Issue 009 Milan 2016 by Film Fest International

Film

FILM: THE MAGAZINE/ 2016

THE MAGAZINE

DEDICATED TO THE BUSINESS OF FILM WELCOME TO INTERNATIONAL FILMMAKER FESTIVAL OF WORLD CINEMA MILAN 2016

WELCOME TO INTERNATIONAL FILMMAKER FESTIVAL OF WORLD CINEMA MILAN 2016 Dear Filmmaker,

Welcome to our final festival for this year, in Milan! Congratulations to everyone who has entered their projects to this festival and in particular to the exceptional films and scripts that have received nominations, as always - good luck! We hope that you thoroughly enjoy this week and we are very excited to meet you all over the course of the festival. After the success of our newest festival in Berlin we are thrilled to be back here in Milan, it’s such a great occasion to be able to celebrate all of your amazing work and we’re delighted to be able to give you this platform to share and broadcast it. Carl Tooney Publisher publishing@filmthemagazine.com Steve Grossmith Director of Marketing and Editor steve@filmthemagazine.com Shems Ghali Contributing Assistant Editor info@filmthemagazine.com Stephen Mina Graphic Designer/Illustrator stephen@filmthemagazine.com

As the year is coming to an end, the growth of this and all of our festivals has been extraordinary as the quality of film and script entries keep getting higher. Because of this, it seemed only natural to progress forward and as announced in the last issue we are overjoyed to tell you that we are launching a brand new festival in Amsterdam starting in 2018! None of this would have been possible without your continued support so thank you! As always, sincere thanks for the help and support from our industry experts, Neil McEwan, Ray Davies, Paul Eyres and Brad Blain, here to offer excellent advice to all filmmakers and scriptwriters. The festival team will be more than happy to assist you in anything that you need whilst you’re here with us and I hope you will continue your support into our future festivals in 2017, starting in London!

https://filmfreeway.com/festival/Amsterdam InternationalFilmmakerFestival

Carl Tooney President International Filmmaker Festival of World Cinema Milan 2016

Dan Hickford Sponsorship & Marketing dan@filmfestinternational.com

February 11th - 18th 2017

All articles, including all editorial used in this publication (whether printed or digital) do not necessarily represent the views of any of the International Filmmaker Festivals representatives, staff or associates.

May 13th - 20th 2017

No part of this magazine, whether printed or electronic may be reproduced, stored or copied without the express prior written consent of the publisher. Requests for permission should be directed to: publishing@filmthemagazine.com Although we make every effort to ensure all of the information in this publication is up to date and accurate the publisher takes no responsibility for any omissions or errors. The publishers accept no responsibility for the material supplied including (but not limited to) all editorial and advertising copy and, any omissions, errors or matters of copyright. All material supplied for use is solely the responsibility of the supplier or suppliers of the material reproduced in this publication, whether in mechanical or digital format.

We are delighted to announce that March 2018 sees the launch of our brand new Festival in Amsterdam, details will be available via our website soon and you can also enter via Film Freeway here!

July 8th - 15th 2017 September 30th - October 7th 2017

Find us on Social Media

For the latest Filmmaker Podcast. facebook.com/filmfestint twitter.com/filmfestint soundcloud.com/filmfestint www.filmfestinternational.com

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

PADDY MULLINS THE GREAT STAYER A film by Bankos Tales Productions This compelling portrait of champion racehorse trainer Paddy Mullins (19192010) is uniquely told against the backdrop of relevant transformative events in Irish history. Using rare archive footage and very special location access from the Mullins family and Cheltenham racecourse, the documentary chronicles the extraordinary life and times of the quiet man of Irish Racing.

When legendary commentator Sir Peter O’ Sullevan called the mare (Dawn Run) home in the spine-chilling heightened tones of one of his most famous commentaries, his words “and the mare is beginning to get up” will never be forgotten.

Broadcast in Ireland by Setanta and RTE ONE. Subtitles for the hard of hearing. Audio Description for the visually impared.

The timeless and absorbing human story filters down to the world famous Mullins dynasty that Paddy Mullins and his wife Maureen founded and who now carry-on his incredible legacy.

Funded by the Broadcasting Authority of Ireland. www.bankostales.com Run Time 53 Mins

PADDY AND MAUREEN MULLINS WITH THREE OF THEIR SONS WHO ARE LEADING RACEHORSE TRAINERS FROM L/R TOM, TONY AND WILLIE.

Paddy Mullins, Classic and Group One winning trainer on the flat and ten times Champion Irish National Hunt trainer opened up horse racing in Ireland and showed it wasn’t just a sport of Kings. He also helped build the reputation of Irish racehorses globally including in Italy and had a career that gave him the highest of highs where his path to success wasn’t always straightforward.

FROM L/R THREE OF PADDY’S GRANDCHILDREN WHO ARE JOCKEYS, DAVID, AINTREE GRAND NATIONAL WINNER 2016, DANNY, LEADING PROFESSIONAL JOCKEY AND PATRICK, CHAMPION AMATEUR RIDER.

It explores the revered trainers magical work with the wonder mare Dawn Run that brought about one of the most iconic sporting moments in history in 1986 at Cheltenham. This once of achievement in Cheltenham history of training the same horse to win the Champion Hurdle (in 1984) and the Gold Cup (in 1986) gave a huge boost to not just the Irish nation when the country was gripped with mass unemployment and emigration but the whole racing fraternity and beyond.

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11:10AM NOVEMBER 29TH

SCREENING ROOM 3

A FILM BY PRODUCTIONS

PADDY MULLINS THE GREAT STAYER

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

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FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

WHO IS JACKY WOO? With multiple award wins at both the Madrid and Berlin International Filmmaker Festival of World Cinema 2016 for Tomodachi & Kaikou (The Encounter) and with a win for “Haruo” also being awarded Best Film at the Young Critics Circle Film Desk from the Univesity of the Philippines and having just completed his latest film Postcards of the Miracle - Jacky Woo, producer, composer, director and lead actor is an incredibly talented filmmaker but, who is the man behind this fascinating film career? Following Jacky Woo’s recent role in Tomodachi we were given the opportunity to speak to the renowned actor and find out more about his background in Japan, getting into film and his future plans to reach out to an audience in Europe. Jacky Woo was born and raised in China Town, Yokohama, Japan where his father owned a Chinese restaurant and he spend a lot of his time. Family has always played a very important role in Jacky’s life, originally known as Yoshiyuki Oohira, his birth name, he decided to change it when entering his career in the film industry - he wanted a stage name and chose to take on his fathers’. His grandfather was was also a big influence in his life; He was a Kung Fu teacher and Jacky spent most of his childhood around him and the Martial Art, which is where he learnt the skill that inspired his career. Growing up in Yokohama like himself, most of Jacky’s friends were of different nationalities. Being around such a big group of mixed nationalities really influenced his focus on international people because of his relationship with this diverse group of people. However it was not always easy for Jacky living in Japan. During his childhood he was a lot more focused on becoming a performer, which caused him to be distracted from school and he also found it hard to be accepted. Being a quarter Chinese not everyone welcomed him into their society and often when he attended Japanese parties and festivals he would be asked why he was there but when he attended Chinese parties they would ask him the same question. Jacky found this difficult and since then has not regarded either of these countries as his home. This has been reiterated throughout Jacky’s life; In 2002 He was cast in one of the biggest dramas in Japan and felt like he was back at home, however his dressing room was placed with the international performers away from the Japanese actors. As well as this, earlier in 2016 a famous international film magazine interviewed him but had never interviewed a Japanese actor before; this was because they regard him as an international actor rather than a Japanese actor. This made him realise that he has no home. From a very young age Jacky has always been very focused on martial arts and performing as he has such a love for film. He loved watching Hollywood films when he was growing up but his favourite films are Japanese and Asians films because they’re ‘filled with emotion’ which he tries to put into all of his own projects. He was heavily influenced by Bruce Lee and Jacky Chan, both Kung Fu artists, which is what he is most interested in so could identify with them, they inspired him to be in front of the camera. Jacky also believes that the Japanese filmmaker Akira Kurosawa has had a big influence in the Hollywood film industry through his creative directing.

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JACKY WOO WINS BEST ACTOR PLUM IN PH-DIRECTED MOVIE AT NY FEST

Manila, Philippines – Japanese actor Jacky Woo won best actor for Filipino filmmaker Adolfo Alix Jr.’s “Haruo” at the International Film Festival Manhattan held in New York.

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

OUTCASTE THE HOUSE THAT CAROL BUILT

Carol Fraser is an English woman in her late 70’s and she wants to build a house in the Himalayas, but with no money.....this remarkable documentary charts this incredible story by filmmakers Laura Graham & Colin Graham. This is a unique story of faith and strength of belief of an elderly lady, an untouchable and a lapsed Buddhist monk, a bit like the Marigold hotel meets ‘Lost Horizon’. Carol Fraser is an eternal seeker living between England and India, but with no home and no one to look after her as she ages she has a problem! For her indomitable spirit and holistic way of seeing the world has created a huge spiritual bank account and an empty real one! COVIRO Productions is one of a new wave of small production houses springing up in Northern Ireland in response to the burgeoning film industry. Formed by Laura Graham and Colin Graham in 2011, it specialises in both narrative based and non-fiction films that have reached international audiences through art galleries, mainstream theatres, DVD, and the Internet. Colin Graham, a Masters graduate in Documentary film making with a background in business and construction is founder and CEO of COVIRO and has co-produced for No Bad Films with Richard Jobson, naming The Somnambulists and Wayland’s Song amongst them. In 2012 he produced IMBOLC, a short film supported by NISCREEN. He has gone on to work with a number of public bodies, producing and directing Internet based public information campaigns for rape awareness and violence.

Laura Graham, co director of COVIRO is a visual artist and former solicitor. Her art practice is extensive and multimedia. She wrote and directed her first short IMBOLC, and went on to receive a Best Director award from the Canberra Short Film festival and best musical score for the Madrid International Film Festival. Together they write, direct and produce their films, specialising in micro budgeting using digital formats, HD SLR cameras, and off line editing using adobe and final cut software. This is the first feature from the company, with two in pre-production, developing on themes in this first film.

LAURA GRAHAM & COLIN GRAHAM FTM: THAT’S A GREAT DESCRIPTION OF “OUTCASTE” WHERE YOU SAY IT’S A CROSS BETWEEN “MARIGOLD HOTEL” AND “LOST HORIZON”! LG: When I was a child, one of my favourite films was Lost Horizon. I never forgot the mystery, or the sadness implicit in the ending of the 1970’s film but as an adult I much prefer the original Frank Capra film. It resonates with themes of hope, and possibility, probably due to the political instability of the time, but it seems more important then ever to create a film that develops on these ideas. It is said, “write about what you love” and this film came about because I had been working with meditation for a number of years and then Colin became interested in it. Once you start down this particular route and experience what has been missing in your lives, you start to think, is there another way to look at the future? That’s really what this film is about, that potential, and in this case it is seen through the filter of Carol – an elderly woman – who has done something extraordinary. She doesn’t allow age to be a factor in any respect, let alone limiting. FTM: HOW DID YOU LEARN OF CAROL? LG: I had been working with a form of meditation for many years, meeting regularly with people from all parts of the globe, and it was through my relationship with these people that I came across Carol. I’ve known her for about sixteen years, and she has been talking about building this house for all that time. The thing is she has never had enough money to even think about beginning, so it seemed to be a bit of a pipe dream. Carol is one of the most highly educated people I have met, and yet she leads an almost itinerant life. She is deeply spiritual, very aware and capable, and a wonderful guiding light for many people and of course, a wonderful example of how age doesn’t mean that you have to curtail your life. CG: Laura would come back from her various trips and talk to me about the characters she had met, at one point she mentioned Carol and said she wanted to build this house. My first reaction was, this is madness how on Earth is she going to do that with no money and no income? Then we heard the project had begun, and we started to see some pictures, and it became clear that there was a really interesting story here. LG: It became even more interesting when we discovered that Carol was being helped by Chetan, who as an untouchable, or Dalit, a person with no status or wealth, had practically nothing by way of material possessions and yet what little he had, he shared. Then the story became even more interesting when we learned of the involvement of Raju, Carol’s lapsed monk, taxi driving friend. He has an unusual heritage, and that became important to the film.

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FTM: SO HOW IS CHETAN INVOLVED IN THIS STORY? LG: Chetan, like many poor rural people had a little piece of land to grow crops on. He is Dalit, which means he is too lowly to even be in the Caste system, he is outside the caste system . Dalit’s in India are people with no status and very little opportunity, and there is a battle on to help them improve their human rights. Chetan is particularly unusual. I like to describe him as an Indian “Robert Burns”, not for his poetry, but for his drive to improve his lot and his appreciation of social justice, because he has this drive and wish to learn. He wants to take his family and extended family to a better life through awareness and education. He had this piece of land, an orchard and he had tried to harvest and sell the apples but that had failed. Almost as soon as he met Carol he offered her his land, so he has a great heart. Something very special has happened in this situation and Carol and Chetan have ended up with a quite spectacular house. FTM: IS IT THE MOST SATISFYING FILM THAT YOU HAVE MADE? LG: It’s a labour of love and it’s an example of how, if you can change the way you think, you can change your life and the lives of those around you. We are all so interconnected that everything we do has repercussion, creates waves. More and more people are aware of the impact of our thoughts and actions but we have to be careful when we speak about the film, peoples’ eyes can glaze over if they think it’s going to be didactic or preachy, that’s why we’ve been very careful to keep the story and the characters at the forefront. We’ve been practising meditation and a more holistic approach to life for a long time so when we sat down to write this story, we wrote what we knew, and we put it down in what we hope is an interesting way –and through the filming and editing highs and lows – we really got to know the three people involved. After that came the research into the structures we were examining, Buddhism, Hinduism, the Caste System, the wonderful country that is India, it gave us whole new level of awareness and respect for the religions and the people.

FTM: IS INDIA SOMEWHERE THAT YOU WOULD LIVE? CG: It’s really interesting that you ask that, if you had gone there during the sixties it must have been like paradise, but sadly now, like a lot of places, there are a lot of tourists, and I say that with the awareness that we are part of the problem. But in terms of the impact on nature and the beauty of the land, you see all these stunning areas and guaranteed you’ll see empty plastic bottles and rubbish. Aside from that India and its people are incredible, so when I look at the mess I have to remember what an incredible place it is, they’re putting satellites into space – and their space program is incredible – it’s a form of organised chaos! That same industry is evident everywhere in the country. LG: And the more mystical side is still there. People have flocked to India for centuries to capture that mystery. At the moment, in Northern India a temple is being built that is really the most remarkable structure, with a story like no other. Our next film is going to be about that. India for me is like a beautiful memory, like when you were very young playing outside on a summers evening, when you could hear friends and neighbours, and the buzz of family life and you felt safe and happy; we were all out doing things, laughing, being together, that’s what’s attractive about India for me, community, family, love, these are sounds you still hear. As a country it has its problems, and it is dangerous but it is full of families! It is the most amazing country and I do love visiting. I’ll just have to be careful not to drop any rubbish! www.coviro.co.uk Run Time 67 Mins FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

SHIT HEAD

MONICA Filmmaker: Nadia Talel

Nadia Talel was born and raised in New York City. The daughter of immigrants, her family has roots in many different parts of Europe and the world, and Nadia developed a love and deep respect for different cultures and their cinemas from an early age. She traveled extensively as a child, and attended Princeton University in 2006. She concentrated on Slavic Studies, Near Eastern Studies, theatre, screenwriting, European cinema, and literature. She graduated Summa Cum Laude in 2010. She has worked as an actress in Theatre and film for several years and has had the opportunity to travel to different countries to work on a variety of film projects. She recently obtained her Certificate in Digital Filmmaking from NYU. This is her first film as a filmmaker.

Filmmaker: Sarwar Mohammad

DIRECTORS STATEMENT Before directing Black Mission I was diagnosed with rectal cancer in 2013. After long and very tough chemotherapy sessions I decided to go on holiday to my birth country Afghanistan. After spending sometime in Kabul I began to research about the Government because there was so much corruption within the system. So then I began to wonder how Afghanistan would be able to fight against terrorism. I then started writing the script (for Black Mission) and then returned to the UK for my routine check up and that was then when I decided to make a movie. Many people were not happy about my decision to go back to Afghanistan and shoot this film and I was constantly told that it would be impossible to shoot the whole movie in Afghanistan because of security concerns. I didn’t want to take a British crew because I didn’t want to put anyone’s life at risk and so I decided to return to Afghanistan on my own once again. Of course when I reached Kabul I had no idea about media productions there. Then by chance I met Mujtaba Sabbar at Radio television Afghanistan where he worked and after reading my script (which he really liked) agreed to be the lead actor.

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

We had so many problems when we started, we didn’t have any budget so I put together a team of 10 people and started teaching them about Gorilla filming which I had learned in UK and soon after, Ajmal Mohammad joined our team as a 1st time producer. During the shoot we witnessed 2 suicide Attacks in Kabul and escaped an attack by Taliban Insurgents whilst traveling to the north of Afghanistan. Our team has dedicated this movie to the young generation of Afghanistan.

Many youngsters I had met in Afghanistan would like a good education and to make Afghanistan a peaceful country. Everyone is tired of fighting and wants to achieve something for the future of a peaceful Afghanistan.

www.blackmission.co.uk Run Time 48 Mins WWW.FILMFESTINTERNATIONAL.COM

FEATURING IMAGES FROM THE FILM “BLACK MISSION”.

BLACK MISSION

Run Time 5 Mins

NADIA.TALEL@GMAIL.COM

Little Monica finds herself in the middle of an extravagant party filled with adults. When she notices the only other child there, a handsome boy by the name of Sebastian, Monica immediately falls in love with him. But what happens to Monica next as she embarks on her journey to win Sebastian’s heart is unforgettable, and raises important questions about social interaction and the power of human connection as seen through a child’s eyes.

PAUL FINCHAM COMPOSER

AN OUDIST IN RUMELI

Represented by

A DOCUMENTARY www.paulfincham.com fincham.p@gmail.com (+44)7775 742665

UNREASON ABLE PRODUCTIONS PRESENT S MARK WINGETT

CL AIRE KING

ALICE BIRD

S E C R E T S

SIMONE SPIN AZZEʼ

W I L L

E M E R G E

A REASON TO LEAVE designed by

PRODUCER Carolyn Weldon - DIRECTOR Norman Gregory - SCREENPLAY James Cottle - CASTING DIRECTOR Suzy Korel CDG CINEMATOGRAPHER Franz Pagot AIC MBKS - EDITOR Fiorella Santaniello - SOUND DESIGNER John York POST PRODUCTION Silk Sound - COMPOSER Paul Fincham www.areasontoleave.com

PAUL FINCHAM Film the Magazine is delighted to interview Paul Fincham, the music composer of the award winning film “A Reason to Leave” which has also been nominated in multiple categories at this year’s Milan International Filmmaker Festival.

CAN YOU TELL US ABOUT YOUR BACKGROUND? There are many routes into film composing but I would take a punt on mine being unique. I started making up tunes at the piano almost as soon as I could play it, wrote a lot of music at school and at university where I read music and was Music Director of Cambridge Footlights (vintage years, I went to the Edinburgh Festival with the likes of Hugh Laurie, Emma Thompson and the rest). Took a long break doing other (sensible) stuff and came back to composing four years ago when I worked on a score for Summer in February. That didn’t come off but I got the bug, got an agent, set up my studio, launched a record label and published a CD and here I am. HOW DID YOU GET INVOLVED IN A REASON TO LEAVE? My agency at the time, ARG, pitched me to Norman Gregory days before he was due to confirm the appointment of another composer. He came to my studio, we got on, we listened to some stuff and talked about film music at length. He took away my CD, mulled it over and decided to back me.

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At that time I had completed lots of shorts, several with the film unit at RADA, but this was a big deal for me as my first feature film. ARTL has been great for me, I love the settings in Dorset and Tuscany and was determined to capture the brooding intensity which comes across so powerfully in Mark Wingett’s lead, Harry Webster. Watch it, you will see what I mean. WHAT DO YOU SEE AS THE KEY TO SUCCESSFUL FILM SCORING? Tricky that as every project makes different demands. You have to write strong, memorable themes, every outstanding film score has one or more of those. And you have to be flexible, both in terms of genre, shaping individual cues to camera and shaping the overall structure of the score. And you have to make sure at all times that the director (and editor!) are getting exactly what they want. Sounds trite but it’s true: film making is all about collaboration. ANY REGRETS THAT YOU DIDN’T PURSUE IT STRAIGHT OUT OF CAMBRIDGE? I have less experience than if I had been jobbing it out for the last 20 years but on the other hand I am pretty sure I am writing better music, fresher, more passion. ANY REGRETS? Ask me that one in 20 years time.

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A REASON TO LEAVE An interview with Norman Gregory – The director, co-producer and co- writer behind the award winning film – A Reason to Leave THIS IS YOUR FIRST FEATURE - HOW DID YOU GET INTO DIRECTING? NG: Having trained at RADA and earned my living as an actor I had always harboured an ambition to direct. The opportunity came when I began studying for a Masters Degree in digital film direction at Bournemouth University. I directed a number of shorts and worked with many talented people; including James Cottle with whom I co-wrote the screenplay for A Reason to Leave. WHAT WAS THE INSPIRATION FOR THE FILM? NG: I remembered a news item I had seen on the local news about a publican who had stolen the pub’s Christmas fund and disappeared. His body was found some time later. He had jumped off a cross channel ferry and drowned. I wanted to see what would have happened if he had not drowned but started a new life abroad. I liked the idea that Harry, the main character would find redemption in an Italian vineyard – ironically alcohol being the cause of his downfall. DORSET AND TUSCANY ARE THE MAIN LOCATIONS, WHY WERE THESE CHOSEN? NG: Dorset was where the majority of the crew were based and also provides numerous stunning locations. Tuscany is a region I know well and somewhere I felt Harry , the main character, could begin a new life and come to terms with his past. I was really lucky to come across an unspoilt hilltop village, Orciatico, which was perfect. The locals were incredibly supportive and basically let us take over their village for two weeks including the local bar and restaurant! We even had Gina the local labrador on loan from her owner. We also had great help from the Tuscan Film Commission who kindly arranged for us to film in an area of San Rossore National Park which is not open to the public. WERE THERE ANY MAJOR PROBLEMS YOU ENCOUNTERED WHILST FILMING IN ITALY? NG: Not really, it was a great help having five Italians as part of the crew including Franz our DoP and Fiorella our editor, who helped out with translating. I hadn’t realized before we went to Orciatico that a major advantage of filming in a small village is that everyone is in the same place so we didn’t have to ferry people around. We could walk everywhere. YOU PUT TOGETHER AN AMAZING CAST – THAT CAN’T HAVE BEEN EASY? NG: I know quite a few people in the business and called in a few favours but it still wasn’t easy. Everybody liked the script and I think this helped. I wanted recognizable actors but had virtually no budget. I had worked with Mark Wingett as an actor. He is great as Harry, he was made for the part. Claire King again is well known and I knew she was right for Sarah. They were both really generous in agreeing to work with me and I cannot thank them enough. Casting Bethany was harder, I saw endless actresses over three weeks and it was exhausting. When Alice Bird walked in I wasn’t sure initially but after she read I just said “Thank goodness, we have found her”. I knew straight away she would be brilliant and she was. IS THERE ANYTHING YOU WOULD DO DIFFERENTLY NEXT TIME? NG: Get some money!!! Saying that for what little we had I don’t think we could have had a better cast or crew. Most of the supporting cast were played by the crew, Fiorella the editor was the Ticket Collector, Stefano the grip the lecher on the station, Eric our sound man, the trumpeter in the band, Scott the assistant editor a pall bearer and Kelly the make-up artist Harry’s wife. I even played a grave digger! SO WHAT’S NEXT? NG: We have been working on our next film Encounter for about a year now. It is about two giants of English literature who come face to face in a European story of love and conflict interwoven with reformism and the birth of the women’s movement. There is already a lot of interest and Betsan Morris-Evans is going to produce it. She has just finished producing the TV Drama series NW for Mammoth Screen and directing Dusty and Me, a feature film which has already been sold to Netflix and won numerous awards in America. We have shot a teaser for the film and are on the fourth draft of the script. Shooting will start early next year.

www.areasontoleave.com Run Time 94 Mins FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

Filmmaker: Shomshuklla

Here, Shomshuklla, the talented Filmmaker behind “Tiktok Tiktok” tells FTM how she came to make her latest film.

Tiktok Tiktok is a psychological, surreal, erotic film. When I wrote the script, I was clear that the story would be told in a manner that is very different from how erotic cinema is visualized. The film is about a restaurateur and a journalist who meet for an interview and the romance that brews. I chose to create visuals and storytelling unique to my style, which is quite abstract and grips the audience’s attention.

Tiktok Tiktok was a great journey because of my team and actors – Uditvanu Das, Mia Maelzar and Sohini Mukherjee Roy. All of them have been collaborating with me since the days of my theatre group Kali Theatre. It was great to be able to complete the film in the way I dreamt it. This is my first English language feature film, and so after three films, holds a very special place for me.

www.stagelines.blogspot.com Run Time 73 Mins

WHAT’S GOING ON WITH WOLVES? Here, Filmmaker Eric Simon explains some of the background to his latest documentary project.

Wolves are a highly controversial topic, triggering countless legal battles. The debate about wolves impacts our sense of justice, as we ask ourselves: why are wolves being killed in such large numbers? No other animal in the United States receives as much attention from elected officials, while around the world the wolf has inspired impassioned campaigns. What’s Going on with Wolves? is a documentary just over an hour long exploring topics such as the unfounded fear of wolves, misperceptions about their impact on other wildlife, and the search for effective means to avoid attacks on livestock. This documentary, which includes excerpts from sixteen interviews with people who devote a significant portion of their working life, if not all of it, to wolves, enables viewers to understand an issue that goes basically unreported in day-to-day journalism. Three of the interviews were filmed in Italy. Addressing a dilemma that is normally presented as a fight between environmentalists and livestock owners, What’s Going on with Wolves? is as much about human interactions in relationship to wolves as it is about wolves themselves.

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“What’s Going on with Wolves? is a perfect example of what a documentary should and can be. It was nearly perfect and did away with the distracting bells and whistles of a much lesser documentary that has no real substance and in its place presented an important work that everyone should see. It might be surprising to hear that there’s not a lot to say about the film other than people should see it. It was perfectly directed, edited and the interviewees were all great in their roles and helped make the documentary an enjoyable experience... I’ll be not only recommending this to everyone, but I’ll also be talking about the cause and using some of the stats presented in the film as my talking points.” What’s Going on with Wolves? has been nominated for Best Director of a Short Documentary, Best Editing of a Documentary and “Scientific and Educational”. The documentary will be shown December 2nd at the MIFF at 12:15 PM in Room 1.

ericsimon4@yahoo.com Run Time 68 Mins WWW.FILMFESTINTERNATIONAL.COM

THIS SECTION FEATURES PHOTOGRAPHY FROM THE FILM “TIKTOK TIKTOK”.

TIKTOK TIKTOK

The use of the clock, as a symbol to show the ebb and flow of time is an important character in the film. Props, which I use to enhance my stories, are also used in a very interesting manner not simply aiding the actors but becoming integral by themselves. Poetry too finds a place within the threads of the story as the romance unravels.

AN OPEN DOOR/ CHOC’LATE SOLDIERS With two documentaries in competition, here acclaimed documentary maker Noel Izon, gives us some extraordinary background to these thought provoking films including an opening personal family connection to “An Open Door”. “Of the 1305 Jews who were able to make it to Manila, two of them are very important to me and to who I am today. The first was an Austrian physician named Otto Zelezny. He came to the Philippines in 1938 and eventually became friends with my father. When my father became deathly ill in 1945, he saved my father’s life. So I would not be talking with you today if it were not for the skill of this doctor. Between my younger sister and me, we have eight children and six grandchildren. The other Jew that was very instrumental in my life was Dr. Herbert Zipper, He had been to two concentration camps before he got a visa to be the conductor of The Manila Symphony Orchestra. Fortunately he stayed on after the war and I got a chance to meet him personally when I was in 5th Grade. He brought the Manila Symphony to my school and for the first time in my life I had an adult talking to me like I was an adult. He explained the construction of the orchestra and the symphony and various instruments and I was totally fascinated with this and because of him I began to play in a band that continues to this day. So one gave me my life and the other my lifelong love of music.” Noel Izon Noel Izon is an independent filmmaker based in Hyattsville, MD. He was born in Tondo Manila in 1946, the year the Philippines attained full independence. He is the fifth child of acclaimed Filipino cartoonist and artist Esmeraldo Z. Izon. He moved to the United States in 1967. He has been involved in creative and broadcast design and production for over four decades. His production credits encompass more than 250 films and videos. He has filmed internationally in Asia, Europe, the United States and Israel. He has won many national awards for his work, which include some 100 nationally televised programs produced mainly for PBS and for National Geographic Television. He has produced films and videos for numerous national and international clients including the White House and the Vatican.

AN OPEN DOOR: HOLOCAUST HAVEN IN THE PHILIPPINES A dramatic story of rescue and friendship and how the Philippines was able to provide sanctuary to more than 1305 Jews fleeing Nazi Europe prior to 1941 and is the third in Noel’s trilogy of forgotten WWII Stories. In the1930’s, when nations of the world were closing their doors to refugee Jews fleeing the growing horror of Hitler’s Germany, one small island nation in the Pacific chose to do what others would not – save those lives. On July 6, 1938, 80 delegates from 32 countries around the world met at a French resort in Evianles-Bains at US President Franklin D. Roosevelt’s request to address the growing Jewish refugee crisis in Hitler’s Greater German Reich. Over 200 international journalists and representatives from Jewish relief organizations recorded 10 days of deliberation by the delegates that ultimately failed to perform the task for which they were assembled – to save Germany’s persecuted Jews through orchestrated resettlement. It can be characterized as one of the greatest diplomatic and humanitarian failures of 20th century Western civilization. Not one of the attending delegations voiced a commitment to either lift or suspend their nation’s quota restrictions within their immigration laws or vowed to increase the numbers of Jewish refugees entering their country by offering them political asylum. But while these relatively lowlevel diplomats, mostly from the Western nations in Europe and the Americas, lamented the plight of the refugees without offering any solutions, the small Asian nation of the Philippines had already set a rescue plan into operation. Holocaust historian, Bonnie M. Harris, Filipino-American historian, Sharon Delmendo, and award-winning Philippine filmmaker, Noel “Sonny” Izon, have collaborated in creating a timely documentary, “An Open Door: Holocaust Haven in the Philippines,” in which this previously unknown episode in history has been beautifully captured. And while this rescue, orchestrated and empowered through Pres. Quezon, ultimately saved these refugees from the uncertainty of Europe’s future, it also gave them a new welcoming homeland as the Filipino people opened their hearts and accepted them within the fabric of Philippine society. This event in history, the rescuing of 1,300 refugee Jews by the small Asian Commonwealth nation of the Philippines, saved these persecuted Jews of Europe from the fate of the six million Jews who were murdered in the Holocaust, and while 1,300 Jewish lives, when compared to six million Jewish victims of Nazi atrocities, are not so many, to those hundreds who found a haven in Manila, each Jewish life that was rescued was a blessing for the more than 8,000 members of their current posterity. The greatest legacy of the Holocaust Haven created in the Philippines and retold in Izon’s film will always be this – they healed wounds inflicted by the worst of times as only the Filipinos can.

Run Time 78 Mins

Bonnie M. Harris, Ph.D. Lecturer, Dept. of History, San Diego State University, Grossmont College, Southwestern College FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

CHOC’LATE SOLDIERS Choc’late Soldiers from the USA is a feature length documentary on a little known episode of World War II. It is the untold history of 140,000 African American soldiers sent to Great Britain during WWII. It becomes an explosive story when a thoroughly segregated US Army collides with a racially non-restrictive England. In the years leading up to D-Day, Black GIsand English citizens develop friendships and serious relationships, some even leading to matrimony. The responses from the US Army and ordinary white GIs to this unexpected social phenomenon bring American racial policies and practices under close and unflattering scrutiny. It is ironic that while these African American soldiers are valiantly fighting the organized racism of Nazi Germany, they also are serving in a segregated US Army. It is a testament to the goodwill of the English people, that despite their history of colonial expansion, they treat Black troops with genuine dignity and respect, and in some cases, love. Veteran John Wood expresses a widely held belief among Black GIs when he states: “They treated us as Americans, but they (the British) knew we were different Americans. Choc’late Soldiers from the USA examines social experiences born of the unique circumstances of 1.6 million American soldiers stationed among British civilians. For African American soldiers, navigating their way through a predominantly white, color-blind society is novel but relatively easy. However, the barriers imposed by the US Army and American culture will prove more problematic. For British civilians who bond with Black GIs, learning about the American way of life, is life altering. Irene “Girlie” George, now in her nineties, still gushes about her days working in the Red Cross Club in Bristol, saying, “It was the most memorable experience of my life.”

Choc’late Soldiers from the USA is a character-driven story in which subjects discuss a variety of “social” issues including the African American cultural aesthetic, Jim Crow, and the interracial dating that would ignite violent behaviors among many ordinary white Americans. This film is conceived as a conversation among African American GIs, historians and English civilians who share personal anecdotes and observations of WWII England and of the time when Black GIs became part of their social landscape.

The characters’ unique experiences are captured in first person interviews at locations of personal or historical significance. The era is coaxed to life through personal photographs, period recreations, archival stills and film, artist’s depictions, and Hollywood movie clips. It has an original score by Charlie Barnett. Renowned American and British historians provide historical context and political subtext pertaining to the African American sojourn in England. Choc’late Soldiers from the USA focuses on the human drama, engaging the recollections of Black soldiers and English civilians, all of whom share with us their insights and stories. It is a rare political and social event that one historian once described as a “utopian interracial moment.”

Run Time 61 Mins FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

JAREEDY

Writer/Director Mohamed Hisham

In the following editorial, Film The Magazine were lucky enough to have the experiences and background from three people directly involved in the making of this incredible short film.

Ahmed Kardous – Producer – Production Company “Filmedia production” HOW DID YOU BECOME INVOLVED IN JAREEDY? AK: Mohamed Hisham (the director of Jareedy) is an old friend and because he is a director and I am a producer / director of photography we are always talking about our dreams in shorts and feature films and he was very excited about Jareedy and I loved the story because it talks about my homeland (Nubia). This part of Egypt with its own traditions and language and people. So with a good attitude I said to him what I can do to let this project become a reality. And so with me and my company (Filmedia production) I become part of this film by helping with equipment rental and some other duties. WAS THE VISION THAT YOU HAD FOR THE FILM IN THE BEGINNING & HOW IT ENDED UP IN THE END? AK : It went very well and exactly as we imagined and we are very proud and I’m looking forward to more movies with Mohamed Hisham. I THINK THAT ALONG WITH THE DIRECTOR, A PRODUCER’S ROLE IS PROBABLY VERY STRESSFUL, HOW DO YOU MANAGE EVERYONE’S EXPECTATION’S...AND REMAIN CALM!? AK: The overall atmosphere of psychology is very important and we started working on this project as a family and this is also very important to solve all normal problems and put all of our energy into how we can let this movie be a wonderful experience. WHAT WAS THE ONE THING THAT REALLY STOOD OUT WHEN MAKING JAREEDY - AND DID YOU LEARN ANYTHING FROM IT? AK: When you make a low budget movie and put all of your passion and dreams into it, and becomes successful, this is what we have to see and learn, and we are looking forward to more movies with this wonderful director Mohamed and Filmedia productions.

Mohammad Kamal – Composer When I was approached by Mohamed Hisham he gave me an idea of what he was planning to do, and indeed my mind started getting a good clue on how a story like this should sound .The concept of the dream or vision that Kunnaf (the main character) has in the movie was an important set of scenes and we agreed that it would have to possess a unique, easily identified sound whenever he appears in the film. The setting of the environment in which the film takes place also suggested that I use earthy raw instruments with minimalistic arrangements. I like to orchestrate and arrange things in my head before I even play it on an instrument. When it is clear in my head, I can easily translate everything into real music in no time! Ghalia Benali (the singer in Jareedy) raised the bar of the work that had to be done with her passion and dedication to her music, her professionalism, and uniqueness. She gave the film every bit of care and her approach paved the way to how I was to compose the score. She is the soul of the score, no doubt about that.

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

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I come from a song writing background before working in pictures, I was a full time musician playing the guitar and singing. I played in Lebanon, Dubai, SriLanka, London, and other places. I got into sound engineering as part of my career when I was in London and stepped further into it by studying sound engineering and music production at the SAE Institute in London, graduating in 2006. That is when I started to have a growing interest in film scoring. Today I would like to think I am both a songwriter and a composer for film, and try not to compromise both in my film scores. The most challenging thing about a film score to me is the very beginning. The first meeting to talk about the project, I go home and start reviewing all the information and ask myself how would this come out as something special? A lot of times the answer is “I have no clue”! You start doubting your abilities, feeling like this is the project that will be your downfall!

WHAT DO YOU LOVE MOST ABOUT YOUR ROLE? WF: I think that everyone enjoyed being a part of Jareedy. The teamwork each put into their role meant that the input we had resulted in the best we could have hoped for this film. There was a spirit of teamwork under the leadership of the film director Mohamed Hisham, making you all highly enthusiastic so that in the end the film could be shown at its best.

WHAT DO YOU THINK PEOPLE WANT TO SEE IN A FILM, WHAT IS IMPORTANT TO MAKE IT WORK? WF: I think that audiences all over the world are looking for movies with a new idea and a different way of implementation and innovation and to have a sense that you can touch and feel it, whatever your culture and your gender and your background.

For me, I have enjoyed working with such a professional team and in the face of all of the difficulties in the end it was finished in the best way possible.

The fear of not being able to come up with “the” melody or “the” style of the score gets in the way till the very end. From my experience, when you have an enthusiasm for an idea and it just isn’t working, the best thing to do is face it, start from scratch, and just go on. What happens is that while trying so hard to make the previous idea work, and even though nothing came out, what does happen is a deeper understanding of the picture and what works with it and what doesn’t, resulting in a better outcome.

Wael Farag – Producer – Production Company “The Cell” I WOULD IMAGINE THAT YOU HAVE TO CONSIDER MANY REQUESTS FROM FILMMAKERS, WHAT MADE YOU DECIDE TO CHOOSE JAREEDY AS A PROJECT, WHAT STOOD OUT? WF: Jareedy movie was not a usual project for me, it was a different experience with different content. The idea of the film was to look inside and try to realize the dream no matter how distant and elusive. The selection of Nubia was not just a place for events; For the Nubian people, Nubia is an old dream that is impossible to be achieved but does not die and has no end. All of this has motivated me to do a new project in terms of content and artistic mood and style also the Nubian language, scoring and the soundtrack from the Nubian heritage was very special, Jareedy for me was as a very different experience. HOW DO YOU ENCOURAGE PEOPLE AND THE FILMMAKING PROCESS TO WORK AS QUICKLY AS POSSIBLE? WF: Producing a film is divided into two parts, the first is artistic and creative and the second is technical. So, how to deliver the project with high quality for the final copy? We have to remove all consequences regarding the technical implementation of the project. Also, our target is to complete the project with a high quality of art and the best budget as soon as we can and we also we have to stick to the deadline as far as possible.

Run Time 28 Mins FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

SANAK/DYING TO LIVE With one script in competition in Milan “Sanak” – Vivek Kumar and Barkha Madan are clearly a talented partnership!

MIDDLE: VIVEK KUMAR - RIGHT: BARKHA MADAN.

Pushing Independence : Certified Public Accountant (Chartered Accountant) and UCLA Screenwriting Grad, Vivek Kumar and Film, TV Actress and Model, Barkha Madan, collaborated on creating a platform where Independents were the king or queen of the castle. Hence Golden Gate Creations LLC was formed, where be it producing a film, to distributing content, we have always prided ourselves with the fact that we will always be pro independent and this is not a socialist statement, but we firmly believe that we can create a profitable business opportunity on this model. This was proved when we made our debut feature SURKHAAB, that actually recovered its cost and also put a minimal excess into our pockets, such that we could recycle the amount into our subsequent projects. Along our journey, we have also learned to team up and support others who share this pro Independent mindset. Hence festivals like this one in Milan and also the folks who are behind the similar festival in London, Nice, Berlin and Madrid. In fact, the awards and nomination that SURKHAAB got in the London/ Madrid and Nice festivals, were one of the reasons we were able to complete the full circle of distribution and exhibition, so it gives us great pride to continue to support Carl’s festivals, Film Festival International and we are delighted to be nominated for the Unproduced Scripts Category, for our script.

AN OUDIST IN RUMELI

This documentary is about an oudist named Rasim Salih from Mitrovica, who has played a major role in the cultural development of the Turkish Communities living in Kosovo. The main character started his musical career during the beginning of the 1930s, although he had not previously taken any academic or professional education. His interest in music had started when he was 10, whilst watching his barber master play his mandolin. During that time period, he had been working as a foreman in that barber shop, and later on had continued to develop his skills with the old music books he had found from people that he knew. With the help of those books, he later developed his great musical skills which were displayed on many Classical Turkish musical instruments. In 1951, a new era of cultural development began when the Turkish Communities of Kosovo gained their cultural and educational rights. Throughout this phase, Rasim Salih had educated many young people about Turkish Music in different cultural organizations of many towns within Kosovo. He has established and created the Orchestra of Turkish Arts Music, within the State Radio of Prishtina. Therefore, he has also helped promote and emphasize the uniqueness of the Turkish Culture by bringing together musicians of Turkish and other communities that live in Kosovo. His works have introduced and promoted the values of the Kosovar Arts and Culture to many countries throughout the world. This film is a biographic documentary, which constitutes of consecutive sequences based on true stories. These stories interpret the life of Rasim Salih, who was a very well-known musician.

We are also on the cusp of producing two scripts, in early 2017 and will, of course be routing all of our future scripts and films, through your festivals. Our support also stems from the fact that these awards and these nominations provide the road, that is then traversed by the initiative of the independents. Our support for the International Filmmaker Festivals, be it in Madrid, London, etc, continues to remain unconditional and complete. We truly and objectively believe that these awards are the best thing that happened to the global community of filmmakers. The word Global Independent is also something we have imbibed in letter and spirit. Our productions, scripts and our content distribution, will always be about collaborating with the global independent filmmaking and artistic, community and that is something we have soaked in from our interactions in the various European festivals of the Film Festival International group.

vivek@goldengatecreations.com

In particular, Rasim Salih was famous and respected for his extraordinary talent in playing the instruments of oud. Moreover, his musical career also included professionally playing other instruments such as the violin and cümbüş*. Furthermore, the strongest creative characteristic of the documentary is its ability to reflect the Turkish Culture almost exclusively through one person and his instrument, which is the instrument of oud. This documentary is made up of three main parts. In order to bring sparkle to the documentary, in its first part the actors have artistically interpreted his childhood and youth. The second part articulates scenes from the archives. Whereas, the third part encompasses the chronicles as described by Rasim Salih’s profesors, musicians, and friends.

berkantcuri@hotmail.com Run Time 64 Mins FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

Written And Directed By Judith Escalona

A timeless story of love and revenge, drugs and violence. Breaking free of the past to love and be loved. BX3M: Sometimes love is the endgame.

For Maria and Mona, graduation means fulfilling a dream. For Michael it means dashing all hope for a better future. You either make the grade or you don’t - in academics or love - and that makes all the difference. Things are heating up as Maria, Mona and Michael get ready for their senior year at James Monroe High School in the Bronx. Graduation is a no-brainer for Maria, a natural-born nerd. Mona, her best friend, wants to go to Cooper Union and that spells trouble for the aspiring photographer.

FOUR JOURNEYS A film by Teresa Mular

This film examines and delves into the lives of four Latin-American women who emigrated to New York. With humility, clarity of purpose, fortitude, unwavering in their commitments and refusing to bend, these four women included in “ Four Journeys “ have kept their ideals above everything else. Their lives matter and so it is the same for all others (whether women or men) who arrive in New York from foreign lands. This film is dedicated to all immigrants. DIRECTOR’S BIOGRAPHY Dr. Teresa Mular was born in Buenos Aires, Argentina. She was raised and educated there, completing her University studies and graduating as a Medical Doctor at age 23. Parallel to that she studied piano and voice at the National Conservatory of Music in Buenos Aires. As a young person she developed a lifelong passion for classical music and the arts. She moved to New York, to further her training at Downstate Medical Center, State University of New York Kings County Hospital, in Brooklyn and became an Associate Professor in the Department of Obstetrics and Gynecology years later at the same institution and had a long career as a physician and teacher. She is a past president of the New York Gynecological Society (New York City). She has been studying Italian in Florence since 2006 and it is there where she found the germinating seed for making a documentary about the land that witnessed her birth.

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

BX3M traces the lives of three teenage friends growing up in a poor, working-class neighborhood. Maria loves Michael more than anything in the world but that love is blind. Her father knows it, Maria will have to see for herself. Mona feels trapped in a lover’s triangle, wavering between Seneca, a Monroe track star, and Sam, a Cooper Union art student. Her dilemma is a well-kept secret till her mother discovers Sam is a girl. Michael’s mother was gunned down by drug-dealers when he was three years old and his father never did anything about it. Michael refuses to be like him. When his best friend gets pushed out of a window and dies, Michael goes after his killer Duke. “It’s an epic on a city block,” says Judith Escalona, the director and writer of BX3M. She grew up in the Bronx and knows these characters intimately. Genuine experiences inform the lives of Maria, Mona, and Michael, the fictional characters Escalona has created. Portraying the lives of inner city girls sets this urban drama apart from most films of the genre. These portraits of Latina adolescents are memorably different, yet their struggle is universal. Michael’s story, too, draws on the conventions used to represent ghetto life but with unique and unpredictable moments.

/Bx3MtheMovie bx3mgrowingupfast.com Run Time 104 Mins

In 2011 she completed a four part documentary that pays homage to the various artistic complexities and cultural life of Buenos Aires “Volando en las Alas del Tiempo” (Flying on the Wings of Time) that was screened in Florence (Italy), Lucerne (Switzerland) and New York. In 2013 she made another successful documentary “The Muse is the Mountain”, about artisan women living in Costa Rica has won multiple awards in Europe, Asia and the Americas; it received an award at the Milan International filmmaker festival of World Cinema for best director of Short Documentary in 2015 and the Best Foreign Language Documentary at the Berlin International Filmmaker Festival of World Cinema 2016. In 2015 she wrote and directed a short fiction comedy “Now Boarding”, in English, with a Spanish subtitled version as well “Embarcando” was selected for screening on October 3rd at the New York Dog Film Festival 2015. In addition it has been selected at other international film festivals, including the Colour-tape Festival in Brisbane, Australia June 2016, the Dada Saheb Festival in India April 2016, The Jakarta Festival (Indonesia) November 2015, The Finow Festival, in Germany February 2016 and recently The Madrid International Film Festival where it won for Best Original Screenplay of a Short Film. She has just completed in July 2016 her new documentary “ Four Journeys “ about Latin American immigrant women living in New York.

Run Time 55 Mins WWW.FILMFESTINTERNATIONAL.COM

BOTTOM LEFT: MICHAEL, MARIA AND MONA IN FRONT OF JAMES MONROE HIGH SCHOOL - TOP RIGHT: MONA IN SAM’S BED MIDDLE RIGHT: GETTING HIGH AT DUKE’S PLACE - BOTTOM RIGHT: MICHAEL SEARCHES FOR DUKE.

BX3M

Michael, Maria’s boyfriend, is flunking out. No matter, Michael is on a mission yet unknown to him - call it destiny or revenge.

WAR OF LIONS THE WAR OF LIONS: Adapted Screenplay by Thomas W. Gatus and George A. Perantoni.

Our story relates the wartime experiences of Carlo Perantoni’s family in Poland and Italy during WWII. It contains romance, human interest, suspense and drama. It easily captures the interest of both European and Anglo-American audiences by providing a complete and polished storyline which they can relate to. The protagonists are real people supported by photographs and real documentation: Polish and Italians. Their true story involves the two groups having to separate unexpectedly, thus creating two intriguing subplots which, by an amazing coincidence driven by true history, bring them to enjoy an amusing happy reunion, but still in very troubled times! As the story spans the entire 6-year it war begins with the characters enjoying happy times in pre-war Poland. The sudden development of two subplots takes the audience in two separate directions across northern Europe, even the Persian corridor and Egypt. Then the main plot concludes with equal happy times in Italy, but in a disorderly and dangerous setting. This war story is not about soldiers in combat, instead it’s about average people caught in a war. Although the story is centered on the unique experiences of the Perantoni family with their Polish friends, it gives the audience an appreciation for similar events and situations lived by civilians during war-time Europe. The audience will also benefit of a simple and better understanding of Europe’s stage in World War II: The very heartbeat of the war in Europe. The story’s ever present antagonist is the war itself with its assorted players in short appearances. The narrative of our true protagonists provides lightweight positive entertainment in the midst of a horrific war. A screenplay reviewer made this statement: “I appreciated that your script did not indulge too much into the horrors of the war. So, the fact that your script alluded to the atrocities happening but never tried to shock or terrify was very rewarding. You told a very compelling story about family [life] accessible and unique.” The same reviewer also wrote: “Most World War II stories follow the same general formula. Your script was a breath of fresh air in this regard. From the beginning the story offers a very unique perspective and different lets with which to view this era. Not only was the Polish perspective a very interesting angle, the fact that the main characters were Italian citizens made your script very intriguing and unique” ... “I have always thought the Italian perspective of World War II was tremendously interesting and is sorely lacking representation, so your narrative fills a void in this genre well.” Other reviewers wrote: “I really enjoyed the script and marvel at the cunning and tenacity of its main protagonists. I read it straight through as I was gripped by the story” ... “The characters seemed very real and tangible, a story that needs to be told. Photographs being available enhance the realism of this very fine story” ... “The originality here is fantastic. A fresh view on WWII from a perspective that hasn’t been seen before. It focuses on the people, not the soldiers. The settings are also original and not what we have typically seen of WWII ... Kudos on the originality scale well done.”

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

My favorite review comment was: “How gratifying it felt to read the number of incidents where Nazi’s were outwitted by guile and fearlessness ... I got caught up in the [protagonists] wit and courage under Nazi occupation. I feel honored to have read it.” Then, in personal note the same reviewer wrote: “Thomas, let me first off congratulate you and George for a great script. It’s the highest rated of the many scripts I’ve read here on Zoe.”

Sincerely related here, by George Perantoni and Thomas Gatus.

WWW.FILMFESTINTERNATIONAL.COM

WHO ARE THE “LIONS” AND WHY IS WWII DENOTED AS “THE WAR OF LIONS?” The beautiful Ukrainian city ‘Lviv’ had not always been Ukrainian. Prior to the second world war it was the largest city in Eastern Poland, and earlier it belonged to Austria-Hungary. Regardless of the region’s political changes, the city’s name always meant ‘Lions’ in each of their spoken Languages (Ukrainian: L’viv, Polish: Lwów, Russian: Lvov). Variations such as German ‘Lemberg’ and Latin ‘Leopolis’ connoted ‘City of Lions’. Our title “The war of Lions” refers to laudable men of Poland’s Kresy (the eastern borderlands) the majority of whom were from its largest population center, namely: the city of Lwów. During the Second Polish Republic’s critical period of military occupations by two very hostile aggressors, the Soviet Union and Nazi Germany, the laudable and heroic Lions gave a stinging retribution to Adolf Hitler, the originator of their land’s demise. Their reprisal caused the fall of Fascism as they took part in the liberation of Italy, thus sending the Wehrmacht on a gradual northward retreat . It was Hitler’s proverbial writing on the wall, as the brave Polish 2nd Corps and all the other Lions of General Anders’ Army had their day with Nazi Germany. Some of these courageous men were the dear friends of our protagonists (Victor, Luigi, and Carlo Perantoni) as well as loyal patrons of our family’s Winiarnia Italia Wine and Pasta Tavern located in the heart of Lwów. While the liberation of Italy was still in progress, two of these bold Lwowians and a priest (the former Vatican emissary to Lwów and loyal Winiarnia patron) ventured into German held north Italy, simply for a cheerful get-together celebration with the Perantonis.

Based on a true story. WWII comes to a boil, forcing an Italian family and friends in Eastern Poland to flee, and henceforth rely on wit and luck to survive.

SYNOPSIS: Lwòw, the Polish ‘city of lions’ known as Leopoli to Italians, was central Europe’s rising hub for commerce, a notable center of education, and a magnet for scholars and researchers. But then its vibrant growth became suffocated by post-war Soviet oppression. Before the war Carlo Perantoni operated a long standing family wine import business centered in Lwòw at the ‘Winiarnia Italia’ wine and pasta tavern. Loyal patrons included members of the Lwòw Stamp Club who often played cards using stamps like poker chips; The Vatican Emissary priest, Padre Michele Kolbuch; André Frodel, a printer, lithographer, stamp artist; and Franki Morawiecki, a student at the Polytechnic University. Carlo Perantoni’s two sons, Victor and Luigi, were the main bar keepers. Carlo was also the Honorary Vice Consul for Italian Foreign Affairs in Eastern Poland. It was “good for business” he always said. But on 28 August 1939 a phone call from the Italian Consulate alerted Italians to evacuate Poland without delay. Days later, Germany invaded Poland and WWII began. Carlo and Romana, his wife, and their son Luigi returned to the family’s ancestral home: Volargne di Dolcé, in north Italy’s Valpolicella foothills. Victor instead, who was eligible for Italy’s Fascist conscription, headed for an extended stay with family in Switzerland. Lwòw was bombed, and Padre Michele’s orphanage was severely damaged. Padre set out for the Vatican with 203 Catholic and Jewish orphans, armed only with forged papers created by André and members of the stamp club. As the war drags on, Franki was commandeered into the newly Soviet-formed Ander’s Army. But the Russians considered his friend, André Frodel, too old to fight at fifty-one and sent him to a labor gulag. With forgery he was able to scam his way to the Polish 2nd Corps where he reconnected with Franki in Egypt. In the meantime Victor’s Jewish girlfriend Dani faced deportation to a Nazi death camp.

Upon his return to Lwòw Victor was promptly arrested by a patrol of Italian soldiers. The Italian Division Commandant, an avid stamp collector, made Victor a deal to run the military post office for Axis Forces. His post office job allowed Victor to blackmail an SS officer and his Wehrmacht lover to ‘look away’ as he carried out Dani’s elaborate escape from Lwòw’s prison ghetto. In time Victor returned to his family in Volargne di Dolcé. After the Allied southern invasion of 1943, the Perantoni wine business had become an obligatory canteen service for a congested retreat of very anxious Wehrmacht units. Being on the other side, André and Franki took part in the liberation of Italy and they reconnected with Padre at the Vatican. Eventually the three of them traveled north disguised as clergy, for a festive reunion with the Perantoni family ... amid uneasy Germans. On 21 Nov. 1944, Victor witnessed an aerial attack on a Nazi ordnance train by Allied warplanes not knowing its true contents. Fifteen railcars of TNT parked adjacent to Volargne were detonated, instantly reducing the town to mere rubble and dust. It was one of the largest man-made explosions before the atomic bomb. It was a wartime accident of huge negligence, caused by Hitler and Mussolini. The main characters survived but their way of life was irretrievably lost. Adapted from “Arrivederci Leopolis” by George Perantoni 5800 Shasta Drive, Orlando, Florida. 32810 407-644-3056 - perantoni@leopolis.us www.leopolis.us FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

THE FILM INDUSTRY NETWORK IS PROUD TO BE PART OF ‘THE INTERNATIONAL FILMMAKER FESTIVAL OF WORLD CINEMA MILAN 2016.’ MILAN INTERNATIONAL FILMMAKER FESTIVAL, November 2016 - Sees the continuation of The Film Industry Network (TFIN) with membership and advisory services to film makers who wish to seek film advice with regards to film structure, production set up, finance, world sales and distribution. Co-founded by Ray Davies and partner Paul Eyres along with a group of advisors from various areas of film and television expertise, TFIN continues to provide a unique support service that is currently non-existent outside a handful of exclusive producer representatives worldwide. “IT’S NOT WHAT YOU KNOW – IT’S WHO YOU KNOW THAT MATTERS” TFIN exists because we have a strong proven working knowledge of this intricate and complicated industry - ‘we know how it works’ and ‘we know how to work it to help clients succeed’ - says Ray Davies of TFIN. TFIN are extremely proud to have available to members access to an extensive list of additional dedicated services and resources essential to satisfy the various and often complicated steps required for any project to reach fruition. These in-house services and ‘Go-To’ relationships built by our team over many decades complete the necessary stages of process and development ordinarily outside the scope of knowledge and certainly beyond normal access of anyone without extensive experience and contacts. We have extensive in-house skills and experience and solid ‘Go-To’ associate agreements in place with leading global resources specifically to ensure we cover every base with total confidence to help members achieve whatever their requirement. Membership packages are bespoke, ranging from basic support to fully comprehensive. Running across the annual festival circuit, each tailored to a client’s individual needs and structured to provide privileged access to industry mentors. With links to knowledge, experience and seasoned connections to help steer you clear of the industry rocks, it should help to avoid making mistakes that could damage real opportunity.

‘TFIN’ 2016 AND BEYOND! TFIN are looking to open new doors to support client’s needs and in 2016 we will expand on the team, bringing our next service into play. To expand connection further we are looking to appoint relationship managers in Europe and North America rolling out strategies to support TFIN Social networking, Film making, Producers, Directors, Script Writers, Entrepreneurs with new and exciting distribution market strategies. Our fabulous relationship with ‘FFI’ has taken a new step and we would welcome contact from servicing, commercial finance or insurance groups with interest in supporting the next generation of talent in film making. We want to thank everyone that made us feel part of their journey, ‘YES’ we give advice but for us knowledge shared is a huge part of what makes ‘TFIN’ a success. It was not developed to gather aimless members, it was specifically created to drive careers! ‘TFIN’ BREAKING BARRIERS! Take advantage of the 15 minute pitch in ‘The Producers Lounge!’ Finished Product or In Development? Let TFIN FFI’s client liaison team know your needs and reserve a place! This could be the pitch that changes your career path! ‘TFIN’ HELPS YOU TO HELP PROJECTS YOU HAVE AN INTEREST IN, WANT TO KNOW MORE? We believe that paying forward is worth rewarding, refer two friends to TFIN that can really benefit from our support and get your / renewal membership absolutely FREE, complete with access to our showcase to distributors.

“I’m extremely proud to continue this unique service at Milan 2016 Int’l Film Festival” - Ray Davies

Do you have: •

a commercially viable

finished film seeking route

to market?

•

a script you feel could be

the next big box office

success? •

a TV project you feel could

be the next franchise

success?

Do you need: •

help with planning or maybe

just help with a pitch pack?

‘Congratulations! You’ve made it this far, now take the first big step!

For information on how we can help drive and grow a route to market for Producers / Members, email the team: ‘We don’t promise miracles and not every project of course will become an overnight success, but we do promise to look diligently at every project we receive and to give our members genuine and honest feedback, advice and support.’ For further information please visit our website: www.thefilmindustrynetwork.com Attending the 2016 Milan Film Festival: ray@thefilmindustrynetwork.com paul@thefilmindustrynetwork.com FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

BULGARIANUM A film by Nikolay Bogomilov

Bulgarianum is a film from the director Nikolay Bogomilov written by the Russian writer Faina Grimberg. The film is both artistic and a documentary. Although it was created on the basis of a Bulgarian documentary and artistic material. BULGARIANUM is a philosophical reflection about the complex relationships between people and art in general. In the eyes of the directorcharacter suddenly and then constantly in a mystical way disappear and appear in boundaries between the past and present, between the real and the fantastic, between the ordinary world and the world of art. So the conditional BULGARIANUM (Bulgarian home) becomes a huge space, where the linear time disappears and human history and culture become a unified whole. To achieve the effect of the absence of linear time, the same actors are photographed for 6 years. So we see that when a person lives without cultural interests, he has a “smart body”, it is a natural and organic part of nature. And when he develops intellectually, he loses the “mind” of his body, and this is the price of “the mind of intellect and sophistication of feelings.” Bulgarianum is an experiment, offering to the viewer a complex and diverse film-language whose understanding is possible only if the cultural references in the movie are recognized.

ENEMY? The 63rd National Award Winning Konkani Film “ENEMY?” - from the Government of India - is a powerful film about a soldier’s plight caught in the legal entanglement whilst trying to safeguard his property.

Synopsis: In the midst of the festive season, a Goan Catholic family discovers that they have lost their property to the Government and their family honour is at stake. Sanjit, the soldier son has to fight a different battle. As the tension and drama builds up, Sanjit finds himself pushed to the edge. His reaction leads to a gripping climax. ENEMY? has won BEST STORY, BEST FEMALE PLAYBACK SINGER and BEST SUPPORTING ACTRESS at the 8th GOA STATE FILM FESTIVAL, India and was officially selected at the 5th Delhi International Film Festival, New Delhi, All Lights India International Film Festival 2016 at Ramoji Film City, Hyderabad, Indian Film Festival of Melbourne 2016 and at the London Indian Film Festival 2016.

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

Run Mins Run Time Time 81 6 Mins

ENEMY? was awarded the “BEST FILM” Award at the recently held Haryana International film festival 2016. The lead actors of the film, Mr. Salil Naik won the Best Actor Award, whereas Dr. Meenacshi Martins won the Best Supporting Actress for their performances in the film. The film is directed by Mr. Dinesh P. Bhonsle and stars Dr. Meeanacshi Martins, Salil Naik and Antonio Crasto in lead roles. ENEMY? is the second film produced by Mr. A. DURGA PRASAD of Prasad Creations, Panjim, Goa, India.

www.prasadcreationsgoa.com Run Time 94 Mins WWW.FILMFESTINTERNATIONAL.COM

MR. A DURGA PRASAD RECEIVING THE 63RD NATIONAL FILM AWARDS FOR BEST KONKANI FILM “ENEMY?” FROM THE HONORABLE PRESIDENT OF INDIA, SHRI, PRANAB MUKHERJEE.

That’s why this movie would be a real challenge for lovers of “art house” cinema.

GOLDEN GATE CREATIONS LLC • Film Production – (Canada, USA and India) • Film Distribution – Theatrical in US/

Canada/UK/Dubai/Bahrain/UAE/Australia/

Far East/India

• Ancillary and Satellite Sales – India and US • Offices – California, Vancouver and India • Contact – vivek@goldengatecreations.com

and 415 657 6652 (US)

• Projects and Publications:

URKHAAB (www.surkhaabthefilm.com)

& IndianEntertainmentOnline at

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Gravedigger is the story of Hero Jackson, a fraternity brother and super douche, who drunkenly passes out one night in a graveyard only to awaken the next morning surrounded by teddy bears and wearing a pink nightgown. Hero soon discovers that his body was borrowed by a recent deceased teenage girl who’s grave he passed out on the night before: who only wanted to go home. In an attempt to test this bizarre new gift, he soberly lays upon an unknown grave, only to have his body hijacked by one of the most infamous bank robbers of the 1990’s. Hunted by cops, abducted by spirits, spanked by strippers and trying to run a fraternity, Hero attempts to keep both himself and the party Alive.

Many of the Fraternity antics and events were based on true stories from his days at the University of Vermont while pledging for a fraternity. With the help of Delia Kelly, an extremely gifted editor and director and a large number of talented actors and crew, Gravedigger was brought to life.

www.gravediggertheseries.com

BONDAGE A Film By Esquire Jauchem

BONDAGE is based on the comic one-act play by famed Asian-American author David Henry Hwang (M Butterfly, Chinglish, Tarzan and Aida Broadway musical books). With a screenplay and direction by theater, opera and television veteran, three time Emmy nominee, Esquire Jauchem, it features Broadway and TV star Paige Davis as the dominatrix, Mistress Terri, and Ryun Yu as her submissive.

Run Time 40 Mins

In a Los Angeles sadomasochistic parlor, Terri, and her client, Mark, are clad head to toe in leather and latex costumes that conceal their faces and ethnicities. These elaborate disguises allow them to play out fantasies based on racial stereotypes and sexual mythologies: she becomes an African-American woman to his white liberal man; he transforms into an Asian-American and she to a blond WASP, etc. Exchanging biting social observations laced with stinging humor, they progress through their power games, exposing the arbitrariness of racial mythology. All the while, however, they are haunted by a growing awareness that beneath their own masks, despite their own efforts, they may be moving to the most terrifying reality of all – true intimacy transcending the boundaries of race.

The result is an amusing evening with dominatrix Mistress Terri in the House of Bondage where anything is possible, disguises are mandatory, and everything is unexpected…shades of leather, latex, chains, and love…but with a woman truly in charge, there is nothing grey about it! David Henry Hwang and Esquire Jauchem are proud to have won the Best Short - Screenplay Award at the recent 2016 Berlin Film Fest International; the Silver Award for Short Film at the Oregon Film Festival; Best Newcomer (Director) and the Silver Awards for Best Short Film, Director, and Ensemble Cast at the Filmmakers International Film Awards, Jakarta, Indonesia; and the Honolulu Film Festival Golden Kahuna Award in Hawaii. The entire production team is very excited to have two nominations at the Milan Film Fest International awards. With BONDAGE, “… the author of M. BUTTERFLY proves to be a wry observer of contemporary mores.” - The New York Times

www.bondagefeature.com Run Time 46 Mins

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

FEATURING IMAGES TAKEN FROM THE FILM “GRAVEDIGGER”.

Filmmaker: Christopher Cohen

Gravedigger was the recent winner of the “Best Supporting Actor in a short film” award at the Nice International Filmmakers Festival, won an Award of Recognition from IndieFEST and is now nominated at the Milan International Filmmaker Festival for Best Original Screenplay of a Short Film , Best Lead Actor in a Short Film, Best Director of a Short Film, Best Short Film and Best Comedy!

FEATURING IMAGES TAKEN FROM THE FILM “BONDAGE”.

GRAVEDIGGER

This is Christopher Cohen’s first film production and the first script he’s ever written. His background is in theatre which may explain his flare for the dramatic and the comedic. Gravedigger was inspired by a simple idea when Chris was in college, a young man who has the ability to sit on a grave and let that soul free.

WWW.FILMFESTINTERNATIONAL.COM

Christopher Cohen

WHO? WHO IS DOREEN?

Doreen is one of the most unique, outrageous characters that travel the world---France, Italy, U.K., Canada, and U.S. Certainly ONE of a KIND!!! As an actress, writer, producer and love of observing all walks of life, Doreen was created.

She will make people laugh. She will touch their souls. Not a dull moment. And she will NEVER stop her love of men, nor her speaking to the poor. Doreen is often asked where they could see her again. Doreen guarantees they will see her but her next location will be a surprise. BUT.........WHAT IS SHE HIDING?

A SELFIE/SLAVE With two films in competition at MIFF 2016 – “A Selfie” & “Slave” – here Luis Ángel Ramírez shares some background to these thought provoking short films. Nivel Diez Film & Post is a production company that has been working in Mexico City for over 10 years. Based on his experience both as the general director of Nivel Diez and as a producer, Luis Ángel Ramírez believes that movies are the best conveyers of ideas and messages, and have the potential to be a powerful agent for positive change in society. With this view in mind, Luis Ángel Ramírez created 5 short films that address different aspects of violence in our society. Each one of these films was directed by a well-known Mexican director: Amat Escalante, Carlos Cuarón, Michael Rowe, Álvaro Curiel and Mafer Suárez, all of whom share his concern for these pressing problems.

Creator and Writer, Morag “Morrie” Sinkins Actress, writer and producer of the Comedy Short Film--WHO? And the creator of the character Doreen. Morrie is a Canadian citizen whose life is a movie in itself. Her life has been spent in both Canada and the U.S. and she has currently written a pilot for a Comedy TV Series, which will be submitted to various locations. Doreen will certainly be in it!! Great respect is given to the director/director of photography/editor Giovanni Mota and the wonderful cast member such as Naked Cowboy one of Doreen’s favourite “hunks.” This short film was nominated for the Ariel, the most important award in Mexico’s movie industry, and has gained recognition at the Raindance Film Festival, the Toronto International Short Film Festival, the LA Shorts Fest, the NY Shorts Fest, and the Beverly Hills Film Festival, to name a few.

Director/Editor -Giovanni Mota Writer/Producer/Creator--Morag “Morrie” Sinkins Assistant Director--Anna Filameno Script Consultant--Michael McCarthy Cast Members Morag “Morrie” Sinkins--Doreen Robert Burck--Naked Cowboy Erik Sherr--Businessman Gigi Assante--Homeless Woman mosinkins@gmail.com Run Time 11 Mins

Luis Ángel Ramírez feels a huge sense of accomplishment at being able to produce these kinds of projects, which allow him, through movie making, to raise awareness of problems that are common to every country.

“A Selfie” was directed by Mafer Suárez, a talented director with a vast experience in audio-visual media. This short film takes a disturbing look at social media, and one of the many ways the internet is used to commit crimes. “A Selfie” has been favorably showcased at the Atlanta International Short Film Festival, the Festival Internacional de Cine de Monterrey, and the Lady Filmmakers Festival, among others. In order to make these 5 short films as true-to-life as possible, we embarked on a careful and extended research process that included interviews with victims of these types of crimes. Moreover, both “Slave” and “A Selfie” are based on true stories.

We are happy to announce that two of our best short films are now in a position to raise the awareness of people at a global scale thanks to their inclusion in the International Filmmaker Festival of World Cinema MILAN 2016. “Slave” was directed by distinguished Mexican director Amat Escalante, who received the Best Director Award at the 2013 Cannes Festival. This film is a crude, direct and brilliant portrayal of one of the world’s most serious problems, human trafficking.

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

A Selfie - Run Time 16 Mins Slave - Run Time 13 Mins

IN THIS SECTION THE TOP PHOTOGRAPH IS TAKEN FROM THE FILM: SELFIE. THE BOTTOM IMAGE IS TAKEN FROM THE FILM: SLAVE

This story shows how Doreen both lived and witnessed all people and her excessive pursuit for the perfect “hunk.” Her escape from having to live a life of perfection takes her on a wild spree amongst the crowds of people. No one knows who she truly is but through her disguise and unstoppable behaviour people are able to see the difference between the “Queen of the World” and her heart of gold.

WWW.FILMFESTINTERNATIONAL.COM

MAKING A MACCHIATO A Screenplay By Kimber Helms & Valentina Nepi

Like happiness….a perfect macchiato requires a perfect balance between coffee and cream.

Making A Macchiato is a romantic drama that explores gender and cultural difference. America is efficient and calculating, the place to get ahead. Italy is chaotic, dysfunctional, dominated by its past. It is a beautiful wreck, but stirs the soul for those willing to open themselves to experience and romance. With their different approaches to life and sex, perhaps both cultures are out of whack… and have something to teach the other. Sexism exists in both places, but its manifestation couldn’t be more different. Should we walk the path of political correctness when everyone is looking even though it is a sham or should we call it what it is and understand that women and men are different and celebrate those differences? Is it acceptable for men to openly admire a woman or it is inappropriate? Caroline confronts these questions as she negotiates Rome, first as a tourist and then as an insider and realizes how far she has traveled from Manhattan, not just in physical, but also emotional distance. In a politically correct America in the current political climate, what is acceptable behavior? How should men and women approach each other?

A post-feminist, cross-cultural drama set in the most romantic city on earth, Making a Macchiato offers an honest, but affectionate look at life in The Eternal City from an outsider’s perspective. Its themes are appealing to those that love Rome, but also to anyone who has fallen in love and negotiated the difficult terrain of modern relationships. Writers, Valentina Nepi and Kimber Helms live on opposite sides of the world, Kimber in Virginia, USA and Valentina in Melbourne, Australia. United by a passion for Italy, they have been writing together for several years, focusing mainly on historical drama. Making A Macchiato marks their first romantic drama and though it is predominantly written in English, there is a healthy smattering of Italian. Making a Macchiato is inspired in part by the experiences of the writers’ extensive travels in Italy and the diverse and fascinating people they have met along the way. kimber.helms@verizon.net valentina_nepi@yahoo.com

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

WWW.FILMFESTINTERNATIONAL.COM

TOP PHOTOGRAPH: KIMBER HELMS - BOTTOM PHOTOGRAPH: VALENTINA NEPI

Caroline is a tough New Yorker who is laser-focused on her career. Everything seems to be on track for a brilliant future until she agrees to join a college friend for a holiday in Rome. Despite her talent for staying away from emotional commitment and complicated relationships, she finds herself entangled with a self-assured, passionate restaurateur and his family who give her an intimate look at Italian culture that confronts, challenges and ultimately seduces her. She is amused, surprised, and sometimes infuriated, but cannot turn her back on the city and the man that she has come to love despite their eccentricities. For the first time, Caroline abandons her cost-benefit analysis and realizes what it is to be happy. Making a Macchiato explores the notion that happiness may be tied up with the idea of balance… balance between chaos and order as well as between men and women.

MakingAMacchiato A screenplay by Kimber Helms & Valentina Nepi

[13.1-9+19+13] VOL.01 A Short Film By Madam M.A

ABOUT THIS FILM They have no beliefs, but they have religions. Gods save us, yes? The world we see is the truth, yes? “What are the gods? Gods are made by people, aren’t they? That is to say that people can only believe people, because gods are people’s creatures. It’s funny. But I have some religions … to unbelieve.” Many people can’t feel free because of their creatures, not only gods, but also including words, religions and commons. I want to them clean up and be free. Here it is, the dreams are coming true.

WHO IS MADAM M.A (AKARI MAZDA) Born in Japan. Multi-artist and a selfmakeup portrait photographer, film & video director, composer and disguise maestro e.t.c. M.A Films is a brand name of films by Madam M.A. M.A Films was founded in October 2011. Almost all videos and films are made by Madam M.A. only (Director, Producer, Actors, Music, Art, Script, Camera, Editor, Animator…e.t.c) WHY I MAKE… I’ve always been thinking about “What is the truth?” until now, and this idea came from my teenage life and certain philosophers: for example, René Descartes, Sigmund Freud, Richard Wisser and Platon.

We believe everything that exists in this world; including the existence of ourselves. All things in this world are made by people, but we don’t notice that, even gods, words, all truth that we think it’s true are made by people. So why I continue to make; to search what is the truth, to make an appeal that you all know nothing. And why I use such meaning, unknown words which are not clear, because I don’t want to offer “stereotyping” but, I want to make “triggers” to think about this world and think about yourselves by music via strong visuals. info@ma-films.com ma-films.com Run Time 6 Mins

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

WWW.FILMFESTINTERNATIONAL.COM

TOP RIGHT: A PHOTO OF MADAM M.A - THE OTHER IMAGES FEATURE STILLS TAKEN FROM THE FILM.

All you believe only your creatures. No one understands the truth.

PAUL HORAN Here we profile Paul Horan – the talented scriptwriter behind “Confession” and “Spirits” – both of which have been nominated at this year’s Milan International Filmmaker Festival. Paul Horan is a writer hailing from Cork, Ireland. Initially educated in information technology, Paul earned a BSc in Business Information Systems, as well as an MSc in Multimedia Technology. The latter allowed him to peek through the window of the entertainment industry from a safe distance, and something sparked into life. After a few years of working on the technical side, Paul finally resolved to follow his twin passions of writing and film. Across the pond he went, shillelagh in hand, and a shamrock in his lapel, ready to search for his pot of gold. He now lives in Los Angeles, works in commercial production, and writes as much as he can between bouts of procrastination and self loathing. It’s fair to say his writing style is varied considering his two featured scripts “Confession” a short drama, and “Spirits” a horror feature - but though he likes to work across genres, each work contains the same distinctly Irish tone comprising of strong characters, dark quirky charm, a good dose of cynicism, and well structured storytelling. “Confession” is a very local story, but touches on themes and issues embedded in Ireland and beyond. The impact of the Catholic Church’s domination on generations of citizens. The class barriers that always find a way to crop up in society. The genuine grass roots efforts at reform that priests are now trying to push towards, whilst encountering anger and animosity from past deeds. It also explores the machinations and politics that can take place in even the smallest of towns, where no secret remains a secret for long. All, while maintaining an interesting, entertaining, and very-Irish sardonic gallows humour in its tone. It’s the story of a good local priest, Father William. He knows his parishioners well, but until this point has had a fairly easy run of it. Gossiping old ladies, kids guilt ridden over copied homework, that sort of thing. Dealing with his duties in a common sense manner, he’s a ‘spirit of the law’, rather than ‘letter of the law’ kind of guy. His mettle is tested by the local begrudger with a chip on his shoulder, Michael, coming in for his first confession in years. Spurred by realizations of his own mortality after a cancer diagnosis, Michael has suddenly been struck by how little he has achieved in life. The one thing he has cause to be proud of, he’s kept secret for 12 years. His son. The result of an affair with another married local woman. Michael has watched from the distance as the boy has grown and developed. And now, with the clock ticking on his life, Michael wants a taste of fatherhood. Father William must do his best to offer the most sound advice he can, keeping the best interests of both Michael and the boy at heart, whilst fending off the clear personal resentment Michael feels for him. Their intensely claustrophobic dialoguedriven scene escalates to a shocking revelation from Michael that threatens to turn Father Williams world upside down. Finding himself truly tested for the first time in his priesthood, can he turn the other cheek, or will he let his inherent humanity and emotion win the day?

FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

On the other end of the spectrum we have “Spirits”, a classic slasher with a twist. Very much self aware, in the vein of ‘Cabin in the Woods’ , the script aims to subvert many of the genre’s more recognizable tropes. On a superficial level, it’s about a bunch of early-20-somethings who take a jaunt over the border to celebrate the Day of the Dead, a trip which proves fatal for most of them. But under the surface, it explores issues of cultural appropriation, religion, alcoholism, and asks the question of its seemingly innocent travellers - “how good are your morals, really?”. All with a healthy portion of dark comedy thrown into the mix. Selena Morales and her twin sister Gracia were always close growing up in Mexico. Like two halves of a whole. Even living in different countries after Selena moves to Los Angeles, they remain close. When Gracia, a police officer, is killed in the process of stopping a maniac on Dia de los Muertos, her sister falls apart. Utterly distraught, she experiences nightmares every time sleep comes, and while awake, can’t shake the feeling that her sister is calling out to her. Though a cynic by nature, she begins to dabble in the occult, desperate to find some way to gain closure with her sister. WWW.FILMFESTINTERNATIONAL.COM

After dealing with an endless line of mediums who prove to be nothing but snake-oil salesmen, hucksters, and fakes, she seemingly comes across the genuine article. She’s lured back to Mexico to perform a ritual on the first anniversary of her sisters death, the Day of the Dead, with the promise of speaking to Gracia one last time. Her friends - unaware of the true nature of her trip - insist on tagging along to celebrate the holiday in style. The ritual is simple - a spirit can be returned on this day alone, drawn back by an incantation, and a vessel - a bottle of tequila. Whoever drinks from that vessel will be inhabited by the spirit. But alas, as is always the case, there’s a twist. Selena is being played for a fool, as the spirit being returned is not that of her sister, but her sister’s psychopathic killer. As the bodycount rises, Selena must uncover which and how many - of her friends have been possessed, and the truth behind why she was lured there. Fast paced, and funny, “Spirits” stands out in the genre with its no-nonsense female protagonist, unique setup, and characters you actually feel for when their terrible fate befalls them.

paulhoran@me.com FILM: THE MAGAZINE/MILAN/NOVEMBER - DECEMBER 2016

TIME

FILM TITLE

SYNOPSIS

RUN TIME

SUN 27

ROOM 1

10:00

The Band’s look

What does a tour guide, a writer, a social worker, a call center operator, a music and radio organizer, a musician and an immigrant (in Scotland)? They play Music. That’s what “Banda di Palermo” is all about.

56 minutes

11:00

HeavenKid: Time-Space Door

ToTo by accident opened a device that transformed a chessboard into a Space Door. So, he and Ahya could become anything they wanted, going anywhere they wished.

11 minutes