Issue 030 - London 2021 by Film Fest International

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WELCOME TO LONDON INTERNATIONAL FILMMAKERS FESTIVAL 2021 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. 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 publisher accept no responsibility for the materials supplied including (but no limited to) all editorial and advertising copy and any omissions, errors or matters of copyright. All materials 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. Where editorial copy is sent late. We are not able to return the article to the filmmakers for signing off. Film The Magazine Limited is not accepted the responsibility for copy have not been correct.

Carl Tooney Publisher / President of Film Fest International publishing@filmthemagazine.com Adam Tinnion Festival Director Kaoru Kajitani Asia Pacific Representative/Sales Roy Abbot Screening Manager Shauna Abbot Administrator

Dear Filmmaker Welcome to London 2021. I hope you have a wonderful time with us at our online Film Festival. My team and I look forward to meeting all of you! In these testing times, I have found that this online format works very well. Having all filmmakers and professionals mixing together makes for an ideal, fun and professional environment. For the filmmaker, this helps them engage with professionals which then allows them to make new contacts and the possibility to do business with each other in the future. We’ve seen a higher than normal number of documentary films entered into the London Film Festival 2021. It’s a reflection on the filmmaking landscape in a post Covid world where filmmaking has to take place in smaller bubbles - very often solo. This Festival edition includes professionals from countries around the world. You are all skilled filmmakers and I wanted to give as many opportunities as possible for you to find out about the markets open to you once you have made your film. For Script authors I wanted to give you opportunities to meet filmmakers that may be looking for scripts to produce, or find partners to produce your script yourself. I hope you will be able to make contacts and ask questions and find your path a little easier once you are ready to go to market with your project. We have with us the support of industry professionals from many sectors and with a combined knowledge amounting to decades of experience at the very highest level of Filmmaking. My team and I sincerely hope you enjoy our online event. Carl Tooney President London International Filmmakers Festival

Liam Smith Video Director - Klaxon Creative liam.smith@klaxoncreative.com Chris Joy Marketing Director - Klaxon Creative chris.joy@klaxoncreative.com Josh Denny Graphic Designer - Klaxon Creative Team@klaxoncreative.com

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Synopsis Maiko Yamamoto works as a secretary to the vice president of a major bank. With both beauty and wit, she is the target of everybody’s attention and admiration, but she has a hidden side. At night, she works as a hostess at a high-class club in Ginza and looks for men who are worthy of her beauty. One night, finally the man who she has been waiting for comes in. Taro Shiomura is the most hopeful candidate to become the next prime minister of Japan. Taro quickly falls in love with Maiko. All goes well as Maiko’s plan, and preparations for their marriage get steadily underway. However, Taro’s life mentor and the spiritual leader Katsuko Tachibana tells him that Maiko is a youma who is possessed by the nine-tailed fox. Maiko can only satisfy herself by destroying the country with her beauty. Yet Taro struggles because he wants to believe that she has a conscience. On the day of the wedding, what does fate fold for them? In modern days, many people tend to judge others based on their looks. Are we deceived by superficial information? Have we lost sight of true beauty and even our true value as human beings? This film was created with these questions in mind. All of the songs including the main theme song “Beautiful Lure” were written and composed by the executive producer and original story writer, Ryuho Okawa. With each of the seven songs featured in the film helping deliver the core message of the film, this dramatic work of art shows the truth of beauty and love.

Nao Hasegawa

As Maiko Yamamoto

A youma is a foxy demon wearing a “human skin” - “Painted Skin” As told in the ancient Chinese fantasy story, “Painted Skin” is a human skin painted to look like a beautiful woman. Youma wear this skin to seduce men. During the Tang Dynasty, Emperor Xuanzong of Tang is seized by Yang Guifei who had the ethereal beauty and caused the dynasty’s ruin. It is told that the Yang Guifei was possessed by the nine-tailed fox spirit, the strongest foxy demon among Youmas. Later, according to the Japanese legend of Tamamo-no-Mae, the nine-tailed fox came to Japan. WWW.FILMFESTINTERNATIONAL.COM

Ryoma Ichihara As Taro Shiomura

Born in 1992, Nao is a Japanese actress active in many fields including film, TV, and stage. Her credits include TV drama, Nukemairu (2018, NHK), the play MOTHER: the story of Tome Torihama (2017), and the film Ashita no Kimi e (2018, Star'zway). In the movie Immortal Hero (2019, Nikkatsu), she passionately played a nurse who had a great influence on the main character. In the movie, The Real Exorcist (2020, Nikkatsu), she played the role of a mother of two children, who warmly watches over the main character. In her previous film, Twiceborn (2020, Nikkatsu), she played an intelligent and pure woman whom the main character admired in college. Nao has been taking on a wide range of roles. In this film, Beautiful Lure - A Modern Tale of “Painted Skin,” she broke new ground by playing a two-sided bewitching woman. She also sang the film’s image song 1, "Selfish Love." Born in 1996, Ryoma is a Japanese actor who started his acting career by winning the Special Jury Award and the Audience Award at the NEW STAR Men's Auditions in 2017. He is active in many fields including film, TV, and stage. He made his TV debut in the drama Hotel On The Brink! (2018, Nippon TV), and he was the one of the main reporters for the documentary film, Living in the Age of Miracle (2020, Nikkatsu) where he traveled to Uganda in search of "miracles" and conducted interviews that added depth to the film. In this film Beautiful Lure - A Modern Tale of “Painted Skin,” he played the lead role of a man who is a candidate for the next prime minister. He also sang the film’s image song 2, "Dharma Power." WWW.FILMFESTINTERNATIONAL.COM

OPEKA

Interview of Director Cam Cowan

How did you come up with the idea to make a documentary about Pedro Opeka? I met Father Pedro in August 2014 while we were in production for “MADAGASIKARA”, our documentary film about Madagascar’s political, economic and social struggles. I was standing on the top ledge of a huge quarry in Antananarivo, Madagascar’s capital city, because I was interested in filming there. From below emerged a young woman carrying a basket of broken stone on her head and a baby on her back, and I asked her where people working in the quarry lived. She said most live just outside the quarry, but “some live up there”, pointing in the distance to the next hillside. There I saw rows and rows of glistening white buildings on the hill. I had been around the entire country but had not seen so magical a scene anywhere else on the island. I asked her what those buildings were, and she said, “That’s Akamasoa.” I then asked her what Akamasoa was, and she seemed surprised I did not know. Smiling, she said, “That’s Father Pedro!” After doing some research on Father Pedro, I knew I wanted to interview him for the film “MADAGASIKARA”. Two months later we drove to Akamasoa and asked to see him. He had just returned from an exhausting fund-raising trip in Europe and was very serious. I told him I was making a film to try to bring the real Madagascar to the West. I wanted to counter the images created by Hollywood animated films and documentaries that focused on the environment and explore the lives of real people in what, at that time, was the poorest country on the planet, where 93% of the people lived on less than $2 per day, half the population of 24 million were children and half of the children were grossly malnourished.

During subsequent filming trips to Madagascar, Father Pedro graciously allowed me to interview him as one of the film’s experts on the conditions in the country. He appears as such briefly in “MADAGASIKARA”. And so I got to know him better, sharing meals he insisted we eat with him, seeing him conduct Mass with thousands of Malagasy people attending – not just from Akamasoa but from everywhere in the area and from all and no faiths – touring the villages, meeting the people of the Akamasoa community and learning about his fascinating life story. I soon realized that I wanted to make a documentary about Father Pedro. There have been documentaries made and books written about him, but I knew that he was not well known in much of the world, particularly North America. And I wanted to try to change that through a quality film that focused on his life and his extraordinary achievements as a humanitarian. Why? Because he is one of the most remarkable people I have ever met. He is bigger than life. He is a force of nature who passed up an opportunity to be a professional football player in Argentina so he could dedicate his life to social justice for the poorest people on the planet. And he has demonstrated by action - audacious and overwhelming action - that poverty is not inevitable, is not fate. I also saw that his story would be the perfect companion to “MADAGASIKARA”. That film is about survival, “OPEKA” is about hope. My intention is that the two films – as a duology – will have a poverty problem/solution impact beyond Madagascar.

I told him my research revealed that Madagascar had been damaged by national and international political forces – including by my own country, the U.S. – and I wanted people to understand the devasting impacts those actions had, and continued to have, on Madagascar and its people. After my explanation, with a big smile from behind his big white beard he said, “How can I help?”

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7 How much time did you spend with Father Pedro to figure out what you want to tell and how to do it in your documentary?

Can you share with us an anecdote regarding the documentary, something the camera did not show and that you would like to share with the audience?

I knew quickly what I wanted to tell in the film. Recently I was asked to describe Father Pedro. My response was: “Powerful. Fearless. Brilliant. Genuine.” I wanted those qualities to be revealed. I also wanted to focus on him as a humanitarian who emphasizes education, hard work, health and dignity, and who is accomplishing something extraordinary for others at great sacrifice. He knows the political leaders of Madagascar have failed their people. He not only dares to speak truth to the political elite, he backs up his words and shows them by stunning example how to alleviate extreme poverty in their country. Importantly, too, I wanted to present him as a complete person and try to avoid indulging in hero worshipping. If there were warts, I wanted them revealed. If there were opinions he had that might ruffle feathers, I wanted them heard. He is not a superhero doing an ordinary superhero thing. He is a human being doing something truly extraordinary, and I wanted his story to inspire us all to try - just try - to help others in a meaningful way. All of these considerations led me to the title, “OPEKA”. I didn’t want “Father Pedro” with a tag line about being a friend of the poor, or something like that. I wanted the title to be as powerful as he is and to capture the full measure of the man. A tag line can’t do that. “OPEKA” does, I believe. How to tell the story took much more time. Much more. In a profile film such as this, often the director will rely on people who know the subject to tell much of his/her story. I wanted to do something different. I wanted the viewer to be with Father Pedro on his 50-year journey in Madagascar, and even further back to his youth in Buenos Aires. After months of collecting verité and finding archival footage, I decided the best way to be with Father Pedro on his extraordinary journey was for him to be the narrator of that journey. And so, after he put up significant resistance, I persuaded him to let me interview him on camera to capture his full story, from his parents’ lives in post-war Slovenia to the present. We spent weeks interviewing him in his small study, in 3- and 4-hour sessions, and he truly disliked the experience. He hates talking about himself, preferring to expansively and emphatically talk about the children and poverty and politics, national and global. So, one of the things I am most proud of in our filming was being able to persuade him to keep on going with the interviews.

In late 2015, Father Pedro came to the U.S. to receive the Spirit of Service Award from St. John’s University. My wife and I attended the awards dinner, and a couple of days later I visited Father Pedro while he was staying on the St. John’s campus. We went on a tour of the campus, and when we got to the varsity soccer field, he was asked by one of the guides, knowing Father Pedro’s background, if he would like to kick a few goals.

How did Father Pedro react when you asked him if you can make a documentary focused on his experience in Madagascar? He resisted at first. His life has been devoted to others, and he doesn’t like talking about himself and certainly doesn’t like talking about his private thoughts and experiences. But I believe I was able to persuade him that if we could make a quality film for a Western audience, reaching regions like North America where his work is less well known, it would be an opportunity to raise money for Akamasoa. I recall he eventually said, “If it could help the children, then I will do it.” Everything, always, to him is about helping the children. Later, without Father Pedro’s knowledge, our production company – Sohei Productions – established a U.S. charitable organization dedicated to helping the children of Akamasoa: MadaKids.org. While “MADAGASIKARA” was in the 2018-19 film festival circuit, we were able to raise tens of thousands of dollars in the U.S. and send all of it to Akamasoa.

The field was made of artificial turf, and that appeared to be the first time he had been on that surface. He took off his shoes and started to do some warmup exercises while the guide went to fetch a soccer ball. When he returned, Father Pedro said to me, “Cam, you go in the goal.” He and I had already developed a competitive banter, so of course I said I would. I had played soccer in my youth and felt I could keep him from scoring. He placed the ball on the outside of the penalty box – 18 yards from the goal. He looked up at me and said, “Cam, I am sorry. I am sorry.” He then began to fire the ball at me with his feet. Either foot, left or right, the balls kept coming at me at intense speeds. And students in the area began to gather around and watch, because they heard the crack of his stocking feet hitting the ball and saw a man in a gray suit with a mane of white hair and a big white beard doing the kicking. I was able to keep most of the balls out of the goal, but my ungloved hands were on fire from the power of his kicks. He then took a short break, put the ball back on the outside of the penalty box. He again said, “Cam, I am sorry. I am sorry.” He then started to loft the balls in a perfect arc over my outstretched hands and into the goal, almost every time and to the applause of the crowd.

In late 2019, I wanted to capture him on film kicking goals at Akamasoa. So, I challenged him to a repeat of that day at St. John’s. The result was about the same, except this time, even with goalkeeper gloves on, I came away with a damaged left finger that took weeks to heal. I like this personal anecdote because it reveals Father Pedro as highly competitive, still very athletic, and always fun-loving and playful, traits which might escape notice in the film. In our film, Father Pedro makes reference to the St. John’s field. I won’t spoil the scene by saying more. Also, in the trailer and the film, we have clips of Father Pedro kicking goals that day in 2019 in his Argentina football jersey.

Now, with that film scheduled to be released to the public in late June, and with “OPEKA” in the 2020-21 film festival circuit, we are hoping to raise much more. There are similar organizations in many other countries that are dedicated to raising money for Akamasoa, and we hope this film will assist those efforts as well.

I also wanted to use a device of some kind that represented being with Father Pedro on this journey he narrates. And because we spent so much time with him while he drove us around Antananarivo talking, we realized during editing that driving in his truck would be the perfect “vehicle” for this. One of our posters for the film tries to capture the idea.

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REAL DESTINY This film is based on real events from 1950s. The main character in Saviour Angel is a person from the real life Zinaida Uvarova. She was looking for her husband who was sent to the labour camp. She worked in a court where she came across multiple cases full of the injustice and shattered destinies. That is why Zinaida started saving people. This film is about a unique life of a small and fragile woman who found a way to break the system of Gulag camps. In the 70s couple of newspapers published her story. However, this is a story that certainly deserves to be known by every single one of us.

REAL LABOUR CAMP It was even impossible to imagine that there still is one labour camp from 1937 in Russia nowadays. A camp filled with fear, pain and terror still exists in the Komi Republic in its original form, that is why it was our filmset. The true exciting filming location added a lot to our piece - that intense energy can be felt right through the screen.

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A Shomshuklla Film

Music Ankur Mukherjee

When I, I love you

Sarah Ahmed, Ami Mathews, Shomshuklla, Sumanto Chattopadhyay

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Abbas is a 70-year-old man who suffers from the cruelty of loneliness, as after reaching retirement age he lives in loneliness and his daughter traveled to America and his wife died, and he became alone for many years and no longer had friends and no one asked about him and his life today is like yesterday like tomorrow. Abbas blames himself for the past, blaming himself on His life was lost in wrong life choices and coincidence came to play its role with him, so he enters into various situations that make him decide to change his routine in an urgent attempt to correct the wrong choices he did in the past When a person is exposed to the crisis of unity, he suffers severe suffering regardless of his age or social position. It is possible that any person in one of the stages of his life will go through this crisis. He wants to be saved from what he suffers from even if all of this is hypothetical, so they cling to it to the last soul, especially if he is at Abbas’s age the world.

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A Shomshuklla Film

Music Ankur Mukherjee

Sampada Pawar Iti Pawar

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cinemaeveritellc.com

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The Cinema eVerité LLC project “Dale Johnson’s Twisted Tales of Inhuman Nature” is an incredible series of socially conscious yet entertaining short films. They are twisted, dark, powerful, meaningful, intensely creative, and shine a light on the human nature “sins” that plague our personal and group relationships within society. Imagined as a blend of the Twilight Zone and Black Mirror, each mini bite-sized five to twelve-minute Tale offers insights into a contemporary human issue affecting our ethical and moral behaviors and often society as a whole. The “Twisted Tales” have been accepted, nominated, or awarded at: Newark, Nashville, Milan, Nice, Madrid, Indie X, London Golden Nugget, Antwerp, DUMBO, South Europe, and East Europe International Film Festivals. More Tales are in development in 2020, including one twisted bite-sized tale on immigration and another on the misshapen events from the year 2019. The Series is looking for collaborators, representation, and distribution. Cinema eVerité also produced a feature length film written and directed by critically acclaimed OffOff Broadway veteran Dale Johnson which is a unique tour-de-force psychological thriller that delves into the feminine psyche and societal sexuality standards. Founded by veteran theater writer/producer Dale Johnson in 2010, joined by producer Alexandra Tebano in 2018, Cinema eVerité LLC has shot both full-length movies and shorts.

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About The Movie 40 years ago, Bruce Lee made Chinese Kung Fu famous

Director Zhang tells the story of

around the world, then followed by Jackie Chan, Jet Li,

STRUGGLE FOR LOVE

Sammo Hung, Dannie Yen, etc. Many famous martial artists had spring up, making Chinese Kung Fu films in its heyday.

Background When I was the scriptwriter of a Chinese

While there were limited Chinese Kung Fu movies about

Kung Fu movie, I knew 2 masters of Chinese MMA, a Chinese wrestling leader and present first person of UFC Jingliang Li in 2013. From them, I got the inspiration and wrote the synopsis of STRUGGLE FOR LOVE.

Dream Came True In 2013, I finished the treatment and investment plan. But it was hard to find investors

MMA, while there are many excellent MMA films in the world. When Chinese MMA fighters go to the international competition to fight for the glory and won the awards, Chinese movies should have produced some for those warriors. Thus, I would like to give a new angle and action to my film, showing audience with real experience and feeling of those fighters. STRUGGLE FOR LOVE featuring MMA and Chinese wrestling is a commercial movie with entertainment. The film contains men’s fighting, muscles and appearance as well as female’s sexy, pole dancing and dulcimer. And also express the kinship and love.

for the film in China since I am a little-known scriptwriter. Till the end of 2018, I mentioned this script to Mr. Jianghua Li, the chairman of Guiyao Movies. He showed great interest. Jianghua is a successful movie producer and distributor. He is young but had much experience in production and distribution. He put much more effort to assist new directors in China. With his help, the movie progressed very quickly. The shooting

Theme

only took around 2 weeks and the post-production started in July 2019.

Kinship initially came to my mind firstly, such as

Covid-19 affected the world film industry greatly in 2020, but there is little effect to our film. We finished the film

the mixing relationship among Baohua, Wen

in the end of 2020 and get the release permit in at the beginning of 2021.

and Wu. The story line also showed brotherhood between Wen and Wu, and relationship among Wendy, Wu and Wen. Wendy, a female character brought soft part to the movie. Huan, the other female, attracted characters and audience’s tender affection. But people would show mercy when the good things were broken. I decided to allow the character to suffer from love and strive for getting back. The process was tough but the result was touching. Many friends cried when reading the script, so did I. I was sad for creating these roles and their suffering. They were just normal people looking for love.

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A Dilogue with Director Yeqing Zhou Creation

of Short Film TIME FORGOTTEN

Regarding the characteristic of the story, I was extremely picky on cast selecting, especially their figure and muscle. Of course, there is a requirement of their performance. Considering the visual effect, I asked the cameraman to take the reference of some Hollywood boxing film. The frame not only has the texture of metal, but also keeps close to the fashion front, so it can’t be too oppressive. In terms of color, it’s a comfortable match as a whole. The art department is asked to make the scene layout and clothing modeling as clean and elegant as possible, and then making some small bright colors. Therefore,

Part 1: About the Film Q1: Director Zhou, what is the story of “TIME FORGOTTEN”? TIME FORGOTTEN is about the love between a young man and his father who has Alzheimer’s disease.

the clothing collocation of each role is harmonious, in line with the character positioning. On the choice of

Synopsis

scenes, try to find some more distinctive scenes. Lighting requires three-dimensional lighting, light and shade

Young Chen Xi devoted too much to his work and has little care to his father. One morning, on the way back home, Chen Xi met his father who bought the vegetable from the market. He greeted his father expectantly, but his father could not recognize him. Chen Xi was surprised. When he went home and found his father’s diagnosis certificate of Alzheimer’s disease, he felt very sorry. He resigned from the company and decided to have more time with his father.

changes, there are rich levels. As per the shooting, I asked the camera to move as much as possible, to make the rhythm tighter and switch faster. The close-up in the emotional part should be clean, the depth of field is relatively small, and the expression and action of the characters should be highlighted. There are differences in the use of lens of Zhong Wen and Zhong Wu due to their different fates and personalities. The Lens of Zhong Wen is quiet and steady, while that of Zhong Wu is turbulent. Finally, when the conflicts between the two brothers are resolved, all the pictures become quiet and beautiful. In order to make the acting of MMA more professional, I invited the Chinese top master of MMA, Chinese wrestling champion and martial master to be my advisers. With their help, we would make sure the profession and accuracy. In terms of music, I required that the music should be in line with international standards but not decreasing Chinese traditional culture.

Chen Xi began to follow his father and found that his father would go to a cafe at 2 pm every day. Chen Xi came to the cafe for a job of the waiter. The cafe owner couldn’t believe that he wants to be a waiter with the postgraduate resume from a prestigious university. Chen Xi asked the box if he can come to work after 2 pm every day. The boss accept his application. Father came to the cafe and ordered a cup of coffee. Chen Xi remembered that his father didn’t like to drink coffee but he still ordered it. So, Chen Xi asked his father why. Father told Chen Xi that his son loves to drink coffee, and he didn’t understand why his son loves coffee. Chen Xi was silent. The father accidentally knocked over coffee and the coffee splashed on his toy watch that Father bought for Chen XI when he was a boy. The watch is wet and stopped, Father is very anxious. Chen Xi dry the water stains on Father’s cloth, took off his watch and put on his father’s hand. He held his father’s hand and headed home together.

Q2: What is the background of this short film? In 2019, 12.6% of Chinese people are at and above the age of 65, that is more than 1.4 billion population. The officials forecast that, by 2022, elderly people will be upto 14% of the whole population. The elderlies who do not belong to the current technology and interenet orientated society are easily be ignored. Many elderly people feel lonely as their have not seen their children for a long time, especially with the illed and disabled elderlies. For the elderly people, new technologies, such as smart phones, digital payments, are faraway from them. The new technology is confusing and difficult to understand. A large group of people in China has Alzheimer’s disease, but the knowledge and attention of this disease is very minimal. Therefore, many of them will not go to see doctors and their daily life becomes more and more difficult. We hope that the society can pay more attention to people with Alzheimer’s disease and elderlies living alone.

We have a small budget for this film. We have to shorten the shooting time to cut down the cost. All staff worked over 20 hours per day. Therefore, I would like to express my gratitude to every cast and crew for their hard work.

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33 Q3: How about the production? Our timeframe was tight because we only had the camera for a very limited time. So we spend only one day to scount the locations, two days to film. Editing, coloring, sound mixing took about three days. One of our main locations was at an elderly’s home. This home belongs to our producer Mr Liang Luo’s grandmother. We are extremely thankful that she fully supported our shooting. In ordr to create a nostalgic tone, we deliberately used the camera lens and anamorphic lens produced in the 1970s for shooting. It was challenging mission to frequently dissemble and assemble the lens with other accessaries in the cold winter, but everyone was happy and ejoyed the entire shooing.

Q4: How about the cast? Our leading actor Xi Chen, who is also the Co-director of this short film, has performed in many movies and TV series. Chen is passionate about the undertakings of public welfares and hopes that through his works and performances, the audience can pay attention to some social problems and actively devote themselves to solving them. Mr Peijun Wu, born 1956, studied Chinese Traditional Opera Drama at his young age. He first entered the film industry as a gaffer. Later, he had more interesting in performance and often played some minor roles and eventually became an actor. On set, Mr Wu is very dedicated and strict self-disciplined in his performance. Our younger generations admires and respects him very much.

Part 2: How about the Production Team? A group of like-minded young flimmakes came together in 2008 October and created Shaanxi Ladder Culture & Communication Co., Ltd. in Xi’an. The company has full sets of digital filming equipments and personnel, script planning, shooting, editing, film sound design, light distribution and colour toning can be completed independently. The team is committed to create humanistic stories by film.

Part 3: Director’s Perception I am fortunate that I chose the profession as a film director. It is a wonderful and amazing thing to use light, shadows and performance to make the audience empathised. Thank to my team for their hard work. Also a big thank to our Executive Producer Mr He Qin’s contribution to the film. I will continue to use my film to add more beauty to this world.