Issue 016 Nice 2018

Film

DEDICATED TO THE BUSINESS OF FILM

NICE INTERNATIONAL FILM FESTIVAL 2018 NICE 2018 EDITION

FILM: THE MAGAZINE/MAY 2018

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Rise of the Feminine: Behind the Reel of Change Dana Marisa Schoenfeld - Page Cooper Anderson

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WELCOME TO NICE INTERNATIONAL FILM FESTIVAL 2018 Dear Filmmaker, Congratulations on your nomination, we hope you have a wonderful time with us in Nice and we look forward to meeting all of you!

Our events are always held in one location and over the past 14 years that I have been developing the Festivals, have found that this format works very well, having all the filmmakers and professionals mixing together makes for an ideal fun and professional environment.

For the filmmaker, this helps them engage at all of our Festivals which then allows them to make new contacts and the possibility to do business with each other in the future.

Our Festivals open with a meet and greet, which is an informal gathering and for filmmakers this is a great chance to mix and socialise with other filmmakers and scriptwriters from all over the world. Of course we are open to the public but this is not our only consideration, we are keen that this is the start of a journey for you.

Carl Tooney Publisher publishing@filmthemagazine.com Steve Grossmith Director of Marketing and Editor steve@filmthemagazine.com

We have with us the support of industry professionals, Brad Blain, Neil McEwan & Ray Davies who are readily available with advice on your project and can help with any questions you may have. We also are delighted to announce that Meghan Speake will also be joining us. Meghan runs her own distribution company and again, will be more that happy to advise you on any aspect of your film or script.

Finally we have Bobby Eastly available later in the Festival week. Bobby works closely with Edwin E. Brochin and Bobby will be holding a distribution Q&A on Saturday the 12th of May at 10am to offer help finding markets for attending filmmakers.

Our screenings programme will be back to back and we have three screening rooms to showcase the incredible amount of talent that has been nominated at this year’s Nice Festival. During the week we will also be holding networking nights, professional panels, Q&A’s and parties (please check the daily screening display for times & dates) to fully connect as much as possible. I would also like to remind you that during the week we offer you the opportunity of a filmed interviewed – as we do at all of our Festivals! All of the interviews are then posted on YouTube and you are more than welcome to use these on your social media to promote your latest movie or script – and you can find a number of previous interviews by visiting our website.

Dan Hickford FESTIVAL CO-ORDINATOR dan@filmfestinternational.com Stephen Mina Graphic Designer/Illustrator stephen@filmfestinternational.com 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.

JULY 21ST - 28TH - 2018

AUGUST 11TH - 18TH - 2018

NOV 24TH - DEC 1ST - 2018

No part of this magazine, whether printed or electronic may be reproduced, stored or copied without the express prior written consent of the publisher.

Other than our red carpet Awards Evening on Saturday May 12th, all of the events that we offer are free to all attending filmmakers and their guests. So all screenings, meetings, filmed interviews, networking panels and so on. However, for the Awards Evening there is no obligation to attend although of course we would be delighted to see you at any point during the Festival week.

I wish you a wonderful Festival!

Regards Carl Tooney President & Chief Executive Officer

Please enter your film or script directly through our web portal here! http://filmfestinternational.com/submit

Requests for permission should be directed to: publishing@filmthemagazine.com

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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.

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MILLION LOVES IN ME A Feature Film by Kenny Chan & John Y

MILLIONLOVES IN ME follows the story of a wealthy mother and daughter who suffer from the psychological issues of obsessive-compulsive disorders, and their controversial private lives are exposed to the public through a charge of their animal hoarding behavior by the police. The topic of animal hoarding, to our knowledge, has never been explored by a movie in cinematic history.

The story begins when Katy, the 45-year old daughter, is charged with animal cruelty after the police discover more than a hundred dogs and cats being hoarded at her apartment. Following her trial at the court,the abnormal lives of Katy and her mother are unveiled. Behind their weird appearances, the mother and daughter live an extremely well-off life, with an uncontrollable urge to shop excessively for clothes, handbags and pets. They are despised and disliked by people wherever they go. Their unusual behavior arouses the attention of their neighborhood reporter who starts to investigate their lives. After he finds out about the animal hoarding situation at their apartment, he discloses the matter to the public for the sake of justice.

However, after seeing Katy being caught by the police and devastated by the intense public criticism, he begins to doubt the morality of his own actions...

The film examines the common mental disorders that affect people from all ages across the world, while sometimes the sufferers may not even notice their illnesses.

In the story, both Katy and her mother are victims of these obsessive-compulsive disorders. Katy’s mother has developed an obsessive compulsive personality disorder (OCPD) after being abandoned by her husband and son. Consequently, she has an obsessive need for control over her daughter’s life. On the other hand, Katy has been living in an invisible cage set up by her dominant mother since childhood, without enjoying any

normal school or social life. Being physically and emotionally abused by her mother, she has developed symptoms of obsessivecompulsive disorder (OCD) at an early age. At the age of 45, the poor woman only has the intellect of a 15 year-old child, and her gullible character makes her easily fall for men who cheat her out of money. Although her life is miserable under her mother’s domination, Katy is indeed unable to live an independent life as a normal person. Likewise, in order to cope with her compulsion to control, her mother is unable to detach herself from her daughter. The two inseparable women seek relief from their respective disorders through excessive shopping, ending up with hoarding pets at their home. The pets are almost the only object in which Katy can find her comfort and trust. She treats them as her best friends, but at the same time everyone blames her for being cruel to them.

MILLION LOVES IN ME has received recognition in over 35 film festivals worldwide. The film has screened in a number of places. One critic, Mr Gunther Kramer who viewed the film at the opening of one film festival commented that the film is a story about the alienation of people in a consumerist society. The animals in cages are no lonelier than people. He further took the view that this is a story of ultimate loneliness and false illusions; it is a story about people creating their own cages, living in them and being afraid of breaking them. The story of MILLION LOVES IN ME is original and provokes empathy towards the protagonist and poses many questions about life and love.

MILLION LOVES IN ME is directed by Sampson YUEN, whose previous work includes a famous TV drama in Hong Kong in which the international renowned Tony Leung and Maggie Cheung’s both had their acting debut and also the top-grossing films “Bullets Over Petaling Street” and “Petaling Street Warriors”.

MILLION LOVES IN ME is produced by Kenny CHAN and John Y, a first time producer of feature film. It is interesting to note that John Y was the lawyer acting for the real life Katy in the court case. He has empathy towards the real life Katy that prompted him and gave him the inspiration into writing the original screenplay of the film. This debatable drama about animal hoarding, mental disorder and confinement of life is the acting debut of John Y & the mother, Mami is played by LO KoonLan , a famous and renowned actress in Hong Kong. She is a frequent winner of many acting awards both on stage and in film. She has been a professor of the Hong Kong Academy of Performing Arts and was the acting instructor in a television company and film institutions.

After performing their roles as Mami and Katy in the film, both LO Koon-Lan and John Y having nothing but wonderful reflections about life and human values.

Different viewers have different reactions and feelings after watching the film. Nevertheless, the producers of MILLION LOVES IN ME would like to use the media of the film to bring the messages of love between humans and love between humans and animals to the whole wide world.

Drama

www.facebook.com/millionlovesinme

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Run Time 110 Mins

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Schoenfeld Stuns With Universal Appeal

Dana Marisa Schoenfeld, CEO of Main Sequence Entertainment, is a visionary. With four nominations for her short film, Sasha, under her belt at The Nice International Filmmakers Festival, and dozens of awards sitting proudly in a vintage cabinet at home, Schoenfeld is ready to level up.

By Joleene Moody

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When you first meet Dana Marisa Schoenfeld, don’t be surprised if you find yourself pulled into her eyes. It’s immediate. Her eyes are that of a heartfelt storyteller. They are filled with wonder, wisdom, and an unwavering willingness to succeed.

If you look deeper (and no doubt you will), you will find the heart of her work. They say the eyes are the windows to the soul. If this is true, those windows reflect a genuine love for the craft of storytelling.

She’s got lots of stories. But she’s also got something else...

This multi-award winning indie filmmaker, director, writer, and actress has a desire.

While she can spend a series of creative days writing or editing alone on the 15th floor of

her New York apartment, it is when she is in the presence of other like-minded creatives that she is truly at her very best. That is why Schoenfeld is pursuing the next level of creation with powerful partners.

She is currently working on the screenplay of a passion project of hers, a dark comedy called Dead Drunk.

The Actor To understand what Schoenfeld brings to the table, illuminating her wide range of talents is paramount. It was only a handful of weeks ago that Schoenfeld wrapped up a week-long shoot in Cape May, New Jersey with writer, director, and producing partner Page Cooper Anderson.

The project, Exit Zero, was written by Anderson and stars Schoenfeld as Brennan Pearce.

“This role is a rare opportunity for me to express many levels of humanity that exist in all of us,” explains Schoenfeld. “The powerful type-A boss, the antagonizing sibling, the child-like woman still capable of being scolded by her mother, and the ever-so-hopeful romantic who yearns to find true love. Brennan is everything I could ask for in a character, and an absolute gift for me because I relate so deeply to her complexity.”

With so many dynamics to delve into, Schoenfeld had to bring her best acting and comedic timing, which is not a problem for the seasoned actor. But on this particular set she was juggling two positions; one as an actor and the other as a co-director. Was it easy? Not every second. Was it worth it? Absolutely.

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TOP LEFT: DANA MARISA SCHOENFELD OF MAIN SEQUENCE ENTERTAINMENT. - TOP RIGHT: SCHOENFELD’S DARK COMEDY, DEAD DRUNK, IS IN DEVELOPMENT FOR A FEATURE FILM - LOWER LEFT: THE SEASONED ACTRESS AS BRENNAN PEARCE IN THE HAUNTING COMEDY, EXIT ZERO..

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TOP LEFT: SHUTTING OFF ONE ROLE TO TURN ON ANOTHER IS COMMONPLACE FOR SCHOENFELD HERE, SCHOENFELD AS BRENNAN PEARCE WITH CO-STARS MICHAEL PIPER YOUNIE AND JEANINE BARTELL - TOP RIGHT: SASHA MOORE, PLAYED BY SCHOENFELD, THE FILM IS NOMINATED FOR BEST DIRECTOR, BEST SCREENPLAY, BEST ACTRESS, AND BEST CINEMATOGRAPHER LOWER LEFT: IN BETWEEN ACTING SCENES, SCHOENFELD CO-DIRECTS WITH PAGE COOPER ANDERSON ON THE SET OF EXIT ZERO.. - LOER RIGHT: SCHOENFELD AS SASHA MOORE - ON A MISSION TO “ACQUIRE’ HER FAVORITE MONET.

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The Director “When I am directing,” she continued, “I am more concerned with time and scheduling and making sure I am happy with the shot, as well as the performances from the other actors.

All of those elements take priority, and so I could care less about my emotional readiness. As a director you just have to step into the fire with everything you have and help the team create magic. With Exit Zero in particular, my co-directing responsibilities were really to help Page execute her vision and offer insight and ideas when appropriate.

When I direct my own scripts, it’s a little harder to wear both hats.”

“I am faced with opposing forces when I execute both acting and directing roles and have to compartmentalize so I can do both jobs successfully,” she said. “When I’m in the role of Brennan, I need to be absolutely living in her world, and nothing else matters. I don’t care how many hours we have to shoot the scene, how many shots we get, or where the camera is. All I care about is delivering an authentic performance and that I am emotionally prepared for the scene. Luckily, I had Page Cooper Anderson directing me in those scenes so I was able to let go of everything else and just be an actor. That’s always the best feeling.”

This diversity is a norm for Schoenfeld as she’s written, directed, and starred in a handful of Award-winning projects including East, a comedy pilot, a short called Dead Drunk, a satire titled Drumpf, and her short film, Sasha. Sasha is nominated at the Nice International Filmmakers Festival for Best Director, Best Original Screenplay (for short film), Best Cinematography (Jacques Lang), and Best Lead Actress. Schoenfeld intends on producing Sasha into a feature film this year.

This, just coming off of the London International Filmmaker Festival where Sasha won Best Cinematography (Jacques Lang) and Best Director (she co-directed with Page Cooper Anderson) for Patiri in the Promised Land.

These wins are just the tip of the iceberg.

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Sasha is a fun, dynamic short film that highlights the underground life of Sasha Moore, a character comparable to a female version of Robin Hood.

Sasha means well, but her strong, moral compass is misunderstood by authorities when she ignores the law in order to return stolen works of art to their rightful owners.

For starters, this fireball of a thief is wanted in three countries. But that doesn’t faze her in the least. With brilliant disguise and execution, Moore expertly nabs a Monet painting before it is auctioned and falls into the hands of a whiney actress.

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Just get the words out on paper. I remember one of my creative writing professors at the University of MIchigan saying, ‘The secret to writing is rewriting.’ I always thought that was so liberating. The work doesn’t have to be perfect the first time around. The art of rewriting is an integral part of the process. You always have another chance to make a good script great.”

THE PARTNER The award-winning short is witty, fresh, lively, and deserving of a full feature film. This is where Schoenfeld seeks financing and partnership to help produce, finance, and distribute the film.

The choices Schoenfeld makes as a director show the audience a fast-paced film with high stakes at every turn. Her decisions are deliberate and comedic. Never a dull moment, Sasha sparkles with bravery. Swiped Right, a short romantic comedy, has won over a dozen awards at film festivals in the United States.

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As she turns out new pages for the feature, two other award-winning projects in her portfolio also prepare for new growth. East, a dramedy pilot with universal appeal, won best pilot at The Big Apple Film Festival in New York and the Hoboken International Film Festival. The series was mentioned in the ‘Hollywood Reporter’ and ‘New York Women in Film and Television.’ For an indie writer and director, acknowledgment in the trades is a humbling sign of influential growth. Even more humbling, is that parts of the storyline in East reflect Schoenfeld’s own life, and it was that authenticity that won a corner of the industry over.

THE WRITER “East follows a piece of me,” Schoenfeld said.

“For anyone who can relate to living a life doing what is expected instead of doing what they love, East will speak to them. It’s an ensemble cast, but the story follows Ella’s journey as she steps into her true self. After a series of events knock her out of her comfort zone, Ella makes the bold decision to pursue her dream of becoming an actress. I use wit and humor to support the struggles she goes through because comedy has always been a powerful way to express the truth and to deal with reality sometimes.”

The pilot saw great success on the festival circuit, enough to attract the attention of an investor so that a second episode can be created. With the right partners, Schoenfeld hopes to take the first two episodes of East to a commercial level.

With honest characters and brilliant execution of the collision of Ella’s two worlds, East has proven that it is ready for a global audience.

Schoenfeld was in 6th grade when she realized she had a passion for storytelling.

She wrote a drama that was over sixty pages, adding new chapters everyday. She could hardly contain herself when it was time to read her latest pages to the class. The young

writer even developed a following and, daily, classmates would ask for updates about her Tom Cruise-like character with “thick dark hair and electric blue eyes.” Schoenfeld giggles remembering the description of her male character. “I thought it was the sexiest thing to have these icy blue eyes,” she said.

Today she can look back at her humble beginnings and show immense gratitude for how far she’s come as a writer. With each script outshining the next, the New York based filmmaker continues to study and perfect the craft with every page she writes.

Schoenfeld credits her growth as a writer to different opportunities, including her time as a writer’s assistant for Glenn Gordon Caron (Moonlighting, Medium) on a CBS show called Now and Again. But she really got her chops wet after she won a two-year scholarship from the prestigious Screenwriting Expo to The Writers Book Camp in Santa Monica, California. Not only did she study with seasoned Hollywood executives and writers, she eventually found herself writing screenplays for them, too. An executive from Sobini Films (former chairman of Lionsgate) approached her to write a screenplay based on an idea of his. He loved what she did, and hired her to write another.

As she turned out these stories, the founder of The Writers Boot Camp, Jeff Gordon, asked Schoenfeld to help him create The Writers Boot Camp Fellowship program. It would be a monthly competition designed to give writers a chance to win free coursework. Schoenfeld leaped at the opportunity and soon, was evaluating student scripts and helping choose the winners.

“I loved being a part of the fellowship program.

Helping other writer’s grow really resonates with me,” she said. “Writing is a craft and it’s something you have to do every day.

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Schoenfeld builds her writing muscles regularly. Hell, she builds all of her creative muscles regularly. One of the writing projects she’s excited about is her screenplay, Dead Drunk. A dark comedy, the film tells the story of an alcoholic who ends up stuck in purgatory after being struck by a taxi.

Originally written as a feature film in 2009, Schoenfeld shot Dead Drunk as a short film with a male lead in 2016. Schoenfeld is rewriting it now as a feature, and changing the main character to a female, who she hopes to play. As she seeks next-level collaboration, one thing is abundantly clear, this filmmaker is on fire and rising fast.

Her palette of work includes more than these pages can fill. For information on recent works or just to say hi, visit Dana Marisa Schoenfeld at Main Sequence Entertainment: https://mainsequenceentertainment.com

TOP LEFT: SCHOENFELD AT THE BIG APPLE FILM FESTIVAL WITH SASHA AND OTHER PROJECTS (SWIPED RIGHT, EAST. - TOP RIGHT: SCHOENFELD’S AWARD-WINNING PILOT, EAST - MIDDLE: HERE SHE IS CELEBRATING HER WIN FOR BEST SERIES AT THE BIG APPLE FILM FESTIVAL WITH SOME OF THE CAST OF EAST. - LOWER LEFT: DANA ON SET DIRECTING.

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JUBILEE • HOPE •

THE EPIC VOYAGE OF THE

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Page Cooper Anderson, CEO of Table33 Productions, LLC, is proving to be a force of nature! Writer, producer, director, and actor, Page has garnered the award for BEST DIRECTOR, along with Dana Marissa Schoenfeld at the London International Festival of Filmmakers for her short film Patiri in the promised land, with nominations at the Cannes Short Film Corner, The Nice international Festival of Filmmakers, and The Austrian Film Festival. Her latest project EXIT ZERO is a testament to her vision and creativity, taking her from Realtor to The Real Deal in filmmaking.

By Joleene Moody The greatest ghost story ever told is about to become the second greatest ghost story ever told, as Page Cooper Anderson’s short film, Exit Zero, shimmies its way to the forefront of everyone’s mind. Shot in haunted Cape May, New Jersey, this colorful comedic story about unresolved family issues let’s viewers step directly into the lives of the dead and the undead as the two sides come together in what can only be described as chaotic love and intervention.

Building Comedic Characters If you know anything about ghosts, you know that many of them haunt where they lived, worked, or most liked to be. In the seaside resort of Cape May, there are hundreds of haunts in the colorful cupolas and cottages that line the streets. Dozens of books talk about different tales, all of which started happening after a large portion of Cape May was destroyed by two major fires; one in 1869 and another in 1878. Having vacationed in the town for over three decades, Anderson is no stranger to the stories. But it wasn’t until she was on the beach with her husband

and stopped to take a picture of St. Peter’s Church before an incoming storm, that she realized she was supposed to be writing about the ghostly residents stuck at Exit 0.

“My husband and I were married in that church,” Anderson said.

“It’s beautiful. But the dark, looming clouds made it look so scary and haunted. As I snapped the photo it hit me intuitively that I was supposed to write a ghost story. Also, we were at Exit 0, the last exit on the Garden State Parkway. How could I ignore the stories, the looming church, and the fact that we were at an exit where these ghosts never leave? I couldn’t shake the movie unraveling in my mind. So I started writing.”

Her original story was a drama.

After delving into tales she thought would be chainshaking thrillers, the New York City based writer and director realized that the actual stories of former Cape May residents weren’t thrillers at all. They were sad stories about love and loss. They were heartbreaking and relatable. And they couldn’t be ignored. Anderson started building the script in her mind, feverishly taking notes and contemplating characters. It wasn’t until she spent a week at a writer’s retreat in Vermont that the genre and angle of the story changed.

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Sitting in a class about sitcom writing at the Vermont ITVFest in 2017, Page Cooper Anderson saw her story go from a ghostly drama to a phantasmal comedy.

Next to her in the class were Michael Piper-Younie, a New York City based comedic actor and writer, and Dana Marisa Schoenfeld, also a New York City based actor, writer, and director. As she watched the two bicker one moment and then giggle the next, a storyline about two spoiled, quibbling fraternal twins unfolded in her mind. Michael would play Conor, a selfish, needy gay man who can’t go a day without someone else buttering his toast. Dana would play Brennan, a lonely, gritty woman who has no problem experiencing paranormal passion (that means sex, people) with her super-hot dead uncle.

TOP LEFT: PAGE COOPER ANDERSON - TOP RIGHT: THE SET OF EXIT ZERO - LOWER: RIGHT:THE PHOTO THAT INSPIRED EXIT ZERO.

PAGE COOPER ANDERSON BRINGS THE DEAD TO LIFE

TOP LEFT: EVE AUSTIN - TOP RIGHT: ALIA AZAMAT WITH PAGE ANDERSON, ON SET - LOWER LEFT: DANA MARISSA SCHOENFELD, MICHAEL PIPER YOUNIE - LOWER RIGHT: DANA MARISSA SCHOENFELD, JEANINE BARTEL, MICHAEL PIPER YOUNIE - PHOTOGRAPHY BY ANGELA JONES.

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THE NEXT STOP As the duo navigates the news that they’ve just inherited a haunted four-story Gothic Revival style villa off of Exit 0 in Cape May, they deal with their chain-smoking dead mother (who hides a secret as to why she left her twins this useless property), a butler that may be both alive and dead (he’s a character you have to see to believe), and the notion that they just may be stuck in this mostly abandoned town for the rest of their spoiled rotten days.

What are a pair of snotty, privileged twins supposed to do under such hellish circumstances?

Why, turn the villa into a profitable bed and breakfast and let the ghosts within become

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part of the hired help. What else are they supposed to do? Work? Pfft.

The next stop for the powerhouse duo is Nice.

Anderson’s story only begins with the twins.

With a cast of colorful characters, some of whom are based on real-life people and their tragic situations, this trail-blazing writer and director is packaging a well-financed story to offer to the likes of Netflix or Amazon. Her passion is palpable, and her talents unmeasurable.

Anderson’s short film, Patiri in the Promised Land, was brought to life with the help of Schoenfeld. The film won Best Director at the London International Film Festival in early 2018. Now Patiri waits patiently in the hands of the Nice International Filmmaker Festival of World Cinema, where it has been nominated for: Best Lead Actor (Clyde Baldo), Best Director (Dana Marisa Schoenfeld), and Best Original Screenplay (Page Cooper Anderson). The film was also selected for the Official Jury Award. Adding to the accolades, it was also selected to screen at The Festival De Cannes, Court Metrage, in the Short Film Corner.

As Exit Zero heads into post production, Page Cooper Anderson is humbled to have Dana Marisa Schoenfeld by her side. Not only is Schoenfeld her leading lady in Exit Zero, she is also Anderson’s co-director and producer.

And it’s not the first time the two have come together to bring magic to the screen.

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THE NEXT CHAPTER Patiri in the Promised Land tells the story of a young immigrant who fights to stay in the United States after her status is revoked. To stay in the Promised Land, and with Earnest (Clyde Boldo), the kindhearted soul who takes her in, Patiri makes up a past that never existed. The lies she tells creates heartache she couldn’t have imagined, for both her and the man who opened his heart and home to a perfect stranger.

Creating a short film that attracts the attention of distributors and other key players requires a product that is clean, well-written, and unlike anything else on the screen today. Exit Zero, hits the trifecta with these elements and is truly aligned in this way.

The seven days spent shooting in Cape May and New York City reshaped the lives of every single actor and crew member involved. Scenes being shot that stopped passer-byers because of their oddity (think dozens of donuts flying

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through the air because a zany Realtor felt the need to run into the middle of the street to share them with an oncoming truck) are proof that the script will stand out loud and proud.

As Patiri in the promised land makes its debut in Nice and Cannes, Page Cooper Anderson prepares the next chapter of her film career.

The greatest ghost story ever told is now Exit Zero – a hauntingly funny film that you will want to watch with your eyes wide open! www.table33productions.com

TOP LEFT: OFFICIAL POSTER FOR “PATIRI IN THE PROMISED LAND” - TOP RIGHT: CLYDE BALDO - LOWER LEFT: BRANDON SALERNO - MIDDLE RIGHT:CLYDE BALDO AND PAGE ANDERSON WITH STEVE GROSSMITH AT THE LONDON INTERNATIONAL FILMMAKERS FESTIVAL LOWER RIGHT: PAGE ANDERSON ON SET OF EXIT ZERO - PHOTOGRAPHY BY ANGELA JONES.

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Katherine of Sinai A stunning major new feature film by Michael Redwood

With ‘Katherine of Sinai’ released this year and written and directed by Michael Redwood, this movie charts the love between Katherine and the emperor Constantine the Great. A host of Brit veterans, including Joss Ackland, Steven Berkoff and Edward Fox star alongside Peter O’Toole, who plays the Roman Cornelius Gallus, the palace orator.

Sadly though, the Lawrence of Arabia star is not around to lend his own critique; he died before final editing was complete.

“It’s sod’s law... Peter wanted to see the movie and I had arranged for a copy for him to watch in the hospital, but it wasn’t done in time,” says Redwood. “We missed him by 48 hours.”

Along with his old friend Richard Burton, O’Toole holds the record for the most Oscar nominations without a win, perhaps something he can now achieve posthumously?

There is no doubt he wanted one: when the Academy offered him a Lifetime Achievement Award 11 years ago, he unforgettably joked that he ought to turn it down because he “was still in the game and might win the lovely bugger outright”.

By all accounts, it appears that the cast and crew were largely unaware of O’Toole’s ill health – despite the fact that he’d narrowly escaped death so many times, one writer quipped that he’d had “more comebacks than a phoenix with repetitive strain injury”. If he was unwell, he never showed it. “He brought a crackling energy on set with him,” says Redwood.

One characteristic which appears to have stood out on set was his irresistibly naughty sense of humour. “He would make the whole crew laugh,” smiles Redwood. “If he was filming a scene, he would say things afterwards like: ‘You’ve fucked that up and I’m going to tell everybody.’ One day I told him to make Nicole [Keniheart, who plays Katherine] smile and he did it effortlessly.”

What did he say? Redwood collapses into laughter. “You can’t print it!”

Romanian newcomer Keniheart confirms this later on with a blush. “Yes, he did make me smile in one scene... he broke the ice; he was charming, no two ways about it.”

Greater than his ability to delight with a single utterance was his gift for connecting with people he genuinely respected. “He asked me a lot of questions when we met,” says Keniheart. “We realised that at the age of six he had an illness, I don’t know what it was, and that I also had an illness at the age of six – and both of us were kept away from our families for a month. We laughed because we finally had something in common. He said: ‘I can see we will get on very well together’.

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“I was terrified when we first met, but he made everything so easy,” she adds. “I felt like I had known him a really long time. He taught me not to panic and just to be myself. I feel very privileged to be quite honest; millions of actors would die to have been in my position.”

Clips from the film show O’Toole with his trademark purr performing lines with an intensity which does not suggest poor health or fragility. “He was a firecracker,” says fellow actor and chum Edward Fox, who plays the role of Emperor Constantius.

“Really, Peter is wonderful [in the film]; he had a long speech to do and it was frightfully good, but then one never knew he was going to die then.”

While the other actors travelled to and from Pinewood Studios, where part of the film was shot, O’Toole set up camp in a big tent on set, where his personal assistant, Lucy, looked after his every whim. He took breakfast early each day before the rest of the cast, and insisted on having his own input on camera angles and shooting. “After every take he would ask, “Can we see a replay?” It slowed us down, but it was a pleasure really,” says Redwood. “He was a true professional.

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“He does a death scene which we were forced to cut in the end because of film length slots.

You can literally see the life drain out of one eye and then the other. It’s a great shot because he is smiling just as he dies. I don’t think I’ve seen him do a better performance than he has in this film, but it’s down to the public to decide at the end of the day.”

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Whether or not it is O’Toole’s performance of a lifetime remains to be seen, but to his friends at least, the veteran will forever be remembered as a plummy, mischievous gent who danced to his own tune. Sir John Standing, one of O’Toole’s closest friends, perhaps puts it best when he describes his funeral: “It was a proper old Irish wake with people playing the fiddle and having a few jars and sandwiches and stumbling around an open coffin.

Michael Redwood Interview: The New British Independent Film ‘Katherine Of Sinai’

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FTM: This is such an amazing film but how on Earth did you manage to get the likes of Peter O’Toole, Edward Fox & Joss Ackland involved?

MR: Although I had been involved in filmmaking for a number of years, this was the first film that I attempted to a script. Every filmmaker will be told that something is wrong, the script is wrong, you won’t get the actors, you won’t get the finance and we’ve all been through that! My mantra has always been “doubt kills more dreams than failure” and one thing that I found out was that even if you had made 20 films before and even if they had all been Oscar winners, it makes no difference because new filmmakers are needed, which I relied on. They are looking for fresh filmmakers but I wouldn’t let any of that put me off. Another problem can be some agents; you can’t get past them, so you have to be a diplomat. But the golden rule is, all actors want to work, they want to be wanted.

A good friend of mine said “look, get it to the actors if possible then they’ll tell their agents to

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sort it”, and that is literally what we did in some cases! However, Brian Blessed’s agent was great, so each case is different and once you get one famous and established actor on board it changes things for the better and, however you do it, try if possible to locate the actors themselves with the scripts. You know they will never be rude, they will never say I won’t speak to you because they are not like that at all. Honestly, even if you gave an actor a script in a Café and asked them to have look at it, they will read it. We actually did end up speaking to most actor directly. Peter however was via his agent and was the first to actually say I love this script; I want to do this film.

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The thing is the actors know what the script writer is trying to say; imagine the script for “Goodfellas”, anyone with a degree in English would have ruined that script and I realised that the writer must not doubt themselves!

You’ve got to remember that the filmmakers will convince themselves that the actors won’t read their scripts and won’t be in their movies, but they will. I didn’t know then how to write a script, how to format a script and what I did was get a copy of the script for “The Dirty Dozen”, I looked and it was in “Courier” font and I realised that you should ALWAYS supply your script in this font and with no bolds, that’s what the actors want. The other thing is that the writers don’t need to be great at English, if you look at some of the greatest screenplays ever written, they are actually written really badly.

FTM: Can you explain one reason that Filmmakers in the UK have serious problems finding distribution overseas?

MR: Well a big problem is that the distribution companies overseas will always insist on 5.1 surround sound or a separate dialogue channel. And of course, most British films which tend to have a small budget will struggle to call the actors back to do the voiceover work – the ADR (Additional Dialogue Recording). With American films they would tend to spend around 1.5 million dollars just on post sound and we knew that was going to happen so what we did was at the end of each take, with each actor our lovely sound guy would go away to a private

room and have him or her speak the same lines into a separate microphone. We called this the “wild track.” Then we knew we could get that track recorded in pure silence and it was clean dialogue. Then we could either put that into the film or insert into the (Dolby) Atmos track. It was very, very easy and the lovely thing is that actors fully understand what a “wild track” is and once in the room they would close their eyes and literally re-enact every word that they had said on set. A huge amount of time saved and a huge amount of money saved! So if for instance this film is to be shown in say Latin America, they want to pull out the dialogue track and replace it and of course, by doing it this way it’s very easy to remove this (centre) track and replace it.

Also, the younger guys, the sound guys coming through now, they have to learn that they will need to dump the sound they recorded with the boom mike, even the sound of a fridge – will come through loud and clear. I think it was George Lucas who said “they will forgive a bad picture, but never bad sound!”

If any filmmakers are in any doubt about the sound or mixes I will always help them, and we will always do this as a favour and never ask them how much money they have to spend, please do contact me and I would be more than happy to offer my assistance!

Drama

http://foleymasters.com

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Run Time 116 Mins

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FIGHT Shaonian Xiaogui Wo Zai Lushang

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“FIGHT” is the winner of Best director in a foreign language short film at the London International Filmmaker Festival 2018. Nominated in 5 categories at the Nice IFF 2018 namely: Best director, Best original screenplay, Best lead actor, Best cinematography and Best hair, makeup & body design. We are delighted to present to you this emotional, non-dialogue movie. It utilizes slow motion pictures and has a strong musical score. The film is about a youths steps on a strange journey of retaliation after a bully fight, it chronicles the ever increasing storm that is brewing and the obstacles ahead. This is done with almost childlike Imagery.

SYNOPSIS Kid Kenny (Carson Wu) was set upon by a group of neighbourhood youths, although he was saved by a teenager (Paul Xiao) the kid wanted revenge. Things soon escalate as a knife is drawn and a gang of local thugs set about the teenager who in turn is saved by a man (Ming Shuai Shih) armed with a shotgun. The police arrive but the teenager and the man make good their escape taking the kid with them. They take refuge in the woods, anger begins to take over the night and the question becomes will the man and the teenager fight each other and let this go?

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Again, the director and writer of “FIGHT” David Lim, shares his love for the production of this film.

“Original ideas are pretty straight forward, I wanted to make a simple movie without language gaps, like we read picture books in our childhood. Maybe we could meet our inner-child in this emotional but gentle fairytale.”

An adventure fable for the world.

“This story is inspired by Ken Cyan, an U.S. based ex-gangster’s personal redemption, surviving from bullying, violence (and even gun violence). He too struggled with the idea of taking up the gun himself, in guilty chaos and suffering with both hurting people and themselves. After 20 years he left that life and began sharing his past to help young people in prisons and various groups to make better choices, as a graphic designer. When we look into his trauma, listen and learn that many people around us who have similar wounds, the inner child plays a critical role for our whole lives. The essence inside is how the fear hiding in our deepest soul and quietly shaping what we look like.

It is poetic when the pain is narrated in symbolism, colourful images and beautiful sounds. They are much easier to read and

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full of fun to watch, even there, there are cruel realities reflected in those dragon slayer knights, cowboys or super hero stories.

Like comic books or manga, we simply write down the script and draw the storyboard at the same time. Without language dialogue, only actions and plots connected in a circle of violence, finally transformed to a simple adventure story without dialogue, that pick up the heavy emotion, enhance the moment of fear. Silent films rely on strong musical scores; I call it “a picture book for grown-ups.

In the silent film period of time, the music and sounds are not just about the vibe they are creating. They are environments, characters’ minds and unspoken lines. For high speed slow motion capturing, acting should be considered properly from every moment. And how to maintain the delicate of expression between emotional/realism is also hard for both professionals and inexperienced actors.

The house and landscapes in film should look like a fairytale that is alive. The body tattoos, customs, cars and props we used are hints for a series of untold information; every little element brings an exciting test for team creating FIGHT.” —Complete reference cover & article in FILM The Magazine #15 London IFF 2018—

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A triumph of FIGHT. We are happy to have the announcement

by TAIWAN TODAY (web news of Taiwan ministry of foreign affairs) to win the proud honor in Taiwan, in the same month we had been reported in over 25 press organisations including in newspaper The China Times.

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‘’You have expertly demonstrated that with the right combination of visual symmetry, mood gripping music, a great set, and compelling acting cast that it is possible to make a wonderful film.’’—Watchdog Film Festival The nominees of best lead actor Ming Shaui Shih, best cinematographer Tzu Hao Kao, best hair makeup & body design Ken Cyan, Ruipu Wang, Echo Yen and all team mates behind the camera are experienced young filmmakers in Taiwan. Including Chiang Wei Liang the winner of the Audi award in The Berlin International Film Festival 2016 as editor, Sebrina Zheng the new wave Taiwan director as assistdirector, the famous singer/composer Yujun Wang and Sean Rocker Chou took their place for the music/sound design. The efforts they made show unselfishness; no matter that it is not a high budget feature which they have participated in previously. We believe the beauty of true emotion can break the walls of human cultures, to share this vision for world cinema. It is extremely exciting for us to receive an official selection at the Nice International Filmmaker Festival 2018.

It’s unusual for a silent short film to stand it’s ground as a fictional narrative and an experimental movie. Every day we bring who we were from yesterdays, and every moment we are shaping how we look for tomorrow.

In this point of view life could be beautiful, there’s always something worthy to fight for.

“FIGHT” is dedicated to every man’s inner child, may our life be more wonderful than our imagination.

About David Lim. Originally a theater director, David Lim began making films in 2009. The same year, he coproduced the short film “Secret Sea,” which won the Best Short Film at the 2009 Golden Harvest Awards, Taiwan’s highest honor for short films. In 9 years, he has made many award winning commercial and narrative short films during his career as a director.

For example in 2014 the CF “Little Manager In Family Mart” received the Youtube leader board as No.1 in Asia , Best 10 worldwide & 14th Click Award best web CF, the highest honor that year. In 2018 the short film “UPCOMING AFTER PARTY” won a Best Video ART at the FINDECOIN short film festival, which is about WeTheater’s rise and led by legendary theater director Pei Kuan Chen.

David continues to write and is planning on feature films with love, care and compassion.

In the original language title of Mandarin “Shaonian Xiaogui Wo Zai Lushang“ is as a meaning of a kid, a teen and a man on the road.

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The Radicalization of Jeff Boyd Written and directed by Uwe Schwarzwalder

This drama is about a businessman, Jeff Boyd, who dreams of living in Australia.

When he signs an investment contract, he’s full of hope to be able to go with a pocket full of cash. He soon realizes that it’s not that easy. And after a heavy argument with his boss, Jeff’s world collapses. That’s when he meets a young woman, Wendy, also in a delicate state. Their common worries about what the world turns into comes more and more into light, and they decide that they want to change that with a dangerous plan!

The cast includes Uwe Schwarzwalder, Yessica Sanchez, Zarina Tadjibaeva, Jörg Reichlin, Julian Booth, Brian Pinkus, Freigeist van Tazzy, Leonard Kocan, Patricia Sluka and many more.

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performed “Fall” and Amanda Ply with “Waiting”, who all underlined the film with an unusual score. This is his first film as a director. He tried to bring out the essence of each character and to stay truthful to the moment. (So truthful, that one time a real police SWAT team showed up as they

Drama

http://www.theradicalization.com

The Epic Voyage of the Jubilee Hope

by Alex McCall

Directed by Alex McCall and photographed

by Jack Lawrence, The Epic Voyage of the Jubilee Hope tells the story of the hazardous, nail-biting 9,000-mile journey by sea of the tiny medical ship Jubilee Hope, a converted Royal Navy Fleet Tender crewed by a volunteer ‘Dad’s Navy’ team of retired and semi-retired mariners (on behalf of the Vine Trust, a charitable organisation based in Leith, Scotland) as it ploughs its way through the high seas on its event-filled 3-month voyage from Edinburgh to Mombasa, Kenya via the Cape of South Africa. “It was a venture, that turned into an adventure, which then became a nightmare” confessed Donald MacDonald, a volunteer. “The boat moved 20 degrees to one side, then 20 degrees to the other in under 5 seconds – and that went on for 19 days.”

suspected a hold up. Always call the police to inform them whilst shooting dangerous scenes!) Also important to him was the logical aspect of the story being told. All had to make sense and be believable as it would be in real life. And it becomes the real life - with weaknesses, vulnerabilities and objectives.

Run Time 117 Mins

injects the documentary, The Epic Voyage of the Jubilee Hope, with a heart-pounding sense of urgency. He makes it look like we are living what is going on aboard as the vessel cleaves its way through 9,000 miles of electrical storms, mountainous sea and diplomatic challenges. It’s when the crew really hit rough waters in pirate-infested seas off Africa and encounter a major crisis involving bribery and corruption in Luanda that Jack delivers the goods. Rather than firing the camera off with a trigger-happy finger he focuses on the crew’s motives and complications and takes care to show how these men are putting themselves constantly at risk for the benefit of others.

Gavin Docherty – Daily Express

In Mombasa, the vessel is divided into 2 parts, then hauled overland on a 96-wheel trailer, 600 miles across the African plains to the massive inland lake, Lake Victoria, where, now re-built, it provides a ‘first-time ever’ health service to the indigenous population, formerly abandoned and living on the many islands on the lake. And the need is desperate. Over 30% of islanders suffer from AIDS. Many women flee there from the mainland countries to escape the stigma, and to live out the remainder of their lives. It’s a death-sentence.The spread of the disease is exacerbated by fishermen who develop a fatalistic attitude to life, as nearly 5000 fishermen perish every year, due to the lake’s unpredictable currents and flimsy, unreliable fishing boats.

“Jack Lawrence has got to be the most heroic “cabin boy” since that other salty seadog…

Treasure Island’s Jim Hawkins. The 22-yearold cameraman’s exploits aboard the good ship Jubilee Hope hold the same kind of spirit of daring and adventure as Robert Louis Stevenson’s swashbuckling young mariner. Fresh out of film school, his style

Alex McCall (Director), April 2018.

Documentary

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Run Time 72 Mins

TOP: RIGHT: ALEX McCALL - LOWER MIDDLE: JACK LAWRENCE.

Uwe Schwarzwalder wrote the story in late summer 2014. When meeting the actors, he tried to connect on a personal level instead of the usual audition process. The core scenes were shot within a few weeks early in 2015 while adding additional shots continuously until 2016. Post production was eventually a very long process, in co-operation with 4 musicians, Michael Klubertanz, Paco Periago and Brendan Gillespie who also wrote and

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HOPE

Ambitious yet humble and helping the world with her grain of sand, Natalia is ready to leap into new challenges for 2018 and 2019. She is onboard to co-produce with Epic In Motion a TV Series as well as 2 Feature films where in one of the films she will also play the role of an actress.

In addition, Natalia is determined to continue her good cause, non-profit projects with documentary shorts and features of different subjects to bring out and spread across the globe. Natalia, together with the Hassenfeld family and her team from Epic in Motion and Red Squid Studios believes that through these films, there is a positive message is send around the globe, using social media, film festivals and cable TV to bring consciousness to the world.

This is a way to give back to others as she feels grateful for all of her success.

An incredible short documentary film by Alain Maiki, Henry Zakka, Natalia Denegri & Jaime Cardona.

TV Host and Producer Natalia Denegri and the Hassenfeld Family Foundation help Puerto Rican children and the elderly after the destruction caused by Hurricane Maria in 2017. “Hope” is the only thing millions of people have left. This short documentary highlights the needs of the community and showcases personal and tragic stories of those that seek medical attention in nearby Florida. Many people are waiting for lifesaving flights to leave the island. They are suffering, they are in need.

“Hope” is the saddening true story of how Puerto Rico is still suffering after such devastating natural events. The beautiful island was completely ravaged by Mother Nature. Alan Hassenfeld from the Hassenfeld Family Foundation discusses the way he was brought up and what their family values are including “that you should try and bring sunshine where there’s darkness.” This is the perfect statement for the current and ongoing situation that Puerto Rico is living through.

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The short documentary unveils the true story of how many hands have to come together to meet a catastrophe head on.

The documentary is an exploratory film showcasing the disaster and relief efforts in a unique and experimental way. The narration adds humanity to the visuals you see of people suffering and waiting for aid. It brings the story home because you are forced to realize that millions of people are seeking aid and safety. The elderly, the young, families, single people. When Mother Nature brings a storm, she doesn’t have a bias against who she reigns down on.

Three generations of Hassenfeld brought together a beautiful hands-on project to bring hope to those in need, which is an important part of life. They bring a smile where there is a frown.

This is a story about how fellow Americans still need your help. They are still in a state of emergency and you can make a difference.

“Hope” shows you what the Puerto Ricans are in need of and it shows how average American citizens can lend a hand by sending hope and aid to their fellow Americans on the Puerto Rican Island.

Natalia is a 3-time Emmy Award Winner and was recently added to People’s Magazine in Español as one of the most powerful Latin Women.

Natalia is the founder of Trinitus Productions who joined Epic In Motion and Red Squid Studios before the production of the film “UMA”, where she participated as Executive Producer and also played the role of Dr. Vega whose mission was to help UMA overcome her challenges to save Leo. She received the Carteles Award for her journalistic, social and humanitarian work with her program “Corazones Guerreros” that aired on the CNN Latino television channel.

Natalia also, received the city of Miami keys for her distinguished work and humanitarian accomplishments with recognitions from the US Congress for her labor in saving lives of US Citizens/Puerto Rican people.

Natalia Denegri Natalia is an activist in many foundations for children with autism syndrome in Argentina and the United States as well. In addition, she has worked for a few years with the Hassenfeld Family Foundation helping indigenous children in north Argentina where they live in extreme poverty. Her efforts include social work in orphan houses and those in need.

Her latest humanitarian collaboration was with Puerto Rico’s disaster after Hurricane Maria hit the island, bringing in 2 commercial airplanes donated, with 12,000 pounds of supply to help the people on the island and bring back to Miami the ones in need of medical attention. Her TV Program “Corazones Guerreros” has been a success due to the humanitarian missions helping many families in the USA & 8 additional countries in Central and Latin America.

“Hope” is directed by Alain Maiki who also Produced the film together with Natalia Denegri, Henry Zakka and Jaime Cardona.

ALAN HASSENFELD Alan is a former chairman and chief executive officer of Hasbro Toys, a post he held between 1989 and 2008. He is the brother of Stephen D. Hassenfeld, who preceded him in the post.

Hasbro was founded as a Hassenfeld family business in 1923. As chairman and chief executive, he has diversified Hasbro’s portfolio of companies and expanded international operations while initiating a singular brand of corporate activism designed to improve the lives of children. He was inducted into the Toy Industry Hall of Fame in 1996.

Alan is an advocate to help children around the world. He always collaborates in several missions to help and keep safe children and the elderly. He also understands that through the screen and documentaries the word can be spread. Together with Alan and the Hassenfeld family, Natalia has worked on a few projects also helping kids and the elderly.

The mission as an activist to help and spread the word seems contagious and more projects continue to come to life. Alan supports these ideas and as long as they can bring a smile when there is a frown, their mission is accomplished, at least for the time being.

Alan feels that children are important to protect by all means, for future generations to come, and that they are not ready for all the issues that occur around the world. The world needs to become a better place; some things are broken and need to be fixed. “We must protect our children; they are our most prestigious resource.”

Natalia Denegri is an Argentine Actress, Producer and TV host, living in the city of Miami, USA. Natalia has been successful at numerous projects such as the documentary Doble Exilio Part 2 which earned her an Emmy Award along with Nelson Bustamante and Elizabeth Hernández.

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The Hassenfeld Family foundation has been on missions to alleviate child issues for many years already and will continue to do so as they did in Puerto Rico.

Alan Hassenfeld believes that giving back to society, the children and the elderly is very important to make a difference.

This is Alan’s true satisfaction as a human being. To give back and help those in need…

ALAIN MAIKI Alain is a founding member of Epic In Motion, Corp. With over 20 years experience as a producer and musician, Alain has produced and directed numerous music videos, short films, and also has 2 feature films to his credit. His most prolific film “Devuélveme La Vida”, produced & directed by him, was released in 2016 in Venezuela and has received multiple nominations and awards from several film festivals from across the globe.

Currently showing on Cable TV, “STARZ ENCORE” his debut feature, keeps reaching its audience while Alain continues his passion to make more film with great stories. His new film “UMA” is repeating this success, only this time, bigger and broader across the globe, with more than 14 awards and 20 nominations to date.

“UMA” is now ready to be released in 2018 in Venezuela theaters, with the release in other countries to follow.

“Hope” is the latest (short-Documentary) project that Alain leaped onboard with, considering the importance of the theme of helping a community in need such as the Puerto Rican community during the tough times after hurricane Maria devastated the island. He collaborated on both the mission and also capturing the moments to share it around the world and bring consciousness to society.

Alain is working on new stories for feature films and documentaries to bring it to the big screen in the next years to come.

Elena, The house by the Side, Aurora, A maid in Manhattan, Eva the trailera, Commander Chavez and The Pilot. All of which have been watched in more than 90 countries. To date, Alain and Henry are pre-producing together with their team, a host of new projects, many of which are in English as they gear up to reach an even broader audience.

Epic in Motion runs their team in-house. They are 360 degree boutique production company and together with their partners “Trinitus” and “Good Sound” own state-of-the art equipment, cameras (6K & 8K Resolution) and a full broad list of post-production facilities making them a solid strategic alliance to raise the bar to the next level as they grow.

Henry Zakka Henry is an Actor/Executive Producer and President of Epic In Motion, adding his decades of success and experience to the equation and to lead the company to higher, more ambitious projects.

Henry began his career as an actor in 1973, playing many leading roles from soap operas to plays to TV series around the world. With more than 40 “telenovelas” among them including: Tigre Juan, Undocumented, Drama of love in block 6, Mabel Valdez, Natalia from 8 to 9, Estefania, Playing to live,Nobody’s daughter, Topacio, Cristal, Roberta. Amandote, Princess, Celeste always Celestial, Black Pearl, Zingara, The Revenge, I will love you in Silence, Crossroads, The Law of Silence, El Fantasma de

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Jaime Cardona James is the President of Red Squid Studios, a music and post production house. Jaime is considered a leading composer in today’s demanding music business. After arriving in the United States in 1992 he embarked on an amazing musical journey that has taken him to head one of the top music and post houses in the US. His latest work with “UMA” was a masterpiece, with several nominations for best music score, Jaime delivered a superb list of original compositions and together with the City of Prague Philharmonic Orchestra, was able to lay down every note, nuance and feel perfectly to match each scene.

Jaime is also the composer for the music for the documentary short “Hope” with to date 2 nominations for best original score for this film. He has also earned several other nominations for his craft of writing original music. He always strives to capture the director’s vision combined with the perfect mood of the scene to bring together the best of both worlds into a masterpiece.

Documentary

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Run Time 8 Mins

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ULTRA LOW

By Filmmaker Nicholas Gyeney

Ultra Low is a meta drama described as a cross between Clerks and Entourage, following a real-life filmmaking team from Seattle in an unfiltered look behind the scenes as they struggle to break down the doors of Hollywood.

While already having sacrificed to make several professional independent films with significant indie budgets and films starring name actors, this filmmaking team can’t seem to get the attention of the industry elite. Upon learning the news that their latest endeavor will not be accepted into any top tier film festival, the team has hit rock bottom. With heavy hearts, they push each other to pick up and move forward on development of their next feature film, a supernatural thriller called THE RED VISION, in hopes that THIS will be the one that finally turns heads their direction.

As development progresses, the team lands actress Lauren Holly, star of films like Dumb and Dumber, Beautiful Girls, and Dragon: The Bruce Lee Story, and her voice shines as a guiding light of wisdom for the young filmmakers as they push forward through the trenches.

The Director: The filmmaker behind Ultra Low is Nicholas Gyeney (pronounced “GENIE”).

Nicholas was born in Seattle to Hungarian parents on July 15th, 1986, and quickly immersed himself in the world of movies with the influence of his father, Örs Gyeney, who would sit with Nicholas to show him films like Star Wars, The Terminator series, and the adventures of James Bond. Sadly, the tradition ended in 1998 when Nicholas’ father died tragically. Fueled by his loss, Nicholas started diving deeper into movies than ever before and soon discovered his calling as a filmmaker.

After being awarded a full ride to the University of Southern California’s prestigious film program, Nicholas began work on his first independent film while continuing his studies.

After a successful premiere, the film found distribution and began paving the road for Nicholas to establish relationships with many of the industry’s most successful professionals.

In 2012, Nicholas directed his third feature, a dark comedy about love and revenge called Matt’s Chance, starring Edward Furlong (Terminator 2: Judgment Day, American History X, Detroit Rock City), Lee Majors (The Six Million Dollar Man, The Fall Guy, Ash vs Evil Dead), Margot Kidder (Superman, Superman II, Rob Zombie’s Halloween II), and Gary Busey (Lethal Weapon, Point Break, Predator 2). After a successful film festival tour that garnered acclaim and several awards for best picture, acting, and original score, Matt’s Chance enjoyed a limited theatrical run in the United States, and is now available on various VOD platforms. Nicholas described his experience making Matt’s Chance as “walking through fire”. Between the eccentric personalities of Edward Furlong, Gary Busey, and Margot Kidder, as well as a very tight production schedule, Nicholas faced hard trials navigating the hazards of a difficult production, and emerged a stronger and more capable filmmaker because of it.

In 2015, Nicholas made an indie homage to 90s action movies called Beta Test. Sporting an exciting cast of both rising stars and genre veterans including Manu Bennett (Arrow,

In 2009, with USC and his first feature behind him, and after three years developing and sharpening his abilities as a filmmaker, Nicholas wrote, produced, and directed his second feature and first theatrically released film, The Penitent Man, a sci-fi drama tackling the themes of destiny and choices, which has been highly acclaimed for its unique structure and style. The Penitent Man stars Lance Henriksen (Aliens, The Terminator, Millennium), and Andrew Keegan (10 Things I Hate About You), and is available on iTunes, Amazon, and other digital platforms. In recent years, The Penitent Man has achieved a small cult following online, and is highly regarded in conspiracy theorist circles for its theories on where our world is headed.

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Spartacus, The Hobbit Trilogy), Larenz Tate (Menace II Society, Crash, The Postman), and Linden Ashby (Mortal Kombat, Teen Wolf, Wyatt Earp), Beta Test also boasts the current record for the longest single-shot choreographed fight sequence. Making Beta Test brought its own challenges, as it was Nicholas’ first time working with animators to construct 90s-styled video game action sequences, which intercut with live action footage to create a unique movie described as a cross between Gamer and Die Hard With A Vengeance.

Now, in 2018 comes Ultra Low. For an independent filmmaker, getting into quality film festivals can mean everything.

They can make careers almost overnight, and turn struggling artists into the next big thing. Those premieres have been in director Nicholas Gyeney’s dreams for a long time. And after trying for years -with The Penitent Man, Matt’s Chance, and Beta Test- to make a film deserving of a place at the table, Nicholas realized what a powerful story the struggle of getting there, and of getting noticed by the industry at large, could become.

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The basis for his latest film was born. Ultra Low is a unique narrative that takes an unorthodox approach to a classic adventure story by placing the real people who lived the story right into the film, recreating the very experiences that brought them to where they are today. By capitalizing on the actual story with many of the actual people involved, Ultra Low becomes more than just a film, and creates a sort of ‘Meta Cinematic Universe’ for the work they’ve all made and the people involved that made them. If the film catches on with audiences, suddenly there is an entire encyclopedia of information for them to dive into, seeking out past films and ventures from everyone involved, which ultimately will enrich the experience of Ultra Low itself.

It’s a meta drama through and through, with a structure designed to emulate the classic epic dramas from the 70s that took their time to establish the world and characters in a slow burn narrative, ultimately bringing everything full circle for a grand finale.

With veteran actors like Lauren Holly (Dumb & Dumber, Beautiful Girls), Tami Stronach (The Neverending Story), and Yuji Okumoto (Karate Kid II) rounding out a cast of Seattle independent filmmakers, this ultra low budget Ultra Low hopes to be a film to inspire filmmakers and artists everywhere who might be feeling a little low on hope as they quest towards their dream.

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The long game plan for Ultra Low takes it beyond the movie itself. Once the film’s worldwide film festival tour comes to a close, Gyeney plans to double down on the meta angle of the whole thing, and actually move into producing the film IN the film, The Red Vision, which is a horror movie he has been sharpening and developing for some time.

The Red Vision combines the Horror, Superhero, and Romance genres to create a unique tone balancing scares, heart, and humor, in a horror movie described as a cross between Insidious, Ghost, and Unbreakable.

And that film will see Lauren Holly joining an amazing A-list cast under the banner of Gyeney’s award-winning Seattle and Los Angeles based production company, Mirror Images LTD.

Q+A With Nicholas Gyeney How long was the shoot? Where did you shoot?

NG: This movie was hugely ambitious simply because we only had 22 days to shoot a pretty epic indie story. There are so many scenes in this little film. So many characters.

So many little pieces and details to capture.

It basically flies in the face of all the “rules” of indie filmmaking (Keep it at or under 90 minutes with as few characters and locations as possible).

The only way we could pull it off in such a short window was due to the luxury of a 3-camera team. This allowed us to accomplish quite a bit in every set up. The entire movie was shot in and around Seattle in the actual locations where the events took place. When you see my apartment, that’s THE apartment I was living in, dressed in the exact way it was.

What is your favorite scene in the film?

NG: It’s a little difficult because I’m particularly biased on this one from the personal nature of the story. There are so many scenes that evoke emotional memories from how it all happened. If I had to choose one, it would probably be the sequence in my apartment between myself and my producing partner Edi Zanidache, who has been my right hand through the making of all these films. That scene is particularly personal because it dives into the dark reality of my dream – that I could never be happy doing anything else.

What are some stylistic influences that you used to create the world of Ultra Low? NG: This was an interesting balance. On one hand, I wanted to make the film feel as real as possible, to properly capture the experiences we went through. But, on the other hand, I wanted to juxtapose that realism against a very cinematic style in order to give Ultra Low a sense of adventure that you’d find in so many great classic dramas. This is the reason why you’ll hear a fairly over-the-top score in a movie that might typically have a minimalist musical approach. There’s also a lot of dialogue in the film, particularly during three major sequences that run over 8 minutes long each. These scenes serve as act markers for the team’s journey. I was particularly influenced by Quentin Tarantino for these scenes. Specifically, the long dialogue scenes in both Inglourious Basterds and Death Proof.

Obviously, my dialogue scenes can’t come close to the quality of his, but its something I certainly aspire to.

What was the biggest challenge in making Ultra Low? NG: There were two big challenges I faced on this movie. The first was pulling believable performances out of a group of primarily non-actors. We rehearsed feverishly during pre-production in hopes of making my team’s deliveries feel as genuine as possible. I’d say we ultimately were able to pull performances from them that worked, with some rough edges to be sure. I can only hope that audiences will be along for the ride enough to look past any hiccups in performance along the way.

The second challenge was wearing the four major hats of actor, writer, producer, and director, all at once. I gained new respect for filmmakers that can successfully direct themselves in movies. People like Kevin Costner, Ben Affleck, etc. I bow to these people who can do it so flawlessly. I found my brain being torn in so many directions, having to critique other performances and focus on the direction of the take without ruining my own deliveries in the process. The dynamic was compounded by the fact that I couldn’t be standing behind a monitor reviewing the shot as I typically would be, so there was a lot of stopping to review, and a great deal of trust placed in my camera team to deliver the images I hoped to capture. By the end of every day, I was mentally exhausted. But, I’m grateful for the experience. I fell in love with acting a little bit. Whether I deserve to get work in other films is to be determined, but I certainly had fun, no matter how challenging it was.

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A Letter from Nicholas Gyeney to anyone with a dream: It pounds away at you like an unrelenting drum. It‘s a voice inside telling you to reach as far as you can, to never settle, to become more.

Like a permanent alarm clock, it sits there reminding you to accomplish great things, to give back, and to be remembered.

If you’re reading this and find yourself saying, “I know! That’s exactly it!” then remember one thing: Never give up.

My name is Nicholas Gyeney, and I am a filmmaker.

To say that I am a successful entrepreneur would be a disservice to both, you, the reader, as well as my dream. While I am proud and grateful for my accomplishments thus far, as delivered famously by Al Pacino in Scent of a Woman, “I’m just getting warmed up.”

I was raised in Seattle with my sister Michelle, and two loving Hungarian parents, Ilona and Örs. From the time I could walk, my father was sitting me down and showing me movie after movie. The seeds were planted, and with my father at my side, I began to immerse myself into the world of motion pictures.

Each year, my love for film grew deeper as my knowledge of both historic and current movies grew more prolific. I would see all the great films, and the not so great ones too. But that tradition ended suddenly in 1998 when my dad died of cardiac arrest while playing Soccer in a Hungarian exhibition match in Seattle.

I have long believed that those with a burning desire to accomplish great things do so due to a spark from a life changing or eye opening event. For me, it was the death of my father. I started diving deeper into movies than ever before, until I realized what I felt I was meant to do.

Throughout high school, I completed many short films; Most of which continued on to win best picture and best director awards from my school’s film department. At the age of 17, I wrote and directed my first feature-length student film. I submitted the film to the University of Southern California in hopes of being accepted into their famous film school. To my surprise and elation, I was not only accepted, but granted a full-ride scholarship.

At 31 years old, I have produced and directed six feature films which have all gone on to release, with four of them securing limited theatrical releases in select cities across America.

I am currently in pre-production on a supernatural thriller starring some of Hollywood’s biggest names, and in development on two films to be shot immediately following that in parts of Central Europe and Canada. And in its early stages, my production company, Mirror Images LTD, is planning the construction of the first major movie studio in the Seattle area. Complete with a full back lot and working soundstages, this studio will be geared towards creating a new filmmaking Mecca in the Pacific Northwest.

These accomplishments and plans are pieces to my ambitious dream, which like the universe we inhabit, is infinite and ever expanding.

So how did I get here? What drove me? And why did I do it? Well, it all started with a little boy and a father who showed him the magic of movies.

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At the age of 20, eager to enter the industry, I embarked upon a monumental undertaking.

I began work on my first independent feature film parallel to my studies at the USC Film School. The film premiered in Seattle on December 21, 2006 to a crowd of 600 people who gathered to witness my artistic endeavor.

While that film was a plagued with problems, and though I am not proud of the film as a piece of entertainment, I will always cherish the doors that this micro-budget thriller opened for me. It allowed me the chance to begin conversations with producers, financiers, and other industry professionals, while continuing to focus on bettering my skills as both a filmmaker and businessman. And since then, I have continued to ‘Never give up’.

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To any young Spielberg’s out there, I can offer some insights I’ve learned along my

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path. You see, there is a key ingredient to becoming successful in this business that many filmmakers of my generation fail to realize: You have to understand the business.

The artistry and creativity involved with producing a film is undeniably important, but without an understanding of how the industry works, which is to say, what it takes to sell your films and become successful doing it, you, as a budding artist and filmmaker, will almost certainly end up as one of the many starving artists forever struggling to display their creative voice.

So, as you embark on your journey towards greatness, trying to satisfy that beast within you, take heed. You must remember the importance of always embracing yourself as a student yearning to absorb greater

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knowledge, wisdom, and skill. Along the road, you will be rejected. You will question your abilities. You will run into unforeseen roadblocks. I know this only from experience.

But, for every 100 rejections, for every instance of failure, success and acceptance is looming just around the corner. Keep pushing forward. Keep fighting every battle. Eventually, with enough patience, determination, humility, and vision, you can break down the door and achieve your dreams.

If you’d like to connect with Nicholas, whether as filmmaker to filmmaker, to inquire about investment opportunities or job opportunities in one of his upcoming films, or simply to talk movies, Nicholas can be found on Facebook, Twitter (@mirrorimages), or by e-mail: gyeney@mirrorimagesltd.com

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Chang Gyun Kim “My independent films and the reality of the Korean independent film industry”

Every December, the Seoul Independent Film Festival takes place in Seoul. Last December, in 2017, there was a forum on “Korean independent films: from production to distribution.” From a business standpoint, if 10,000 people watch a movie, you earn around USD 28,100. Excluding exceptionally successful films, an independent film is generally deemed a success if more than 50,000 people watch it in the cinema.

Korean independent films are mostly selffunded, out of one’s own pocket and a minority receives support from film agencies or major film festivals. If a movie receives support, its production cost is usually around USD 187,000 and if it is self-funded, it is usually less than around USD 94,000.

Some very passionate Korean independent film directors will even quit their job and use their house security deposit to produce films.

When I see people like this, regardless of the quality of their film, I really hope they succeed.

This is because they put everything on the line to make films. However, the majority of independent films in Korea are made this way.

I became involved in the film industry around 15 years ago but it has only been 5 years since I started making films as an

independent film director. Also, since I live with my parents in their house, I don’t have the freedom to sell my house to fund my films.

This kind of situation is also quite common in Korea so in this case, the production cost can vary greatly.

Some people will use USD 1,400 to make films with friends or some will use USD 2,800 and receive help from various people in the industry.

I think that it is really amazing when I see films made in this manner getting invited to film festivals in Korea or abroad.

Generally speaking, a film is made by many people working together. However, if you have experience in the film industry like me, you can do a lot of things on your own and make a film. Fortunately, I still earn

money separately so making a film is not as burdensome for me, compared to other people. On average, I make a film a year and including the one that I finished shooting this February, I have made 5 feature films.

I usually pay for my production fee with a credit card. When filming abroad, I pay for flights and hotels with my credit card in ten monthly installments so that it is less of a burden. Other than that, I just prepare some cash to use while I’m there and to pay the actors after we finish shooting the film.

Of course, if I shoot my films in Korea, where I live, I wouldn’t need to pay for flights or hotels but the reason why I insist on filming abroad is to show the Korean audience that my films are different to other Korean independent films.

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My films usually cost around USD 19,000 to produce but if I hired staff separately, that cost would probably jump up to USD 47,000. That’s why I do all the other work myself to save that USD 28,000. This is a huge advantage that allows me to film abroad but it is also at times a disadvantage.

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Also actors that are in my film need to take care of their own makeup, hair and outfits. This is also both an advantage and disadvantage.

The actors know what clothes suit them best so being able to choose themselves can be advantageous.

There are probably actors that dream of making films in whatever country.

In the movie “La La Land”, the female lead character keeps getting rejected at auditions so she makes her own play with herself as the lead but it fails so she has to move back home.

I believe it is the same with independent films.

If I assume that 10,000 people or maybe 30,000 will watch my film if it’s fun and spend a huge amount of money on producing my films,

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I won’t be able to make another and there may come a moment when I have to give up my dream entirely.

Therefore, the task that lays ahead for independent film directors is to make fun independent films with a small budget.

The information above is all regarding independent feature films.

About the #MeToo Movement and My Films

The #MeToo movement that started in Hollywood has recently exploded in Korea.

I say “exploded” because it has had a huge impact not only on the arts but Korean society as a whole. I’m sure you can find out more through the news even if I don’t talk about it here so I will not discuss it in further detail.

From the position of someone who makes movies, I have decided on a few rules. This is because I believe it will help improve the trust relationship between the actors and the director.

1. I use public spaces for auditions. Most Korean films rent a large space such as an acting academy or a dance studio. I also tend to have my auditions in such places. If I need to have a further 1:1 audition, it usually takes place in a café such as Starbucks in the daytime. Also, if the actor has a personal circumstance and is only available at night, even then I try to make sure the audition takes place before 10pm.

In the case of independent films, it is very rare for there to be an office available.

2. Once the actor is decided through the auditions, I destroy all records of the other applicants’ personal information. From experience, if I contact someone, who narrowly didn’t make it, to work together at a later date, it has never gone well.

Anyways, I don’t save the number of an actress in my contacts unless I worked together with them on a film. Also, if it isn’t extremely important I don’t personally contact them late at night.

3. Communication between actors and directors is important and generally there are lots of drinking parties in the movie industry but I’m not very good at drinking.

Therefore, I don’t feel comfortable going to such events where I have to drink for a long time so I tend to talk with actors while drinking coffee at a café instead of drinking alcohol. A lot of the #MeToo related incidents that occurred in Korea took place after such drinking parties.

4. As I’ve mentioned previously, my films are all filmed abroad. So, when staying at hotels, the actresses share a room and I talk to them in the hotel lobby or through SNS. Also, at night the actresses are given free time but since I edit what we filmed that day, I have no free time.

For some films, I would work like this nonstop so it was extremely tiring.

Therefore, for the 4th and 5th film, I decided to film for 2 days and then rest for one day.

Also, on these days off, the actresses and I each spent our free time separately.

Until now I have worked with 13 actresses.

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THE CAREGIVER Filmmaker: Ally Downs

Writer, director, producer, actress Ally Downs’s (nominated for Best Actress and Best Short Screenplay) 16-minute dramatic film, “The Caregiver” is about a wealthy elderly man who has given up on life, hires a caregiver. She is a woman who is escaping a bad relationship and trying to start a new life.

The relationship between the main characters, Ed, and Angela gets off to a rocky start, but through comedic and tragic events, they develop a bond of friendship and mutual respect. The film was inspired by Ally’s close relationship with her father in law, Dr. Alfred Mekelburg. The short film, “The Caregiver”, is about the resiliency of the human spirit and, ultimately, about hope.

The making of “The Caregiver” was punctuated by a few harrowing events. Two days prior to the start of filming, my lead actor became ill and was unable to perform.

A mad search for his replacement ensued.

Great fortune lead to the casting of Dan Sutter.

He mastered the role in record time and turned in a stunning performance. I felt great chemistry with Dan. Another event was the curve that was thrown at us when a sudden blackout occurred in the neighborhood where we were filming. Rather than suspend filming for that evening, our creative crew, lead by Patrick Lascu, not only managed to continue filming, but the subsequent scenes had a moody transcendence, which may have been better than our original intention.

“The Caregiver” has received 16 awards and 6 nominations in numerous film festivals.

The awards include Best Short Film, Best Actress, Writer, Screenplay, Best Actor, Best Supporting Actor and Best Supporting Actress.

The cast includes Dan Sutter as Ed, Jasmyn Simon as Lisa (credits include HBO series “Ballers” and the new Tyler Perry’s movie “Acrimony”, Bjorn Johnson as Philip, Brian P. Mekelburg, M.D. as Dr. Firestone (credits include: he’s a real doctor! part-time actor), Lisa Lee Cooper as Nurse Emily,

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Cristina Miller as receptionist, Renee Greenberg as Alice, Ally Downs as Angela, (credits include, Daytime Soap Opera, “Days of Our Lives,” TV series, Streethawk and Masquerade, web series, “Sister Dirty,” Pick-Up Game, Will and Kate, Darla and Hilary Duff’s: Pregnancy; and feature films Girl with a Gun, Thief of Hearts, and Kiss of Death)

While I am delighted with this project, I continue to act, write screenplays, and envision other creative endeavors. I’m thrilled to be a part of the Nice International Film Festival. My film, “The Caregiver”, is nominated in the following categories: Best Actress in a Short film, and Best Short Screenplay.

Drama

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Run Time 16 Mins

A FILM BY ALLY DOWNS

THE CAREGIVER

ALLY DOWNS DAN SUTTER JAZMYN SIMON RENEE GREENBERG BJORN JOHNSON BRIAN P. MEKELBURG M.D. LISA LEE COOPER “THE CAREGIVER” dCRISTINA MILLER SHADY DAY LASCU ePATRICK LASCU fJESSE KIRBERGER gPATRICK LASCU pBRIAN P. MEKELBURG MD ALLY DOWNS jALLY DOWNS WILL CLARK FORD AUSTIN oALLY DOWNS kALLY DOWNS

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PRIVATE CEMETERY Scriptwriter & Director Talip Karamahmutoglu

MEZARCI SYNOPSIS Ejder an unskilled laborer, emigrated to Germany where he was able to find work as a gravedigger. Over time Ejder became a very skilled gravedigger.

Upon his father’s death, Ejder returned to his home in Dalyan Turkey. Within his village there were million dollar living habitats created for both locals and foreigners. This environment opened up some interesting new horizons for Ejder.

Ejder was against the idea of burying people who lived in million dollar houses in the village graveyard.

With custom designed graves Ejder and his company promised to be there for those

people on their journey to heaven. With the slogan ‘Horizontal Undertakers will be with you even in in the afterlife’, everything was going well, that is, until Bektaş moves in to the village and he is faced with his traumatic story.

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Drama

https://vimeo.com/188100308

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Run Time 110 Mins

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THE CREATIVE GYPSY

I am also writing a script for a short film on Psychosis which is based on a true incident and will mark my debut as an independent director, something I am looking forward to.

“A very warm hello to all. It is wonderful to be back at Nice after 2 years with nominations for Siri..The living Scarecrow and Megha..A song of silence.

The season for film festivals in India is in full swing at this time and we are showcasing our films and winning awards at various cities. We also start shooting for “The Hangman” in Delhi at the end of April before temperatures touch 42 degrees Celsius. It is a unique subject and we hope it creates a stir.

SIRI ..This riveting short film touches upon the solitary lives of walking and breathing scarecrows that still exist in villages of Punjab, India and one that has a life changing effect on a spoilt brat.

The old man in the film is an actual living scarecrow and the film has been shot at his house.

We at The Creative Gypsy believe in creativity, uniqueness and above all entertainment. Our team comprises of talented new directors writers, poets and music directors.

We have produced more than 10 short films, a feature film a music video commercials as well as documentaries in a short span of a few years.

All of our work has been awarded nationally and internationally and has been successful in spreading a strong social message. We have also set a benchmark by producing the first LGBT web series in India.

Our future projects include Ek The Car, Murda Bomb, Command and I shall Obey.

MEGHA..A highly emotional story of a girl who is born deaf in a familiar scenario of poverty illiteracy and social ostracism who gets a cochlear implant which transforms her life. It is based on actual incidents and has been shot in Varanasi & Delhi. It has been highly appreciated by doctors and medical professionals and we were grateful for the support of “Kids for Kids”, an NGO which is doing a stellar job in helping needy children receive cochlear implants.

Both subjects are very close to my heart; one being the plight of abandoned old parents and the other a method to transform the life of children born deaf. Both are significant problems in India and I hope my small effort will help make a difference.

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We have made a 3 minute short film promoting cornea donation for a charitable eye hospital and eye bank which stars Sushma Seth ,a stalwart of Bollywood, the Indian Film Industry.

In addition there is Nakusha…the unwanted one which deals with the horrific issue of female foeticide.

What makes this year special is that 2 shorts from my production house will be screening at The Short Film Corner at Cannes 2018, one of them being Siri itself. A proud achievement indeed for The Creative Gypsy.

To end I would like to thank everyone at FILM FESTIVAL INTERNATIONAL for recognising our efforts. It is always a pleasure to attend each one of your festivals and enjoy watching myriad films, interact with film makers from all over the world and avail your warm hospitality. Looking forward to yet another great festival!”

Megha is also my first short docu drama as a joint director. I Hope it will give me the boost to direct solo very soon.

This has been a very busy year for us as we have a couple of new shorts all ready to compete at Amsterdam, Berlin & Madrid.

Neeru Khera – The Creative Gypsy thecreativegypsy2015@yahoo.com

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GRACE FURY An artistic tour de force by Laura Carruthers.

Filmmaker-choreographer, Laura Carruthers, leads world-class performing artists in a stunning, feature film memoir that travels the elements of her story on a breathtaking flight of dynamic choreography, cinematography, realization, and resolve. Grace Fury is the brainchild of Laura’s fire and grace, cultivated over years of pioneering in the arts. As a bridge between dance theatre and autobiographical documentary, the film speaks both poetically and candidly to the challenges of building projects for film and stage, outside, between, and across domains – as a woman, shouldering her homage to the Classical and Scottish Highland dance traditions, yet bound to move hearts and minds to a new point of shared calling...of greater freedom and connection. www.LauraCarruthers.com “...an autobiographical journey through dance, imagery, spoken word and the power of presence that redefines everything you’ve ever expected dance to be in a documentary...

Thought provoking and freeing, immensely entertaining and trailblazing, Grace Fury is an absolute must see...” ---- The Independent Critic “I look forward to presenting my latest film, Grace Fury, a very personally meaningful

endeavor, that speaks from both tradition and experimentation. Although she is fundamentally biographical, revealing my progression in thought and purpose from vulnerable, first hand exploration, I use symbol, metaphor, and fictional action from my earliest short films not only to enhance the film’s mystery and depth, but to mark my artistic “evolution”…Key elements preserved from my other projects, on stage or in short film -merged with fresh ideas and new footagegive Grace Fury layered, comprehensive form and substantiate her authentic perspective…

I hope others will see her full, nuanced being and join me in her message of grace, hope and faith.” www.GraceFury.com - Laura Carruthers

Grace Fury visits France this May, following her World Premiere in NYC at the Manhattan Film Festival. She looks forward to her awardnominated, European Premiere at the Nice International Filmmaker Festival, before she heads to Brazil for her South American Premiere at the Brazil International Film Festival.

Script, Direction, Choreography, Editing: Laura Carruthers Lead Cinematography: Anka Malatynska, Liz Hinlein Original Music: Francis “Fritz” Doddy, John Allan, Capercaillie, Bad Haggis

Arts

www.gracefury.com

Run Time 60 Mins

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DAMN YOU, ROLAND RUBY!

By Saul Gold

About the film This film is a semi-autobiographical, multimedia epic based on “a day in the life” of musician Roland Ruby, who contemplates love and loyalty in a tale that weaves warring crime families, an egotistical pop star who mistreats his fans, and a Faustian bargain that brings the story to a climax.

The actors enjoyed shooting the humorous scenes involving sex, drugs and shootouts in the recording studio where the protagonist is forced to live as part of his deal with mafia boss Vito Custode, played by Vinny Vella. Fans of mob films will also recognize a few other favorite “wise guy” actors.

Ruby’s music looms large throughout the film, as do the themes of deception, artifice and redemption.

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Audience member review “This is guaranteed fun, from start to finish! The movie is full of irony, biting sarcasm, and hilarious slapstick.

The plot is very engaging, the ensemble cast is enjoyable and the music is excellent!

The general feel is charming in spite of the characters’ motives. A special treat for this viewer was the occasional animation and other visual effects.

I was left in in the mood for MORE Ruby World adventures!”

Adriana Dessart São Paulo, Brasil About the filmmaker Roland Ruby (born 1966) is an American composer, lyricist and screen writer raised in New York City’s Washington Heights and the hamlet town of Morgan, NJ. In 1989, Ruby graduated from Rutgers University and later studied upright bass. His multi-genre compositions have been performed

by The Harlem Gospel Choir, fashion show staple Sarah Atereth and many others.

“Damn you, Roland Ruby!” is a very personal project that has finally been completed in spite of obstacles both man-made (post production turmoil) AND natural (Hurricane Sandy, which destroyed the main set location AND Ruby’s motorcycle used throughout the film).

Ruby, who never intended to make films, has already begun recording voice work by several returning “Damn you” actors in continuing the “Ruby World” story for the animated series “Abandoned at the Asylum.”

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Miracle of CHRISTMAS A film by Eri Tsukimoto

1. The Value of this film to Japan There is as much drama involved in the making of “Miracle of Christmas” as there is in the films actual content, the director, Eri Tsukimoto loves art from the bottom of her heart. ”Dream”, ”Human love”, “Beauty of art” is all a testimony to her passion for the highest level of human interaction, both from an artistic and emotional viewpoint. In modern day Japan such feelings are difficult to explain. The traditional Japanese ethos leans towards being part of a cooperative, the needs of the individual can easily be overlooked; this goes someway to explain Japans high suicide rate, after all if one is part of a collective there is little time for introspection and self expression. As a result terms like “love” and “dream” are difficult concepts and the director feels this is not only a Japanese phenomenon but a universal one. Added to that, we live in a world where the internet dominates; bringing fast fixes and almost superficial answers to problems or idea’s that actually needs time and careful deliberation.

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Focusing on the Japanese ideology, SADA, the main actor, feels that in Japan there is a lack of support for matters emotional and mental. Indeed, feelings and the ethereal take a “backseat” to the needs of the cooperative to the point where the individual is powerless against this tide.

Tradition and how an individual learns and grows are out of balance. In this world people just get on, they don’t flourish and they don’t shine.

The existence of the individual is extraordinarily diversified.

“My name is SADA, I play the part of Yuya in this film and I am also someone who empathises very strongly with Miss Tsukimoto’s viewpoint and her approach to art. If something is beautiful let it glow, radiate and be itself. Obviously beauty is subjective; it is not democratic and not arrived at by consent. Art is defined by the individual and that goes against an often sceptical cooperative. Regardless she can still send this message, “beautiful things should exist as they are”, a purist approach but one I very much agree with. We all see the world in a different way, that’s what makes us individuals but in a world that functions as a cooperative individualism is often suffocated.

Miss Tsukimoto believes in opening the doors and windows to let the air in.

As I mentioned earlier, I play the role of Yuya.

The character brought back many memories of emotions that somehow through my life I’d forgotten. Almost like finding myself; this made playing the character easy. I loved playing this role and I adored the heroine; the whole production was a joy and I think

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that was the point the director was trying to put across, joy; not useful to the collective, essential to the individual. Not just a lesson to the Japanese but to the world.

That is the point, Eri Tsukimoto’s work is for all of us and to be recognised by the luminaries of filmmakers internationally is huge for all of us involved in “Miracle of Christmas”.

For a body such as the Nice International Filmmaker Festival who are passionate about the art of filmmaking and acknowledge us part of this art form makes us so proud. My own nomination for “Best Actor” was an incredible surprise and I am sincerely grateful and appreciate being recognised for my work.”

2. About The Director Eri Tsukimoto “This films narrative is populated by characters mostly drawn from people Miss Tsukimoto knows personally. This explains why she is so careful to portray them lovingly.

This film is personal to her and that is why I felt so proud when she asked me to take the lead role (Yuya) in her production. I cooperated very much with her during the entire production and this was very important to me and I believe that it is important for all of those involved in this film to help out

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as much as possible, that way it would help her create great art as a director.

Also, the responsibility for playing my role and maintaining the integrity of the other characters was most important to me and the most satisfying. I also had good friends involved with this film, working so closely during the shooting with the director and the rest of the filmmaking team made it a personal venture; I enjoyed that very much.

There was a resonance within the film crew, not just because we mostly knew each other but the story itself; that helped the director to bring out the best in the team. The production budget was extremely limited however, due to the director’s amazing innovations both creatively and logistically it worked.

Everything from catering, the travelling times and costumes were considered.

On top of that, even our friends helped us, for instance, finding cheaper restaurants, driving vehicles and even finding locations that we could film in.

Add to that the cohesion of the team itself and their desire for the success of the film and you can understand the production crew’s universal pride in their nomination at the Nice International Filmmakers Festival. I am proud therefore to introduce a message from our director – Eri Tsukimoto.”

3. A message from the Director “Hello everyone my name is Eri Tsukimoto, I am thrilled for my nomination this year at the Nice International Filmmakers Festival, to have my film premiered at such an auspicious event is an honour indeed .

This film has been brought about by an enormous amount of good will and deliberation from the cast & crew.

The storyline is almost a mirror of the story of the film production itself.

Overcoming adversity both physical and mental and yet with all of the difficulties we had everyone involved, whether acting, shooting, editing, postproduction and yes...even directing, all helped to create a wonderful film.

The film is based on an original story, which was inspired by a good friends problems and thoughts and was 2 years in the making yet timeless in its message.

I wished to help make them happy by overcoming all of the hurdles and at the same time show true feelings and to help make their dreams come true. This story is about people who have experienced trauma, conflict and have complex feelings in each other’s environments but will try to find true love, dreams, justice, courage and hope and heading towards dramatic events at Christmas. In fact, all my characters have some form of trauma in their lives, but to heal they need to be reminded of the beauty that is in them and around them. Whether it was me coaching actors in their craft for three months, or simply to allow people I care about to reach in and tell their story, this was all important and of course we had to do all of this and more on small budget!

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For the shooting of this movie we filmed in a variety of places in Japan, and this included a friend of mine training “drift” driving with his sports car in a great location far from Tokyo.

I tried to find wonderful locations for my film carefully, whether a sandy beach, a surreal lake or a snowy mountain and some of the scenes were even shot on constructed hand made sets. I also wanted my actors to find the beauty in themselves; collaboration was key.

The snowy mountain is another example of how the production mirrors the film, we took beautiful shots suddenly night fell and the temperature dropped to minus 10 degrees, could our equipment take that?” Its midnight, “where do we sleep?” The answer is faith in yourself and those around you.

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I took a “hands on” approach from the beginning, whether it be cinematographic, writing, soundtrack (BMA, sound MA), sourcing locations, creating backdrops, two oil paintings.

This even included costume design and even helping to build the studio sets I mentioned before. My reward was SADA, the actors, over a 100 extra’s and the film crew’s devotion to this film, it was a huge lift, I thank them all!

My story is my love for the Arts, I studied Performing Art and Music at Chichester University in the UK. It was there I developed my skills in acting, musicals, Fusion art and both short image and theatre performance. In Japan I’ve been an actor in films, television and theatre. I have sung internationally and write my own songs, for now and for soundtracks for future productions.

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Above all I love art!

From childhood my fascination with the creative was paramount. Art; a small word for something as important as communication, conveying ideas through the ethereal; the beautiful, the profound. As a child one lives in a small world except for the imagination and art gives hope, courage, power, growth and inspiration. Also art can influence on people, it can influence their heart, emotion, thoughts, politics and even their lives and art is like a treasure. Stepping into the outside world, to travel abroad and find the same appreciation, respect and love for the Arts is uplifting, empowering; “I’m different from you but I love your voice”. The ability to create gives us that bond, we are not the same but glued together by love of the beautiful whatever that may be and that’s where discourse and debate starts. To be human, not a member of a hive, “I have something to say...”

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My European experience left me with yet another reason to be grateful and hopeful, whether past or present, the richness of it sent a message to me and I hope to others; create, that is where love is. Love and create art, art produces love. That is my motto and in my future I would love to make artistic and creative films to convey love and a beautiful message for people all over the world. To be true to oneself and show others kindness. Thus, I would love to create art works to convey a touching and positive message for people. In my life abroad, I’ve experienced a variety of splendid things, for instance, to find lots of new senses of values, perspectives, feelings, the importance of each character, personalities, ways of thinking, and for everyone in the world to wish for equality and peace in the world.

Also, I found myself more freely able to elevate my personality, attraction, talent and imagination freely when I was abroad.

That was truly new to me and a marvelous awakening in my life! It was a treasure to open and enhance the world for the future. I would like to challenge more things in the world. As European arts are so valuable and of such high quality; my everyday life is like an art to receive such incredible inspiration from them. There is a lot of truth in the world. The world of a mixture of the past, present, and the future, without a ceiling and intertwined with many characteristics forms is like a postmodern form of art.

Thank you so much everybody!”

Eri Tsukimoto

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4. The role “Yuya” “I remember very clearly how we had a long discussion when the script arrived; I had some resistance to the way some of the expressions and correlations of the characters were portrayed and looking back now I feel a little foolish but that was then of course!

Although I didn’t intend to disgrace Eri’s personality or style I was determined to accept and listen to her and when I think about it seems like a funny story but I do feel embarrassed when I’m outside of the actual whole filmmaking process that we all went through.

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Not being fully aware of the films meaning and how people can come together. But, as time progressed whatever differences existed between Eri and myself soon dissipated, So much so a comfortable bond was forged between us!

You have to remember that when you are acting our real personalities are taken from us when we make a film and it’s of course all about the performance. It’s up to our training and literacy. However, I think that the affinity between our work, our characters and acting is so important since as humans we do act. The point I believe I’m trying to make is that in the end I believe I gave the performance that matched Miss.

Tsukimoto vision. I am sensitive to the subtleties of human nature and accept the paradox of expression of the character I am portraying during the script reading. However, I found it hard to find a “secret meaning” from the character of “Yuya” who was so honest and pure. However, it turned out that it’s probably true that Yuya’s character is so clear and transparent without any lies and this is how Miss.Tsukimoto presented it.

I know that some people think it is easy to act, but nothing could be further from the truth, simple light acting is like a light and thin paper and for me, acting is the most difficult thing when you are trying to create a pure, straight human representation of a character.

And of course, when you do see someone’s performance, then their ability will be shown, then we will know the difference in an actor’s ability clearly. It’s true that some actors may be shy or dismayed but for me, challenging a difficult role is so important and it is also so important to have my work exhibited and acknowledged by film festivals and I hope that my acting skills and dedication are directly reflected in this film.

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So, being an actor is not easy, there are rules and sensitivities to account for, let alone personal feelings, I identified with “Yuya”, I also liked the crew, we all came together, Again this is difficult because there are rules; in acting, yet everyone pulled together; a cinematographic family for 2 years. I think that is Miss Tsukimoto’s style. People and love come first.

Fortunately, just the fact of being chosen to be nominated for The Best Actor in a Foreign Language Film is such an achievement. I am so grateful and believe that I have given my best performance with the role of “Yuya” and also want to thank all of the cast and crew from “Miracle of Christmas” for the amazing work that they all put in.”

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5. SADA, In the future “Of course, I will continue with my artistic activity in my life. This opportunity gave me a variety of experience and I offer my best gratitude for this film and how it has helped me continue my acting in the future. The role will be part of my history. I am also a businessman and have many TV shows, radio shows and other media platforms. My role as “Sword Battle” stands in Japanese culture. Presently I’m also on air on with “Master Collection” “Diamond Collection” and “Diamond Saturday” I also work very much with Chiba TV, a very popular Japanese platform and one that I’ve worked with for some time. They are so flexible, free, challenging, and progressive and have an amazing sense of humor and are so passionate.

They make our ideal programmes come true as much as they can. Lots of incredible chances have been borne because of this TV department.

In fact, when I look back it’s no exaggeration to say this includes meeting Eri Tsukimoto and our friendship started to be part of her film “Miracle of Christmas”.

Our artistic abilities can be developed by many people with cooperation like that and I would love to create a place where our dreams and art can come true as well as giving birth to great chances and relationships for people. I am thinking that perhaps not only new TV programs but also a new TV department. But for now, I will surely recall this wonderful film and my fortune and grateful nomination from the Nice International Filmmaker Festival.

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Finally, I would love to convey my gratitude for your splendid film festival and all who support that.

“Thank you so much” SADA

Drama

https://ameblo.jp/starlight-15

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Run Time 115 Mins

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I Will Never Forgive A feature drama by Hideki Wada

Director Hideki Wada, who is not only a director but also a psychiatrist specializing in psychoanalysis, has made the film based on a non-fiction novel of Yoko, who was raped at the age of 15 and given up by her parents.

A week later, she meets a middle-aged man, Hayata, who suggests they form relationship that he will give her money for sex. She accepts the offer and has sex for $2,700, which again changes her life.

The film was entirely shot in the POV perspective of a rape victim, which is a documentary-like fashion so that the audience can see the world just as the victim sees it and tell the pain of rape and struggles in her life. The director desired to express the theme of the original autobiography of a rape victim, that trauma of rape and the reactions of people around the person can cut off the continuity of time and change her personality, not just inflict permanent damage like PTSD.

photography, Kenji Takama, who has worked with famous directors including Shusuke Kaneko and Koki Mitani.

The film is nominated for the Best Foreign Language Feature Film, the Best Original Screenplay of a Foreign Language Feature Film, the Best Director of a Foreign Language Feature Film, and Best Original Score at the Nice International Filmmaker Festival.

The crew consists of the screenwriter Hisako Kurosawa, who wrote “Caterpillar,” a film directed by Koji Wakamatsu, winner of The Silver Berlin Bear at The Berlin International Film Festival. Editor Yoshinori Ota, who edited most of the films by Takeshi Kitano including “Zatoichi,” the winner of The Silver Lion at The Venice Film Festival and the director of

Drama

http://watashihazettaiyurusanai.com

Run Time 125 Mins

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“Bride Price VS Democracy” The film also points out the misinterpretations and problems that can arise when individuals encounter other cultures with insufficient experience and knowledge which can have unexpected outcomes.

A Film by Reza Rahimi

When 25-year-old Omid returned to Iran for the first time after 15 years to ask for Vida’s hand in marriage, he was unaware of what he really was getting himself into. Back home in Sweden, after a few years of marriage, Vida decides to separate from the relationship and the couple followed different paths. The cause of their conflict could be summed of as follows; a culture clash and pre-30 crisis.

The divorce proceedings were difficult and it involved not only the division of their property but also the issue of the agreed “bride price” which Omid opposed. The Swedish court ruled in favor of Vida and Omid was liable to pay 4.5 million SEK as the result (over 400,000 Euros).

In March 2017 the film was presented on the red carpet for preview in Stockholm, Gothenburg, Uppsala and Malmö.

This film is not political or religious and just wants to awaken thoughts about the clash of cultures!

This film is a low budget movie made in collaboration with professional filmmakers and actors and the uniqueness of this project is that the movie was recorded in just 12 days !

The plot of the movie “Bride Price and democracy” is based on a true story and inspired by real disputes from the Swedish court.

The film highlights issues and problems concerning the concepts of democracy and equality, providing knowledge of another culture and shows the remaining problems of the so-called second generation.

​​

For the Nice International Filmmaker Festival in France in May 2018 “Bride Price VS Democracy” has been nominated in four categories: Best ForeignLanguage Feature Film | Nice IFF 2018 (Bride Price VS Democracy) (Brudpenning och Demokrati) ​ Best Director of a Foreign Language Feature Film | Nice IFF 2018 (Reza Rahimi) ​ Best LeadActress in a ForeignLanguage Film | Nice IFF 2018 (ZahraAmirEbrahimi) ​ Talented New Filmmaker | Nice IFF 2018 (Reza Rahimi) ​ “Bride Price VS Democracy” has also been nominated at: The DIY Film Festival | San Diego |World Cinema Finalists Drama

http://www.brideprice.tv

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Run Time 120 Mins

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Shomshuklla Das With three beautiful films in competition - each one radically different Shomshuklla Das has proven herself a Filmmaker of extraordinary talent.

MURALS “We shot the film in Kenya. It was an absolutely a fantastic shoot with the wildlife around us, their life and living.

I conceived the film to be shot in a resort and thought Africa will be the right place.

I acted in the film for the first time thus it was wonderfully challenging for me. As I had to check the shot and the frame and act as well!

The lead actor Sumanto Chattopadhyay had already acted in my previous film (“White Bee”) thus he was very comfortable with the script.

Alot of inputs also came from the DOP Ashish Singh as well.

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It was interesting that after we landed at the resort, we started marking the spots of our shoot.

The whole experience was full of adventure.

It is the story of a couple who parted without saying a clear good bye. They suddenly meet in the resort and find each other; and are completely surprised.

Their parting remains unclear and they want to find out what went wrong but, whilst they go through the reason of their previous breakup, they slowly begin to get involved again. While in this journey of life they are unsure whether to become committed once again to each other. Will this renewed relationship work for them?

Drama

release TikTok TikTok (a surreal, romantic film).She and her team have received multiple awards at several Festivals including for Best Cinematography, Best Male Lead, Best Director & Best Foreign Language Film.

I shot this film all across Mumbai in India. Around the sea front, street, even in an art festival, thus getting some awesome props to enhance the journey and life of artists. Two plays which are staged in the film are my famous two plays, which I performed at the Edinburgh fringe festival, called We Draupadis and Sita’s, and Oh Gandhari, Oh Kunti which was performed in the famed Kala ghoda art festival in India.

Mixed Medium is a story of the artists portraying the difference between their real and reel life.

It is a journey of how surreal their work and life is whereas in real life, a simple cup of coffee can enlighten their day. Life full of mixed mediums and a way they live their life sometimes artistically or sometimes intellectually. They may be in their dream world full of aspirations but it’s the rain that brings them to reality. It’s a story of how they rehearse and perform for their stage show, and contradicts to that how relax and how they like to be in their own space. Also, you will understand how romance and love plays a critical role in each day of their lives.

Drama

Run Time 74 Mins

Run Time 83 Mins

MIXED MEDIUM Mixed Medium has been directed by multiple award winning woman indie filmmaker, Shomshuklla, whose previous award winning works include such dramas as Sandcastle (the story of a woman finding her true identity), A Holiday & A Picnic (an adaptation of Nobel Laureate, Rabindranath Tagore’s famous romantic novella, Shesher Kobita), Hopscotch (a psychological horror film) and her recent

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FLOWERS AND A LAP OF ROSE “Flowers and a lap of rose is my 6th feature film and very close to my heart. The film was shot in some of the exotic locations of New York and India. Initially the script of the film was written in poetic layout. The thought was to give an ethereal look to the film, because of which we planned the shoot during the snow in New York. And by God’s grace and our luck, just a couple of days before we planned to shoot, a snow storm hit the city and covered the entire central park and other places with fresh snow. It looked magical.

Bharat Dabholkar, the lead male actor of my film is a reputed actor in Indian Cinema. His character sketch was designed in such a way so that it gives a distinctive look to the film; a masculine well built man having a good time with his dog and bird. He is playing the character of a poet in the film.

My female lead, Ria Patel who acted as the muse in my film is an alumni of LA film school. She got connected to me and showed interest when I narrated to her the story of my film. She played

her character wonderfully and has added beautiful flavours to my film.

My DOP, Alex Megarowho is also a great friend and is from New York. I met him at a festival and got connected with him. The best thing that I liked about him was where he could visualize all of my ideas and give me exactly what I wanted from my film. Each frame that he shoots for my film is very artistic; he understands the brief. He is an award winning

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director and cinematographer.

With great effort and hard work put in by all of my team we created this amazing art piece!”

Synopsis One can find love in the beauty of flowers or the verses of poems.

Flowers and a lap of rose is a story of an established poet and the magic of his verse.

It’s a story of finding a world

in your dreams. The story makes you love yourself. One odd day something deep and a romantic sensation pushed him and he decided to pen a new sonnet. It is all about this young starry-eyed girl who is in her own journey of discovery, she see everything differently.

As the poet started writing this new poem he began to sail in a reverie with this charismatic girl of obsession. cuttocut.ent@gmail.com Drama

Run Time 78 Mins

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A Shomshuklla Film Music Ankur Mukherjee

Murals Sumanto Chattopadhyay Shomshuklla

All men dream, but not equally . . .

Ballad of a Righteous Merchant Filming Herzog ďŹ lming . . .

A film by Herbert Golder

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Ballad of a Righteous Merchant A stunning documentary film

by Herbert Golder A fresh and candid glimpse of one of the great masters of cinema at work, by his longtime friend (of more than 25 years) and collaborator (on 10 films) Herbert Golder, BALLAD OF A RIGHTEOUS MERCHANT chronicles Werner Herzog’s making of the feature film, MY SON, MY SON, WHAT HAVE YE DONE (co-written by Golder), which was nominated for a GOLDEN LION at the Venice Film Festival, and which stars Michael Shannon, Willem Dafoe, and Chloe Sevigny.

MY SON, MY SON, WHAT HAVE YE DONE was inspired by the true story of an actor who acted out in reality the crime he was supposed to enact on stage in a production of an ancient Greek play: he murdered his mother.

BALLAD OF A RIGHTEOUS MERCHANT explores the process through which this true story, itself inspired by a fiction, is transformed back into a fiction—that is, a narrative feature film—once again.

Unlike other documentaries which have been made about Herzog, in which he stares almost defiantly into the camera and, in his inimitable way and in his famous voice, articulates his views on life, this film shows a side of him known only to his friends and close collaborators. Although refreshingly candid and surprisingly revealing, this portrait in no way diminishes Herzog’s mystique—quite the contrary—but it does deepen our appreciation of his humanity, and offers, through Golder’s running commentary—as much part of an ongoing conversation with Herzog as a conversation with the viewer—an insider’s insight into his craft. Even as we come closer to knowing Herzog more intimately in this film, we also become increasingly aware of his privacy and the deep solitude that in some essential way defines him.

Herzog’s idea that film should be, not analysis, but an “agitation of the mind” informs the telling of the story that unfolds here. Not without its moments of humor and warmth, BALLAD OF A RIGHTEOUS MERCHANT nonetheless manages to explore, through what we see taking shape on screen and through Golder’s voiceover narration, some of the most abiding and deepest themes of Herzog’s films.

Documentary

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Run Time 63 Mins

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ISLAND OF DOCTOR MORON

The Dockrills always planned to take their show to the world at large. To this end, they produced this unique film. The result is also the first and only cinematic film of a live production of a completely original Australian rock musical. And it rocks! It was tagged by one leading newspaper as “Rocky Horror on Steroids”.

A film by Chris Dockrill, Island Grunt and The New Olympia Theatre Company

“We used fourteen cameras per shoot to film many performances and 10 months to edit,” said Dockrill. The result is an amazing film of an equally amazing show.

The film premiered to a sell-out audience in 2016, 200 metres from the Sydney Opera House.It has since screened across Australia, in London, Canada and, now, France.

Like many famous rock musicals, The Island of Doctor Moron® had humble beginnings as a high school musical in the rural town of Kempsey in Australia. Even then the show’s creators, Chris and Lyn Dockrill knew they had something very special on their hands. “We had people of all ages coming back to see the show three or four times over its five-show season,” said Chris Dockrill.

Many viewers say that the film is so intense that it makes the them feel like they are in the show rather than just watching it. “We wanted to smash through the ‘fourth wall’ and propel viewers into the action,” said Dockrill.

Fast forward to 2014. The Dockrills formed a production company and unleashed a fully professional production of the show in Paddington, the trendy heart of Sydney. “By then, we had refined the script and songs to a leaner and meaner state,”said Dockrill. With a cast of 35 including an amazing band, the show went from an unknown to playing to full houses over its four-week season. “We proved our point unequivocally, that the show has enormous commercial potential. We are out there now looking for investors to produce the live show in London and beyond,” he said. Like the school show, the professional production had people boasting that they had seen it 5, 6, and 7 times.

With a roller-coaster plot, 21 original songs, relentless choreography and vast array of larger-than-life characters, the film sweeps viewers away for two hours of joyous entertainment.

Australia’s most famous stage and screen actor, Jack Thompson AM, describes the show as “irresistible”. World famous action writer, Matthew Reilly, says of the show, “Moron is fun.”

www.theislandofdoctormoron.com

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Musical

Run Time 135 Mins

COLD FEET Produced, Directed, Edited by Keishi Suenaga

Author’s Statement A short thriller film to pursue “Guilt and forgiveness.”

Synopsis An assistant professor Noriyuki Kusakabe (Chikahiro Hanamura) visits his second house with his student, Arisa Hayami (Sahel Rosa).

Arisa is at first delighted with the aged rooms and furnishings, but soon she begins to feel someone’s memories, pains and regrets left in the second house.

She finally knows that Kusakabe’s former lover, Saki Arimura (Satoko Enmei), has died at the place.

Kusakabe believes that Saki’s spirit envies Arisa and wants to kill her, but Arisa begins to see things in a different way.

Keishi Suenaga is Japanese Independent Film Director/Producer/Writer.

While working at Japan Post, in 2011 established Starsea Films Production, an independent movie production group.

Responsible for producing, directing, scripts, and editing.

After working in a record store following graduation from high school, worked in South Korea from 2000 to 2003, and worked in China from 2003 to 2006.

His new directed short film “Cold Feet” (2017), starring is the famous Iranian actress Sahel Rosa.

Completely moved back to Japan in 2007. https://www.facebook.com/tsumetaiyukacoldfeet

Thriller

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Run Time 27 Mins

1. CRAMER CAIN AS BALTHASAR - 2. AMANDA STELLA WEBB AS MONA AND JAMES BERKLEY HARRISON AS DOCTOR MORON 3. LYNDELL ARTHUR AS EDWYNA “UNDER DOCTOR’S ORDERS” - 4. TIM VICTORY (LEFT) AS FITTER AND JAMES CHAPMAN (RIGHT) AS TURNER.

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PAPA

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A feature film

by Dan Israely

Papa the movie, is a story of a young man, Ben, who tries to uncover his mysterious past.

Adopted at a young age by an affluent family in Beverly Hills, Ben as a child had everything he ever wanted except, for the knowledge of who his biological parents were.

The movie was written and directed by Dan Israely from his own novel and the story was inspired by true events. A unique relationship develops between Ben and David (Papa) while at the same time a precious love story flourishes between Ben and Dina, a worker at the care home. The story takes many twists and turns with ample surprises which leads to an unexpected ending.

Much of the filming took place in Bakersfield California at a home for the mentally challenged. It allowed for the actual residents to have a chance to witness and partly be involved with the filming of a full feature film.

Dan Israely and the producers Emilio Roso and Dr. Zahava Israely knew that such an important and touching story demanded an all-star cast and each and every member of the cast delivered with brilliant performances.

Featuring: ANN-MARGRET, DAVID PROVAL, PAUL SORVINO, DARYL HANNA, ERIC ROBERTS, MICHAEL MADSON, VINCENT PASTORE, EMILIO ROSO, MISCHA BARTON, NATHALIE BIERMANS and ROBERT SCOTT WILLSON. The music was composed by the talented composer Mark Daniel Dunnett and the sound track was recorded by a full orchestra and went on to win first prize at the Los Angeles CineFest. Papa is a unique film that turns somewhat tragic events into a positive heart- warming experience which features elements of comedy, drama and sadness. It is a story that makes you think and stays with you long after you leave the theatre. It deals with family relationships compassion, trust, hope and love.

Drama

http://www.imdb.com/title/tt4843750/fullcredits?ref_=tt_ov_st_sm

THE SYSTEM Written, Directed & Produced

by Keith Kelly

Director Statement Education trumps everything! That is the first line in this movie and core belief of writer/director Robert Keith Kelly. Most problems can be solved by educating those involved or affected. But recently, critical thinking, the basis for learning throughout history, has been almost forbidden. It has been replaced by the mandate, “follow the policy.” Furthermore, respect for teachers has been greatly diminished, thus devaluing the importance of education.

However, unlike past generations where the young had to learn from the old, today tech savvy students can challenge older adults and institutions with their internet and social media skills. They are becoming agents of change, and that is the underlying theme of this movie.

Run Time 107 Mins

Kelly believes that comedy is the best weapon to attack serious, complex issues - so this biting satire is not just a film, but a call to action for those who care about the future.

ABOUT Keith Kelly Robert Keith Kelly studied screen-writing at UCLA and received degrees in various areas of technology from W.Va. University, W.Va. Tech, Fairmont State, and the University of Georgia. He has a total of 5 degrees - thus the name “5 Degrees Production Company” Before film work Keith taught Architectural design and photography. He also coached at the high school and college level. While being a successful teacher, photographer and woodworker he also trained and qualified for both the Summer and Winter Olympic trials.

After completing several shorts and documentaries he wrote and directed the feature film “The System”. Keith is passionate about causes involving children and education. He is committed to writing and directing his own films.

Comedy

http://www.imdb.com/title/tt5941158/?ref_=nm_flmg_prd_1

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Run Time 104 Mins

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DAY SIX An Interview with Juan Pablo Arroyo Abraham, director of the Mexican feature film Day Six

ABC: What drove you into making films?

JPAA: I’ve had a connection with cinema for as long as I can remember, both as a spectator and a creator. A big factor was witnessing my father filming us all the time with an 8mm camera. The sound of the film running through the magazine is tattooed in my memory.

I started with stop motion when I was 10 years old and by 14 I was making action scenes; well, more like attempts at filming cars screeching tires and crashing. In reality, my first formal contact with movies happened in 1999, in New York City. I made a couple of short films in 16mm format, rented a moviola and spent weeks editing without even seeing the light of day. This experience was my greatest motivator to keep telling stories.

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ABC: What do you expect from Day Six? JPAA: My greatest satisfaction will be seeing the reactions of the people who made this film possible.

Their reaction towards a fully assembled puzzle of which they only saw parts, I think sharing the final result with the crew who put so much effort is what I want the most; that, and, of course, impacting the audience.

ABC: What themes do you want to explore with this new work?

JPAA: Day Six is an intimate story, a human story. It’s like finding yourself through your experiences or those of others. In it, themes like love, unrequited love, deceit, the choices we make and illness are explored.

Day Six shows things that are close to us, like shadows that follow us everyday.

ABC: Tell us a bit about production. How long was the shooting?

How many people were involved? What cameras did you use? How much did it cost to make this film?

JPAA: Day Six had a crew of about 45 people. It took about 6 months in pre production, 1 month shooting and 6 in post. We used BlackMagic cameras in 4K resolution. The budget was of about 150 thousand American dollars, and we also received a lot of backing in kind.

ABC: What can the audience expect from Day Six? JPAA: I think it’s a complete movie, with a solid dramatic structure and really clean technique, so I expect the viewers to welcome it, since it takes its audience seriously. It’s not a popcorn flick, its rhythm is slow, but it has a story that can touch a lot of people and that makes it universal. I sincerely hope so.

Source: Diario ABC de Michoacán Drama

www.diaseis.mx

THE HAMMER

by Mohammad Alkazemi

A desperate husband from a past relationship struggles with his inner-self to heal his pain by getting connected with his daughter whom he’s never met before.

Run Time 102 Mins

The challenge was not to make the metaphor so obvious so the viewer won’t feel that they have been schooled, but on the other hand, not to make it ambiguous so the viewer won’t feel that they are less superior and smart than the writer.

Did I, as a filmmaker, accept this Challenge?

- Yes. Did I succeed?

- I’ll let you decide for yourself.

A metaphor is a very powerful tool that has been used in literature to enhance the meaning that the author is trying to covey and make it appeal to all spectrums of people in society. It’s never meant to be complicated since it’s geared toward every single person regardless their education skills. If a metaphor fails to be clear and comprehensible to everyone then it’s no longer useful and no longer faithful to its existence.

In this movie, The Hammer, a decisive attempt was made to use this tool and implement it visually and make it very easy to perceive so it will be able to touch your heart before it even reaches your mind.

Drama

http://www.imdb.com/name/nm4303212

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Run Time 19 Mins

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CHAIRMAN BUDDHA A Thought-Provoking Documentary By Louyi Tang.

Chairman Buddha is about the mythology of Mao Zedong, who many Chinese today believe has been reincarnated as a Buddha.

Temples have been built in the countryside, and statues have been re-erected in city squares. Convinced Mao is more powerful than the ancient Indian Buddha, worshippers fall to their knees before his statues.

Divergent from other documentaries in Chinese and Western media, Chairman Buddha views Mao Zedong from the eyes of ordinary Chinese and tells the story with their words. The film focuses on today, a time of Mao Zedong without Mao Zedong.

Mao Zedong’s worshippers have created a new religion only a few decades after his death. His birthday is celebrated as Chinese Christmas today.

The purpose of making this film about Mao Zedong’s worshippers was never about politics. Considering it her destiny, Louyi Tang formed a tight crew and traveled half of China to film Chairman Buddha, a documentary that was greatly influenced by the ancient Chinese philosopher, Lao Tze. After a threeyear production, Louyi proudly claims that Chairman Buddha is not just a documentary, but a collaboration of brave souls, warm hearts and open minds. http://chairmanbuddhathefilm.com

The whole process of making this film gave Louyi a chance to reevaluate China’s culture and history that she had lived with for many years. One day when she looked at the tears streaming down the serene face of the crying nun, Louyi suddenly became aware that what she really wanted to express in this film is that life is misery. Layers of this meaning are deeply embedded in the film.

Documentary

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Run Time 69 Mins

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JUNICHI KAJIOKA FILMS FOR PEACE AND HUMANITY “IMPHAL 1944” and “SUGIHARA SURVIVORS” Junichi Kajioka is a Japanese actor, writer and director, who is based in London.

His films “IMPHAL 1944” and “SUGIHARA SURVIVORS: Jewish and Japanese, Past and Future” have received six nominations for the Nice International Filmmakers Festival (NIFF) 2018. He tries to shed light on little known aspects of Japanese history. What are his thoughts behind these war-themed films?

“IMPHAL 1944” is based on the battles of Imphal and Kohima, when British troops fought against the Japanese army. It was a turning point in the war but the subject matter has hardly ever been portrayed in film. The film is set in India during WWII and present day London.

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When Junichi was preparing for his role on a related project, he encountered a book written by Mr. Masao Hirakubo OBE (Order of the British Empire). Mr. Hirakubo dedicated his later life to reconciliation and peace between the Japanese and British veterans. He also helped raise money towards the building of a new Catholic cathedral in Kohima as an act of reconciliation. Junichi was intrigued to learn that he was little known even to Japanese people.

The focus of Junichi’s film is on these acts of reconciliation rather than on acts of violence. He uses metaphors to express the concept of war and associations with life and death. One of these is the use of three kinds of flowers - symbols of peace in the three different countries. You may spot other metaphors in the film.

When Junichi visited Manipur he found out that the ordinary civilians in North-East India had helped save soldiers’ lives and that these terrible events are embedded in local memories. This touched him greatly. Junichi conjures up these elements to express his gratitude in the ending song “MEMORIES OF IMPHAL” by Tokyo-based duo Luna Luna.

Junichi stresses, “This story offers a chance to think about the importance and meaning of life.”. He is the writer, director and producer of the film, which has won multiple awards at international film festivals. At the NIFF he has been nominated for Best Film and Best Director.

He played both the 20 and 60 year old Masao, the main character in the film earning him also a Best Actor nomination at this festival.

His documentary film “SUGIHARA SURVIVORS” is about a Japanese diplomat, Mr. Chiune Sugihara, who saved thousands of Jewish refugees by issuing transit visas to Japan. In fact most countries were unwilling to accept refugees in WWII. When he interviewed the Jewish survivors in New York he found that there was only one way for them to escape Europe and that was to go to Japan via Russia. One of the survivors said, “Sugihara was the only hope”.

The film shows the story of the Sugihara Survivors through the work of a Japanese writer, Mr. Kitade. The writer endeavours to trace the identities of some of the survivors found in a photo album passed to him from the family of a Japanese worker involved in their transportation from Russia to Japan.

Junichi interviewed survivors’ testimonies in order to help preserve their stories for current and future generations. “I think Mr. Sugihara took a courageous decision to help so many people at such a difficult time. The story was so inspiring. I needed to video the survivors’ testimony first hand as their stories are very important in the present day.”, Junichi says.

Junichi founded his own production company, CULTURE BRIDGE PRODUCTIONS, to continue introducing Japanese culture and Japanese people to a wider audience through his filmmaking. He is also an award winning actor and has acted in “SPECTRE”, “47 RONIN” and TAKING STOCK”. He has recently acted in Universal Pictures’ “JOHNNY ENGLISH STRIKES AGAIN”, Jiang Wen’s Chinese film “The HIDDEN MAN” and a Scottish horror film “DARK HIGHLANDS”, in which he plays the leading role. He is also playing a Japanese historical figure in an Indian TV series. These projects are due to be released soon. Junichi continues to express his creativity both behind and in front of the camera.

junichikajioka@gmail.com

Imphal 1944 - 16:35 May 10th Screening Room 3 Sugihara Survivours - 19:45 May 7th Screening Room 2

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Drama - Documentary

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LEND A HAND

2017 - BEST COSTUME DESIGN AWARD American Filmatic Arts Awards, New York 2017 - COSTUME DESIGN GOLD AWARD IIFA - International Independent Film Awards, California

by Raffaella Covino

’Lend a hand’ is a film realized with a very low budget. It started from an idea by Raffaella Covino; that is to make a film in “Umbria”, the wonderful region in the centre of Italy.

- AWARD WINNER 2018 Monthly Edition, January 2018 - BEST FEATURE London Independent Film Awards January 2018 , London

In order to get the plan moving Raffaella’s team have been working for three years. The two local largest video and audio companies: Promovideo and Sound Studio Service said yes to co-producing the film for all the technical side. Firstly, 5,000.00 euros had been collected through crowd funding using the slogan “Please buy now the ticket of the movie-to-be!”

- AWARD OF RECOGNITION Monthly Edition, January 2018 - BEST ACTRESS/ Ilaria Falini Hollywood International Moving Pictures Film Festival January 2018

Next, Raffaella and her team convinced more than 300 people to place their professional skills at their disposal in order to fulfil this great dream for Cinema’s sake The result; “Lend a hand” a sparkling, light, women’s comedy. And now here is the challenge; if you smile twice when you watch this film we will win our bet!

As soon as the film was finished, it was selected at the XIV Edition of the Italian Film Festival in Miami, competing with movies including: “Jeeg Robot” and “Do not be bad”, and shortly after that the Italian Film Festival in Atlanta.

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Synopsis: Caterina is a young and well-known psychologist, her life is perfect: love, job, family, friends are all that she wishes.

But one day something happens which threatens her happy existence.

Her father dies leaving her full of debts owed to her sister Viola who has spent through the family property; a provincial scandal disgraces her reputation and she loses her job and her husband leaves her.

For the first time Caterina must start again and begin a new life. A deeply different life from the one she has always known and loved. After an amusing series of events she will discover that her deepest strength is never to stop, lifting her head up once more, trusting and leaning on those people, (such as her friends Ludovica and Sara and her fragile sister Viola ), whom she had always thought she was there to help.

CAST & CREW Actors: Caterina - ILARIA FALINI Ludovica - OLGA ROSSI Sara - ROBERTA BISTOCCHI Viola - MARTA PELLEGRINO Franco - FRANCESCO BOLO ROSSINI Chief editor - MICHELE NANI Street singer - DAVID RIONDINO

2017 - BEST COSTUME/WARDROBE DESIGN AWARD International New York Film Festival, New York

Director – RAFFAELLA COVINO Screenplay - RAFFAELLA COVINO, VINCENZO TERLIZZI Producers OGNI FOTOGRAMMA, PROMOVIDEO srl, SOUND STUDIO SERVICE Director of photography - WALTER CIURNELLA Original Soundtrack - DAVID RIONDINO, FRANCESCO BRUNI, MARCO CAPACCIONI Music Editing - SOUND STUDIO SERVICE “Dammi una mano” original song - DAVID RIONDINO Sound Mixing - MARCO CAPACCIONI,ALBERTO BRIZZI Costume Designer - SARA PITTAVINI Set Designer - CATALINA TRIANA,TAMARA MILENKOVIC Poster Design - LUCIANA CIUFFINI, PROMOVIDEO

2017 - BEST FOREIGN COMEDY FEATURE AWARD American Filmatic Arts Awards, New York

The Director is at the moment working on her next movie that will be shooting soon in Perugia, Italy.

- REMI AWARD WINNER 2018 - FEATURE/ FIRST FEATURE WorldFest - Houston International Film & Video Festival – Houston, TX - FINALIST 2018 – NARRATIVE FEATURE FILM CineFesta Italia, Santa Fe, New Mexico

Comedy

http://dammiunamano.weebly.com

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Run Time 86 Mins

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TO THE GRAVE Written, Directed, & Produced by Kai Collins

To the Grave is a dark comedy about two best friends going to extremes after losing their reign as local doubles tennis champs. It’s a story about the depths of friendship, determining what you want, and how far you’re willing to go to get it.

Synopsis Amidst the relentless perfection of Rose Canyon Manor, best friends Margot Bleeker and Gayle Lacey had a singular sense of purpose beyond being ideal mothers and wives: winning the local women’s tennis doubles tournament. This “small” victory is vital as it validates their talent, worth, and abilities in a world that doesn’t do so otherwise. Unseated from their ten-year title, they unravel in stridently different ways.

Margot, mom of one with another on the way, loses her ability to manage daily tasks... bake sale muffins, carpool, brushing her hair... and grows further unhinged. Gayle displays, however, an eerie sense of calm and outward perfectionism, while losing it behind the scenes. The situation intensifies as their cheating rivals continue to taunt them about the loss of their cherished, annual victory.

A freak accident gives Margot and Gayle an opportunity to reclaim if not their rightful title, the prize attached, and they seize it. To the Grave explores the less than idyllic side of the “perfect community”, striving to make others happy, and the strength of the female bond.

kaicollinsfilms.com

TAM

Director’s Notes To the Grave stemmed from a painful experience that the comedy writer in me had to reimagine in a humorous way.

After suffering a loss last summer, it was time to tell this story, initially dreamed up in 2010. TTG is is an extension of my mission to tell the truth of stories that I can’t face or can’t say aloud, by reframing them through the power of humor.

I hope this film brings laughter to those who are uncomfortable and understanding to those who have the luxury of feeling comfortable.

To the Grave just began its festival run but has nominations for Best Short, Best Comedy Short, Best Supporting Actress at Nice IFF. Drama

Run Time 17 Mins

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Based on the much-loved Scottish tale of ‘Tam O’Shanter’ , ‘TAM’ is a dark cautionary fairytale re-imagined in the gritty urban underworld of modern Glasgow.

Starring Martin Docherty (Cloud Atlas, Outlander, River City) as loveable rogue Tam, and Gavin Mitchell (Still Game) as bosom buddy Johnny Soutar, TAM follows the hallucinogenic journey of Tam as he descends into a visceral underworld of wild parties, violence and illicit highs, encountering demons, the devil himself, and the bewitching dancer, Cutty Sark (played

by Ley Les Rouge, an international pole-dancing champion). Tam is forced to face his demons and question the morality of his lifestyle.

Narrated by Scottish theatre star Anne-Marie Timoney, and underscored in 90s-inspired dark electronic tracks by Novasound, TAM’s gripping sound design was created by MSc Sound for the Moving Image students at Glasgow School of Art under the mentorship of Paul Wilson.

TAM is more than just a short film. It is a thrilling adventure, a celebration of modern Scottish folklore, a dark cultural insight and a rollercoaster of modern poetry.

For more information please call +44(0)77250 32598

Director/Writer Victoria Brown states: “Robert Burns had a tremendous gift for storytelling, and his epic poem ‘Tam O’Shanter’ is every bit as relevant to modern society as when it was written in 1790 We are incredibly proud that our re-working of that story in ‘TAM’ has made it to the Nice International Film Festival , which proves how enduring and accessible the original tale really is!”

TAM was produced by Greenlight Creative, a Glasgow-based production and design agency. The success of TAM across the festival circuit, in addition to a BBC sale, led to company director and producer, Jason Brown, forming a new production company in 2017 called ‘Velvet Wolf Films Ltd.’ Velvet Wolf Films now concentrates fully on producing documentaries and films for broadcast and cinema release, with several projects in production, as well as completed documentary ‘The Collins Variety Agency’ due for BBC broadcast in May 2018. tamshortfilm.co.uk

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@tamshortfilm

Drama

Run Time 15 Mins

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Suicide The Ripple Effect A powerful feature documentary

by Kevin Hines & Greg Dicharry

“Are you okay? Is something wrong or can I help you? Those are the words that I so desperately wanted to hear right before I catapulted myself over the Golden Gate bridge rail.” Kevin Hines - Global Storyteller, Author, Filmmaker

The ripple effect of suicide reaches far and wide. Every 40 seconds someone dies by suicide. Nearly 1,000,000,000 people every year. It’s a shocking, stark reminder of the seriousness of a global epidemic that touches everyone.

It’s a movement for a generation of people who have been hurt, are hurting and want the pain of unnecessarily losing loved ones, friends, family and our fellow humans to come to an end. It’s an issue that has touch points with literally everyone.

2018 is going to be a spectacular year for a number of reasons; the film having already been released to audiences around the world is just one small part. The work I’ll continue to do in the interest of advocacy is another.

I stop to remind myself on this journey in advocacy that I’ve now lived 17 years past the day I should have died.

But I’m not just a storyteller with a singular humanitarian goal in mind. I’m a survivor. I attempted to take my own life by jumping off the Golden Gate Bridge in 2000. Driven by the idea of change I work tirelessly to give a voice to those who suffer within the negative confines and societal stigma that are unjustly associated with mental illness and the impact of brain disease and associated substance use disorders.

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Case in point of our change aspirations are what I’ve created alongside my wife Margaret: ‘The Kevin & Margaret Hines Foundation’ and ‘17th & Montgomery Productions, LLC.’ Both of these organizations are vehicles to drive change and promote collaboration with other change makers in a world of mental health that I believe needs an overhaul in terms of shifting the focus towards helping others seek treatment and become empowered to become mentally well.

I’m an advocate because seeking appropriate mental health evaluation, treatment, developing an action plan and surrounding myself with a strong network of people how care is a set method and practice that’s served me well in my own struggle with severe Bipolar Disorder.

I’ve trekked, literally, around the globe bringing my message of strength and hope to audiences far and wide.

From Australia to Japan and Ireland to the United Arab Emirates and back again my mission is to make it okay to talk and speak even when we don’t want to – spoken - and subsequently we’re seeing actual change.

With that in mind, I’ve been dedicating myself over the past few years to putting together a project that will reach far and wide in the effort of reducing the number of deaths by suicide down to zero.

However “Suicide: The Ripple Effect” isn’t just a film about suicide.

When it comes to change we look to the pioneers who lead the way in the world of mental health and suicide prevention awareness. There’s one man whose efforts sum up the personal sacrifice and tip-of-thespear work done in the interest of advocacy and elimination of stigma: Kevin Hines.

In creating this hard-hitting film “Suicide: The Ripple Effect” has become a global digital footprint for a generation of people. Hines collaborated with a multitude of mental health advocates, medical and psychiatric decision makers, government leaders, lawmakers, military and law enforcement and fellow humans - families, friends and others he’s met on his journey to discuss the impact of suicide.

The film has been a labor of love. Despite Kevin’s struggles with severe Bipolar Disorder - and that’s something he reiterates happens on a daily basis, still - he’s used this film as an opportunity to drive change in the world of mental health.

Suicide: The Ripple Effect” is a feature length documentary film and MOVEMENT, focusing on the devastating effects of suicide and the tremendous positive ripple effects of advocacy, inspiration and hope that are helping millions heal & stay alive.

The film highlights the journey of Kevin Hines, who at age 19 attempted to take his life by jumping from the Golden Gate Bridge. Today Kevin is a world-renowned mental health advocate, motivational speaker and author who travels’s the globe spreading a message of hope, recovery and wellness.

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The film chronicles Kevin’s personal journey and the ripple effect it has on those who have been impacted by his suicide attempt and his life’s work since. In addition, the film highlights the stories of individuals and families who are utilizing their personal tragedy to bring hope and healing to others.

During filming he’s also led the initiative to construct and implement the Golden Gate Bridge Rail Net. With success.

You can host a screening of Suicide The Ripple Effect in your local movie theater... at no cost to you! In fact, film host (Team Ripple Movie Captains) get 2 free tickets to their screening and can use the screening to raise funds for a nonprofit organization of their choice.

As of January 5, 2018 you will be able to start selecting dates and theaters for your screenings and view screenings already organized.

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The date March 13, 2018 was the first day screenings could be held.

For more information on hosting how to host or view a screening, sign up instructions and more please do navigate here: www.suicidetherippleeffect.com/hostscreening And constantly working to remind you that you’re worth it and you do matter and my hope that you’ll join, support and believe in our cause of no more deaths by suicide.

The most exciting part about this film is that it’s going to help people. - Greg Dee, editor and Suicide: The Ripple Effect team member.

My feature documentary ‘Suicide: The Ripple Effect’ has been two years in the making. This project is a culmination of my advocacy work, research, relationships built with people in recovery and mental health and based completely on those with lived expertise who have an amazing story to tell. The film was shot in an attempt to deeply illustrate the impact that suicide has on our world.

The completion of this incredibly moving and beneficial life project - my legacy and expose - is near.

Being an advocate in mental health and suicide prevention has given me a global platform for the message of hope and healing that I firmly believe are the foundation of eventually eliminating all negative statistics related to suicide.

It’s a way for me to birth a movement against suicide. It says everything I’ve ever wanted to say and then some.

Greg Dee, who was so instrumental in helping film and edit the project, gave me some unfiltered, real perspective on not just the movie and tasks associated with it but on how important the issues we captured really are.

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Zero suicides is the goal! In standing up and putting the last few years into my film I’ve got the ability to reach millions of people to talk about the impact that suicide has on our society - on our world - and ultimately that’s my goal. To make it ok to talk.

Even when it might not feel like it inside.

As a survivor of my own suicide attempt off the Golden Gate Bridge in 2000 I’m intimately

I created a YouTube clip making of video of us discussing those candid points that you can check out here: https://www.youtube.com/ watch?v=qx6uNRNNWLA When we first started shooting this film it was important for me to focus on the individual, human element. The stories of the families, friends and circles around those impacted by suicide.

While the statistics are staggering.

According to the National Alliance On Mental Illness “41,000 people in the United States die by suicide each year.”

It’s the 2nd leading cause of death for people aged 10-24.

My goal in speaking and advocacy is to get that number down to zero.

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familiar with the process of healing, regaining hope and finding purpose. The connection with others as you rebuild yourself physically, spiritually and emotionally is so important.

I wanted to focus on the human side of suicide in making this film. I thought it was important to get to know the interviewees, their families and friends and also feature an overlapping message of solidarity about the issues.

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Just this year I was able to finally see the pivotal approval of the Golden Gate Bridge suicide deterrent system project. The goal is to install steel rope nets on each side of the bridge rails, 20 feet out and 20 feet below.

The opportunity to eliminate suicide attempts at the iconic bridge is something I feel personally very strongly about. Nearly 17 years ago I plunged over the side of the bridge. I was literally compelled to die. That’s about as raw as it gets when trying to define that sequence of events which led to that moment. I instantly I regretted the choice I’d made. But I also survived.

To read more about the Golden Gate Bridge suicide deterrent project navigate here: http://www.sfexaminer.com/constructionbegin-golden-gate-bridge-suicide-deterrentsystem/ In creating my film I’ve had the distinct privilege to connect with thousands of people around the world who’ve been impacted directly by suicide in one form or another. Families of victims. Survivors.

Mental health professionals. Advocates in suicide prevention and wellness. Emergency personnel.

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Joe Williams, Sam Webb, and Lauren Breen also all hail from Australia and have been instrumental in providing their unique perspective on mental health and suicide from their own personal lived experiences in parallel to those of family members and the way it impacts the communities they live in. Each of them is working in the world of mental health and suicide prevention today.

Have you ever thought about the precious gift that is today? And what does today lead to?

These are, I believe, the highlights of life itself and the focus of being here.

I know this and have given the issues of hope and survival a lot of thought because I wasn’t always able to appreciate that gift that is tomorrow.

There was a time in my life 17 years ago where I wasn’t too concerned with anything beyond today.

“For every one death by suicide at the very least 115 people are directly impacted.”

The answer to those questions is that they lead to tomorrow.

One person in particular who’s had a profound impact on me personally is Greg Van Borssum who met me in Australia and gave me some unique perspective on life challenges, perseverance, and the motivational element that I believe is a huge component of healing and achieving wellness in the face of mental illness.

Tomorrow, the cliché goes, is a typical line item on a calendar that we can try to plan for, schedule and arrange. There’s a certain expectation in another day that some people including myself at one point - take for granted.

If you’ve read my book ‘Cracked Not Broken’ you know how disillusioned I was getting off the San Francisco city bus, desperately looking for someone to talk to, someone who would tell me what I needed that day so I wouldn’t follow through with the unimaginable, teetering on the edge of life and constantly wrestling with the anguish of constant suicidal thoughts in my head.

But there’s beauty that

I couldn’t find that answer in myself let alone anybody

We met in December of 2015 in Sydney.

To discuss making this film, filming and ultimately giving people hope so they can stay alive. And thrive.

The things about this life that give it flavor and make it worthwhile are in the people. The beauty of the world around us. Filled with the moments we share - and sometimes take for granted- with loved ones, family and friends. The feeling of success on a personal level. Of connecting to those around us as we go about our day.

Smiling and being optimistic and excited.

I’ve had the opportunity to partner with so many incredible advocates and humans on this project that it’s hard to list them all. It’s definitely been a labor of love.

a lies

certain in the

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type of unknown.

then else.

The incessant negative cadence of zero self worth and total defeat - and a command for me to die on that fateful day - filled my head like helium fills a skyward balloon. I didn’t spend much time planning my future.

In fact, I had done all the things I needed to do - said my goodbyes to family - so I wouldn’t have to do so.

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I certainly didn’t feel like I was good enough to have a future on that day nor did I honestly feel like I belonged.

The reality is the foundation of our world is from the worth that we as individuals bring to it. The laughter we share with others. The joy in helping people. The beauty of the earth and Mother Nature that surrounds us - the ocean, the sky, the rolling hills and mountains and rivers and streams.

Those thoughts - generated by the severe Bipolar Disorder I suffer from - are what drove me to jump over the pedestrian walkway at the Golden Gate Bridge in San Francisco, CA. Luckily, I managed to survive. Barely. But I did survive.

My message in bringing this topic to your attention today is because I truly do love life. I love everything about it!

And I’ve spent the better part of my life since I was rescued from San Francisco Bay working as an advocate for mental health awareness and suicide prevention. It’s the goal now to be here tomorrow. I know all too well how precious that gift is.

Everyday - even on the most challenging, brutal ones when it ’s so hard to continue to fight when I can’t breathe or barely stand - I love life.

I love it on the brain-pain filled days and I continue because I must.

And to educate people on the importance of wanting to do just that.

I love life even when my delusions fill my head again. When my mind plays tricks on me, I continue to thrive.

My brain disease which I struggle with on a daily basis, still, often gives me plenty of alternative scenarios with which to cloud my renewed focus, goals and dreams. I have to work very hard and stay connected in order to get to the place I never thought possible at my darkest hour- tomorrow.

Why? Because I get to exist today in life and light even when - especially when - I doubt in the darkness. I love life because it ’s our greatest gift. Suicide: The Ripple Effect.

I knew as soon as I cleared that rail that my life was about to drastically change.

Check it out.

And I didn’t want to end up where my mind kept telling me to go.

Today.

For more information about the film, please do navigate to:

If you haven’t seen the trailer for my documentary film ‘Suicide: The Ripple Effect’ you can see it here:

www.suicidetherippleeffect.com

h t t p s : / / w w w.y o u t u b e . c o m / watch?v=LytKNC405oI

And for more information on hosting a screening of the film, check out:

Think about the value you have to those people in your life who appreciate you, care about your well being and want you to be happy.

There was a time in my life when I believed that nobody cared. That I was alone. That I was destined to become another statistic.

w w w. s u i c i d e t h e r i p p l e e f fe c t . c o m / host-screening Lots of incredible, exciting new developments on the front of mental health and I want to encourage you to #beheretomorrow.

Documentary

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Run Time 93 Mins

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THE CONTROL A stunning psychological thriller

by Michael Stasko & Eric Schiller

Watching any film, we are subject to filmmakers’ decisions about how our attention will be used for the duration. Ideally the real world disappears for a couple hours, and when it reappears we view it through the lens of the movie’s ideas, feelings and characters.

The Control is a 94-minute postmodern sci-fi feature that engages this concept from every angle.

Prodigal programmer Mike and unorthodox neurochemist Eric are hired to perfect a complex virtual reality system for a mysterious CEO. Beyond clunky headsets and video game controllers, the realities they design are inputted directly into the user’s brain, without that brain realizing it’s being programmed.

Their biggest challenge is to keep the real world from shattering the illusions they create.

Ironically, their success means they can no longer trust the reality of the outside world.

When Mike’s muse becomes trapped inside one of their trials, they must dive inside their own creation to bring her back. As tensions mount between Mike and Eric, it becomes less and less clear to them what is real and what is virtual.

The Control is as much an ontological puzzle as a sci-fi movie. Indie filmmakers Mike Stasko and Eric Schiller have constructed a taut, tense psychological thriller that reverberates in your mind like a cerebral movie-of-ideas. It is simultaneously urgent and contemplative.

The filmmakers add to the subversion by placing the audience on the shifting sands of fragmented but intersecting plotlines.

Their approach invites the viewer to actively

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TO LET

question what they are watching, and keep a keen eye out for clues about the structure and meaning of the film as a whole.

Shot in Canada, with generous help from the University of Windsor, The Control seeks active engagement from its audience and will connect with like-minded fans of science fiction and experimental films across the globe.

Thriller

Run Time 94 Mins

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A feature film

by Chezhiyan Ra with ​20 international awards and continuing.

TO LET is the story of a couple with a child. It takes place in 2007 in the Indian city of Chennai which is experiencing a real estate boom as a result of an exponential development of the IT sector.

The child likes to draw; the mother likes plants. Dad tries to break into the world of cinema. The owner of their accommodation a little too greedy for a higher rent and evicts the family.

They have only thirty days to find new housing with their modest middle-class income. On their mopeds they start a race against time and all kinds of prejudice.

Director’s Note – Chezhiyan Ra Why did I make “ TO LET ”?

The economical recession in the first decade of the new millennium and the arrival of the multinational companies led to the boom in the IT industry at Chennai City in South India.

Particularly in 2007 these changes led to the sudden and disproportional rise in rents due to the housing needs of the IT personnel with fat pay cheques. www.facebook.com/chezhiyancinema

The opportunistic landlords tried to exploit the situation by asking the economically vulnerable tenant-families to vacate at short notice. People working in other sectors and the working classes were hit the hardest.

Thousands of tenants wandering on the summer streets with their children to find their new homes.

As a witness I want to make a film about this without any compromises.

Drama

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Run Time 100 Mins

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LEMON & LETTER

Synopsis Kijima Kaito (grade 5) moved with his family to Ogi-jimah, where his father was originally from, because of his mother’s illness. After the death of his mother, he lived with his father and grandfather.

Eventually his father left the island to go back to work as a photographer.

A Short Film by Keiko Umenoki

This was filmed with a focus on the scenery of Ogi Island, found within the Seto Naikai area and with a focus on the people living there. “W&M”, my previous film portrayed the lives of individual women visiting the island.

But during the creation of this film I had in mind the children, who’ve moved to the island and their growth and struggles regarding their future.

Yuu Takagi (also grade5), who recently moved to the island, smiles at him in the midst of his loneliness. The two of them grow up together and are now high school students.

My desire is to continue to show these films, both inside and outside of Kagawa, as a means of revitalising the islands of Seto Naikai and Kagawa prefecture.

This is a story of two children who moved to the island, fell in love, and grew up together.

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Cast Makoto Shinada as Kaito Kijima Kyoko Ujihara as Yuu Takagi Yoshiyuki Ito as Denjiro Kijima Akiko Kinouchi as Michiko Takagi Takaki Obayashi as Kaito Kijima’s Child Aoi Kobayashi as Yuu Takagi’s Child Crew Writing & Director Keiko Umenoki Director of Photography Tomoaki Iwakura Editor Takeshi Iwamoto Music Main theme guitar Music [Beyond the sky] by Howdy Music tomy M Ending theme song [Instead of saying good-bye] by Maiko Piano music [Dream diary]

by Haruna Okada

Drama

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Run Time 30 Mins

tamshortfilm.co.uk

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MODERN LOVE

The film describes the loneliness and mental conflict of a woman who lost her boyfriend, and the wavering emotions which followed.

Directed by Takuya Fukushima

This is a science fiction, as well as a philosophical and a totally unexpected story. The story asks the question, “What is true love?” This film is surely entertaining, and definitely one of a kind.

MODERN LOVE is Takuya Fukushima’s new feature film after eight years. One of his earlier films, OUR BRIEF ETRNITY, released nationwide, was highly acclaimed at the Tokyo International Film Festival and around the world.

STORY NASA announces the discovery of a new planet in the solar system, Emanon, where life might exist.

Despite people’s enthusiasm, abnormal weather events occur frequently.

As a director, Takuya Fukushima has been described as “outrageously gifted,” “distinguished” and “a leading figure in the independent film sphere.”

Working part-time at a travel agency, Mika is doing her Master’s degree in theoretical physics. She hasn’t been able to get over Teru, her boyfriend who disappeared five years ago. As a matter of fact, she spends every day talking to Teru in her delusions.

One day, Mika suddenly experiences déjà vu and meets a version of herself…

Director’s profile After working under Gakuryu (Sogo) Ishii, Takuya Fukushima established P-kraft which has been the base of his activities thereafter. His first film PRISM marked a record high of visitors at the theater where the film was released. OUR BRIEF ETERNITY was officially screened at film festivals around the world starting with Tokyo International Film Festival. In 2016, a special screening titled ESCAPE FROM THIS FUCKIN WORLD/TAKUYA FUKUSHIMA’S COLLECTION was held.

http://modernlove.p-kraft.com

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Drama

info@p-kraft.com

Run Time 115 mins

American Barbarian A timely and thought provoking short film by the Chicago based award winning Filmmaker Paul L.Carr

“American Barbarian is a film I felt compelled to make following the election of Donald Trump. Literally overnight, the American landscape fractured and entered a surreal dimension. Like a virus from a science fiction tale, the upheaval and divisiveness embodied in Donald Trump infected communities nationwide.

The main character in my film, Dorothy, is a young woman coping with the aftermath of the election, a grotesque reality where the bogey man is no longer hiding under the bed, as in a child’s nightmare, but occupies the office of President.

Dorothy’s plight mirrors that of any woman who feels besieged and targeted in a society celebrated for its alleged freedoms. For although America is a land of plenty, there remains a plethora of abuse toward women and the horror genre is an appropriate way to tell this tale. The tools of satire and dark comedy, mashed up with a strong rock n’ roll soundtrack, provides the film a tragicomic vibe befitting of the absurd times we live in.

increasingly disturbing, bizarre – pick an adjective.

In making this film, I often said that the constant unravelling and degeneration so obvious in his psychological state made it imperative that we wrap the film ASAP, before we all go poof! Who knows what the future holds? Trump has made the world a more dangerous place, undoubtedly.

Every day, literally, the news regarding Donald Trump is relentlessly and

Locations around the city of Chicago provided great streetscapes and American Barbarian also

Nonetheless, my goal was to provide some laughs and end the film on an upbeat note, which I believe was accomplished. Sometimes you have to whistle past the graveyard!

incorporates public art and sculptures, scenes shot in a bar and on a rooftop, a bedroom, a bondage dungeon, a psychiatrist’s office.

Chicago, a cinematographer’s dream, displays itself beautifully.

The spirit of the young woman, Dorothy – at times desperate, frightened, confused, is also relentless, buoyant, determined. Clearly, in this era of Trump and #Timesup, American Barbarian speaks of the tumultuous times that every woman, and man, must navigate.”

Paul L.Carr Drama

/BustedCity

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Run Time 46 Mins

Busted City ProduCtions Presents a film By Paul l. Carr

Horror!

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Rock n ’ Roll !

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Comedy!

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The Gaelic Curse A Feature Film By Brian Walsh & Edwina Forkin

Two ordinary young men are the recipients of an ancient Gaelic Curse handed down through the centuries. Bailey O Farrell with a hump on his back that moves around and Paddy O Reilly who has a leg that has a life of its own.

Neither are accepted like regular people. They find each other over the internet and agree to get together with the intention of breaking the curse. Bailey’s parents have already turned their back on their son and left Los Angeles abandoning him and have returned to their native Cara village in Ireland. Despite his scary hump Bailey has I.T. credentials and wins a trip to England and agrees to come to Ireland to Paddy the Limp O Reilly to try and break the curse.

The parents are unaware that their son has arrived in Cara!

Through a series of unusual events, characters, twists and turns and a little supernatural intrigue we follow the journey of the two boys. The story all the while is told in real time with light hearted humour as the boys encounter true love for the first time in their lives with two strong women who can see past their disabilities and awkwardness. Bailey and Limps plight holds a mirror up to the society they find themselves in that are embarrassed by them.

Each finds true love and the curse is broken. We are left thinking about the messages running throughout the tale and perhaps are unaware we are left analyzing our own perception of people who are different to us!

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Comedy

www.zanzibarfilms.net

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Run Time 87 Mins

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THE MAGIC OF READING

by Claudia Moysset

Film The Magazine were thrilled to have the opportunity to have an in-depth interview with Claudia Moysset; the Filmmaker behind this fascinating and beautiful short film.

A young boy escapes his boredom by unlocking the magic of reading with the help of his big sister. Together, they both venture into a world that only literature can unlock for them and are shown a glimpse of the world that rests bound in the pages of wonderful books. They escape from the clutches of a monster and battle it to their freedom, challenging their imaginations to follow along with the book.

Background About Our Profiled Filmmaker - Claudia Moysset.

Claudia grew up reading books of every genre and she was particularly drawn to scary stories. One book had simplified versions of famous horror works. Eventually, she wanted something more challenging. She devoured any bit of literature she could get her hands on. Anything that was beautiful or scary she was a fan of. She discovered the gothic era of literature and fell in love. This led her to love voiceovers and narrations. She likes her films to connect to literature and make use of the power of words. Mary Shelley’s Frankenstein and The Canterville Ghost by Oscar Wilde are two of her favorite works. She adores Shelley’s “Modern Prometheus” and loves to hate the scientist who was the ultimate villain.

Wilde’s narrative about The Ghost of Sir Simon’s relationship with the Otis family is so terrifyingly beautiful and slightly funny. At the end of the novella, Virginia Otis tells her husband that the ghost of Sir Simon taught her “what Life is, what death signifies, and why Love is stronger than both” and Claudia thinks the fact that a message like that can be perfectly conveyed by a ghost is inspiring. She also really relates to H.P. Lovecraft.

She loves his short stories so much. His creativity and use of language is moving. He also takes cues from his nightmares. Lovecraft referred to them as night-gaunts and they have inspired his stories.

Claudia’s films and stories involve scary creatures, but she typically likes to add characters struggling with innocence. Pan’s Labyrinth is a great example of this; it’s the most important film in the world to Claudia. The creatures mixed with the setting of a bleak reality mixed with the beautiful innocence of a child shows the audience something rare; a terrifying fairytale set in our world. The audience gets to see the theme of growing up and exiting the fantasies and dream world of a child only to have the harsh reality that encompasses life swoop in and cast a shadow from that period onward.

Claudia wants to create films that have that kind of effect and that kind of message. Conformity is another huge theme for her in her movies. She didn’t quite fit in growing up. She was obsessed with horror and strange creatures for as long as she could remember. Thus, she likes to have her

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creatures and characters be outsiders or rejected by their peers or to be alone and struggle with assimilation.

When she was growing up, she would sprout stories of ghosts and goblins, and completely lacked a filter when it came to what her imagination was creating and what was fascinating her day after day. She is very tender towards her monsters; seeing them as friends or even children. She was never frightened of monsters in movies; she rather felt for them feelings of empathy or sympathy or love towards them. That is why she really appreciates Guillermo del Toro. The first time she ever saw one of his films, she realized that she was not alone. Claudia realized that there was someone out there like her who understood the beauty in monsters and who loved them. She saw what he did, and she knew that her imagination and fascination was not a bad thing, it was a gift, and something she wants to make the most of.

In every film she makes, Claudia wants to “make my monsters proud.”

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FTM: Your bio is incredibly interesting; please can you tell us a little more about your background which you touched upon?

CM: I was fascinated by monsters. I can never actually pinpoint when my inclination began as it really started at such a wild and early age and it was something that I loved and something that I adored. Literally, anything that was spooky or scary. Originally it started with me be being very enamoured with literature and this is part of the reason that a lot of my films take inspiration from literature. My father would show me classic films, I can remember him showing me 2001: A Space Odyssey for instance and this film really stuck in my head as I was growing up. So, I guess the reason that I became a Filmmaker is an adoration and my fascination of films, literature and monsters.

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But the one thing that I disliked about literature is having all of these thoughts in my head and not being able to show anyone what I actually thought, so that in part was one of the big reasons that I was really drawn to filmmaking. I was always writing down stories and thinking about monsters and creatures and I would fill journal after journal with all of these notes and eventually it got to the point where I just thought I really want people to see what I see. I want to tell the stories in a visual way, whereby if people are going to step into my head, they’re going to step into my world.

FTM: Why in particular did you decide to make “The Magic of Reading”?

FTM: And on that note; how concerned are you that children in particular are reading less now?

CM: When I was around 5 it really bothered me that a lot of people didn’t have access to the same number of books that I had and to a 5-year old it seemed like an injustice and in fact, I ended up starting a foundation with my parents around 2005 called “BookWorm Foundation”. So, to date, we have donated over 70,000 books across the country and internationally and it got to the point that I had spent time in filmmaking where I was thinking I like making monsters and I like making things that are scary, but how can I step outside of my comfort zone and make something different from what I would normally do.

I really wanted to make a film that would inspire people to read, but the target audience would be children and the driving force was how transformative a book could be to your imagination and your life and your world. When I was growing up and I know it might be a cliché, but I struggled a lot to fit in because I had such a fascination with monsters and literally the first time that I learned of Frankenstein I empathized with the creature and that’s why I try to be so tender with the monsters that I create because they hold a special place in my heart. These monsters, they’re the outsiders and in Frankenstein the creature never asked to be made and all of this ultimately led me to make “The Magic of Reading”.

CM: It literally breaks my heart; I really didn’t watch much television and that in part was why I was always reading or watching movies.

It’s appalling to think that one day all of these classic novels may disappear. And now, it may be that the books that we used to read and love may only be read as required reading at schools and it is so sad. We all have these smart-phones and I do not want to be sucked into this world where we leave books behind and I think that reading is so much more rewarding and satisfying in such a way that social media can never offer. You can learn so much from a book and I was never worried or concerned about an English class because I read so much and there is a reason that Oscar Wilde has lasted so long or Dante’s Inferno and that’s because they are beautiful.

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FTM: Although Gothic horror is a really important genre for you, are there others that intrigue you?

CM: I could do something that’s set in a more modern time and in fact, my new film is set in the 1950’s, but the one thing that really drives it is the themes that I like to debate. So one thing that I touch on in that film is the monster that lives in the cave and he’s completely isolated and in fact, he’s very happy, but at the same time, - he wonders what it would be like to be with other people and of course, that’s the thing with humans, in general, - we like to be with other people, we like to be with each other.

And in that film, when he leaves the cave he suddenly realises how humanity can be painful and can be difficult and, in the end, when he has the choice to be with others or be alone, he chooses to be alone and ends up going back to his cave. I suppose you could say that my work is monsters that have a message. I don’t mind gore, but it has to be done in a beautiful way and it has to be tactful and it has to be effective. This is why I particularly love Guillermo del Toro films where they teach you, it’s the modern fairy tale for the adult, it’s important for people to consider something else and important for people to consider another point of view. I can remember so vividly the first that I saw (del Toro’s) “Hellboy”, I was 8 years old and suddenly someone had made a film that showed exactly what was in my head! I had never seen someone see monsters the way that I did who showed such love, compassion and empathy and actually showed them as these beautiful imperfect creatures.

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76 FTM: How did you go about tailoring your film it to such a young audience – how did you make it so that it was both engaging and at the same time creating it in such a way that it wouldn’t be too frightening?

CM: It was so interesting because right at the beginning I thought I want young children to watch this so I’m going to have to disconnect myself from what I normally like and want to do.

So of course I can’t have blood flying everywhere, I’m not going to have these creatures flying around who are terrifying; I have to simplify it in such a way that if I have a monster I make him look as un-scary as possible because at the same time I still think that the ultimate tool in my film is a monster that can be helpful and I think that the biggest reason that it wasn’t a hindrance is because I accepted that right at the beginning when I decided to make this film. I saw things coming to life and I’ve always had such a vivid imagination and I would see things as they are happening and that’s what I love to think about. So, it made me think about what it was like to be a child, I had to go back and remember being that age and I thought how do I relate to this? Fairy tales, that’s what I always go back to and that’s why I ended up making it like a fairy tale as I knew that was the answer and doing it that way meant I could it make it as un-scary as possible. If a 6-year old is going to watch this, they are not necessarily going to be the same kind of 6-year old that I was and if it’s scary they’re not going to get the message and then they’re not going to be inspired to read and possibly never watch a scary film for maybe the next 10-years!

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FTM: What was the background to actually putting the film together, were there any difficulties that stand out?

FTM: Can you give us an idea of your upcoming projects?

CM: The actual design of the creatures was the thing that was actually scratched out the most and I had to keep going back because each time it was too scary! I start each of my stories where everything is jumbled and I always have stacks of note-books around me because I have all of these ideas and things just pop into my head and I have to make sure that I note them down and I remember I started to make a lot of notes about this magical world. Originally, I wanted to show kids reading and then acting in some kind of imagined world and in fact, I had envisioned the film to be much shorter at around 30-seconds but then I realised that wasn’t really inspiring children to pick up and read a book. That’s why I changed the story and made it longer and also, I wanted it to be fun. After that I did what I would call a story-map, then I started to put together a script and I went through a lot of drafts. I like to edit a lot and again lots of free writing and all of the time thinking how is this going to be inspiring, how is this going to be impactful?

CM: So currently I’m working on a few films, one of which is my new film - which I mentioned earlier – and another is a new short which is sort of a cross between a Frankenstein and Mermaid film which looks at the relationship between the creature and its maker and the level of control between the two of them. I’m also working on another project which explores the story of a young girl grappling with the possibility of growing up and what that could mean and being absolutely terrified of the Tooth Fairy and deals with the problems of becoming older and the loss of innocence.

What’s interesting about this last project is that it’s set to be shot in an old house in New York which is in the shape of an octagon and is set in the 1800’s and which will have elements of HP Lovecraft woven into the story.

FTM: Finally have you ever thought about doing something completely new in filmmaking, maybe a “romcom”?

CM: You know I think there can be romantic or comedic elements but I’ve never yet found the urge to leave the modern gothic, fairy tale genre! It’s where I fit in, my kind of “pocket” where I have found my home and I’ve never really felt the urge to get up and leave and go anywhere else.

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claudia.00@msn.com

Drama

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Run Time 4 Mins

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Frankenfriend

and fable told in three distinct parts: the protagonist faces a problem, comes up with a scientific solution, and triumphs in the end.

The rhyming narration I scripted is delivered in a style akin to Rod Serling’s perfect pitch radio voice from The Twilight Zone and the score (mainly Camille Saint-Saens’s “Aquarium” sequence from The Carnival of the Animals) is evocative of Danny Elfman’s music in Edward Scissorhands. Of course, no Frankensteinstyle film is complete without a memorable lab sequence and, drawing heavily from Tim Burton’s 1984 short Frankenweenie, I used a combination of practical and digital effects to make a bit of my own mad science. Although Ms. Thompson was unable to watch and score all of the “Small and Creepy” contest entries, I would like to think “Frankenfriend” captures the essence of the films she’s infused with her own unique storytelling magic.

Filmmaker: Charles M. Kline

“The Short Film I Didn’t Expect to Make” “Frankenfriend” was born from an unexpected opportunity when I discovered in early September 2016 that the Boomtown Film and Music Festival’s “Small and Creepy” film contest was accepting entries through October 1st. What made this contest particularly special was the fact that screenwriter Caroline Thompson (whose credits include Edward Scissorhands, The Addams Family, The Nightmare Before Christmas, and The Corpse Bride) helped to set it up and was also going to be judging the entries. Prospective contestants had to submit an original film, four minutes or less, in a style reminiscent of Ms. Thompson’s body of work and I eagerly embraced the challenge knowing I only had 30 days to deliver a finished product.

Although the Frankenstein story has been told cinematically many times and in many different ways, from Thomas Edison’s 1910 silent to more recent efforts such as John Logan’s interpretation in his superior Gothic television series Penny Dreadful, I decided to take a different approach by turning Mary Shelley’s monstrous misanthrope into a companion and protector. In spite of having very little time and a tight budget from start to finish, my intent was to create a visual storybook charleskline2@mac.com

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DR. MANTIS A Short Film by Brandon Mikolaski, Gary Grant & Joe Gugliotti

Dr. Mantis – Insect Analyst is the new animated short from Ruthless Spectator Studios, the same people who brought you ‘The Real Housewives of Nazareth’ and the viral Baby Driver Parody, ‘Sundae Driver’.

Mantis is a Doctor of Psychiatry, and her patients are those species of hexapod invertebrates who need help with whatever issues they may have in their day to day existence as creepy crawlies. She is treating Fred, a caterpillar, who believes he has another destiny, aside from becoming a butterfly…he thinks he can become a standup comedian, (All the larvae at work think he’s hysterical). After trying out some of his material, he and Dr. Mantis get into a discussion about ‘Nature’, which ultimately brings Fred’s story to it’s somewhat shocking, yet inevitable, conclusion.

Drama

Run Time 5 Mins

Animation

Run Time 3 Mins

Saturday Night Live who was brought on board to write the script with Comedian and Actor Rob Bartlett, who also provides the voice of ‘Fred’; and New York Actress and Writer, Megan Simard, who stars as the voice of the wise, but weary, Dr. Mantis herself.

Dr. Mantis – Insect Analyst is a pithy, clever and funny view of the tiny domain of Arthropods, from the vantage point of the world’s leading Insect Psychiatrist, prescribing her animated therapy for the hip, eclectic, European Audience. Make an appointment with her to discuss the cure for your ‘Distribution Issues’, as knows the answer to that chronic, everpresent question: “What’s Bugging You?”

This short began as a piece created by ‘The Ruthless Spectator’, a group of writers, actors, producers, directors and illustrators who banded together to create a website of comedy content. Established in 2012, the studio features writers from Saturday Night Live, Broadway Veterans, and stars from the Stand-Up Comedy and Music Industries.

Producer Gary Grant enlisted the talents of Andrew Smith, a Former Head Writer from www.ruthlessspectator.com

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BHOY INTSIK

(CHINESE BOY) An eye-opening film about unconditional love and sacrifice by the master director Joel Lamangan

Feature by: Angelie Sharma Poverty in the Philippines has been a major setback for most Filipinos. Although we see the rich living an extremely lavish lifestyle, the poor – sadly - just keep on getting poorer. It is no joke how we see people living in circumstances that are beyond un-livable in this country. And as much as “principles” and “dignity” exist, at times they just have to be set aside for one basic reason: Survival. It is often for this reason, sad to say, that more and more less fortunate Filipinos get involved in deceitful acts which can lead to petty crimes.

“The audience will get into the characters of the people who we normally think we shouldn’t accept. We think that these people are merely garbage in our society. But if you will give them notice, they also have a story that they wish to tell. This movie gives a voice to these kinds of people. We will get to see that not all people identified this way should be excluded from society. They have feelings, they have hearts and, most of all, they possess the power to love,” expounded acclaimed master Director Lamangan in an interview about his un-orthodox creation.

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The award-winning Director Joel Lamangan - who became a household name through Filipino blockbuster films Darna, The Flor Contemplacion Story and Mano Po, to name a few - allows us to see the grave truth and get into the hearts of people in despair through his recent masterpiece “Bhoy Intsik” (“Chinese Boy”).

This film tells the story of two outlaws who were involved in crime so that they could survive poverty. They had a remarkable tandem that closely resembles that of “Bonnie and Clyde”.

Although these two felons - Bhoy Intsik and Marlon initially despised one another as rivals, they came to see the good in each other and arrived at a partnership that sparked a strong desire to change for the better.

Bhoy Intsik, portrayed by seasoned thespian Raymond Francisco, was a gay con-man who would creatively find ways to gain profit from any situation. At times, this would also involve stealing other people’s belongings. Heartless as he may seem, Bhoy Intsik used a large portion of his wrongfully acquired gains to feed and help his starving neighbors in the slums. In short, he was a con-artist with a soft heart.

Bhoy Intsik was also once married to the character of Clarita who was portrayed by actress Shyr Valdez. Clarita accepted Bhoy as her husband despite his sexual orientation, but walked away in despise for him after their only child tragically perished under his care. Having eyes only for the character of actor Jeric Raval, Bhoy Instik supported the man that he loved even after he was wed to another woman.

Eventually Jeric’s character had his own family

and Bhoy treated them as if they were his own.

Marlon, on the other hand, was a juvenile delinquent who was heavily involved in illegal trade. Just like Bhoy Intsik he would also rob other people for a living. Portrayed by the promising young actor Ronwaldo Martin (who is the younger brother of Filipino TV and Movie Star Coco Martin), Marlon was forced into his trade at a tender age as he was abandoned in the streets by his mother when he was only a child. He ended up in a lair of drug users, pushers, suppliers, and dealers.

Marlon had a love interest named Hannah who was portrayed by young actress Elora Espano. She was the adopted daughter of a Pastor whose character was brought to life by theater’s timeless Tony Mabesa. Although

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the Pastor disagreed with his daughter’s love for the “young punk” as Mabesa would say, he eventually learned to accept and support their relationship after he discovered that Hannah would risk anything for Marlon.

Although Bhoy and Marlon were the stars of this film, the story did not focus entirely on them, but also revolved around their community – the less privileged who had their individual battles to overcome. In fact, the setting of the movie was mainly in a cemetery where people actually reside in real life. Giving us a grasp of widespread crimes and the rampant extra judicial killings taking place in the country, the film Bhoy Intsik expresses this prevailing issue: Small-time felons in this time of ExtraJudicial Killings do not deserve to live, yet the big fishes have the right to survive no matter how many lives they destroy.

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When asked about the social relevance of the story, Bhoy Intsik cast Jim Pebanco – who portrayed the role of Bhoy’s best friend, Digang - emphasized “The most striking thing about the movie was its parallelism to things that are actually happening. People like Bhoy Intsik and Marlon shouldn’t be ostracized. Rather, people should understand what they are going through and discover the root cause of their actions.” Actress Shyr Valdez added “The film Bhoy Intsik exposes what’s in the heart; it answers the question – why?”

Throughout the story, Marlon was haunted by a drug transaction that “went wrong” while he was still in the trade. One of his clients Anton, who was personified by Mike Lloren, refused to pay for the drugs he acquired from Marlon. As a consequence,

Marlon’s boss - portrayed by character actor Mon Confiado – would repeatedly harass the young Bhoy for the collectible amount from Anton.

To clear Marlon from further harm and obligation, Bhoy eventually made an unimaginable sacrifice for the young boy that he came to love like his own son. This act completely stole the hearts of viewers and emphasized that despite being a felon, Bhoy Intsik had the capacity to love and show compassion more than any other righteous man. However, when things began to look bright, an ironic twist took place in the story that, unfortunately, doomed the joint efforts of Bhoy and Marlon.

Apart from exposing poverty and crime in the Philippines, Bhoy Intsik highlights the irony

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and unpredictability of life. Ultimately, no amount of effort or planning can completely determine what the end result will be. And this is the sad truth that anyone from any part of the World can relate to. It also helps that the cast of Bhoy Intsik had spontaneous humor that added a comedic touch to the sardonic plot.

Portraying a similar role as “Marlon” in his previous film Pamilya Ordinaryo, Ronwaldo humorously shared “I really gave everything for this role and made it a point to be one with the character of Marlon. It was a challenge working with a top caliber Director and cast so I did my best to measure up to their level. When I had to cry I really made it a point to cry because I didn’t want to frustrate anyone else in the set.”

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The combination of an awakening and pragmatic story with the perfect powerhouse cast to fill in each role has certainly contributed to the immediate success of the independent film. “They were able to come up with good characterization. As a matter of a fact, we were able to come up with full dimensional characterization needed in the film,” remarked Joel Lamangan on Raymond Francisco’s and Ronwaldo Martin’s performance. Film editor John Wong also commented “The characters of Raymond and Ronwaldo perfectly matched.

The awkwardness and lack of experience of Ronwaldo, as a character, merged with how confident and on top of his game Bhoy Intsik was.”

Bhoy Intsik had its premiere at the Philippines during the Sinag Maynila Film Festival in March 2017. The positive response from movie critics and audiences landed the film a Box Office Movie Award and Raymond Francisco his very first Best Actor award (after years of taking on support roles in movies and TV series’) during the local festival.

“Surely, one would count Bhoy Intsik as one of director Lamangan’s best works.

On the whole, the awards meant that the audiences easily connected with the story of Bhoy Intsik enough to give it a well-deserved audience patronage.”

Pablo A. Tariman/ Philippine Star

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“Napakagaling naman ni Raymond Francisco in the title role of BHOY INTSIK. Tamang tama lang ang timplada ng interpretation niya sa title role. Walang pag-OA, and he’s well supported by Ronwaldo Martin.”

English Translation: “Raymond Francisco superbly portrayed the title role BHOY INTSIK. He interpreted the role just right without over acting one bit. He is also well supported by his co-star Ronwaldo Martin.”

Mario Bautista Francisco, who took home his first ever Best Actor award in the recently concluded Sinag Maynila awarding ceremony, is terrific.

Effortless and natural, he is a joy to watch in every single scene. He skillfully performs his multifaceted role as a scammer, a woman, a man, a friend, and a father figure.

Stephanie Mayo/ Concept News Central These were the comments of just a few esteemed entertainment columnists who gave positive reviews on the critically acclaimed film. Both film critics and viewers had only good things to say about Bhoy Intsik’s character and the movie itself. With all the buzz and non-stop features in various entertainment columns, it is more than clear that audiences adored Raymond Francisco in his portrayal of “Bhoy Intsik”.

“As much as possible I refuse to play roles that belittle gay men because they just break my heart. Bhoy Intsik is one role that I truly embraced and loved because he embodies an empowered gay who is fierce and strong yet, at the same time, compassionate. This is who we are and this is how I wish people

would see us,” stressed Raymond Francisco, who is loud and proud LGBT. He also added that working with an incredible cast allowed him to express himself well as an actor and made the long shooting days (in a cemetery) an enjoyable experience.

Rather than feeling contempt, viewers adored Bhoy Intsik – and it takes a truly talented actor to make audiences feel this way toward an outlandish thief. Although Francisco’s roles in his past movies and television shows have mostly been support, his extensive experience on stage plays must have set the proper foundation for this concrete role.

As early as eighteen years old, Raymond landed the covers of newspapers and magazines for his compelling portrayal of Song Liling in M. Butterfly. This was during the extended run of the stage play all over the Philippines. Hence, it’s no surprise that Raymond repeatedly gained recognition and admiration for the titular role Bhoy Intsik.

Months after his victory as “Best Actor”, Francisco bagged the “Movie Actor of the Year” award during the Philippine Movie Press Club’s 34th Star Awards.

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Bhoy Intsik is the first sole production of FRONTROW Entertainment, the newly established entertainment subsidiary of health and beauty leader FRONTROW International.

Partly owned by Francisco, himself, he did not only face the challenge of personifying Bhoy Intsik but also that of being the lead actor and film producer, simultaneously. “I had to separate my role as a producer and as an actor. During the pre-production stage of the film, I functioned as a producer. But when the cameras started to grind, I had to shut off the producer side of me to concentrate on my role, and leave all the production aspect to my director and the team,” remarked Francisco.

After the brimming success of “Bhoy Intsik”,

WWW.FILMFESTINTERNATIONAL.COM

FRONTROW Entertainment is now on to producing more Filipino films in a pursuit to “change people’s lives” through quality and meaningful entertainment.

Included in the roster of meticulously selected films showcased in the 2017 London East Asia Film Festival and taking home the Special Jury Prize from the 2018 Fantasporto Film Festival in Oporto, Portugal – it is apparent that Bhoy Intsik appealed to the taste buds of foreign viewers as well. Apart from shedding light on pressing issues in the Philippines, Bhoy Intsik captures the hearts of its audience by communicating through the universal language which we call LOVE - opening viewers’ eyes on

how pure and unconditional love would bear any sacrifice.

Now the perfect time has come for Nice to experience a rollercoaster of emotions each burst of laughter, anger and sadness - as Bhoy Intsik makes its way to the NICE INTERNATIONAL FILM MAKER FESTIVAL in France on May 6. Be prepared for your hearts to be stolen and for an awakening viewing experience that will open your eyes to unconditional love and sacrifice.

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CREDITS: FRONTROW ENTERTAINMENT Director: Joel C. Lamangan Executive Producer: Samuel Verzosa, Jr. and Raymond Francisco Writer: Ronald Carballo Producer: Ferdinand Lapuz Line Producers: Ronald Carballo and Isha Christi Germentil Director of Photography: Rain Yamson II Editor: John Anthony Wong CAST: Raymond Franciso as Bhoy Intsik Ronwaldo Martin as Marlon AWARDS: Best Actor, PMPC Star Awards for Movie 2018 Best Actor, Sinag Maynila 2017 Sinag Box Office Award OFFICIAL SELECTION: London East Asia Film Festival 2017 Drama

www.facebook.com/frontrowph

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Run Time 110 Mins

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THE CRUSTIES

by Tyler Stone

IF YOU SEE SOMETHING, SAY SOMETHING. The Crusties is a short horror film that was written, directed, and composed by NYC based composer and DJ Tyler Stone.

Although no stranger to film, this is Stone’s first foray into filmmaking; racking up 4 nominations at the Nice International Film Festival of World Cinema including Best Original Score and Talented New Filmmaker.

Stone was recently profiled by Billboard Magazine for his role in composing the original score for the “future cult classic” Killer Unicorn, his goals in making The Crusties, as well as his budding independent record label titled FemmeKraft.

Originally from Alabama, Tyler Stone moved to New York City in 2008 to pursue music. It was there that he was introduced to the glitter and glam that is NYC Nightlife.

It wasn’t long before he had immersed himself amongst the best and carved his name into history. As a musician, Stone has opened for legendary acts such as Philip Glass, Laurie Anderson, & My Life with the Thrill Kill Kult in some of Manhattan’s most iconic venues. As a DJ, he has played various parties in Nightlife for notorious party promoters such as Susanne Bartsch and Mistress Formika.

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In the fall of 2014, Tyler was signed with the original house music label, Chicago’s legendary Trax Records. After his debut release “Tales from the East Side”, he went on to curate and produce “I Love NY”, a charity compilation album featuring tracks from some of the best of NYC’s underground DJ’s. He has since moved on to launch “FemmeKraft”; an independent record label that blurs the lines of genre and offers a powerful dose of after-2am vibes.

The Crusites is Tyler’s sixth film as a composer and first film as a writer and director. His original score for “The Killer Unicorn” placed him in Billboard Magazine and has received much acclaim. In 2017, he was nominated for Best Original Score at the Nice International Film Festival of World Cinema for his work on “It Gets Better?”, solidifying his place as a composer within the industry.

“GUERRILLA, PUNK, AND NECESSARY”.

In making The Crusties, Stone steps outside of the typical jump-scare tactics and enters a realistic world that plays on the fears of thousands of urban commuters; the dark world of the underground subway systems and the lost souls that occupy them. Ask any lone traveler that’s shared a slowmoving train car at 2:00am with a seemingly ‘unhinged’ individual, and they’ll tell you that’s scary as hell.

According to the Coalition For The Homeless, there were 63,343 people living in destitution in 2017 and studies show that the large majority of street-homeless New Yorkers are people living with neglected mental health issues or other severe health problems (including addiction). This is due largely to the fact that mental health care is not as accessible as it should be and is still widely considered as a “taboo” subject.

While the characters in this film are morally questionable and care not for right and wrong, that shouldn’t suggest that they aren’t organized with their chaos and are very calculated. The Crusties also plays into the stories of the “mole people”, large groups of tunnel-dwelling denizens that live by their own set of rules. This particular fictional clan has a blood-lust for the over-privileged youth that have overrun their city, driving them into the depths of depravity.

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THE PLOT It’s no secret that the subterranean network of New York City’s subway system is a dark, moist, and generally unnerving place; especially at night. With infinite platforms, trains, and restricted areas to hunt in, Big Scot has no problem finding his prey of choice and dragging them into the shadowy passage ways.

Standing at 6’5”, he also finds simple pleasure in singing tunes to waiting passengers; all the while wearing a smelly old Caterpillar T-Shirt and worn-out black slacks.

If there’s one thing Big Scot hates more than cops, it’s over privileged youth. They’re self absorbed, rude, entitled, and couldn’t look up from their goddamned phones if their lives depended on it. Consequently, after one long and unexceptional bartending shift, Kristina’s just might! Will she be able to make her way out of the hellish nightmares and monsters that await her underground; or, will she become one of them?

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LOCATION, LOCATION, LOCATION! The Crusties was made with a low budget and was shot guerrilla-style in the subways of NYC with a handheld camera by Ari Rothschild. Additional locations include a local Brooklyn pub Rebecca’s, and a sex-positive club location called “Pickles Playground”, which is where the 2nd half of the film takes place. With lighting design by Rothschild, the club is transformed into a damp labyrinth of abuse and torture.

THE CAST. THE CREW. The Crusties was shot, lit, and colorcorrected by Ari Rothschild. Rothschild is a DP and Colorist with recent feature credits including Lust Life, Landing Up, and Prom King (Cinequest New Vision award 2017, Iris Prize Best Feature 2017). His approach puts story first for rich and engaging visuals that feel alive and communicative. Ari has color timed over thirty features including Bone Tomahawk, Always Shine, and Fort Tilden.

Lead actress Jocelyn McBride heads up the cast in The Crusties. A Massachusetts native, the Brooklyn based McBride gives a riveting and harrowing performance in her big screen debut. Jocelyn is a classically trained dancer having toured on the European leg of Lady Gaga’s “artRave” tour in 2014 and performed on stage in front of thousands at the Bercy Arena in Paris France. In addition to touring with Gaga, she has held several residences in Manhattan’s Lower East Side as a dance performer & backup dancer for Breedlove’s weekly cabaret “Magic Monday”.

In 2009, she landed herself on the cover of the “New York Post” for her photo in the “Indecent Exposure” series shot by Zych Hymen. She then appeared on The Trya Show & The Carson Daily Show gaining enough attention to walk in the “POPLUXE” show by Heatherette co-founder RichieRich at Lincoln Center in 2011. McBride was also a model and muse for the glam-rock band “Semi Precious Weapons” fronted by Grammy award winning songwriter Justin Tranter. She currently holds a performing arts residency at “Tragic Tuesday’s” under the stage name “Windemere’s Finest” in the Lower East Side.

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THE SCORE. In The Crusties, Stone takes us on a journey of suspense, hopefulness, anxiety and despair with his unnerving score. Having grown up to the sounds of famous genre composers like Bernard Hermann, John Carpenter, & Danny Elfman, Stone has taken his influence and merged it with an original electronic style that Billboard has described as “Dark and Horny”.

THE FUTURE. It is Stone’s intention to show this film among many international film festivals and at the Marché du Film in Cannes where he will pitch a feature length script for investment and distribution purposes.

Opposite McBride is Big Scot Chaitoo.

A gentle giant standing at 6’5”, this is also Scot’s film debut. A NYC resident of over 30 years, Big Scot has performed with numerous bands and performance ensembles in The East Village and Downtown Manhattan. He and Stone met at the infamous dive bar Eastern Bloc, where Chaitoo is the doorman and gatekeeper.

The cast also features Purple Pam, a Troma film regular & hot sauce chef. Pam has starred in many cult classics such as “Toxic Avenger” and “Poultrygeist”. Supporting actor and makeup artist Defacto Obsolete is also a nominee in Nice this year for Best Makeup Design. Obsolete, a New York native is a free-lance special effects makeup artist and performer.

For more information on Tyler Stone and The Crusties, visit www.djtylerstone.com

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Horror

Run Time 12 Mins

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I AM THE WHITE TIGER A film by Lei Chiu

SYNOPSIS Stuntman, action director, and martial arts legend Mark Houghton tells his story of breaking into the Hong Kong film industry, his struggle with injuries and depression, and the promise he made his teacher, the legendary filmmaker Lau Kar Leung.

Here, FTM had the opportunity for a short interview with Brian Chumney and grabbed it with both hands!

Producer Brian Chumney began his film journey working as a sound editor at George Lucas’ post production facility, Skywalker Sound. Brian has worked in the sound department for over 70 feature films. In 2005, he started his first production company in Pittsburgh, PA, eternally grateful for the mentorship of Russ Streiner, John Russo, and George Romero. An awardwinning sound editor and an experienced industrial and commercial producer, Brian’s love of film and Hong Kong action cinema continue to drive him.

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FTM: With your incredible background in filmmaking, what really drove you to make this your first film as a producer and how did IT actually end up being made?

BC: It all started around 2008, when I first met Mark and Lau Kar Leung, I’d actually got into the producing side of things a few years earlier where I’d worked with the guys who’d made “Night Of The Living Dead” Russ Streiner & John Russo – and started my small production company in Pittsburgh that you mentioned in my bio. From there, I really began to get the producers bug and found out that Lau Kar Leung was trying to make a film actually a sequel to “Disciples Of The 36th

Chamber”. It really was a case of me thinking well maybe I can help him produce this movie and then through one of Marks students I met Mark on-line and chatted with him via e-mail and ended up going out to Hong Kong in March of 2008. Then once Mark & I had met he was kind enough to introduce me to Lau Kar Leung and we decided that we would like to work together! And then I started to work as a producer trying to get his film financed but unfortunately it didn’t because of course the economy went South then (like it did everywhere!). I mean we literally had investors and companies lined up but sadly a lot of them went under and it was just really bad news for everybody. But I still kept in touch and when Lau Kar Leung sadly passed away Mark invited me out to the funeral and I really started to become close to Mark then and we eventually came up with an idea for a pilot or a TV series, kind of like a reality show. Then about 4-years ago I went out and started to shoot some footage for that and started to pitch that around and then Mark started working on this documentary with the director and I became involved kind of remotely just helping out conceptually and as the producer. Then by last summer it became clear that they needed more help just to get it over the goal line as it were! Then I started to become involved much more directly and I went out and spent a month with them getting it where it needed to be so we could end up having a finished product.

FTM: So would it be fair to say that what actually ended up being “I Am The White Tiger” didn’t actually start that way?

BC: “I Am The White Tiger” did start as a film project, but as they were beginning production in Hong Kong, I was still in the US working on the docuseries pitch. We were lucky that we were able to take some of the material from that shoot four years ago and use it as a kind of connective tissue. In fact, the first cut of the documentary wasn’t quite there yet - it just needed something more and luckily the footage we had shot previously supported what we were saying in the film and worked really well with the new material.

Documentary

www.imdb.com/title/tt5844304

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Run Time 79 Mins

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FAMILIES LIKE YOURS “If you have Love, it doesn’t matter who you are”.

Through candid interviews and humorous real life stories, Families Like Yours demystifies LGBT families and their lives, showcasing that they are just as loving, goofy, busy and complicated as any other family. Families Like Yours follows five families as they attempt to balance work and school, rush kids to extracurricular activities, and deal with diaper duty.

From all across the nation and in all different stages of family life, from conception to grandchildren, these families represent a cross-section of the modern American family-- the only difference is that they are LGBT families.

Dk Realizadores, Nglcc, Bristol-Myers Squibb, and Wells Fargo underwrote the film’s production. The premiere screening was presented in New York City

by Deutsche Bank on July 17, 2017.

Denis O’hare (Actor of “American Horror Story” / “True Blood” ) is a part of this Film. He shows his family and shares the story of his adopted son. There are also 5 other stories of same-sex and transgender parents who teach us that with Love everything is possible.

“It has never been more important to showcase the richness of diversity in the world. LGBT families are a fixture of every community, and Families Like Yours demonstrates why love, dignity, and respect for all is a virtue that should unite each and every one of us.

This film is dedicated to the brave and inspiring LGBT

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www.familieslikeyours.us

rodolfomoro@hotmail.com

REDEMPITION A Film By Setha Mongkhoun

families across the world who overcome discrimination and fear as they work hard, give back to their communities, and strive to achieve their dreams just like everybody else.”

Award-winning filmmakers Rodolfo Moro and Marcos Duszczak, are the creative team behind a parallel film in Argentina, Familias por Igual (Families Like Yours). The film was widely praised, receiving several prestigious awards which added momentum to Argentina’s LGBT equality movement.

Families Like Yours (US 2017 51’): -Award winned in London International Film Festival 2018 at Best Short Documentary.

-Winner at the BEST FEATURE FILM at the Universe Multicultural Film Festival, South Bay, Los Angeles, California.

-Nominated in Nice France International Film Festival 2018 -Best Short Documentary -Best Director -Best Editing. @familieslikeyours2017

Drama

Run Time 51 Mins

Redemption tells a story that reflects a current reality in Laos. We do not know whether it is part of the past or is purely invented. Vad lives in the countryside, in a traditional village, with a mother who is widowed and profoundly Buddhist. He goes to high school and cultivates the family rice field. Things change for Vad upon meeting a little thug! He discovers another life; cars, outings, girls, easy money.

This new life then leads to conflict with his mother because he sold many things so that he too could buy the car of his dreams, a Toyota Vigo. Regrettably, she gives into his request for fear of seeing him leave. During one of his first outings, he causes a terrible accident in which he is seriously injured. On his recovery, his mother is found in a temple, with her skull and eyebrows shaved, wearing the traditional saffron robe of the monk, on the way to her redemption.

Drama

Laomotionpictures@gmail.com

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Run Time 27 Mins

The Film Industry Network The Film Industry Network – 2018 And Beyond!

Across years of attending International markets and through its official launch with the ‘Film Festival International Group’, ‘The Film Industry Network’ (hereby referred to as ‘TFIN’) has advised hundreds of filmmakers on film packaging, production, distribution and how to best navigate the treacherous waters of the film market. With fantastic success stories being unveiled, others starting their journey in post production and several new film projects in development, ‘TFIN’ moves into ‘2018’ with a clear focus on precisely what members and attending first time film makers need to focus on in order to succeed in the film business.

The ‘TFIN’ Life Cycle in the Festival Arena.

We’ve created fantastic inroads enabling people to achieve their goals. Outside of our film packaging service, we’ve referred and connected talent with Legal services, Production Servicing and Distribution. Our core focus has never been to capitalize on clients, but to be the catalyst for positive change and help genuinely talented storytellers achieve their goals! ‘TFIN’s’ creators know the market well and through the ‘FFI Groups’ London, Nice, Cannes, Madrid, Berlin, Milan and Amsterdam events we’ll continue to provide both seasoned and first time filmmakers with invaluable support at festivals and via our bespoke one to one members service. Our focus and corporate philosophy has not changed and neither has our remit.

‘TFIN’s intention going forwards is to provide additional support to those attending the film festival circuit by offering progressive one to one’s for concept development to all.

‘TFIN’ Market Research Assessment.

Whilst attending the International markets over the last five years, ‘TFIN’s creators discovered a trend in low

budget films being made with preattached questionable sales agents and agreements on board. It was the monitoring of said deals that prompted our research to formulate a working strategy. Out of the titles that crossed our desks, the only films that seem to have had any success were the ones that agents co-produced or pre-sold, with several finding route to digital platforms and stockist shelves.

In some cases, but not all, the number of paid Producers attached to the project left us asking the question, ‘What was the total budget and will the investor ever see any real return?’

In other cases the marketing spend remained uncapped, leaving it unlikely that these films would recoup their monies back. The evidence showed that the capping of the marketing spend stopped agents taking large fees out of the films sales profit, allowing producers to recoup some, if not all of the budget by way of a return on the production expenditure across a typical market sales cycle.

Although there are of course many other essential contributing factors that have to be in place commercially to assist this outcome.

The ‘TFIN’ Observation Of Emerging Talent.

With simplifying technology being a plus point, we discovered over 75% of filmmakers were technically adept. The presentation standard was high and so was the rounded knowledge of technical planning.

Where the majority of people came up short was their understanding of the business end of the entertainment arena. It’s not something anyone learns overnight.

Why join ‘TFIN’ and the Annual Concierge Service?

In an ever changing landscape it is vital that you keep your eye on the market,

its trends and what you are doing to meet those trends. To join ‘TFIN’ means that as aspiring contributors to the film business, you’ve total piece of mind as to how your film will navigate its journey into a sales market. The network provides a year round advisory service on the planning of projects and will help navigate you clear of the rocks in the sales arena. In this ever changing market place there is no shortage of people that will sell your content. The market’s a big, exciting house of candy that is both daunting and alluring. The question is...are you Hansel, Gretel or the last witch’s victim? For piece of mind ‘TFIN’ has sourced global Agents and Distributors and will continue to grow relationships. Our Theatrical agents and Digital Aggregates seek all levels of Shorts, Animation, Feature, Documentaries & Music content.

‘TFIN’ is not just in a prime position to help achieve your career goals but also to ensure you’ve a chance to make money from placing content with the right opportunities.

Which ‘TFIN’ Service Model Is Right For You? If you were to acquire services from an industry consultant outside of TFIN, you would expect to pay a retainer of $1,500 on a 30 day invoice to allow a recognized bespoke support service to enable you to achieve your set aims and objectives.

For $249 ‘TFIN’ will provide a 12 month, one to one bespoke mentoring service including: a) Placement for content. b) Support advisory. c) Contract assessment. d) Project assessment.

‘TFIN’s real value is the year round concierge and festival support. This unique service will oversee the growth and development of many projects per festival, starting with London. Ask about our new content pitching and placing service.

For further details on The Film Industry Network and the services and opportunities it can bring forward, please contact:

Ray Davies:

+44 (0) 7392 758696

request a festival meeting

www.thefilmindustrynetwork.com ray@thefilmindustrynetwork.com

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Script Corner Thursday May 10th at 8pm

‘Meet our professionals: Verena, Shelagh and David will be hosting an open panel to discuss screenwriting. Relaxed, informal and informative, bring your questions and chat to three exciting new writers.’

Verena Braun is a story editor and awardwinning screenwriter with a strong background in the fields of media, communication and film. For her screenplay Lunar Flight - a thought-provoking short script that explores dream and consciousness, identity and imagination - Verena has received several nominations and won the award for Best Unproduced Script at the International Filmmaker Festival of World Cinema in Berlin.

David Ince is an award-winning filmmaker and best-selling novelist. He won Best Feature Screenplay at the Nice International film festival 2017 for What Waits In The Red. The movie, David’s first feature as a writer/ director, also won the Festival Director’s Choice Award at the Unrestricted View Film Festival in London along with many other international awards and nominations, including four for Best Feature.

Verena has a strong understanding of narrative theory and social and cultural sensibilities, and with her experience as a writer ranging from journalism to science communication, she brings a broad and multifaceted perspective to developing and telling stories. Currently, she is writing the pilot episode for a TV-series she developed together with two partners in Munich, Germany, while also finishing up editing her first short documentary. As a story/ script editor, she gets excited about helping other people’s stories to grow and giving constructive suggestions to aspects like plot structure, characterisation, dialogue, narrative spaces, meaningful objects and/or more.

David was one of just six writers selected internationally for the North Sea Screen Partnership (NSSP) script-writing programme in 2011, and was also selected for the Screen South Creative Business Base script development programme in 2012.

Verena has formerly worked on photographic commissions and design projects for various organisations and acted as a videographer for the popular TEDxbrand, among others. She received her Bachelor’s degree from Passau University, Germany, and went on to complete her Master of Philosophy in Film Studies at the prestigious Trinity College in Dublin, Ireland.

David won a Best Unproduced Screenplay award for the adaption of his best-selling novel Breathe at the Berlin International Filmmaker’s Festival of World Cinema in 2017. His spec screenplay Pandora Sleeps won the same award in London in 2018, and he has been nominated in Nice 2018 for the feature film adaption of his forthcoming novel, Chronicle Of Silence.

David has collaborated with award-winning director Katie Enright on the short film Sinister Gentleman, which is due to be shot in Los Angeles, and he is writing a commissioned feature film for producer Anthony Short, who is based in Atlanta. He is currently accepting more commissioned screenplays and developing Crimson Petal And The Blade and Chromotech, his next two feature films as a director.

contact@verenadotink.com VerenaDotInk.com

DavidInceCreate@gmail.com www.davidince.com

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Shelagh Carter is a Lifetime Member of The Actors Studio as an Actress and Director, a Professor of Theatre and Film at the University of Winnipeg and a graduate of the Canadian Film Centre’s Directors Lab in Toronto. Night Travellers, her third short film, was a National Screen Institute Drama Prize winner in 2007. Her award winning 35 mm short, One Night, filmed as part of the Canadian Film Centre’s Short Dramatic Film 2009 series, screened at several international film festivals. She has also won world festival recognition with her experimental narrative short films Canoe, Rifting/Blue and Is It My Turn. Shelagh’s first feature film called Passionflower, the story of Sarah, an 11-year- old girl, forcing her family to come to terms with her mother’s increasing mental instability, has earned film festival attention and honors.

Her latest indie feature, Before Anything You Say, an innovative drama based on a true story, has been screened successfully in Europe and the US. Additional feature film projects include a psychological thriller in development called The Woman Who Swallowed West Hawk Lake, and the recently filmed Chekhovian drama called Into Invisible Light. She is a recipient of the award, Women In the Director’s Chair Career Advancement Module 2010, in collaboration with Women in Film Festival Vancouver.

Shelagh Carter Darkling Pictures Follow us @Darkling_Cinema

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Shami Media Group is proud to offer filmmakers attending the opportunities and advice in the marketing and sales of their movie and script (Subject to agreement). It is a help if when supplying your film you have the following information available.

See below for a brief description of the International Distribution Deliverable that may be required.

QuickTime Apple Pro Res 422 (HQ) format High quality photos (300 dpi), trailers, artwork (if any), film festival awards and critic reviews. Actor agreements, music clearance, location agreements, all legal documents (or whatever paper work you have connected to your project).

Scene index of the movie for DVD Movie credits, music cue sheet, subtitles file, closed captioning file.

Video files converted for DVD Full soundtrack mix in 2.1 or 5.1 (separate) Separate Music and effects track.

For more detailed information please contact

Edwin E. Brochin eb@eddiebrochinproductions.com

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Lordemani A documentary by Brais Revaldería & Ricardo Pérez

For over ten centuries, Galicia has had a great relation with the Viking people. The different waves of Vikings on the Galician coasts has brought about that and today that essence can still be appreciated in celebrations such as Catoira (Pontevedra), the twin of the Danish city of Fredrikssund.

Known for their strength and for being invincible warriors the Vikings arrived in Galicia attracted by the gold and wealth left behind by the Romans as a legacy.

In the year 844 the Vikings sieged Galicia for the first time, this being the first of four incursions which took place up until two hundred years later.

In the year 1028 the Viking troops led by “Ulf the Galician” attacked the towns which were in their path by the Arousa Estuary until they were turned back by the army of Bishop Cresconio de Compostela, who ordered the building of what today is known as Torres del Oeste (The Western Towers).

This fortress would impede the Lordemani from crossing the river in search of riches from Santiago and Iria Flavia.

One of the fundamental towns in the Viking history of Galicia is undoubtedly Catoira, a sea village which for centuries suffered from the constant sieges of the Lordemani.

As a reminder of the continuous Viking attacks, since 1960 every year in the first Sunday of August Catoira celebrates a Viking landing.

Sailing in replicas of the drakars of the XI century the invaders arrive on the coast to attack the torres del Oeste.

Danes and Spaniards joined by history and now by the bonds of friendship after more than 25 years of joint celebrations show us once again that racial, cultural or language differences are not an obstacle for the understanding and cooperation between these people, in an era when separatisms and discriminatory treatment towards race or religion have increased in first world countries.

More than 10 centuries after Lordemani of Frederikssund (Denmark), who celebrates the Vikingespil every month of June, and the inhabitants of Catoira gather in this area of the Galician coast to celebrate the historic past which unites them.

Lordemani is a sample of culture and of the common character of two people who without reaching verbal understanding are capable of coexisting and of creating lasting bonds of friendship by setting aside differences or quarrels from the past.

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Documentary

http://lordemani.com

Film THE MAGAZINE

Run Time 48 Mins

Saturday May 5th Welcome Drinks - 8:30pm

SUNDAY 6TH MAY SCREEN 1 12:00 Madhattan 55m 13:00 Travel Love: Amor De Viaje 23m 13:30 The Naked Truth 11m 13:45 Godforsaken: Christmas Gift 49m

May 7th Networking Event - 8:30pm

13:55 Palinopsie 28m

MONDAY

14:30 Destiny Among the Mountains 90m 16:05 Rendez-vous with God 15m 16:25 The Island of Doctor Moron 135m 18:45 Fight 15m 19:05 je m’appelle Leigh (My name is Leigh) 15m

14:30 Life Lines 96m 16:10 The Prince 12m

19:25 Inside Job 39m

16:30 Assault to Freedom 80m

20:10 Neighborhood Network 18m

17:50 88 Cents 38m

SCREEN 3

18:35 World Peace - A Bahai Vision 28m 19:10 Godforsaken: Beverman & Son 49m

12:00 Developing Destinations 65m 13:10 Actors of his life 43m

7TH MAY SCREEN 1

12:00 Ghost war : the sale of Alstom to General Electric 55m 13:00 Trace our Ancestors in Occitanie 30m

16:30 The Reverse Diaries 100m 18:15 Islam, Muslims, counterterrorism ... a mosaic 84m 19:45 Sugihara Survivours: Jewish and Japanese, Past and Future 25m SCREEN 3

13:35 Before Anything You Say 61m

10:00 En Algun Lugar 112m

14:40 Melody Makers 95m

12:00 Jamaica Man 65m

16:15 Cold Feet 27m

14:40 Blackout Road 97m

16:50 Bumped Up 6m

16:15 Pizza Face 10m

17:00 Life Goes On 81m

16:30 Dai 2 Keibitai - The Secound Securty Unit 112m

18:25 Mimicry 17m 18:50 Bill Evans Time Remembered 87m

18:30 The Ghost of Tacande 95m

TUESDAY 8TH MAY

SCREEN 2

SCREEN 1

15:40 Locked Outside 7m

10:00 Dad where are you ı am lost 118m

10:00 Bhoy Intsik 110m

15:55 Rice 106m

12:00 The Making of a Dream 62m

12:00 Route 66 57m

17:45 Growing up in Ramana’s Garden 20m

13:10 The Hammer 19m

13:05 He Said “Mommy” 17m

18:10 Non-Transferable 83m

13:35 Indiana 77m

11:40 Six Miles Out 11m

13:25 Disillusioned 26m

19:45 Redemption 27m

14:55 “It was in my head” 90m

12:00 Touched by the Ocean 68m

SCREEN 2

10:50 Next Is The One 15m 11:10 CONFLiCT 6m 11:20 The Blogger 13m

FOR A COMPLETE LIST OF ALL SCREENINGS AND A SYNOPSIS OF EACH FILM PLEASE VISIT www.filmfestinternational.com/tag/nice-iff-2018-schedule

May 10th Filmmaker/Scriptwriters Workshop - 8:00pm

May 11th Post Screening After Party - Film “Ultra Low” – 9pm

13:15 SIRI - The Living Scarecrow 22m

18:05 American Barbarian 46m

13:45 Zavar, The Kid And Partridges 39m

13:40 ANN 78m

18:55 Lend A Hand 86m

14:30 The Age Of Imitation 93m

15:00 Suicide The Ripple Effect 93m 16:40 Wilted 10m

SCREEN 3 10:15 Spit & Honey 80m 11:50 Frankenfriend 5m

16:55 L’estoc 9m 17:10 Damn you, Roland Ruby!

116m 19:10 Godforsaken: Till Death Do Us Part 49m

12:00 Snapshot 67m

16:10 Red Crayon 8m 16:20 Rhapsody in Blueberry 4m 16:25 Latin American Soldier 5m 16:35 Bride Price VS Democracy 120m

13:15 THE PROMISE 23m

18:40 Under the Smoky Roof 110m

SCREEN 3 10:00 Bhog Intsik 110m 12:00 Ballad of a Righteous Merchant 63m 13:10 Damascus Steel 78m 14:35 Guerrero 100m 16:20 Songbird 17m 16:45 His Lost Life 24m

SCREEN 2

17:15 Chairman Buddha 62m

14:35 Miami Love Affair 90m

12:10 The Epic Voyage of The Jubilee Hope 72m

18:25 The Gaelic Curse 87m

10:05 Million Loves in Me 110m

16:10 Wherever You Are 101m

13:25 Hope 9m

20:10 To the Grave 17m

12:00 I Am The White Tiger 79m

18:05 Never Old 105m

13:35 The Foreshore 10m

20:00 Another World is Possible 26m SCREEN 2

13:25 Perfect Worlds 35m

13:45 Legend of the Loom 42m

WEDNESDAY 9TH MAY

14:05 Mama 10m

SCREEN 1

13:50 “101” 89m

THURSDAY 10TH MAY SCREEN 1

15:25 Thumbers 5m

10:40 The geat destiny 75m

14:20 Megha - A Song of Silence 16m

10:00 One,Two,Guess Who’s Who 108m

15:35 Carla Morrison: Love Supreme 104m

12:00 Grace Fury 70m

14:40 Lao Liu’s Daughter 90m

12:00 Saragarhi: The True Story 58m

17:25 All There Is 74m

13:15 Tales of Teleki Square 82m

16:15 Off Ramp 20m

13:05 Blackout 12m

18:45 Lemon & Letter 30m

14:40 The Control 94m

16:40 A trip with friends 70m

13:20 Girl Trip 20m

19:20 Traffic Opera 19m

16:20 Private Cemetery 110m

FOR A COMPLETE LIST OF ALL SCREENINGS AND A SYNOPSIS OF EACH FILM PLEASE VISIT www.filmfestinternational.com/tag/nice-iff-2018-schedule

WE RESERVE THE RIGHT TO CHANGE THE SCREENINGS, PROFESSIONAL PANELS AND WORKSHOPS, TIME AND DATE OF ANY FILM OR EVENT IN THE FESTIVAL COMPETITION WITHOUT ANY PRIOR NOTIFICATION. PLEASE REFER TO THE DISPLAYED DAILY SCREENING SCHEDULE.

May 9th Professional Panel Q&A - 8:00pM

Saturday May 5th Welcome Drinks - 8:30pm

May 7th Networking Event - 8:30pm

18:20 The Crusties 12m

14:25 Paris Trance 3m

18:35 Zachary Richard, Cajun Heart 80m

14:30 Zelos 86m

20:00 Wolves in Winter 16m

16:05 Top Table 3m

SCREEN 2 10:00 Day Six 102m 11:50 Doctor Mantis 3m 12:00 Cine Cafe in Paris 70m 13:15 Church & State 84m

16:35 Imphal 1944 19m 17:05 Flowers and a lap of rose 78m 18:30 Katherine of Sinai 116m

FRIDAY

16:40 ZIP 7m 16:55 Three Days of Glory 75m 18:20 Church & State 84m

SCREEN 1 10:00 Miracle of Christmas 115m 12:00 Toad People 75m 13:25 BYE 52m

14:20 Tree House Time Machine 14m 14:40 Snapshots 91m 16:15 Lordemani 48m

13:05 Prequel’87 17m

11TH MAY

16:25 As I’m growing, you’re shrinking 12m

10:00 The Radicalization of Jeff Boyd 117m 12:00 Leyla 61m

16:15 Yearning 7m

14:40 TO LET 100m

SCREEN 2

13:30 Chamber Music Wonderland 50m 14:30 Osprey 97m 16:15 Mixed Medium 74m 17:35 TAM 15m

17:10 Modern Love 115m 19:15 Nathalie 27m 19:50 The Tragedy of the Monster 7m 20:05 Afgan Coal 25m SCREEN 4 12:00 Body in Therapy 103m

17:55 Murals 83m 19:25 Hey Chef Where Is Your Home?

17m 19:50 Alpha 10m SCREEN 3

13:50 Patiri in the Promised Land 25m 14:25 Nest On The Clif 101m 16:10 Families like Yours 51m 17:05 Sasha 17m

14:25 Daddy Issues 90m

10:00 The Great Destiny 75m

16:00 Flea 28m

11:20 The Blogger 13m

12:00 Sex, Pity and Loneliness 120m

16:30 The Caregiver 16m

10:40 Six Miles Out 11m

17:45 You Will Know Neither The Day Nor The Hour 15m

14:00 Loud Echoes 8m

16:50 Papa 107m

10:55 Gone 9m

18:05 Surviving International Boulevard: Domestic Child Sex Trafficking 23m

14:10 Out of Town 11m

18:40 The system 104m

12:10 I Will Never Forgive 125m

18:30 Ultra Low 117m

19:55 Enclosed 45m SCREEN 3

17:35 The Magic of Reading 4m

FOR A COMPLETE LIST OF ALL SCREENINGS AND A SYNOPSIS OF EACH FILM PLEASE VISIT www.filmfestinternational.com/tag/nice-iff-2018-schedule

May 10th Filmmaker/Scriptwriters Workshop - 8:00pm

May 11th Post Screening After Party - Film “Ultra Low” - 9pm

NOMINATED SCRIPTS All for One

Daniel Flores

Barrington Bunny Sandy Wolf

Bombay Deathtrap B.L. Ray

Jihadis

Salim Salajee

National Pastime David Lieto

Olga

Chronicle Of Silence

Suzanne Gielgud

Cincinnatus

R. J. Watson

Consent

Catherine Schandl

Horse Up a Tree

Annette Siegal

David Ince

John R. Sackman Francisco Solorzano Terrance J. lynam

Perry

Refugee Status Two Women

FOR A COMPLETE LIST OF ALL SCREENINGS AND A SYNOPSIS OF EACH FILM PLEASE VISIT www.filmfestinternational.com/tag/nice-iff-2018-schedule

WE RESERVE THE RIGHT TO CHANGE THE SCREENINGS, PROFESSIONAL PANELS AND WORKSHOPS, TIME AND DATE OF ANY FILM OR EVENT IN THE FESTIVAL COMPETITION WITHOUT ANY PRIOR NOTIFICATION. PLEASE REFER TO THE DISPLAYED DAILY SCREENING SCHEDULE.

May 9th Professional Panel Q&A - 8:00pM