Feature films – Taking Sides http://taking-sides.com/ Wed, 11 May 2022 19:51:43 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://taking-sides.com/wp-content/uploads/2021/10/icon-26-120x120.png Feature films – Taking Sides http://taking-sides.com/ 32 32 Two New Feature Films and a Two-Week Short Film Festival Announced for PrideArts’ Summer Streaming Film Schedule https://taking-sides.com/two-new-feature-films-and-a-two-week-short-film-festival-announced-for-pridearts-summer-streaming-film-schedule/ Wed, 11 May 2022 19:51:43 +0000 https://taking-sides.com/two-new-feature-films-and-a-two-week-short-film-festival-announced-for-pridearts-summer-streaming-film-schedule/ The feature-length documentary LOOK ME OVER: LIBERACE will open PrideArts’ summer movie streaming schedule, with a week running from June 1-8. The profile of Jeremy JP Fekete of the famous flamboyant pianist will only be available for eight days. It will be followed from June 8-15 by the 2022 release of SCHOOLMASTER GAMES – a […]]]>

The feature-length documentary LOOK ME OVER: LIBERACE will open PrideArts’ summer movie streaming schedule, with a week running from June 1-8. The profile of Jeremy JP Fekete of the famous flamboyant pianist will only be available for eight days. It will be followed from June 8-15 by the 2022 release of SCHOOLMASTER GAMES – a Swedish film about a school for boys where homosexuality is the norm.

In July, a two-week festival of 13 short films from the United States, Canada, the Republic of South Africa, Ireland and Tunisia will run from July 5-19. The short films – dealing with matters of the heart ranging from romantic relationships to parenting relationships as well as political and social considerations facing gay people around the world – will be presented in two separate approximately eighty-week-long programs. ten minutes per program, each program being broadcast continuously. for a week.

Access to each PrideArts Fall Film Festival shorts program will cost $10.00, which will allow the purchased program or feature to be viewed for a full week, allowing audiences greater flexibility to view the films at their way. Tickets and more information are available at https://www.goelevent.com/pridearts/e/Search.

A complete list of each program appears below. A selection of production stills from the films is available for download at https://cop.kr/s/aHBqjzP9cm.

LOOK AT ME: LIBERACE (USA, 1h30)

Written and Directed by Jeremy J. P. Fekete
Broadcast from June 1 to June 8
$10.00, allows unlimited viewing for release week
More info and tickets at https://www.goelevent.com/pridearts/e/Search.
He was an icon, a flamboyant, egocentric pianist, a showman par excellence: Liberace – the King of Bling – had an unparalleled career. The parlor pianist turned megastar lived the American Dream, but it was a life of unparalleled paradox and eccentricity.

SCHOOL TEACHERS GAMES (Sweden, 1:22)

Directed by Ilva Forner
Broadcast from June 8 to 15
$10.00, allows unlimited viewing for release week
More info and tickets at https://www.goelevent.com/pridearts/e/Search.
The Saint-Sébastien Academy, an all-male school where homosexuality is the norm, is the setting for this most unusual new film. Two teachers who were bullied in their youth hope to provide these students with a greatly improved school experience.

PRIDEARTS SUMMER INTERNATIONAL SHORT FILM FESTIVAL

Broadcast from July 5 to 19, 2022
Two weekly programs of queer international short films
$10.00 per weekly program. Admission allows unlimited viewing of the weekly program until the end of the release week.
More info and tickets at https://www.goelevent.com/pridearts/e/Search.

A film festival of 13 short films from five countries that will be released online in two separate programs, each available online for one week.

SUMMER SHORT PROGRAM WEEK 1 (1:36:00) – July 5-12, 2022

Five short films from the United States, Canada, South Africa and Tunisia.

WEEK 2 SPRING SHORTS PROGRAM (1:36:00) – July 12-19, 2022

Eight short films from the United States, Canada and Ireland.

COMPLETE PROGRAM

Summer Shorts Week 1 – Airing July 5-12, 2022.

A BLOOM (Republic of South Africa, 24:00). Directed by Antony Rangel Coll.
Nick has just returned home after spending three months in a therapy center. He is determined to leave behind all the pain inflicted by his former love. After hanging out with his two friends at a local bar, Nick sees love again across the room, smiling shyly at her. The strange visit from the past and the gentle gaze of a stranger will finally make him sink to the bottom of his heart and be reborn.

HOLD THE LINE (US, 36:47). Directed by SB Gamble.

A couple find themselves in the throes of a pandemic and social unrest in May 2020.

NIDHAL (Tunisia, 10:30 a.m.). Directed by Bassem Ben Brahim

Between reality and animation, the story of Nidhal is told, a young homosexual Tunisian who defended individual freedoms in Tunisia through his work on the radio. He found himself under great pressure which forced him to leave the country and seek asylum in the Netherlands.

PRAY THE GAY AWAY (US, 11:27). Directed by Chang-Min Jonathan Hyon.

Danny, a queer Korean high school student, becomes invisible after an intense prayer group literally begs the gay to leave. Will he ever be seen again?

BLOCKED (Canada, 1 p.m.). Directed by Emile Viens.

After her space capsule crashes, an alien calls for help telepathically, causing her deceased boyfriend to hallucinate in a grieving man.

Summer Shorts Week 2 – Airing July 12-19, 2022.

DON’T TEXT YOUR EX (Canada, 13:52). Directed by Jo Güstin.

Survive a global pandemic by being queer, cute, and still in love with your ex.

SASHA & MAR (US, 9:16 a.m.). Directed by Anya Dombrovskaya.

Tensions arise between two young women after a night one of them can’t quite remember.

LOOSE THREADS AND THE SILLY LITTLE EXORCISM (USA, 4:10). Directed by Jacqueline Hillebrecht.
In a world where kindred spirits are linked by the mystical red thread of fate, a young trans woman named Emma will do anything to win the heart of Katie – her best friend.

PETITS LOURDS (Canada, 5:30 p.m.). Directed by Brendan Prost.

A bizarre bifurcated character drama about a bizarre encounter between two lonely cat lovers and a macabre test of his social obscurity.

PUNCH LINE (Ireland, 10:14). Directed by Becky Cheatle.

On the eve of a transphobic attack, a transgender actress processes her feelings the only way she knows how: through stand-up comedy.

THE SUN COMES UP (US, 8:00 p.m.). Directed by Rachel S. Schultz.

After his mother’s sudden death in the middle of his senior year of college, Jordan struggles to come to terms with the complicated relationship they had while trying to complete his honors thesis and pursue a new love.

WEREWOLF (4:37)

Directed by Angelo Duncan and Mason Rose

A darkwave/goth transgender artist, AS Valentino’s debut music video “Werewolf” shot by Portland’s Mason Rose and featuring an all-queer, trans cast explores the connection between trans people and monsters in the public imagination – as than objects of fear and fascination. The video parallels Valentino’s own transition to shape-shifting werewolves, gaining new hair, muscle, and strength.

A PARTY THAT NEVER COMES (16:22)

Directed by Maria Juranic

Four characters inhabit cycles within cycles of contentment, discontent, inertia, movement, desire and betrayal. A story emerges – told through the marriage of music (Ex-Fiancée) and dance (ChrisMastersDance) – working like a set of nesting dolls, inviting you to discover as many layers as you wish.

ABOUT PRIDEARTS

PrideArts tells queer stories across a variety of platforms, including live and virtual performances. Since its founding in 2010, PrideArts has had several chapters, including as a traveling theater for its first six seasons, and as developer and anchor tenant of the Pride Arts Center from 2016-21.
The company produces a full season of plays and musicals, as well as events such as cabarets, films, and more. PrideArts has garnered 39 Jeff Awards and nominations, and six nominations for the most recent ALTA Awards (2019) from the Alliance of Latinx Theater Artists of Chicago. Programming reflected the diversity of queer communities by including work by and illuminating the experiences of women, gay men, transgender people and BIPOC.

PrideArts is supported by the MacArthur Fund for Arts & Culture at The Richard Driehaus Foundation, The Illinois Arts Council, City of Chicago’s City Arts Fund, the Elliott Fredland Charitable Trust, The Pauls Foundation, The Heath Fund, The Service Club of Chicago, the AmazonSmile Foundation, Arts and Business Foundation, Tap Root Foundation, Arts and Business Council and Alphawood Foundation. PrideArts is a member of the Chicago Community Trust’s Smart Growth Program. PrideArts is a member of the Illinois LGBT Chamber of Commerce, Northalsted Business Association, Lakeview East, Uptown United, and the League of Chicago Theaters. For more information and to donate, visit www.pridearts.org or call 1.773 857 0222.

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Is there a case for Australian feature films on the big screen? https://taking-sides.com/is-there-a-case-for-australian-feature-films-on-the-big-screen/ Sun, 08 May 2022 22:00:00 +0000 https://taking-sides.com/is-there-a-case-for-australian-feature-films-on-the-big-screen/ Australian Feature Film Summit director Sue Maslin, a producer and distributor, says there is a theatrical future for local feature films if the industry starts doing business differently. In March, I attended the Screen Forever conference, which provided a first glimpse of what “business as usual” might look like for post-COVID screen producers. In a […]]]>

Australian Feature Film Summit director Sue Maslin, a producer and distributor, says there is a theatrical future for local feature films if the industry starts doing business differently.

In March, I attended the Screen Forever conference, which provided a first glimpse of what “business as usual” might look like for post-COVID screen producers. In a packed schedule spanning three days, there was only one session dealing with the theatrical feature film industry. (A year and a half if you count the excellent session on documentary feature films on all platforms, including theatrical ones).

At the conference, a senior executive from one of the regulatory bodies that heavily influences Australian content on our screens asked me, “Is there really a case for Australian feature films in cinemas? »

The Australian Feature Film Summit is laying that case out and judging by the 480 creatives, distributors, exhibitors and investors who registered and attended the virtual summit in October 2021, there is tremendous support for local feature films to continue on big screen.

However, there is no doubt: the world has changed and the public has evolved. The sharp decline in cinema gross box office this year shows that audiences are slow to return to cinemas, except for the obvious studio tents.

And if Screen Forever is any guide, the company has evolved as well.

The exponential growth of content on streamers and subscription numbers means it’s more important than ever that we clearly identify and communicate the point of difference and the value that theaters and feature films in theaters offer.

For this reason, the film industry is looking closely at how we are going to do business differently in the future and everything is on the table.

The value proposition to the audience just isn’t strong enough unless the films are exceptional, cinematic, value for money and possibly linked to event screenings. Australian films cannot compete on the same basis as studio pictures without significant marketing spend, regardless of the quality of the films. The unique approach to release schedules, where the opening weekend is the sole determinant of a film’s ability to retain its screens and sessions, mitigates the longer build time required by local films.

The lack of data available to creatives about what cinema audiences want means we have a development pipeline that has little to no relationship to the market. Of course, streamers don’t share this data either, but it’s vast and sophisticated and informs every go-live decision they make. Unless we know better, streamers will always be ahead of rooms in terms of customer behavior and information. Exhibitors are the retail outlet of our business, but they don’t order and to date have had little or no say in what Australian films are shown until far too late – when the film is finished was offered to them.

There is no doubt that this is a high risk business. The bulk of the more than 50 feature films produced in Australia each year never find their audience due to our combined failure to tackle a system that just doesn’t work. But some films resonate brilliantly and are backed by passionate distributors and exhibitors. We need to do more every year and that’s where the Australian Feature Film Summit comes in.

The summit has one overarching goal, which is to increase the success of the Australian feature film industry and enable all stakeholders, including the public, to benefit from that success.

So let’s take off the gloves and ask the “What if?” questions:

• What if producers could learn more about audience trends and what informs audience choice from those closest to them – exhibitors and distributors?

• What if exhibitors had “invested” more and could be encouraged to improve the performance of Australian films with the public?

• What if we lobbied together for a major injection of funds so that marketing has the same priority as the development and production of the film?

• What if Australian films had a set of preferential conditions relating to the number of screens, screenings and flexible programming allowing good films to find their audience?

• What if we had a more sophisticated understanding of everything parties on the relative risk/reward profiles and how they should balance in the future? In other words, we are looking at the inversely proportional value chain in which those who invest early and take the upper degree of risk (producers, capital investors) receive the less reward via recoupment, while those at the end of the chain, the exhibitors, take the least risk but receive the biggest share of the box office on Australian films.

• What if producers, directors and screenwriters thought more deeply about the types of projects suitable for theatrical release in this new environment?

• And finally, what if we could find more mutually beneficial strategies between streamers and theaters that resulted in better returns for all stakeholders?

I am extremely hopeful because all of the players – exhibitors, producers, distributors and film agencies – are ready to have these difficult discussions and have come together in one space with a common goal of building the success of the local long-term sector. footage. What works? What is missing ? And how can we work together more effectively in the future?

And as for an answer to “Is there really a case for Australian feature films in cinemas?”

Yes, but not unless we have the courage, as an industry, to do things differently in the future. If we keep sitting on our hands and getting back to “business as usual”, the public will answer that question for us.

The second stage of the Australian Feature Film Summit will take place on May 12 at Event George Street Cinemas, with some showings available to watch online.

This article originally appeared in IF Magazine April-May #205. Subscribe to the magazine here.

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Twenty feature films in competition at Annecy, the world capital of animation https://taking-sides.com/twenty-feature-films-in-competition-at-annecy-the-world-capital-of-animation/ Tue, 03 May 2022 11:07:23 +0000 https://taking-sides.com/twenty-feature-films-in-competition-at-annecy-the-world-capital-of-animation/ 05/03/2022 – Signe Baumane, Alain Ughetto, Alberto Vazquez, Anca Damian, José Miguel Ribeiro and Pierre Földes, among others, will compete for the Cristal 2022 Blind willows, sleeping woman by Pierre Foldes After a fully online 2020 edition and the hybrid event that took place last year, the Annecy International Animation Film Festival (directed by Mickael […]]]>

– Signe Baumane, Alain Ughetto, Alberto Vazquez, Anca Damian, José Miguel Ribeiro and Pierre Földes, among others, will compete for the Cristal 2022

Blind willows, sleeping woman by Pierre Foldes

After a fully online 2020 edition and the hybrid event that took place last year, the Annecy International Animation Film Festival (directed by Mickael Marin) returns to its usual scale – as befits the biggest global event of its kind – for its 41st edition which should take place from June 13 to 18. Following the revelation of the Mifa Pitches projects last week (read our news), it was the turn of the official selection of feature films (compiled by the artistic director Marcel Jean) unveiled last night, a line-up composed in particular of 20 titles (out of a hundred applications) spread over two competitions.

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Eight European (co-)productions shine among the ten works in the running for the Cristal 2022 of the Official Selection, namely Blind willows, sleeping woman by Pierre Foldes (an adaptation of Haruki Murakami’s novel – read our news – produced by France, Luxembourg and Canada), Forbidden to dogs and Italians by the French director Alain Ughetto, Nayola by Portugal Jose Miguel Ribeiro (thus signing with his name the first animated feature film of his country, produced in association with Belgium, the Netherlands and France) and My love affair with marriage by Latvia Sign Baumane (also selected for the next international Tribeca Festival competition – read our article).

Jostling by their side, we find Charlotte by the French filmmaker Eric Warin and Canadian talent Tahir Rana (bringing together the production prowess of Canada, Belgium and France), Unicorn Wars by Spain Alberto Vazquezthe Franco-Luxembourgish co-production Little Nicholas by Amandine Fredon and Benjamin Massoubre (as a world premiere in a Special Screening at Cannes) and The Island [+see also:
film review
trailer
film profile
]
by Romania Anca Damian (well received at the Rotterdam Big Screen competition). These films will be opposed to various Japanese productions.

Five European (co-)productions steal the show among the ten feature films selected for the Contrechamp competition: My Grandfather’s Demons by the Portuguese pilot Nuno Beato, Yaya and Lennie – Walking Freedom [+see also:
film review
trailer
film profile
]
by Italy alessandro rak (screened on the Piazza Grande in Locarno last year) Aurora sunrise by Armenia Inna SahakyanFranco-Japanese production Dozens of Nords by Koji Yamamuraand Silver bird and rainbow fish by China Lei Lei (produced by the United States and the Netherlands). This is programming that reflects the highly globalized nature of animation today, featuring productions from Mexico, Algeria, Colombia, the United States and South Korea.

We should also mention a multitude of special screenings of feature films, in particular for The Pharaoh, the Savage and the Princess by Michael Ocelot (who is set to receive this year’s honorary crystal, alongside American actress Jennifer Lee), Franco-Belgian production My Father’s Secrets by Vera Belmont and blockbuster movie Minions: The Rise of Gru, which is to open the festival. And that’s without forgetting the first images that should come out of the long-awaited films Ernest and Celestine, the trip to Charabie by Jean-Christophe Roger and Julien Chheng, Puss in Boots: The Last Wishand Spider-Man: Through the Spider-Verse (Part One).

The selected feature films are:

Official selection

CharlotteEric Warin and Tahir Rana (Belgium/Canada/France)
Goodbye, DonGlees!Atsuko Ishizuka (Japan)
Forbidden to dogs and ItaliansAlain Ughetto (France/Italy)
Little NicholasAmandine Fredon and Benjamin Massoubre (France/Luxembourg)
The house of the lost on the capeShinya Kawatsura (Japan)
My love affair with marriageSign Baumane (USA/Latvia/Luxembourg)
NayolaJose Miguel Ribeiro (Portugal/Belgium/Netherlands/France)
Blind willows, sleeping womanPierre Foldes (Canada/France/Luxembourg)
The Island [+see also:
film review
trailer
film profile
]
Anca Damian (Romania/France/Belgium)
Unicorn WarsAlberto Vazquez (Spain/France)

reverse shot

Aurora sunriseInna Sahakyan (Germany/Armenia/Lithuania)
Home is somewhere elseCarlos Hagerman and Jorge Villalobos (USA/Mexico)
Khamsa – The well of oblivionKhaled Chiheb (Algeria)
The other form (La otra forma)Diego Guzman (Colombia)
My Grandfather’s Demons (Os demónios do meu avô)Nuno Beato (Spain/France/Portugal)
Dozens of NordsKoji Yamamura (France/Japan)
Quantum CowboysGeoff Marslet (UNITED STATES)
Silver bird and rainbow fishLei Lei (USA/Netherlands)
Chun Tae-il: a living flameJun-pyo Hong (South Korea)
Yaya and Lennie – Walking Freedom [+see also:
film review
trailer
film profile
]
alessandro rak (Italy)

Special Screenings Out of Competition

Minions: The Rise of GruKyle Balda, Brad Ableson and Jonathan Del Val (US) (opening film)
The Pharaoh, the Savage and the PrincessMichael Ocelot (France)
Light yearAngus McLane (UNITED STATES)
No.7 Cherry Laneyonfan (Hong Kong)
The beast from the seaChris William (UNITED STATES)
My Father’s SecretsVera Belmont (France/Belgium)

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(Translated from French)

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FilmRise Obtains Digital Rights to Full Moon Feature Films | Offers | News https://taking-sides.com/filmrise-obtains-digital-rights-to-full-moon-feature-films-offers-news/ Mon, 02 May 2022 11:27:39 +0000 https://taking-sides.com/filmrise-obtains-digital-rights-to-full-moon-feature-films-offers-news/ In the latest content acquisition for the New York-based film and television studio and streaming network, FilmRise has secured the digital distribution rights to more than 200 feature film titles from the American production company and Full Moon Features film distribution company. Led by B-movie veteran Charles Band, Full Moon Features is known for producing […]]]>
In the latest content acquisition for the New York-based film and television studio and streaming network, FilmRise has secured the digital distribution rights to more than 200 feature film titles from the American production company and Full Moon Features film distribution company.

Led by B-movie veteran Charles Band, Full Moon Features is known for producing and distributing films for the direct-to-video market, including the Puppet Master, Trancers and Subspecies franchises, as well as classic films Castle Freak, The Pit and the documentary series Pendulum, Tourist Trap and Laserblast and VideoZone.

A sample of the films in the catalog include: Trancers starring Helen Hunt (Mad About You); Art LaFleur (Field of Dreams); The Gingerdead Man with Gary Busey (Point Break); Robot Wars with Lisa Rinna (The Housewives of Beverly Hills); and Unlucky Charms with Seth Peterson (Godzilla) among others.

The new deal grants FilmRise digital TVOD, SVOD, AVOD and FAST rights in the United States, Canada and the Caribbean. It will also see FilmRise distribute Full Moon Features’ extensive catalog of films on the FilmRise streaming network, including its flagship channel FilmRise Free Movies and TV as well as third-party digital streaming platforms.

“Characteristics of the Full Moon has achieved a huge cult following over the many years it has produced its horror, sci-fi and fantasy films,” remarked FilmRise CEO Danny Fisher. “[Its] multi-title franchises including Puppet Master, Subspecies and The Gingerdead Man continue to entertain viewers. We are delighted to add them to our library.

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Eight feature films selected for the Annecy Mifa Pitches https://taking-sides.com/eight-feature-films-selected-for-the-annecy-mifa-pitches/ Fri, 29 Apr 2022 14:03:07 +0000 https://taking-sides.com/eight-feature-films-selected-for-the-annecy-mifa-pitches/ 04/29/2022 – Happy ending by Marie Amachoukeli and Vladimir Mavounia-Kouka is one of the 32 projects pitched at the international animated film market Happy ending by Marie Amachoukeli and Vladimir Mavounia-Kouka A few days before the world’s biggest animation event, the next Annecy Festival (from June 13 to 18), unveils its official selection, the 32 […]]]>

Happy ending by Marie Amachoukeli and Vladimir Mavounia-Kouka is one of the 32 projects pitched at the international animated film market

Happy ending by Marie Amachoukeli and Vladimir Mavounia-Kouka

A few days before the world’s biggest animation event, the next Annecy Festival (from June 13 to 18), unveils its official selection, the 32 projects (chosen from 472 files) which will be pitched during Mifa online‘s market have now been unveiled. Among them, eight feature film projects, including Happy endingwhich marks the French talent Marie Amachoukelithe first steps of in the world of animation, after having co-directed the winning film at the Caméra d’Or in Cannes in 2014 party girl [+see also:
film review
trailer
interview: Marie Amachoukeli, Claire B…
film profile
]
and recently shot his second fiction feature film Ama Gloria – read our article).

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Marie Amachoukeli also wrote the screenplay for Happy endingwhich she will co-lead with Vladimir Mavounia-Kouka who is also responsible for the graphic design of the film. For the record, the duo had already been nominated for the César for best animated short film in 2018, courtesy of I want Pluto to be a planet again. Target an adult audience, Happy ending revolves around an interesting idea: what if death disappeared overnight? And what of the world and Bertha King, a former career soldier now deeply suicidal and devastated by this development? Production is managed by Emmanuel-Alain Raynal behalf Miyu Productions (who are preparing to unveil Pierre FoldesBlind willow, sleeping woman).

Two other French projects stand out in the 2022 Mifa Pitches selection: The Fire Keeper by Jeanne Irzensky (supervised by Gao Shan Pictures – read our news) and The dancing heart by Pierre LeCouviour and Amine El Ouarti. Produced by Long live Monday!, the latter is aimed at children and families, with a story that takes us back to 1918 in Douarnenez, land of fishermen and legends. Venaig’s father is fighting at the front. To bring him back, she decides to organize a party that they and the inhabitants of the Breton port loved before the war. But the adults of the city don’t feel like dancing anymore.

Equally eye-catching is an animated documentary aimed at adults and young adults: Pour the water as I’m leaving (Prospi Vode Za Mnom) by the Bosnian director (living in the USA) Daniela Meals. Written by Seen Phamthe story returns to how the brave survivors of the war in Bosnia and Herzegovina in the 1990s, who are now in the diaspora, give advice to two characters trying to flee the same war zone.

Target a family audience, Frank MosvoldThe Norwegian project The Legend of Magnus the Good see Denmark (A.Film Production A/S), Norway (Kool Production AS) and the Netherlands (Phanta Vision Film International) joining the production forces. Written by the director alongside Rob Sprackling and John Smith, this action-comedy follows the immature Magnus, a Viking prince who escapes his evil, macho uncle by traveling back in time from the year 1030 to present-day Norway. Here, he meets three drag queens who teach him a thing or two about courage…

Also worth mentioning is a project called igi by Georgia Natya Nikolashvili (also a producer via her company 20 steps). Adapted from Jemal Kharchkhadze‘s novel of the same name, the story takes us back to prehistory and in the company of a primitive tribe that still walks on all fours. Igi is a young man who looks like others but whose inner thoughts and feelings set him apart. He is the first to get up, and huge changes take place in his mind, and in his relationship to society…

The two other feature film projects selected for the Mifa Pitches (taking place on June 15 and 16) are Mexico The Ballad of the Phoenix and Zimbabwe Tribebut the selection also includes Short Film Pitches, Special Series and TV Pitches and Digital Experience Pitches, all taking place alongside Partner Pitches which will highlight talents from a specific country or category (in particular the Switzerland via GIFF, which is dedicated to digital experiences, and Spain via ICEX).

The selected projects are:

Feature films

The dancing heartPierre LeCouviourAmine El Ouarti (France)
Production: Long live Monday!

TribeTendayi Nyéké (Zimbabwe)
Production: Ndiani Productions PTY LTD, Triggerfish Animation Studios (PTY) LTD.,

igiNatya Nikolashvili (Georgia)
Production: 20 steps

Happy endingMarie Amachoukeli, Vladimir Mavounia-Kouka (France)
Production: Miyu Productions

The Ballad of the PhoenixArturo Ambriz, Rodolfo Ambriz (Mexico)
Production: Cinema Fantasma

The Fire KeeperJeanne Irzensky (France)
Production: Gao Shan Pictures

Pour the water as I’m leaving (Prospi Vode Za Mnom) – Daniela Meals (Bosnia and Herzegovina/USA)
Production: Shrine13, Yellow Inc.

The Legend of Magnus the GoodFrank Mosvold (Denmark/Norway/Netherlands)
Production: A.Film Production A/S), Kool Production AS, Phanta Vision Film International

Short films

ArborValentino Lasso (Mexico)

Hot water bolsitaYuliana Paula Brutti (Argentina)

The little white queenMathieu Georis, Théo Hanosset (Belgium)
Producer: Ozu Productions

The sorrow of the sunflowersLea Krawczyk (France)
Producer: The Astronauts

Petra and the groundStefania Malacchini, Maria Luisa Furche (Chile)

ShokoladiFabian Guamaní Aldaz, Medea Sharikadze (Ecuador/Georgia)

super sillyVeronica Martiradonna (France)
Production: Sacrebleu Productions

The day I smoked a cigarette with my fatherRobin Vouters, Sameh Alaa (France)
Production: The Valseurs

Digital experiences

motel at sunsetGilles Jobin (Switzerland/France)
Directed by: CIE Gilles Jobin, Nadasdy Film SARL, Floreal Films

Mary DwieWioletta Sowa (Poland)
Production: Likaon SP. ZOO

OrbisEric Serre (USA/France)
Production: Lucid Realities, Ink Stories, Lucid Camera

The Backwind HordeMorgane Schmitt Giordano (France)
Production: Small Bang, Studio NEB (Association Blend Awake), Studio Manette, Cosmotone

Anouschka and the braid of timeTamara Shogaolu (Netherlands/USA)
Production: Ado Ato Pictures

Incredible monster!Raphael Penasa (France/Switzerland)
Production: Wowl, small creation

MelancholyStephane Hueber-Blies, Nicolas Blies (France/Luxembourg)
Production: Lucid Realities, A_BAHN

Series and specials

Magic Mission in MexicoHefang Wei (France)
Production: Kazakh productions

Greetings from the ApocalypseMaryka Laudet, Quentin Camus Durand (US/UK)
Realization: Management 360, Pictures Passion

my superhero husbandAlex Tagali (Greece)
Production: Addart

Polo without boboSophie Castaignede (France)
Production: large company

Grandpa and Grandma made the revolutionAgnès Patron, Sophie Nivelle-Cardinal (France)
Production: Silk Drum Films

yukonMartin Engh, Jakob Thommessen (Norway)
Production: Imaginary Film

The Thoughts of JupiterJupiter Moumouni Sodre (Burkina Faso/France)
Production: Komadoli Studio

tiger and pigLiang Huang (China)
Produced by: Uyoung Culture & Media Co LTD.

LoveAnna Mantzaris (UK/Sweden)
Production: Passion Pictures

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(Translated from French)

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Sunscreen Film Festival: feature films, workshops, documentaries https://taking-sides.com/sunscreen-film-festival-feature-films-workshops-documentaries/ Tue, 26 Apr 2022 18:59:28 +0000 https://taking-sides.com/sunscreen-film-festival-feature-films-workshops-documentaries/ ST. PETERSBURG, FL — The 17th Annual Solar Film Festival kicks off its four days of independent film screenings, actor/director workshops, networking and parties in St. Petersburg on Thursday. Opening night begins with photos from the red carpet at the entrance to the AMC Sundial, followed by the world premiere and festival opening film, ‘Rose’ […]]]>

ST. PETERSBURG, FL — The 17th Annual Solar Film Festival kicks off its four days of independent film screenings, actor/director workshops, networking and parties in St. Petersburg on Thursday.

Opening night begins with photos from the red carpet at the entrance to the AMC Sundial, followed by the world premiere and festival opening film, ‘Rose’ All Day,’ directed by Marla Sokoloff, known for his roles in “Sugar & Spice” (2001) and “Dude, Where’s My Car” (2000).

“Rose’ All Day” is an 80-minute feature film about a group of college friends who get together once a year for a Rose’ All Day pool party. “But after several years of different careers and life paths, perhaps their friendship has finally had its day. cracks in their relationships become consuming chasms filled with vomit, tears, confessions and sculptures of broken penises,” the Sunscreen Film Festival website described.

A variety of workshops begin on Saturday and more films will be shown throughout the day and night through Sunday. Los Angeles-based producer and distributor Marty Poole will share tips on how to finance and distribute your film; Baton Rouge Film Commission Executive Director Katie Patton Pryor will host a workshop on Saturday titled “Film Incentives: How to Maximize State and Local Incentives for Your Film, and Where to Find Them.”

Some of the Saturday features scheduled for screenings at AMC Sundial include “Heroes Of The Sea,” “Love After War, Saving Love, Saving Lives,” and “Sylvie of the Sunshine State.”

A synopsis of the above mentioned feature films is provided below by Sunscreen Film Festival

  • “Sylvie of the Sunshine State” directed by Sasha Levinson is the story of sophomore Sylvie navigating the absurdities and emotional turbulence of her eccentric multi-generational Jewish matriarchy, a father who lives far away and life has gone virtual, seen through the lens of her filmmaker, single mother.
  • “Love After War, Saving Love, Saving Lives” directed by Mitchell Tepper is a documentary about the journey of six injured veterans and their partners to find sexual healing. Severely affected by visible and invisible wounds, they return home after military service, sexually and emotionally isolated. This film follows them as they dig deep to find the courage and fortitude beyond what was needed in war to restore their sexuality and rebuild their romantic relationships.
  • “Heroes Of The Sea” directed by York Hovest, Katrin Eigendorf and Sabine Streich is a film that focuses on solutions ranging from climate change to illegal fishing. York Hovest finds real heroes around the world who show us how to implement solutions. “Heroes of the Sea” is not just a call for caution to humanity through shocking images. Rather, this film exemplifies the positive message that we can all do something.

Sunday includes three workshops: “Legal: Ask the Lawyer for a Roundtable (Panel)”, “Writing: Pitch Fest! Workshop”, and “Film Coordination and Management”.

“The Golden Age”, written and directed by a Frenchwoman, Jenna Suru, will be the closing feature film on Sunday. The story is set in 1967. A penniless Franco-American producer living in Los Angeles returns to Paris, following in his mother’s footsteps to escape the Vietnam War. He meets an ambitious French theater actress, who plays in small Parisian theaters in front of empty seats. Both desperate to change the world, they decide to embark on an artistic project together, finding themselves in a small village in the south of France: Saint-Tropez.

For schedule details and to purchase single tickets and passes for the Sunscreen Film Festival, visit Solar Film Festival website.

Patch interviewed Jenna Suru, director of “The Golden Age” for a feature film that will be released on Wednesday. A feature on “12 Months,” which will premiere at the Sunscreen Film Festival and created by Florida State University alumnus Kelly Bandt, will premiere in Patch on Thursday.

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The Wicked Movie Adaptation Was Just Split Into Two Feature Films https://taking-sides.com/the-wicked-movie-adaptation-was-just-split-into-two-feature-films/ Tue, 26 Apr 2022 07:00:00 +0000 https://taking-sides.com/the-wicked-movie-adaptation-was-just-split-into-two-feature-films/ Although (perhaps appropriately) theatrical, this announcement shows a high level of care for Stephen Schwartz’s beloved piece on which the musical film will be based. The play debuted in 2003 and has since become a phenomenon, earning over $1 billion on Broadway in 2016. according to Playbill. Fans of the ‘Wizard of Oz’-inspired story had […]]]>

Although (perhaps appropriately) theatrical, this announcement shows a high level of care for Stephen Schwartz’s beloved piece on which the musical film will be based. The play debuted in 2003 and has since become a phenomenon, earning over $1 billion on Broadway in 2016. according to Playbill. Fans of the ‘Wizard of Oz’-inspired story had long dreamed of a proper film adaptation, but it seemed a world apart until ‘In the Heights’ filmmaker Chu was cast as the director. ‘last year.

Chu’s announcement also included a vague but thrilling release announcement. The filmmaker concludes by noting that “Wicked” will be released “on successive Christmas holidays starting in December 2024.” This means that the second installment will appear around December 2025.

It’s still a long wait for “Wicked” superfans, but so far all signs point to the success of this adaptation. Popstar Grande has been tapped to play Glinda the Good Witch, while actress and performer Erivo will take on the role of the future Wicked Witch of West Elphaba. The play itself actually takes on a two-act structure, so a series of duology films may end up feeling natural to the story.

The first part of “Wicked” is expected to air around December 2024.

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8th Smile International Film Festival with films from Germany, Iran and Argentina https://taking-sides.com/8th-smile-international-film-festival-with-films-from-germany-iran-and-argentina/ Sat, 16 Apr 2022 07:42:17 +0000 https://taking-sides.com/8th-smile-international-film-festival-with-films-from-germany-iran-and-argentina/ Films from Germany, Iran, Argentina, Cuba and Italy will be screened during the eighth edition of the Smile International Film Festival for Children and Youth (SIFFCY). Organized by the Delhi-based NGO Smile Foundation, the festival will be held virtually this year from April 24-30 and will screen 100 films from more than 50 countries. According […]]]>

Films from Germany, Iran, Argentina, Cuba and Italy will be screened during the eighth edition of the Smile International Film Festival for Children and Youth (SIFFCY).

Organized by the Delhi-based NGO Smile Foundation, the festival will be held virtually this year from April 24-30 and will screen 100 films from more than 50 countries.

According to organizers, the festival will feature a special selection of five Hindi and regional feature films produced by the Children’s Film Society as well as 10 German films, made in collaboration with Schlingel, Chemnitz, and five Iranian films made in collaboration with the Center for Development intellectual of children and young adults: Kanoon, Iran.

Filmmaker Rima Das’ “Village Rockstars”, which was India’s official entry for the 2019 Oscars, will be screened as part of the Extra Smiles – Best of SIFFCY segment.

Priyanka Chopra’s 2018 production ”Pahuna – The Little Visitors” and ”Chuskit”, a film directed by Priya Ramasubban, also feature in the segment along with films like ”The Flying Trunk” and ”Famous in Ahmedabad ” ‘. ”SIFFCY aims to provide wholesome entertainment for children. It supports good cinema for the benefit of children and young people. We are happy to have nurtured such a platform to bring quality movies from all over the world. Good cinema for children and young people should be encouraged so that this medium can help us build an empathetic society and a better planet,” said Santanu Mishra, President of SIFFCY and Executive Trustee of the Smile Foundation, in a statement.

Festival director Jitendra Mishra said the new edition of the film’s gala “will expose young minds to high-quality cinema from around the world”.

“It will inform the way the world approaches cinema and movies in general,” he added.

Film screenings at SIFFCY 2022 have been divided into six categories: International Competition (Feature Films), International Competition (Short Films/Documentaries), Extra Smile: Best of SIFFCY, 70 MM Smile: World Panorama, The Yellow Carpet: Indian Panorama , Next Gen: films made by film students and Take One: films made by children.

(This story has not been edited by the Devdiscourse team and is auto-generated from a syndicated feed.)

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Netflix orders new Polish feature films https://taking-sides.com/netflix-orders-new-polish-feature-films/ Thu, 14 Apr 2022 08:17:20 +0000 https://taking-sides.com/netflix-orders-new-polish-feature-films/ WARSAW: netflix announced 18 new Polish titles currently in production or scheduled to premiere in 2022 and 2023, including nine Polish feature films and nine series. Today you sleep with me, Freestyle and Monsieur Automobile and the Templars / Pan Samochodzik i Templariusze are currently in production for 2023. Today you sleep with me / […]]]>

WARSAW: netflix announced 18 new Polish titles currently in production or scheduled to premiere in 2022 and 2023, including nine Polish feature films and nine series.

Today you sleep with me, Freestyle and Monsieur Automobile and the Templars / Pan Samochodzik i Templariusze are currently in production for 2023.

Today you sleep with me / Dzisiaj śpisz ze mną by Robert Wichrowski, produced by Garland Film, is based on Anna Szczypczyńska’s novel of the same title. The screenplay was written by Anna Janyska.

Maciej Bochniak will direct freestyleproduced by Alvernia Studiosa story about Polish rap and a rising star of the genre.

Monsieur Automobile and the Templars / Pan Samochodzik i Templariuszeproduced by Orphan Studio, is a film series based on Zbigniew Nienacki’s best-selling novel. It is directed by Antoni Nykowski from the screenplay written by Bartosz Sztybor.

Netflix also announced its first Polish disaster movie, The Beehive, based on a screenplay by Bartosz Sztybor, following an idea by Bartosz M. Kowalski and Mirella Zaradkiewicz. In the near future of Warsaw, in huge buildings subject to demolition, there are still people who cannot afford to move and whom the system has forgotten. The premiere of The Beehive is planned for 2024.

“The coming months are a time for premieres of movies and series that tackle a variety of topics and represent different genres, conventions and cinematic styles. Thanks to this, they cater to the varied tastes of younger and older audiences. the way we are growing and at the same time we are preparing to implement other inspiring projects,” says Anna Nagler, Director of Local Original Series CEE at Netflix.

Netflix is ​​increasingly strengthening its position in the Polish market for original productions. It is worth recalling that over the past two years, the platform has spent 105.6 million euros / 490 million PLN on its own Polish and foreign productions and licensed content. Since entering the Polish market in 2016, Netflix has released 16 films in Poland.

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47 of the best creature features https://taking-sides.com/47-of-the-best-creature-features/ Tue, 12 Apr 2022 20:01:36 +0000 https://taking-sides.com/47-of-the-best-creature-features/ From scary critters to monstrous mammals, these 47 films will threaten your summer. By Jena Brown | Posted April 12, 2022 Photo credit: Universal images Photo credit: Universal images Photo credit: Warner Brothers Photo credit: Alfred J. Hitchcock Productions Photo credit: Paramount Pictures Looking for thrills? Register for Programmingto receive terrifying recommendations straight to your […]]]>

From scary critters to monstrous mammals, these 47 films will threaten your summer.

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Jaws
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Cujo
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  • Photo credit: Warner Brothers
The birds
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  • Photo credit: Alfred J. Hitchcock Productions
Pet sematary
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  • Photo credit: Paramount Pictures
Arachnophobia
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  • Photo credit: Hollywood Pictures
black water
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  • Photo credit: Audiovisual images
Tremors
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  • Photo credit: Western Pacific Productions
Gremlins
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  • Photo credit: Warner Brothers
Godzilla
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  • Photo credit: Toho Co.,Ltd
the reef
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  • Photo credit: Atlas Entertainment
Black Lagoon Creature
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  • Photo credit: Universal images
Anaconda
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  • Photo credit: Pictures of Colombia
Lake Placid
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  • Photo credit: Fox 2000 Pictures
Grey
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  • Photo credit: LD Entertainment
The oil spill
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  • Photo credit: Infinite ammo movement
piranha
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  • Photo credit: Dimensional films
Thug
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  • Photo credit: Dimensional films
Snakes on a plane
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  • Photo credit: Mutual cinema society
Villard
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  • Photo credit: Hard Eight Images
Alligator
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  • Photo credit: Group 1 films
The wide
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  • Photo credit: Lions Gate
The host
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  • Photo credit: Showbox Entertainment
deep ancestry
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  • Photo credit: Hollywood Pictures
the blob
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  • Photo credit: Paramount Pictures
The beast
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  • Photo credit: NBC
The race
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  • Photo credit: Tri Star Pictures
Imitate
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  • Photo credit: Dimensional films
The deep blue sea
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  • Photo credit: Photos of the village tour
Lowering
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  • Photo credit: Celador Films
The cave
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  • Photo credit: Lakeside entertainment
Leviathan
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  • Photo credit: Filmauro
The Tingler
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  • Photo credit: Pictures of Colombia
Wolfen
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  • Photo credit: Pictures of Orion
The killer snakes
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  • Photo credit: Shaw Brothers Studios
King Kong
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  • Photo credit: Pictures of RKO
Them!
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  • Photo credit: Warner Brothers
Feast
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  • Photo credit: Dimensional films
Rodan
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  • Photo credit: Toho Co.,Ltd
Night of Lepus
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  • Photo credit: MGM
Black sheep
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  • Photo credit: New Zealand Film Commission
Razorback
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  • Photo credit: UAA Films
Crawl
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  • Photo credit: Paramount Pictures
jurassic park
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The thing
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creatures
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  • Photo credit: New line cinema
Mist
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  • Photo credit: MGM
congo
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  • Photo credit: The Kennedy/Marshall Society
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