Interview with Festival Director Kyia Clayton (The Tasmanian eco Film Festival)

The Tasmanian eco Film Festival  – TeFF was created and founded in 2015 by Kyia Clayton, in Hobart Tasmania. Kyia noticed that most environmental film festivals and film screenings had a deeply “Green” political slant. Having family members that voted Liberal but cared deeply about the natural world she decided it was essential to have a festival that encouraged connection and care of the natural world and was apolitical. TeFF launched in November of 2015 and had 735 attendees that were super excited about this format. In 2016 the festival hosted 1450 festival guests that were even more excited. TeFF has evolved in 2017 to a festival that will run more frequent and smaller events to keep the good ‘eco’ messaging flowing.

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1) What is your Film Festival succeeding at doing for filmmakers? 

Offering a platform for screening innovative and entertaining films about care for the environment and love of nature. And supporting professional development with regular master classes in a variety of film fields.

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

We expect our festival guests to have a really great time and come away thinking a little more about care and connection to the natural world and their part in that without feeling guilty about not having done more to help.

3) What are the qualifications for the selected films? 

That they are apolitically presented (we are an apolitical, inclusive film festival), entertaining or thought provoking and well made.

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

Yes. I think that a lot of film festivals follow what’s being screened at other film festivals and don’t take a risk on more innovative and less popular films.

5) What motivates you and your team to do this festival? 

Wanting to be a part of protecting the planet and care take it for future generations. This can be done without politics, with humor and definitely with a cocktail in one’s hand.

6) How has your FilmFreeway submission process been? 

Great.

7) Where do you see the festival by 2020? 

With an international reputation as one of the coolest eco film festivals to attend and take part in.

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

Harold and Maude (circa 1971)

9) In one sentence, what makes a great film? 

A good idea (story), good acting (interviews), creative filming and an amazing editor.

10) How is the film scene in your city? 

Alive and well and thriving!

 

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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 Christopher Rohde (Mirror Mountain Film Festival)

Mirror Mountain Film Festival brings the best in independent and alternative cinema to Canada’s capital. Mirror Mountain is an inclusive festival that welcomes all types of films and all types of people to share in the collective cinema experience. In addition to film screenings, our festival features live performances, parties, panel discussions, Q&A sessions and more.

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

Christopher Rohde: I started Mirror Mountain with a philosophy of doing it from a filmmaker’s perspective, including things I think most filmmakers would like to see when they submit to festivals. We keep filmmakers informed of the status of their submission. We refund your submission fee if your work is selected. We play your film in the correct aspect ratio and in high resolution on a big screen with quality projection. We promote the films and filmmakers as much as we can on social media. Even if your film isn’t selected, you still get a complimentary festival pass as a thank you for your hard work as an artist.

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

Some of the most original films from unique creative minds around the world, plus spectacular live performances and great parties. It’s also an opportunity to meet cool like-minded people and talk with the artists about their work.

What are the qualifications for the selected films?

We look for films to screen at Mirror Mountain that come from a distinct voice. A big part of what makes the festival special is that the audience can experience different points of view, and see something they wouldn’t get at home on Netflix or from a Hollywood movie.

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

As an independent filmmaker who also submits to festivals regularly, I can relate to this dilemma. I think filmmakers want to know that when they send their project in, the people there look at your work carefully and that the festival is run professionally.

What motivates you and your team to do this festival?

Our team is made up of filmmakers, actors, musicians, writers, arts administrators and technicians. But what unites us all is our mutual love for the artistry and creativity of filmmaking, and getting the opportunity to share some amazing films with captivated audiences.

How has your FilmFreeway submission process been?

I still remember sending short films to festivals on VHS tapes through the postal service, so we’re grateful for the convenience to both filmmakers and festivals that online submission platforms give us. They also provide a greater global reach and connect us with filmmakers in many more distant parts of the world.

Where do you see the festival by 2020?

Hopefully still providing an enjoyable experience for our community!

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

Probably the last short film I directed! It spent several years in post-production and I feel like I saw it a thousand times during colour correction and sound mixing.

In one sentence, what makes a great film?

Passion, ingenuity, emotion, originality, fun.

How is the film scene in your city?

The Ottawa filmmaking scene is filled with collaboration and a sense of generosity. It’s a community where people support one another, and we’re always proud to feature many locally-produced films each year.
 

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Christopher Rohde (b. 1983) is an award-winning filmmaker from Ottawa, Ontario. His video The Pink Ghosts (2006) was screened across Canada and was one of the first four films selected for the inaugural edition of EnRoute, Air Canada’s in-flight film festival. Odd One Out (2014) was screened internationally and won awards for Best Film by an Emerging Filmmaker at the Jasper Short Film and Media Arts Festival and Best Director (Experimental) at the 2015 Ottawa Independent Video Awards. He received his M.A. in Film Studies from Carleton University in 2007. He was a member of Available Light Screening Collective from 2006 to 2013 and curated several programmes for the group including Stellar Regions: Jazz & Avant-Garde Film and Raw Power: Rock & Avant-Garde Film. From 2010 to 2014, he was the Programmer at SAW Video Media Art Centre, a dynamic artist-run-centre in the nation’s capital, where he curated dozens of screenings, installations, exhibitions, performances and other projects with many of Canada’s top media artists.

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 Gabriel Muelle (Bogotá Music Video Festival)

 

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.

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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 Executive Director Steffanie Finn (WINTER FILM AWARDS INDIE FILM FESTIVAL)

 

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!

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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.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
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Interview with Festival Director Jef Gray (The International Peace & Film Festival (IPFF))

 

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.

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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)

 

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

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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.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
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Film Review: GOD’S OWN COUNTRY (UK 2017) ****

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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

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.

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

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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Film Review: THOR: RAGNAROK (USA 2017) ***

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Thor: Ragnarok Poster
Trailer

Imprisoned, the mighty Thor finds himself in a lethal gladiatorial contest against the Hulk, his former ally. Thor must fight for survival and race against time to prevent the all-powerful Hela from destroying his home and the Asgardian civilization.

Director:

Taika Waititi

The third THOR film, the sequel to THOR:THE DARK WORLD and the seventeenth (not that anyone can really keep count) film of the Marvel Cinematic Universe (MCU), the massive $180 million production arrives with all the extravaganza expected.  With a host of top Hollywood and British stars, lots of characters and action super heroes and tons of special and visual effects, THOR: RAGNAROK should please fans of the MCU but for the more serious cineaste, it is quite the chore to watch.

To recap who this Thor (Chris Hemsworth) person is…  Thor is the crown prince of Asgard based on the Norse mythological deity of the same name, who has become a “lone gunslinger” while solving universe-ending perils in his search to learn more about the Infinity Stones.

The filmmakers have decided to make a few changes to the THOR universe.  Immediately recognizable is Thor’s new look which includes his shorter hair and new outfit.  He is more vulnerable in the third film with him plunged to the ground many times including the loss of his hammer.  His enemy and half-brother Loki is now his aide and friend as also seen in the last scene when they ponder on how Earth will accept both of them when they arrive.

When the film opens, it is two years after the Battle of Sokovia,  Thor’s quest for information about the Infinity Stones leads him to the fire demon Surtur, from whom he learns that his brother Loki (Tom Hiddleston) has been impersonating their father Odin (Sir Anthony Hopkins) since the Dark Elf conflict.  Surtur taunts Thor with knowledge of the coming Ragnarok, the foretold end of Asgard that Surtur will bring about when he unites his crown with the Eternal Flame that burns beneath the city, but Thor defeats Surtur and claims his crown, seemingly forestalling the prophecy.  And this is just 5 minutes into the film.  Thor then returns to Asgard and exposes Loki’s treachery, before travelling with him to Earth to recover Odin.  The story goes on and on with Thor’s eventually battle with his sister Hela (Cate Blanchett) and his saving of his people.  What is good about the script by Eric Pearson and the writing team of Craig Kyle and Christopher Yost is that it can be complicated that one can have a fine time dissecting the story, or one can totally ignore it and still enjoy the grandiose battles in the film.  Pearson ties into the picture a multiple of other action heroes that include the Hulk (Mark Ruffalo), Skurge (Karl Urban), Grandmaster (Jeff Goldblum), Valkyrie (Tessa Thompson) and Heimdall (Idris Elba) among others. 

A fair share of the budget must have gone into the CGI and special effects.  It shows!  The film looks amazing and is visually stunning.  The music is by Mark Mothersbaugh and the soundtrack is not too loud to give anyone a headache.

The film is predicted to  take in $100 million plus the opening weekend and to eventually gross domestically a goal of $250 million bringing Disney and Marvel a hefty profit.  So that it is a big win against the serious cineaste who basically can be told to take a hike.

Trailer: https://www.youtube.com/watch?>

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