film reviews

Interview with Festival Director William Vela (Miami Short Film Festival)

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Miami short Film Festival is a film festival based in Miami, Florida that features short films of 20-minutes or less each. A growing movement to exhibit and expand the art form of short film making providing a venue to build community around the arts. Philosophy: Short films, past and present, are true works of art, and deserve a venue dedicated to their exhibition. Their mission is to present quality films from around the world as well as support, recognize and honor filmmakers creating a films under 20 minutes.

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

William Vela: Miami short Film Festival is succeeding because we continue to promote the short film genre and supporting local and international filmmakers providing an ideal platform in a popular city such Miami Florida. The MsFF is international in scope and as a result, the festival has showcased over 1,000 high-quality films from around the world representing over 70 countries and has given the filmmaker a gateway for exposure and to short film an identity differentiating it from the classical feature lent films.

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

MsFF will offer our audience a one of a kind selection of the best short films across all genres from all over the world. From original scripts to different perspectives, to new cinematography and film techniques, each piece is the result of true emotion andexpression. Today’s short film cinema is beyond doubt, the nurturing ground of tomorrow’s world-renowned filmmakers.

What are the qualifications for the selected films?

When selecting the films, our goal is to find films that are
distinctive and with a powerful team. We look for a storyline that can transform audiences, living them with a powerful message.

Technical Requirements:
-Films must have been completed after Jan. 1, 2015
-All non-English films must have English sub-titles.
-Films must be submitted electronically
-We will only consider works with a maximum running time of 20 minutes or less. There is no minimum running time.
-Works-in-progress will be considered, provided they will be completed prior to the Festival.
-We do not allow multiple category entries.
-Though not a requirement, we prefer that films NOT have previously screened in a public theatrical setting in Dade or Broward County FL prior to their screening at MiamisFF.

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

No comment.

What motivates you and your team to do this festival?

The love of filmmaking and desire to contribute to the cultural scene of our community. Also the responsibility of having create a dependable film festival that filmmakers and our audience wait for every year.

How has your FilmFreeway submission process been?

Film Freeway has been very helpful offering filmmakers and Film
Festival organizers a friendly tool to process all the materials. It has also provided a reachable staff that you can contact any time. They are way better than any other exiting platforms.

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

The film that I have seen the most times in my life is The Godfather by Francis Ford Coppola

In one sentence, what makes a great film?

Great films most have a good storyline, interesting characters and good performance.

How is the film scene in your city?

Miami’s independent film scene is flourishing, even as hundreds of arthouse cinemas close around the country. The city is home to seven independent cinemas, most of which have opened in the last four years, and its increasing number of film festivals and notable filmmakers is propelling South Florida into a passionate film mecca with more than 10 festivals and an entire month dedicated to showcasing film such as the Miami short Film Festival.

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Interviewee BIO: For the past thirteen years Mr. Vela has been the Executive Director of the MsFF organization, overseeing every single aspect of this exiting international film festival. With more than 20 years of experience working as a professional actor, producer and director, he has work in over 250 TV commercial for the locals, nationals and international market. A creative and dynamic leader in the entertainment field industry, with continued success in event planning and media productions. Mr. Vela has been focus on expanding local, national and international independent short film productions while integrating influential and diverse partnership and sponsors to this campaign

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 Festival Director Shira Dubrovner (Mammoth Lakes Film Festival)

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Awarded in 2016 by MovieMaker Magazine as a top 50 film festival worth the entry fee. In 2017, the Mammoth Lakes Film Festival will screen over 60 features and shorts in the spectacular setting of Mammoth Lakes—California’s premier mountain resort, high in the Eastern Sierra. It will take place on the Wednesday through Sunday of Memorial Day weekend.

http://www.mammothlakesfilmfestival.com/

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

Shira Dubrovner: We combine our commitment to cutting-edge programming with our efforts to create a friendly, nurturing, fun atmosphere, giving our filmmakers a unique experience to be a part of what’s new and exciting in the independent film world and to make personal and professional connections in a truly unique setting. We believe films can change the world, but we also believe in art for art’s sake. Our slogan is “Movies Unfiltered,” and we make a point of showcasing work that digs deep, gets personal, and gets real and raw and confrontational when necessary. We put our filmmakers first, and make every effort to bring them to the festival and give them an unforgettable experience. We are truly a filmmaker friendly film festival. We offer all our filmmakers travel stipends and housing. We take over a student housing facility and house all the filmmakers under one roof, which creates a great synergy and a “Filmmaker-First Festival”.

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

We create an intimate atmosphere where everyone feels comfortable to connect: filmmaker to filmmaker, filmmaker to audience, and filmmaker to industry professionals (from our Jury) and sponsors. Whether you are a filmmaker or cinephile you will be inspired and challenged with the lineup of films that we carefully procure for our audiences. We also have both guided and spontaneous outings to visit the amazing natural surroundings.

What are the qualifications for the selected films?

For this year, 2017, they must have been completed after January 1, 2016. They also must not have had a theatrical release.

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

I think the bigger festivals rely on reaching out to established filmmakers and organizations for their programming, and submitted films can become an afterthought. We make a point of carefully evaluating all submitted films and drawing a large percentage of our program from blind submissions.

What motivates you and your team to do this festival?

Our commitment to find films with a specific and original vision. We love discovering the filmmakers of the future. Our director of programming Paul Sbrizzi discovered Lena Dunham and Ben Zeitlen before their careers took off. We love discovering and nurturing young filmmakers’ careers and watching them grow. We also love to showcase fresh and stimulating work by established filmmakers.

How has your FilmFreeway submission process been?

Very smooth. We find the platform very easy to use and easy to keep all the submissions organized and we are able to communicate with all the programmers well through the platform.

Where do you see the festival by 2020?

Our goal is to be a destination festival that is known for showcasing a selection of the best new work from around the world as well as finding up-and-coming talent. We are well on our way and intend on achieving that by 2020.

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

The Wizard of Oz because it comes on T.V. every year and it brings out the kid in me.

In one sentence, what makes a great film?

A naturally gifted filmmaker who is unafraid of expressing a personal, inspired vision with style and sensitivity.

How is the film scene in your city?

Mammoth Lakes is a ski resort where many second-home-owners are industry professionals with a passion for filmmaking and a great interest in new talent. A lot of the year-round locals have a taste for art and culture; they welcome the festival and the filmmakers with open arms.

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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.

Film Review: GET OUT (USA 2017) ****

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

get_out.jpgDirector: Jordan Peele
Writer: Jordan Peele
Stars: Daniel Kaluuya, Allison Williams, Bradley Whitford, Catherine Keener

Review by Gilbert Seah

Imagine a horror version of GUESS WHO’S COMING TO DINNER with a director trained in comedy with an act at Second City, Chicago, and the result is the priceless horror comedy GET OUT that opens this weekend and the most fun at the movies so far this year.

Now that Chris Washington (British Daniel Kaluuya, SICARIO, JOHNNY ENGLISH REBORN) and his girlfriend, Rose (Allison Williams), have reached the meet-the-parents milestone of dating, she invites him for a weekend getaway upstate with Missy (Catherine Keener) and Dean (Bradley Whitford). At first, Chris reads the family’s overly accommodating behaviour as nervous attempts to deal with their daughter’s interracial relationship, but as the weekend progresses, a series of increasingly disturbing discoveries lead him to a truth that he could have never imagined.

First of all, there is the weird as hell maid, Georgina (Betty Gabriel) who has the uncanny ability to cry while laughing at the same time. Then there is the assortment of guests that show up, apparently for an annual event, all of whom treat Chris with the greets oddity. The best inspired character is the blind owner of an art gallery, Jim Hudson (Stephen Root).

Things take a turn for the worse when Missy hypnotizes Chris to strop smoking. Chis finds himself stuck in a void whenever Missy stirs tea in a tea cup, which is actually one of the scariest scenes in a horror movie this year – credit to director Jordan Peel.

Director Peel appears to figure that if he directs very act set-up to perfection, then the combination of all these acts would make a perfect movie. The tactic actually works. Each horror set up is devised with the greatest of both creepiness and campiness that delight the audience, judging from the laughter and scares of the audience at the promo screening.
Every actor performs his or her part to almost perfection. Peel appears to be able to elicit excellent performances from all. Catherine Keener is again a pleasure to watch, and I have never seen her in a bad film. She has the knack of picking the best films.

There are a few forgivable flaws in the script, which is also written by Peel. One is the careless placement of the red box, discovered by Chris revealing all of the family’s past victims. The box should have been kept under lock and key. The other is Dean performing the operation before the victim is wheeled into the operating room.

But the film is deliciously wicked, from the camp humour to the suspense to the sexual innuendo and racial connotations. The film is also brave enough to attempt a horror film in which a black man is the victim with a racial setting. (Director Jordan Peel is black.)

My favourite camp horror is Dario Argento’s OPERA. GET OUT marks a close second. Low budget but high in hilarity and entertainment. Highly recommended!

Trailer: https://www.youtube.com/watch?v=sRfnevzM9kQ

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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: SHADOWS OF PARADISE

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

shadows_of_paradise.jpgDirector: Sebastian Lange
Writer: Sebastian Lange

Review by Gilbert Seah

SHADOWS OF PARADISE is a not-your-usual documentary about Transcendental Meditation. It answers the question how do TM’s adherents continue when a spiritual luminary dies.

With intimate access to two of Transcendental Meditation’s new leaders – iconic filmmaker David Lynch and dedicated disciple Bobby Roth – director Sebastian Lange documents the Movement’s metamorphosis following the passing of its founder, Maharishi Mahesh Yogi. Having himself grown up within the Movement, director Sebastian Lange approaches his subject through an introspective and essayistic lens, seeking to reconcile TM’s present-day incarnation with the teachings and practices that have shaped his worldview. The film documents the star-studded galas hosted by Lynch’s Manhattan-based foundation to a perilous cliffside cave in Madhya Pradesh.

Word of warning: The inspiration of the teachings propaganda-d in this film originated from Guru Dev. Guru Dev lived in a distant cave, north of India and dismissed normal life for meditation. So, this film might not be for everyone. In fact many will likely laugh at the film’s teachings, so if you are not with open mind, it is best to skip reading this review as well as the film – no insult to the person involved. Even if one is of open mind, there is a lot to take and believe in this film. Before reading this review, please bear in mind that this reviewer is no proponent of transcendental meditation (TM). This reviewer is a nonbeliever of TM, but will try to have an open mind in reviewing the film and in the examination of the subject.

Director David Lynch is a champion of the cause of TM. He has made MULHOLLAND DRIVE, a film critically acclaimed as one of the greatest films of all time. It is a film that is as weird as it is brilliant and covers multiple layers of consciousness. But I wonder now if Lynch has not lost some of his marbles. His hairstyle in the film – a streaked white coiffe does not help his looks either. Other celebrities involved whose presence are seen on screen include Paul McCartney and Ringo Starr. Lynch has a special ‘Lynch Foundation’ that collects money and donations for the cause.
Director Lange is quick to point out that TM is neither a religion, cult, government or industry. But he fails to define what TM really is.

For a film that champions TM, there is little about what TM actually is. It is only near the end of the film when the audiences sees a practical illustration of TM as executed by both Roth and Lynch. The director of the film Sebastian Lange is also a believer. His goal, which forms the climax of the film is to understand TM as well. His quest is to search for this remote cave that both Maharashi and Guru Dev spent years in. But it is reputed that the cave is swamped with bees and many who have ventured there have ended up in hospital.

Trailer: https://vimeo.com/184505918
 
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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: I AM NOT YOUR NEGRO (USA/Fr/Belg/Switz 2016) ***1/2

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

iamnotyournego.jpgDirector: Raoul Peck
Writer: James Baldwin
Stars: Samuel L. Jackson, James Baldwin, Dick Cavett

Review by Gilbert Seah

The title of this new documentary immediately implies a film that would rock the boat in the topic of racism. It also implies an era when the ’n’ word was widely used before deemed inappropriate. The opening credits are done in black and white to emphasize the film’s seriousness.

I AM NOT YOUR NEGRO, by Raoul Peck attempts to reveal that the ‘negro’ thought understood by most Americans is in fact a stereotyped misunderstood one The doc is based on the unfinished book by James Baldwin (narrated by Samuel L.Jackson) and looks at the impressions made by 3 murdered negroes – Medgar Evers, Malcolm X and Martin Luther King Jr. The three black men were killed roughly three years apart. As informed by the voiceover, these are three different men, each of whom have done so much for the people who have betrayed them.

The premise of the film is to tell the history of the black men as seen from the eyes of Medgar, Malcolm and Martin Luther as purported by a book that is to be written by James Baldwin. The book never got past 30 pages, due to Baldwin’s death. The film illustrates what happened and which truths have been revealed. The film gives the feel that director Peck wants his film to be as controversial as possible, hopefully to stir discussion on the topic of racism.

Peck spends screen time mourning the deaths of the three – with voiceover relating the details. He also mentions through Baldwin, that the Americans do not know what to do with the black population while the ‘nigger’ has never been happy in his place, just trying to survive in America. John Wayne and George Washington were the typical white men as perceived by a black person. Often he sees the piles of black men pile up. When the black stands up, he attacks the power structure of the entire world.

The film offers many arguments illustrated with many archive stills. The most interesting revelation of the film is the argument between King and Malcolm X – showing the two different approaches of dealing with black racism. The doc also includes rare clips of ‘negro’ old movies (WAY OUT, A RAISIN IN THE SUN, THE DEFIANT ONES, all with Sidney Poitier who appears in all the controversial movies) which were acceptable then but considered unacceptable now. Also shown are unforgettable scenes like one on on a bus with the segregation of black and white seating at the back and front of the bus respectively.

The film ends up successfully criticizing America from the black man’s point of view. It also riles up emotions of the black man with appropriate examples given. The film ends with the footage of the Rodney King beaten by white police – still a very disturbing scene to watch.

The film premiered at the Toronto International Film Festival last year (with long line-ups), garnering praises together with other racial-themed films like MOONLIGHT, LOVING and A UNITED KINGDOM. The film has been nominated for the Best Documentary Oscar.

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

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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

Interview with Festival Director Xavi Herrero (IBIZACINEFEST)

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IBIZACINEFEST is facing its second edition in 2017 with the organization of UTOPIKFILMS and the collaboration of the Ibiza Town Council, Gobern Balear and the Film Commission of Balearic Islands. Among those selected will be nominated FINALISTS that will participate in the Festival and will be screened in our Auditorium and will opt for the IBIZACINEFEST grand prize.

http://www.ibizacinefest.com/

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

A: I’m surprised at the success of IBIZACINEFEST in its first year.
This success began when many registrations came to us and above all of great quality.

The name of Ibiza is a good brand and a place known worldwide, this has helped us.

I am also a filmmaker, in 2016 I have directed 2 short films that I personally distribute and I am about to release my first feature film in April.

I believe that being in the two sides I have been able to create a festival to taste mainly of the Director.

Our format is not typical at festivals. We make a first selection of shortfilms and have their space on our website, with their poster and corresponding links. This helps to access the Festival to many works and to promote them. Of these pre-selected, we chose 44 shorts for the projections.

Another novelty is to communicate in less than 30 days if your shortfilm has been selected. This speed is very much liked by the Director of a short film. It has also been definitive the support of the Ibiza Town Hall to cede to IBIZACINEFEST the Auditorium of Can Ventosa. It has capacity for 400 people and a great quality of projection.

We invited the Festival to 5 Directors and a Director of Photography and they loved the Auditorium.

Our budget allowed us to pay for the trip and a 4 star Hotel thanks to the collaboration of the Department of Culture and the Film CommissioN of the Balearic Islands.

We also have a multicultural space, bar and restaurant for the attention to the press, some projections and conferences.

All this and with the full support of the media and press of Ibiza, we have achieved that the Festival is a cultural event of reference in Ibiza.

But most of all, the filmmaker, Lionel Auguste, actor and French director, who won with his short film “El Mecenas”, asked me during the festival to be part of the Jury, is the best prize for me and
the Festival.

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

Our second edition will have much more budget, thanks to the support of the Balearic government. We will have another projection room for parallel activities. We plan to screen 50 shortfilms in competition and the Festival will last 6 days. We will have a section on feautures and shorts or created in Ibiza, activities for children, conferences, etc …

MT: What are the qualifications for the selected films?

We have a jury that covers all the cinematographic aspects.

I come from the direction of photography and I look a lot in this aspect, but in the Jury there are two actors, producers, screenwriters and directors of film and experimental cinema.

We also value the originality of the work and shortfilms made with little budget but high quality.

I believe that the three winners of our first edition represent very clearly the spirit of IBIZACINEFEST.

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

There are many Festivals in the world. I would recommend to the Directors that they distrust the on-line Festivals without projections and without the assistance of at least the winners to the event.

If the Festival charges fees it is obliged to give cash prizes.
The collaboration of public institutions also gives confidence to the Festival.

Personally I came across a Festival that rewarded a shortfilm of mine …. but you had to buy the trophy that was worth 70 eu ….. I do not think it serious.

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

The Festival is my initiative. From time to time I was thinking about this possibility.

In 2015 I left my professional activity as director of photography in Barcelona and I settled to live in Ibiza. In Ibiza I produced 2 shortfilms and seeing the good reception of the island, I thought about organizing an International Short Film Festival.

MT: How has your FilmFreeway submission process been?

Filmfreeway is my favorite platform for several reasons, it is very complete at the editing level and offers many possibilities to promote a Festival, in a clear and semzilla way. It was the platform that gave us more inscriptions, I can only be grateful to Filmfreeway, all are facilities and no problem.

I can tell an anecdote with them. We can all make mistakes, we are human, but even one mistake with us was good and fun. They put us as an Oscar-nominated Festival for a week, participants told me if this was true and I telephoned filmfreeway and fixed the misunderstanding.

We laughed a few minutes with this.

MT: Where do you see the festival by 2020?

Simply,celebrating the 4th edition with the same illusion as the first.

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

My first movie, I’m finishing now … jajjja.

Seriously, maybe Mulholland Drive by David Lynch or Europe by Lars V.Trier.

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

A good script well photographed.

MT: How is the film scene in your city?

Ibiza is a small island well known for its party, beaches and discos. It really is a place where tourism affects a lot and alters the lives of its inhabitants.

During the winter months, Ibiza is another island, a quiet place where many artists and culture-related people still live. It is a few months where it is easy to see 2 or 3 sessions of films and independent and interesting short films every week.

There is a lot of activity and many projects are supported by institutions.

I invite you to visit Ibiza in winter.

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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 Festival Founder Matt Beurois (Paris Art and Movie Awards Film Festival)

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The Paris Art and Movie Awards is the leading independent film festival in Paris. The « PAMA » has been ranked, as soon as its second year, the second festival not to miss in Paris, by The Culture Trip Magazine. Their goal is to help independent filmmakers screening their films, awarding them, show their films to high level industry talents and public figures.

http://parisartandmovieawards.com/

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

A: The best feedback proof we have is filmmakers coming back to the PAMA and submit again when they have a new film. They tell us our festival is a real opportunity to network. We had directors finding actresses, we had filmmaker matching with a producer, scriptwriters connecting with directors. And of course with the audience. We’re going to try and continue this so the Paris Art and Movie Awards stay human and films connected.

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

A: As we move to a new movie theatre every year, audience and filmmakers will have the films screen in a new location in 2017 again. Every year we get bigger in attendance, so in seats capacity.

Also the Judges : we usually have about 5 international judges. We had Mark Dacascos, and French legendary actor Alain Doutey. This year, we already announced 10 judges, and I can tell you two more are coming, minimum.

MT: What are the qualifications for the selected films?

A: We’re looking for quality of course, but we’re not ashamed to say we’re expecting ambition. The PAMA is the leading independent film festival in Paris, and we want to screen and promote filmmakers who want to reach out, to jump out of the box, to achieve something. Out selection process rewards the ambition you have, and how you manage to make a movie, to fully complete it, which is no easy task.

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

A: It is less and less true. Because there are more and more film festivals, and that’s, in some ways, good for filmmakers : they can target the events that fit them, where their films will be a match. What I personally think, is that there is a huge gap between the A-Class worldwide film festivals, and the indy festivals. This is why the Paris Art and Movie Award was created ; to stand there, remain accessible, but clearly offering high quality screenings, events, networking.

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

A: The people. The filmmakers, and the lovers of cinema. During the 2016 opening speech of the festival, I said we care about the people who make the films, and I mean it. When you se all the artists and filmmakers that stayed in touch after the different editions of the festival, that is truly rewarding to us. That feeling makes me want to go on and on for that.

MT: How has your FilmFreeway submission process been?

A: We just opened submissions, and that’s amazing : that’s the biggests start we had since the creation of the festival. It’s like people were somehow expecting us to accept entries and… Here we are !

MT: Where do you see the festival by 2020?

A: I would love the festival to reach a large venue, and even several venue to host the many screenings and events. 2020, I’d also say we’ll have secured partnerships with USA and the festival being included in an international network connecting Paris, Los Angeles, Vancouver and London…

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

A: The Frighteners, by Peter Jackson. The perfect, most ignored and under-estimated feature by Jackson, which is the perfect balance between comedy and genre. And Terminator 2 by James Cameron. One of the film that founded my love for cinema.

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

A: Not a sentence, a word: script.

MT: How is the film scene in your city?

A: The festival scene is booming, but I wonder how many festivals will still be around in two to three years. As for the movie business in Paris, the films in the middle -between 1 and 4M€ budget- are disappearing and that’s a dramatic loss for independent filmmakers. The influence of Luc Besson did some real good, for tax rebate and obviously to give something the new generation of artists can build from. Regarding the independent short films scene, it is hard to tell as it’s mostly in the dark. I will tell you that when we’ll have the 2017 selection at the PAMA.

 

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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 Festival Producer Tiha Modrić (History Film Festival)

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History Film Festival is an international festival of historical documentary films. The first edition of the Festival will be held in Rijeka, Croatia from September 6 to 9, 2017. History Film Festival is founded and organized by Istra Film, an art association from Rijeka (Croatia). History Film Festival aims at offering viewers and film experts an insight into contemporary film and TV production of historical documentary films, at the same time providing a place where film professionals can meet and share their creative ideas for future projects.

http://www.historyfilmfestival.com/

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

Tiha Modrić: History Film Festival aims at offering viewers and film experts an insight into contemporary film and TV production of historical documentary films, at the same time providing a place where film professionals can meet and share their creative ideas for future projects. Since our submitters come from either independent production companies or TV companies, History Film Festival grants filmmakers an opportunity to present their work and establish new business relations.

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

TM: I am not a person who likes making plans ahead, but I am definitely planning on attending History Film Festival from September 6 to 9, 2017. I hope to meet filmmakers from all over the world, watch great movies, make new friends and contacts which would be important for some future projects. Also, since we are planning to take our guests on a tour around Kvarner Bay (in the Adriatic Sea), present them with the best of our food, wine and culture, I hope that we shall have fun and enjoy History Film Festival’s first edition as much as possible.

MT: What are the qualifications for the selected films?

TM: We accept historical documentaries regardless of their length and year of production. Films are divided in two categories: films by independent production companies and films produced by TV companies. By historical documentary I don’t mean only typical documantaries on World Wars and famous battles, but also documentaries which deal with events, ideas and people who shaped our world and left an indelible mark in human history.

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

TM: I think that most filmmakers agree with that thesis. In my opinion, the main problem with festivals is always the problem of taste. Also, I think that some wonderful films are left unattended because of shy promotion, insufficient budget and the endless lobby game.

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

TM: Well, there are countless film festivals around the globe, but neither one of them deals exclusively with historical documentaries. For that reason our festival is really unique.

Since this is the first edition of History Film Festival, our team is doing a wonderful job trying to organize the best possible Festival with available funds and in the years to come maybe ours will be one of those big name festivals. We believe it will be successful.

MT: How has your FilmFreeway submission process been?

TM: From a perspective of a film producer who submitts films to many different festivals, I think that FilmFreeway is a great tool. It is simple, fun and because of it submitting films has never been easier. Regarding our Festival, filmmakers can still submit their films to History Film Festival through FilmFreeway because the official deadline for submissions to our Festival has just started. We are excited about new submissions.

MT: Where do you see the festival by 2020?

TM: 2020 is an important year for the city of Rijeka where History Film Festival will take place because Rijeka has been declared European Capital of Culture for the year 2020. By that time I hope that our Festival will become acknowledged around the world, that it will establish a strong institutional and financial backup and most importantly that it will attract more and more filmmakers and viewers. If it becomes famous maybe we won’t need to charge submission fees anymore 

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

TM: There are three films which I have seen a zillion times: Godfather, Big Wednesday and The Warriors. And I hope to watch them another zillion times.

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

TM: Good story, unconventional creative solutions and a crew of enthusiasts who love doing what they do.

MT: How is the film scene in your city?

TM: Although Rijeka is a small city it has an interesting film scene. As there are many film enthusiasts in our city, I think there would be more films produced here if they had more funds and most importantly if those funds are fairly and evenly shared.

historyfilmfest1.jpg

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Jax Griffin (The Drunken Film Festival)

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Drunken Film Fest started after an angry tweet about the discontinuation of the major film festival in Bradford, West Yorkshire. It took off from there and had its first season in July 2016. Aimed at the independent filmmaker, DFF is currently accepting submissions worldwide for its second season, set to take place in Bradford across 10 days in 13 venues.

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

Jax Griffin: DFF works really hard to represent filmmakers from around the globe and level the playing field a bit. So low budget, big budget, we are less concerned with that. What we want is to give an audience to films with something interesting to say, and I’m proud to say that we’re definitely succeeding in that goal.

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

JG: Our festival is a little different. Our venues are almost all bars or cafes – non-theatre spaces. So the tone is more conversational and relaxed, but still very respectful to the filmmakers and their work. We incorporate local live music into the events – Bradford has an amazing live music scene – and this year we’re looking at bringing some interactive installation style pieces for some of the bigger parties.

MT: What are the qualifications for the selected films?

JG: As long as a film is engaging and interesting, I’m willing to give it space in our program. I try to remember that one person’s idea of interesting is different from another’s, and I think our programming reflects the diversity of submissions as well as the diverse nature of the city of Bradford.

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

JG: Definitely and it’s one of the reasons this festival exists. If you scraped your film together on favours and blood, sweat, and tears, you don’t have a ton of money at the end for submission fees, so a lot of the bigger festivals are immediately not available to you. Yes, most festivals depend on submission fees to function and it’s an important part of the process, but it does create a bit of a boundary and that’s something we’re trying to find a balance for.

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

JG: Is it too cheesy to say passion? I’m a filmmaker myself and I love the idea of finding and promoting new talent from unexpected places. When you see a film from a 10 year old Iranian girl, it kind of changes your view on what’s possible.

MT: How has your FilmFreeway submission process been?

JG: I can not express enough how amazing it is working with Film Freeway. When I began the festival, I hadn’t heard of them and thought I was going to be stuck with Withoutabox, which I’d used extensively as a filmmaker. Luckily I came across Film Freeway first and haven’t looked back. The support team is always gracious, helpful, and expedient and the ease of use makes sorting submissions far less of a task than anticipated.

MT: Where do you see the festival by 2020?

JG: I’m ambitious, so I’d like us to be one of the top festivals for independent filmmakers. By 2020, my dream is that my plans to move the festival into production both locally and abroad will not only be in action, but successful and we’ll be active in promoting the local independent film industry.

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

JG: Dr. Strangelove. I even have a tattoo of Slim Pickins riding a nuke on my forearm.

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

JG: A great film is entertaining, with no dead space, and leaves you with something to think about.

MT: How is the film scene in your city?

JG: Bradford has a very rich film culture. It’s actually the very first UNESCO City of Film and has a fascinating history of local production with films like Meaning of Life, Billy Liar, and Room At The Top. The National Media Museum is here where a few years ago they discovered the first ever colour film that was actually from 1902. Major productions are constantly in and out of the city doing filming and the indie scene is growing, if a bit hidden from view.

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Interviewee BIO: Jax Griffin moved to her ancestral homeland of Great Britain from the US nearly five years ago to complete a masters. She’s happily settling into British life, though she refuses to say “aluminium”. Aside from the film festival, Jax co-owns a small media production company in Bradford with fellow University of Bradford alum Rachel Bottomley. She actually hates long walks on the beach because sand is course and rough and irritating and it gets everywhere, but she does enjoy video games, live music, and puzzles.

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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.

Film Review: FIST FIGHT

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

fist_fight.jpgDirector: Richie Keen
Writers: Van Robichaux (screenplay), Evan Susser (screenplay)
Stars: Ice Cube, Charlie Day, Tracy Morgan

Review by Gilbert Seah

As the title suggests, the climax and the soul purpose of the film is the FIST FIGHT that will happen at three o’clock after school at the school parking lot between the film’s two lead characters.

This is a pretty thin premise for a full length feature, so a running time of 90 minutes is not surprising. The goal of the script is to keep the audience attentive for the rest of the movie before the FIST FIGHT.

The beginning of the film sets up the incidents leading to the provocation of the challenge of the fight. This takes 15 minutes or so. It all boils down to a silly excuse of one teacher, Andy Campbell (Charles Day) telling on his fellow teacher, Ron Strickland (Ice Cube) as one of the two will be fired by the principal (Dean Norris).
Strickland challenges him to a fight after school in the parking lot. The news goes viral, in this modern day and age. The actual fight also takes a full 15 minutes. To director Keen’s credit, the fight choreography is well executed with a solid blend of excitement and hilarity.

The script by by Van Robichaux and Evan Susser introduces an assortment of weird characters to the comedy mayhem. Some work and some don’t. Miss Monet (played by Christina Hendricks, who has been voted before as America’s sexiest woman), the sexy drama teacher who has the hots for Strickland is one that works. She brings spice and unpredictability to the proceedings and her gait and mannerisms are priceless. Jillian Bell as the meth taking Councelor Holly who is constantly on the look-out for sex with her students is also funny.The principal’s (Dean Norris) role could have been funnier. A lesson could be taken from another adult school comedy STRANGERS WITH CANDY’s principal, who is the funniest bumbling idiot ever.

The film takes a while to land on its feet. Charles Day, playing the protagonist Andy Campbell is all over the place, partly due to the script. For the audience to root for him, he is given too many ‘vices’ for his character to be liked. For example, he is deemed a coward and snitch. To escape the fight, he plans to plant drugs on Strickland.

Ice Cube, has prove his mettle in comedy in the past, particularly in the JUMP STREET movies, and proves himself a better lead than Day.

It is hard to figure the film’s target audience. The language is quite foul with lots of swearing and references to sex and drug use. I am assuming the filmmakers take their audience to be partying teens in or just out of the school system. As one characters says in the film, “The best place to buy drugs is in an American high school.” School kids know more than adults give them credit for.

As the saying goes, if one does not have ones hopes up too high, one will not end up disappointed. I chose the screening of FIST FIGHT over A GREAT WALL as the last thing I would want to see is a pretentious movie about a glorified white man in China directed by Zhang Yimou who has turned exciting martial-art movies into boring pretty pictures (HERO). At least, FIST FIGHT is unpretentious. Crass though it may be, I got what is expected – silly, raunchy and adulterated entertainment.

Trailer: https://www.youtube.com/watch?v=9aIzXYo6VCE

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