men were dwindling.

The German boys dream of going home, to get a girl, to eat decent German food. But danger lurks every second, as they can be blown up by a land mine, if they let their guard down for even a second. There are 6 blow ups in the film, but director Zandvliet is smart enough to let them occur when least expected. So be forewarned that you will be jumping out of your seat in fright too often for comfort. On my third viewing, I still jumped up twice.

Despite the prevailing hatred for the Germans by the Danes, the German boys survive – for their innocence, their youth and the triumph of the human spirit. They even save a little Danish girl who ventures on to the mined beach despite them being mistreated by the mother. Among those playing the POWs are Emil and Oskar Belton (as identical twins), Louis Hofmann (as the group’s natural leader) and Joel Basman (as a cynic who would have liked to be leader).

This is one film that will bring tears to ones eyes. It is moving film about forgiveness, tolerance, racism and finally about doing what is right. The sergeant hates the Germans, mistreats the German boys under his command initially. After seeing them blown up by the mines, mistreated by the other Danes and mostly seeing them innocent as young boys caught in a world beyond their control, even though they are German, Rasmussen finally decide to side with the boys.

I watched an interview on director Zandvliet on TV two years ago. He says that his film is based on a story that has to be told. He also expressed his concern for the Syrian refugees and how governments should be more sympathetic to let these refugees in. This is one man who is dedicated for doing right for the human race. His awesome film LAND OF MINE demonstrates his conviction. I highly recommend this film, a great watch even after a third viewing.

Trailer: https://www.youtube.com/watch?v=GafFkkl0xt0

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Film Review: OSCAR NOMINATED SHORTS – LIVE ACTION

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

OSCAR NOMINATED SHORTS – LIVE ACTION

Just in time for the Academy Awards ceremonies at the end of February, there will be screenings of 2 programs of short featurettes – live action and animated shorts.  These run from February the 10th  and make a welcome change from feature films.  These are the budding filmmakers who might make it big one day in Hollywood.

The total running time of this animated shorts program is 130 minutes.  The program runs for Feb 10th to the 16th at different times each day at the TIFF Bell Lightbox.  The Live Action program is the most international of all the programs.

For complete showtimes, click on the link below:

http://www.tiff.net/events/oscar-shorts-animation

Capsule Reviews of each live action short are outlined below:-

ENNEMIS INTERIEURS (France 2015) **

Directed by Selim Aazzazi

An interview at a local police station turns into an inquisition during which a French-Algerian born man sees himself accused of protecting the identities of possible terrorists.  This close-up of France’s troubled history with its former colonies has one man controlling the fate of another with the stroke of a pen during a turbulent period in the 1990s.  The film is basically  two handler with the two men arguing with each other.  The film is clearly biased towards the Algerian, even though the narrative does not stay in one direction.

LA FEMME ET LE TGV (Switzerland 2016) ****

Directed by Timo von Gunten

This French short from Switzerland tells the tale of elderly woman, Elise Lafontaine and the Le Grand Trains Vitesse (GTV), the high speed train.  Her daily routine is to wave the Swiss glad every morning and evening the train passes her house by the tracks.  She leads a humdrum life cycling to work in her barry store in the town of Monbijou.  Things take a turn when she starts exchanging notes with the driver daily.  I want to live life again, she tells her son who thinks she should be in a home.  This is a very charming and beautiful film based on true events about hope and living.  Elise is wonderfully portrayed by veteran French actress Jane Birkin.  

SILENT NIGHTS (Denmark 2016) ***
Directed by Aske Bang

What is remarkable about this 30 minute short is the amount of material in the story that should easily fill a full-length feature.  The story follows Inger, a Danish single woman who volunteers at a homeless shelter.  She meets, pities and falls in love with an illegal immigrant from Ghana, Kwame who hides the fact that he has a family back home.  Ing has a mother who is old and eventually passes away.  SILENT NIGHTS is set during Christmas and shows how human decency prevails.  A touching and moving short, well acted and directed.

SING (Hungary 2015) ****
Directed by Kristof Deak

SING is my pick for the Best Live Action Short.  The entire project is a metaphor for the prejudice present in the modern adult world.  And the children in this choir show the audience how to deal with the problem.  Zsofi is struggling to fit in at her new school and singing in the school’s famous choir is her only consolation.    However the choir director may not be the inspirational teacher everyone thinks she is.  Zsofi is told her singing is not good enough.  She is told to mime during the performances.  Zsofi and her new friend Liza work to uncover the cruel truth and set things right.  Brilliant and wonderfully executed!

TIMECODE (Spain 2016) ***
Directed by Juanjo Gimemez Pena

This Cannes short Palme d;Or Winner tells the story of two parking security guards Diego and Luna.  Diego works the night while Luna the day shift.  They communicate through the video surveillance recordings at the timecode each of them leaves at the end of their shifts.  Irrelevant, comical and utterly charming, this is also Spanish dance at it most original.  Do not try to logically analyze the narrative, the trick is to just enjoy the its flow.

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

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

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

Film Review: A MAN CALLED OVE (Sweden 2015) ****

a_man_called_ove.jpgDirector: Hannes Holm

Writers: Hannes Holm (screenplay), Fredrik Backman (novel)

Stars: Rolf Lassgård, Bahar Pars, Filip Berg

Review by Gilbert Seah

Nominated for two Academy Awards for Best Foreign Film and Make-up & Hairstyling, A MAN CALLED OVE stands to compete with the big guys like the favourites THE SALESMAN, TONI ERDMANN and THE LAND OF MINE but the film has already been a hit in the U.S. when it opened last September as well as in its native country Sweden. The film is a dark horse but it might just be the winner as the Academy is made up of older voters and this film about an old retied widower is just the type of film that suits the voters.

Based on Fredrik Backman’s beloved novel (a 3.8 million bestseller), A MAN CALLED OVE tells the story of Ove (Rolf Lassgård from Downsizing, The Hunters, After the Wedding), a retired widower and a curmudgeon who keeps a critical eye on his neighbours and their goings on. He is all but given up on the world, until Parvaneh (Bahar Pars) and her family moves in across the street and an unexpected friendship emerges.

When the film opens, Ove is shown as an old grump. Films about old codgers have always been a favourite subject for filmmakers with films like GRUMPY OLD MEN (Walter Matthau and Jack Lemmon) and the recent Scandinavian entry by Dome Karukoski called THE GRUMP. Like the grump in THE GRUMP, Ove is angry at all around him, but director Holm (Adam & Eva, Behind Blue Skies) ensures that he is a likeable character.

Ove (young Ove played by Filip Berg) is shown pining over his late wife (Ida Engyoll). He smells her clothes and visits her grave at least once a day bringing flowers. Who cannot like such a devoted husband? But Ove wants to end it all, as he sees no purpose in living. So, he attempts various ways of doing himself in including hanging himself in the middle of the living room, often with no success. During the time, when he is in ‘limbo’, his brain races to recall past memories. Director Holm uses this time to flashback and reveal to the audience the early life of Ove – from the loss of both parents to finding the love of his life. The film also plays as a romance. The dinner date scene and the marriage proposal scenes are both very romantic. Though more than half he film is in flashback, the transition from current to flashback is carried out very smoothly.

Holm’s film is not one with special effects or stunning cinematography. The cinematography by Göran Hallberg is still impressive with him giving the film a hazy romantic atmosphere. It is a film about human beings. It is good that Holm trusts the source material and the charm of the book rubs off the film nicely.

The film is immediately likeable for it will make the audience both laugh and cry at Ove’s undertakings. One can also relate with the main character – whether it him being a loner, a romantic or a senior or a misunderstood man.

Trailer: https://www.youtube.com/watch?v=IMZuic0dG1w
 

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Film Review: Star Wars “Revengant” (2017)

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

REVENGANT, 7min. Germany, Fan Fiction/Sci-Fi
Directed by Ferdinand Koerner

KYLO REN is on the HUNT for a ancient SITH HOLOCRON that the Resistance gathered on the planet DAHENDOR in the Outer Rim. Will KANE ALTIS be able to rescue himself before the HOLOCRON is found by KYLO REN and his REVENGANT?

Review by Kierston Drier

Anyone creating Fan Fiction has put forth a challenge. While they may have landed in a fertile story and rich universe, they must also live up to the expectations of the audience, and must seamlessly carry on the pre-established world. Enter REVENGANT a seven minute German Star Wars Fan Fic from Ferdinand Koerner.

In Koerner’s piece, Kylo Ren is hunting on the Outer Rim’s planet of Dahendor for Sith Holocron. Full of action and special effects, our hero’s engage in an epic chase/fight sequence deep in the heart of the forest. As a film goes, these filmmakers show everything they can with their special effects, no easy feat for a cinematic team recreating the iconic franchise.

Hats off to the epic challenges that come with recreating a story in such a rich and well-loved world. And as for plot, there is a short and punchy story that leaves us wondering what our hero’s will do now. You’ll have to watch and see, but the good guys don’t always win.

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Film Review: MARIA FERNANDA IN TIME (2017)

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.

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Film Review: IM PERFEKT (2017)

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.

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

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)

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

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

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

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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.