St Tropez & Nice IFF Magazine 2015

Film THE MAGAZINE

FILM: THE MAGAZINE /MAY 2015

www.sttropezinternationalfilmfestival.com

WELCOME TO THE ST. TROPEZ AND NICE

INTERNATIONAL

FILM FESTIVAL

DEDICATED TO THE BUSINESS OF FILM

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Welcome to the St. Tropez and Nice International Film Festival 2015 Dear Filmmaker,

Carl Tooney Publisher carl@filmthemagazine.com Steve Grossmith Marketing Director steve@filmthemagazine.com Stephen Mina Graphic Design stephen@filmthemagazine.com All Festival images courtesy of Pablo Belda pablobelda00@gmail.com

No part of this magazine, whether printed or electronic may be reproduced, stored or copied without the express prior written consent of the publisher. Requests for permission should be directed to: publishing@filmthemagazine.com Although we make every effort to ensure all of the information in this publication is up to date and accurate the publisher takes no responsibility for any omissions or errors.

Firstly, congratulations and thank you for your continued support of all of our International Film Festivals over the past few years, we hope you have a wonderful time with us in St.Tropez and Nice and we look forward to meeting all of you!

After the wonderful success of our launch publication of Film the Magazine in London earlier this year this issue has also turned out to be another stand-out copy for St.Tropez and Nice and for that we thank-you!

We are as ever continuously bowled over with the quality of movies and scripts on show for all of the nominated entries and the enthusiasm and passion that all of the filmmakers share. On that note it’s worth mentioning again that we have noticed how many more nominated entries that were filmed in part or sometimes completely using digital consumer equipment. This includes ICARUS Casting from the Clouds, that was shot entirely with GoPro cameras. There are also others that have been made using iPhone 6 footage or Android based systems. As a platform these are all excellent examples of how we continue to appeal globally to a whole new generation of filmmakers now that high quality tech is becoming more affordable and available to consumers across the World and how this in turn can lead to movies and documentaries of outstanding quality.

Festival President, Carl Tooney also pointed this out in a recent meeting with our festival team “Without doubt, the most noticeable change we have seen is firstly the rise of digital filmmaking, followed very swiftly in the last few years with the power and quality of filmmaking that’s now possible with consumer and even smart-phone devices. I mean were now talking about films created on the latest generation IPhones and Galaxy’s that can be shot

in 4K!” he commented.

On another note, were also thrilled to announce that as part of our commitment to help filmmakers promote their latest projects there will be a Q&A session with Neil McEwan at 5pm 12th May 2015.

Industry expert Neil McEwan has over 30 years working in the film distribution industry. He spent over 25 years working for Warner Bros and over 7 years as Managing Director of Warner Home Video’s biggest International subsidiary.

A Commercial Executive with strong experience in profit delivery, strategy development, sales, marketing, business planning, finance and supply chain. He is a senior member of several industry boards and a Producer of Independent Films.

Finally, from everyone on the awards team, we wish you the best of luck with your nominated movie or script.

The St. Tropez & Nice International Film Festival 2015 Awards Team. filmmakerfestival.com italyinternationalfilmfestival.com madridinternationalfilmfestival.com sttropezinternationalfilmfestival.com

Please note that the Awards Night Finale on the evening of May 16th is a ticket only entry

FILM: THE MAGAZINE /MAY 2015

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Nelly Henrion ‘Mary Ward’ and Dom Rozz(DOP)

LADIES OF SCIENCE Director: Alessandra Usai

A Biographical Docudrama

THE EPIC UNTOLD STORY FOR 100 YEARS

THE PRODUCTION

Alessandra Usai is an Italian film maker who discovered the story of Mary Rosse and Mary Ward when she directed a short fiction based on their lives. She quickly fell in love with these fascinating women and could not understand how their story remained untold.

In April 2013 she joined a small team of researchers: within months, Alessandra received the support of the present Lord and Lady Rosse who granted free access to their resources, including artefacts, documents and locations. By November, over 20 people were involved in the production; this number grew to 60 people by February 2014.

The production was then shot on location at the Dublin ‘Castle Hotel’ and Birr Co. Offaly between February and May 2014. The story is told through a series of interviews, narration and dramatization.

The documentary is supported by original materials; including the original photographic equipment; the original copies of Mary Ward’s books; family portraits; project notes; and architectural designs drawn by Lady Rosse; as well as original photographs and sketches of the telescope.

The narration is provided by Lalla Ward, the great-great grand daughter of Mary Ward. She is a noted actress and author, best known for her role as Romana in the original BBC series of Doctor Who.

Lord Rosse behind telescope

Alessandra Usai proudly presents ‘The Ladies of Science’ the extraordinary story of Mary Rosse and Mary Ward. The documentary follows the endeavours of these two women and their achievements throughout their lives in the 19th Century, in Ireland.

For the first time ever the story of their lives is told through a series of interviews and dramatization. Mary Rosse was famed locally for her work as an architect, a blacksmith, and perhaps most notably, a pioneer photographer. She was also heavily involved in the construction of the ‘Monster Telescope’; it was the largest telescope in the world for over seventy years.

Her friend, Mary Ward, became a highly regarded scientific expositor; microscopist; and astronomer. She often visited Birr Castle where she documented and studied the wildlife in the ground; as well as illustrating with minute detail, the night skies as seen by the Leviathan. In a tragic twist of fate, she ultimately became more famous for her death. She died on the 31st August 1869 when she fell from her seat on a steam carriage. She was the first woman in Europe to die in a car accident. It is perhaps ironic; Mary Ward’s death was linked to a feat of modern engineering, devised and created by her cousins at Birr Castle.

‘The Ladies of Science’ celebrates these women and their achievements as pioneering women in the Victorian era.

Mary Rosse and Mary Ward achieved extraordinary feats unhindered by their gender or social status.

Women were household mangers, duty bound to their families. Yet, both Mary Rosse and Mary Ward excelled in their respective fields of science despite their lack of formal education. They networked events gaining recognition among the scientific elite in order to gain articles and advanced technologies, effectively earning the respect of their male peers. Mary Ward was in regular correspondence with members of the Royal Astronomical Society; from which she was granted access to Greenwich Observatory. She went on to publish a series of books and academic papers; while raising her children and managing her family’s limited finances.

Similarly, Lady Rosse delicately balanced her home duties and hobbies. She was described as the perfect host and mother; yet her architectural and interior design patterns are still a talking point in Birr today. Though, it was her photographic skills which earned her a distinguished accolade: in 1859, she was awarded the silver medal from the Photographic Society of Ireland for her paper negatives. Her works survive in Birr Castle archives.

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FILM: THE MAGAZINE /MAY 2015

Nelly Henrion and Freigest Van Tazzy

MOTHERS AND AMBITIOUS WORKERS IN THE VICTORIAN ERA

Run Time 56 Mins

IMDb Link

ASPIRIN FOR THE MASSES Producer, CHARLOTTE YAKOVLEFF & ADAM NIXON the Director & Writer behind “Aspirin for The Masses” give Film the Magazine an intriguing insight into the making of their latest film.

PLEASE TELL US YOUR JOB DESCRIPTION AND WHY YOU CHOSE THIS CAREER?

On Set - Rooftop. (Adam Nixon, Charlotte Yakovleff, Matt Creger, Peter Garafalo)

CY: Producer. I didn’t choose this career, it chose me. I remember helping my friends make a movie. They were setting up gear, lights,...rearranging everything. I was fascinated by that experience and ever since then television and film, and now theatre, opportunities present themselves. AFTM is my 5th film.

AN: Writer/Director. I chose this career as an undergrad student after watching films/ directors like Spike Lee, Steven Soderberg, David Lynch, and others who’d gone the film school route. I applied to NYU’s cinema studies program and started working in documentary film by my first day of classes.

I graduated in 2000 and worked in television while writing screenplays at night.

CY: Usually people ask if I can work on their film. I will, if I can dedicate the time or benefit the production. I also ask if I, or my dog Lumpy Luv Melonhead, can have a small role. So far it’s happened. However, going forward I’d like to do some directing.

I direct & write plays for community theatre, and enjoy it. So given the opportunity in film, I’d like to embrace that side a bit.

AN: My next project will be from my own screenplay, once I’ve finished writing it.

I like the writer/director model. I have a producer that I trust, an editor that gets me, and am looking forward to our next project..

HOW DO YOU GET THE INVESTMENT AND HOW DIFFICULT IS IT TO PROJECT THE COST IN RELATION TO THE ACTUAL COST?

CY: What helped was everyone volunteered and was willing to do what it took.

Locations and most vehicles were donated, and we came together on props. I had the camera, lights and audio, so that helped.

The biggest filming cost was food/beverages, but I challenged myself and cooked most meals. After a long day, I proved that one could make 3 good healthy meals for 20 people, done inexpensively.

AN: We made a very inexpensive film. No one from the director to the PA’s was paid in advance. We wrote contracts stating if the film sold we’d divide the profits. But, we were not delusional. Most of the actors/ crew worked on spec, meaning that we succeeded together or made an inexpensive failure together. The key word is together. I think AFTM succeeded because everyone was doing it for love, not money. The purity of our intentions compensates in some ways for any mistakes in execution.

It’s a Wrap! September 2012 (Adam Nixon, Charlotte Yakovleff, Peter Garafalo, Lumpy Luv Melonhead)

HOW DO YOU ENSURE THERE IS AS LITTLE WASTE ON ANY PROJECT AS POSSIBLE?

HOW CAN YOU BE SUCCESSFUL?

CY: Be patient, be organized, be prepared... be the jack-of-all-trades, master-of-none.

AFTM had a volunteer cast of 25, a dog, multiple vehicles and locations, and a small crew, so my I’s were doted and T’s were crossed, AND I always had a “Plan B and C.” Also, knowing the different roles played to make a film and how to do them makes you more effective for your cast and crew. Lastly, something we all lose sight of is: HAVE FUN!

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HOW DO YOU CHOOSE YOUR NEXT PROJECT?

FILM: THE MAGAZINE /MAY 2015

CY: Crack the whip!..just kidding. When it comes to getting projects done, especially when others are relying on me, I always try to put my best foot forward and follow the 6 P’s: Prior Preparation Prevents Piss Poor Productions. I made sure everything was figured out at least 2-3 weeks prior to shooting, to allow room for errors.

AN: We have an excellent producer. One of her strengths was ensuring that waste was minimized. Everyone knew where we stood always and the schedule was clear.

We started shooting on time, and almost always finished on time. Everyone ate together (at Charlotte’s insistence). This kept us close, happy, and well fed. These logistical successes allowed us to create a cohesive and creative environment.

HOW DO YOU STAY MOTIVATED? CY: I thrived on “Can I make this happen” and “Get it done.” My other mottoes are “Embrace the suck” and “God doesn’t put anything on my plate that I can’t handle.”

With AFTM, my motivation wasn’t about

me. It was about Adam, and giving him closure on his 20-year journey. It was about the cast/crew, and whatever their motivation was. I recognized that I was making it happen for everyone,...so, as the Producer, I felt I owed it to them and see AFTM through to the end.

WHAT WAS THE BEST AND WORST PART OF BEING INVOLVED IN ASPIRIN FOR THE MASSES?

CY: The best is this part. Going to festivals, being recognized and acknowledged for your hard work by fellow filmmakers/peers.

Also knowing Adam has closure with AFTM. The worst, scheduling, and going through tons of footage. Many accolades go to editor, Matt Rusnak, for the countless hours he spent editing. And of course, me forgetting to put my name in the credits. I was so concerned with everyone elses, I totally forgot mine. But a high note is we can laugh about it. Adam was listing the credits for this articles photos and asked how to spell my name. I replied “I don’t do credits, remember?” We both laughed.

AN: It took forever to finish. Aspirin was first a produced play in 1996. It took another 19 years to finish the film. When I started writing I projected my personality into Kraig, when we finished I was his father-in-law the broken salesman, Roland.

WHAT ARE ADAM AND CHARLOTTE LIKE TO WORK WITH?

CY: Before AFTM we worked in television together, so knowing the others work style helped. We’ve become good friends, but I think on set we really complement each other. If I didn’t know something, he did, if he didn’t know something, I did...and if neither of us knew something, there was the internet! Adam was always open to other perspectives and never thought that as Director/Writer he was more important that anyone else. I’m hopeful we’ll work on something in the future together and I look forward to 5AM crew calls with him.

AN: Charlotte and I are close colleagues.

We’ll certainly work together again. I appreciate how organized she is, and I love that her sensibilities mirror the audience.

I know that when Charlotte isn’t feeling what I’m doing that I need to either articulate clearly what I’m after, or if I can’t, it’s important to rethink what I’m trying to achieve. I trust her judgement.

HOW DID YOU BECOME NOTICED AS A WRITER AND HOW DIFFICULT IS IT FOR NEW WRITERS?

AN: I first became noticed when a professor helped me enter AFTM into a festival for young writers in Sibiu, Romania. The festival produced the script as a play in English and Romanian (translated by renowned Romanian poet mircha evanescu).

He was brilliant in his suggestions for the script and I have the book of our combined effort sitting in my library. It’s deeply totemic.

AN: Go for it, fully. In the digital era you make your own career, and opportunities are everywhere. Also, keep your skills current.

I’m learning adobe After Effects, just because I want to stay part of the avant grade.

A stolen moment between Joni And Roman. (Laura Blasi and Daniel Wyland)

HOW DO YOU ENSURE THAT WHEN YOU DIRECT YOU STAY WITHIN A SHOOTING SCHEDULE?

Interracial middle-age shower sex, a first in Western cinema? (Caleb Jackson and Jennifer Ayn Knight)

CY: I think since I professionally work in broadcast television, I always have a grip on the time. When actors/crew are getting ready, I know time slips away, so I was randomly blurting out time cues. I hoped this helped people focus a little more in getting ready.

AN: From living in New York and Washington, DC I learned the value of not stealing time from busy people. So, we’d explore until it’s time to strike. I trusted my instincts, and almost always knew when we had what I needed for editing... But then that’s more of a tribute to our editor, Matthew Rusnak. He made sense of all our explorations.

HOW DO YOU CHOOSE THE CREW YOU WORK WITH?

WHAT IS YOUR BACKGROUND? CY: I grew up outside New York City and The Catskills. I tell people I like fast cars and cow tipping. I have a B.A. in Computer/Graphic Design with a concentration in Photography,...also an A.A.S. in Amer. Sign Language Interpreting, but I just can’t seem to get away from the television and film industry.

AN: I grew up in the San Fernando valley in the 1970’s. When I see Boogie Nights I think, ‘home’. Lots of freedom. I commuted by skateboard thinking naively the whole world lived like an episode of CHiPS. By 15 I had complete freedom, giving me an openness to adventure that I cherish today. I went to NY for grad school because of the serious political work I saw from there. I found a yin yang balance between my laid back oneness and the seriousness of the work.

IF YOU HAD TO CHOOSE ONE, WHICH WOULD IT BE, WRITING OR DIRECTING? AN: I see myself as a writer first. Writing is a passion, but I absolutely love working with actors. That moment of creation when an actor makes more of your words than you thought was there is magical. I live for that moment.

CY: Mostly its people we’ve worked with or know from the biz that are willing to help out. Often people find out that I work on films and say, “Wow, you work on films, that’s soo cool. If I can help, let me know.”

I’m always open to helping others gain a working knowledge of the industry. But to filter through the wanna-be’s, I say positively “OK, we’re shooting over the next few weekends, wanna come out?” With bright eyes, they respond ‘Yeah, I’ll be there, I’ll do whatever you need.” In reality, I know they’re thinking [Cool, I’m gonna hang out on a film set.] When I tell them crew call is 5:00AM, I watch their expression quickly change.

On set - Glass Elevator. (Matt Creger, Adam Nixon)

WHEN YOUR FILM IS ABOUT TO BE SHOWN FOR THE FIRST TIME, WHAT GOES THROUGH YOUR MIND?

CY: It’s hard for me to watch them for the very first time. In my head, I’m still working on it, wondering who saw the technical flaws, lighting change, audio issue or the whatnot, I know we struggled with.

AN: Terror and thoughts of suicide. (I’m not kidding). You put so much of yourself into you film that rejection is deeply personal.

Prepping for the big move with a hair train (Amber Passmore, Rachel Kepnes, Lateicia Durham, Sogdiana Azhiben)

Rockefeller and Michael discuss economics.

(Lumpy Luv Melonhead and Matt Neufeld)

IF A FRIEND OR FAMILY MEMBER SAID THEY WANTED TO BE A DIRECTOR OR WRITER, WHAT WOULD YOU SAY TO THEM?

AS THE WRITER/DIRECTOR YOU’RE WEARING DIFFERENT HATS, HOW DO YOU BALANCE TWO CREATIVE STREAMS ON A PROJECT? AN: I tried to be honest always about the two caps, and spent a lot of time listening to actors. I encouraged improvisation and never considered my script to be precious.

When directing I put the writer in a shed, and trusted what actors were telling me as we made the movie. In editing, both director and writer went in the shed so I could hear what the editor was seeing. It took 2 years to edit because we questioned everything, every joke, and every decision.

My favourite joke in the screenplay didn’t make the final edit in spite of objections from the screenwriter in the shed.

HOW DID YOU GO ABOUT WRITING AND CREATING THE SCRIPT? AN: I took a writing retreat in 2008, renting a cabin in Maine and turning my old play into a new movie script. I then entered the script into contests - it was a finalist for the Sundance Screenwriters lab. It wasn’t accepted but in the interim the producer Charlotte told me she wanted to make the movie (which is what I really wanted).

CAN YOU TELL US ABOUT THE PRODUCTION OF YOUR FILM? CY: We are truly the independent film on a shoe-string budget. Everyone worked hard over 4-5 years and it’s great to see a finished product. I’m sure Adam’s more excited, he’s been working on AFTM a lot longer. I’m glad to be finished, but part of me will miss the camaraderie we built. I think with all productions, it’s a bittersweet ending.

AN: It took many years from a finished screenplay in 2008 to our World Premiere in St. Tropez. This is what I had dreamed would happen and I’m grateful to the festival for making this possible.

HOW DID YOU CAST THE MOVIE? CY: I put a casting call on Craigslist and acting websites. Those who responded, based on their schedule, I set up a time slot for them. Everyone was asked to pick 1-2 characters to read for, and I emailed the sides prior to coming in. I wanted to make sure everyone was best prepared as possible. Day of, we saw about 60-70 scheduled people and a hand-full of walk-ins. tunasaladsuperpipeline.com

Run Time 102 Mins

IMDb Link

FILM: THE MAGAZINE /MAY 2015

5

PARALLAX

TOMMY STACKHOUSE

Writer/Director: Graham Nolte Producer: Tommy Stackhouse

In the future, the world will be connected by technology, and no one will be alone again.

Parallax is the story of a man attempting to change the way we communicate through technology.

Set in 1987, during the primordial days of the internet, computer programmer Abbot Allen creates a mass communication device, and as his network of users grow, he increasingly cuts himself off from those around him.

A story of lost love, human connection, and technological obsession.

GRAHAM NOLTE

Graham is a Summa Cum Laude graduate of San Diego State University. Over the past ten years Graham honed his filmmaking craft through writing and directing over 25 short films. His films have played at film festivals in San Diego, Toronto, Anchorage, San Francisco, Las Vegas, Nice, Wilmington, and Vancouver. Graham lives in NYC and runs his own production company, creates virtual tours for Google, and is a DP/Camera Operator on commercial content for clients such as Yahoo, ESPN3, and Dell.

He is currently in pre-production for his next feature “Circle of Life”:get more information about the project at: www.CollectiveCP.com.

A recent graduate from the University of Delaware with a degree in Marketing and Advertising, Tommy has had the ability to test his business skills in a variety of settings. As the Vice President of External Affairs of his fraternity in school, Tommy is credited for producing several major fundraising events including a major benefit concert, a charity car smash, and running the fraternity’s semester-long food drive which raised over 10,000 pounds of food to benefit the Food Bank of Delaware.

Aside from Parallax, Tommy has taken an active role in the Philadelphia independent film scene through working on several feature films in both the production management and assistant director departments. Tommy has been working with Graham for several years co-producing short videos, webisodes, and working as the full-time producer for the Thick-Headed Tour.

www.parallaxtheproduction.com Run Time: 80 Mins.

With Cuba finally rising after 65 years, what perfect timing to release Sweet & Sour Salsa. A unique documentary honoring the stories, music and journeys of Peter Pan immigrants, Kung Fu masters, Bay of Pigs descendants and renown musical legends whose power and influence are still felt today on an international scale. No matter who you are or where you’re from, you’ll be compelled to dance alongside the lush orchestrations of the musical style known as Son Montuno executed by the acclaimed and well seasoned,“Conjunto Impacto”. The international appeal of this music is felt as strongly in Germany as it is in Hong Kong, spanning not only cultures, but age

groups, which is noteworthy. Producer, Director Gustavo Cuervo Rubio crafts an intriguing tale as grandson of Cuba’s former Vice President and Secretary of State.

Other contributors include, Co-Director Egon Stephan of Cinetech and Co-Producer Alice Billman of Heroes. Winning Best Foreign Language Documentary at London’s 7th International Filmakers Festival it has also received 17 nominations throughout Europe for Best; Editing, Production, Feature Documentary, Music, Producer, Director and Soundtrack . We are well positioned for large scale distribution and marketing packages to impact an eager international audience.

In the words of Master Perez “anyone who has any blood in their veins will move when they hear a good Son Montuno”.

Come, dance along to our sweet and sour story.

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Arsenio Rodriguez Godfather of Son Montuno

Producer/Director: Gustavo Cuervo Rubio Co-Producer: Alice Billman Co-Director: Egon Stephan Jr.

Cast & Crew of ‘Sweet & Sour Salsa’.

SWEET & SOUR SALSA

/SweetSourSalsa @SweetSourSalsa

RagnarockProd@gmail.com Run Time: 80 Mins.

FILM: THE MAGAZINE /MAY 2015

Directors: Edwin Brochin & Fernado del Rio Writers: Edwin Brochin & James A. Swan

Ed Brochin, Director of The Falconer: The Sport of Kings tells us the background to his latest movie:

Three Master Falconers

“I was inspired to make this film because of a recent declaration from UNESCO in the year of 2010 that declared the sport of falconry as “World Cultural Heritage for all nations”. This was a huge victory for the sport of falconry world wide as it not only gave the sport it’s much needed recognition but it has also raised the awareness of our conservation and preservation efforts of birds or prey in general.

(The role we have played in the restora-

tion of the nearly extinct peregrine falcon for example) I also wanted to be the first to share our lifestyle and sport in a way that could be respected and appreciated by the non-falconer mainstream viewer but with great regard to the overall perception to be received from the falconry community worldwide. This was no easy task and so far so good as our first test market for the blended audience was a huge success as we recently packed the theatre at a private screening here in Indianapolis. It was well received by all the members of the falconry community who attended that night.

To all who watch this film, I hope we do not disappoint.”

As the descendent of French fur traders, it seems somehow fitting that Ed Brochin grew up to be an avid outdoorsman, equally skilled with bow, rifle, and fishing pole.

Ed was born in Southern Indiana on February 16, 1971 and split his growing-up years between rural Indiana and Southern Texas on the border of Mexico. Both locations were ideal for hunting, and when Ed was four, his father and grandfather began teaching him the skills he needed to be a successful hunter. As he grew

HOPSCOTCH

up and eventually became strong enough to wield his own traditional, wooden, recurve bow, it became his hunting instrument of choice and he never looked back.

Every year he would join thousands of other hunters in revelling in opening weekend of deer season and turkey season in Indiana. In between seasons he would fill his time with hunting for squirrels, rabbits, and foxes, and fishing religiously.

Find more information about the film by scanning this link.

Run Time: 70 Mins.

it is a natural evolution for me to try a different genre. I challenged myself here in everything - the Screenplay the dialogue and direction. For the first time I shot the full film through the camera which I never did on earlier films, as I would focus more on the overall film but the technical aspect of film-making excited me.

Writer/Director: Shomshuklla Das

The creative force behind “Hopscotch” – Shomshuklla Das – gives us a fascinating insight into the background of her latest project.

“Hopscotch” tells the story of Sohini and her best friend Ria. A gripping psychological horror film, Hopscotch is a film that explores the nuances of a girl’s relationship with her best friend, one who has long since left her life.

WHY I DECIDED TO MAKE A FILM LIKE ‘HOP SCOTCH’?

It so happened that I was watching different genres of film and as an independent filmmaker one always like to challenge oneself. European films always influence and stimulate me as an artist. The best part of being an independent filmmaker is that I am not stressed over commercial influence and I have the freedom to create something artistic.

After filming “Sandcastle” and “Chhutii Aar Picnic” (A Holiday and a Picnic),

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Elik Hamshibai with Golden Eagle

FALCONER: SPORT OF KINGS

Not only that, I also guided, instructed and directed the actor throughout the film, every movement of the film. It was very tough for the actor, but a unique experience at the end. It is a psychological horror, and to depict that I tried different kinds of props and camera angle to establish it. Not only that I challenged myself by having only one character in the film, thus I let the music play an interesting role in the film.

“Hopscotch” is a terrific journey between me and my actor and the rest of the crew.

www.cuttocut.com Run Time: 86 Mins.

FILM: THE MAGAZINE /MAY 2015

SAM’S BOX Writer/Director Producer/Actor: Felipe Gon

Director Felipe Gon tells Film the Magazine how making “Sam’s Box” came about.

HOW DID YOU CAST THE MOVIE?

I met the actors while I was studying at Lee Strasberg Theatre and Film institute in New York. They are extremely talented, so I knew that I wanted to work in this project with them.

HOW LONG DID IT TAKE TO WRITE THE SCRIPT AND HOW DIFFERENT IS THE FINISHED MOVIE TO THE SCRIPT?

It is our first project, and my first film as a filmmaker. I was the Director, Producer, Writer, Editor and Lead Role, it was hard, but I was able to do it because of all the people that helped me in this production, without their hard work it would have been impossible, especially: Karen Sotomayor, William Brighton, Akshay Reddy and Andrey Trevgoda.

It took us like two months to finish the script. We worked the script through rehearsed improvisations. I knew what we wanted to say and the events that we wanted in the script. We recorded the audio of the improvisations, I created the script with that audio and some writing we did. William Brighton and Karen Sotomayor where a big help in this process and they are the co- writers. So the movie is very similar to the script.

PLEASE CAN YOU GIVE US SOME BACKGROUND TO THE PRODUCTION?

WHAT WAS THE BEST AND WORST PART OF SAM’S BOX? HOW DID YOU FIND THE SHOOTING LOCATIONS?

I went out scouting alone and some days with the crew. I knew what I was looking for to tell the story, it was difficult to find the places because I wanted something that would look great, but also would fit the mood of the characters and the film.

HOW DID THE IDEA FOR SAM’S BOX COME ABOUT? The script is very close to my heart because we used the notes that a dear friend of mine wrote before committing suicide, so I had a huge responsibility as an artist to put the subject out there. Having this notes in mind, we set down with William Brighton and we started to brain storm some ideas for our rehearsed improvisations. Two month later and after tons of hard work, we had the scrip finished.

It really doesn’t have a worst part. It is a production that was made with close to zero budget. So far we have been accepted in almost every festival we have applied. I believe when people put their hearts in what they want, only good things come along. I’m very excited because we are having advanced conversations to make a feature film of Sam’s Box, that will be awesome. I think as artists we all have responsibilities and I would love to make a film that would help to talk about a topic that is consider taboo in many places, but the truth is that suicide is increasing very fast every year, and we should face it and do something. /felipepipo.gonzalezt @FelipeGon1414 Run Time 14 Mins FILM: THE MAGAZINE /MAY 2015

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Getting permission to use actual campaign commercials for the candidates in the 1983 Chicago Democratic Mayor’s race, featuring Harold Washington, Jane Byrne and Richard M. Daley, was integral

As a result of the original stage play Busted City has received excellent reviews and comments:-

“The emotional texture of Chicago during the 1983 election is recorded in near perfect pitch in Paul Carr’s brilliant new play” - Paul Engleman for The Huffington Post

“God is in the details of Paul Carr’s new play, a muscular slice-of-life dramedy” “the bantering characters are spellbinding”

Michael Byrne is Jimbo, retired Chicago cop.

- Laura Molzahn, The Chicago Reader

“This play expertly captures the incredible emotional drama that gripped Chicago leading up to Harold Washington’s election as mayor in 1983. It is

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but we took this down time to carefully study the film and later implement the necessary edits.

The end result is a film I believe to be an accurate and authentic insight into the soul of Chicago, a great American city but one scarred by racism and divisions. I hope the honesty of our film can in some way foster a better understanding of our collective history, because acknowledging the past is the only way to learn from it. -- Paul L. Carr.

Guy Di Benedetto plays the bartender, Theo.

Busted City is a story of the civil rights struggle in America. First performed as a stage play at Prop Theater in Chicago in 2008 and 2012, Busted City connected with Chicagoans who instantly recognized the strong language and unflinching tone as an authentic portrayal of their segregated and often tumultuous city.

I shared directing duties with Stefan Brun, who directed the stage play on both occasions. Our goal was to create an honest depiction of the racial politics of Chicago - both the subtle manifestations and the harsh and violent realities. Racism is seen as an insidious and endemic component of the system - The Machine - and also as a powerful tool of fear.

Interiors were filmed over a one month period in a tavern on the northwest side of the city and then we paused until January for the exterior shooting, which provided the appropriate and typical cold gray winter days of Chicago.

Our film editor, Wheat, also endured nearly half-a-year in the hospital and is currently on dialysis,

great, both as a historical document and an artistic achievement.”

Tony Pulgine is Al, a Chicago cop.

Paul L. Carr, the creative force behind Busted City gives us some insight into this extraordinary film.

in providing the film the authenticity of the era.

We also utilized a number of original political buttons and campaign posters to enhance that reality. And while the film is based on a play, we didn’t simply film a stage play. The film medium allowed us the opportunity to open things up and present the story in a far more dynamic and forceful fashion.

The intro to the film is set to Chicago blues music and the hard-hitting montage of urban imagery immediately transports the audience into the city of Chicago.

“As a Harold supporter who lived through the actual events, it brought a lot back.”

“Keeps you at the edge of your seat even if you’re not Chicagoan. Flawless directing, using space constraints creatively, great script and always timely topic: human rights, prejudice and politics. Some superb acting.”

“Trenchant and tough-minded.”

“A great setting for a wonderful show which brought back some old memories.”

Nick Leininger portrays Johnny Jr.

Writer: Paul L. Carr Directors: Paul L. Carr & Stefan G. Brun

Arch Harmon plays Ace, the mailman. Arch also won Best Supporting Actor in London.

BUSTED CITY

“A raw, important event in Chicago history that changed the city for the better [...] Well written and acted.”

- Member reviews from Gold Star

/BustedCity www.bustedcityproductions.com

Run Time: 82 Mins.

FILM: THE MAGAZINE /MAY 2015

A GHOST AND THE BOY

[WITH A BOX ON HIS HEAD] Writer/Director/Cinematographer: Philip Blue Producer: Heather Lynn

An interview with Philip Blue and Heather Lynn.

WHY DID YOU BECOME A FILMMAKER?

Philip: I’ve always wanted to be a filmmaker to evoke emotions through universal truths. I set out to focus on emotions and personify difficult themes, rather than a solid black and white plot: all the while telling a powerful story. “A Ghost and the Boy” deals with a truth that applies to every human and ultimately what it means to be human. I made it with hopes to have people reflect back on their own disconnection (and ultimate discovery) from what’s considered normal, through our shared human struggle to try and define love. My films are more so a reflection of what it’s like to have life-changing and sometimes painful experiences through a biased narrator, and less about a cut and dry story.

WHAT IS “A GHOST AND A BOY [WITH A BOX ON HIS HEAD]” ABOUT? Philip: The film follows Theo, an eighteen year old boy, who has a shrewd perception on reality as he encounters someone from deep within his subconscious.

Sadie is his image of a perfect girl; whom he has been looking for since Theo can remember. Unaware that no one can see her, he is sent to a mental hospital as he cannot come to grips with the reality that others force onto him. In the hospital with the other patients, Theo goes through an adventure into the depths of his imagination, into a place that is hard to return from.

WHAT DOES A GHOST AND A BOY MEAN? Philip: The film is an abstract personification of discovering that you were never in love. At a young age, without a sense of self-identity, I was weak enough to fall in love with someone who never existed.

Due to my lack of experience, I projected my idea of the perfect person to the first girl who attempted to fit the part. As time healed my delusion, I found her true self to be nowhere near what I had come to know and love. Realizing that the most important person in your life never existed is infinitely more painful than a death or heartbreak as you can physically still see and hold the person only to feel more alone than ever before. The film not only explores the concrete (plot) side of relationships, but is ultimately a commentary on the feelings and wants associated with this discovery.

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FILM: THE MAGAZINE /MAY 2015

WHAT ARE SOME CHALLENGES YOU FACED WHILE FILMING THE MOVIE? Philip: Because of its uniqueness, it was difficult to explain my vision, as there were no available references to this type of storytelling. This proved especially difficult as [on paper] it sounds like an art film that does not try to tell a story, whereas this is the opposite. My attempt to enhance the emotions of the story came off as meaningless gimmicks on set because of the lack of references to what I saw in my head. It was difficult to get whatever little crew we had and actors onboard with the strange ideas I wanted to attempt.

Heather: We also didn’t have a crew to help us out. It was mostly just myself and Philip, and then the occasional friend who would come out on certain days.

We were balancing everything while filming. Philip would be setting up lights while giving the actors direction and I’d be holding a boom while making scheduling changes.

WHAT WAS IT LIKE BEHIND THE SCENES?

Heather: We shot the bulk of the film in about 30 days, mostly in Los Angeles and South Texas. We then spent the following few months getting pickups in Northern California, New Mexico, Arizona, and Nevada. The first cut of the film was about 2 1/2 hours long.

WAS IT DIFFICULT BEING THE WRITER/ DIRECTOR/CINEMATOGRAPHER AND EDITOR? Philip: It really helped the film to not have a big team of people each with their own vision and ideas for what the look and style should be, because in all honesty, we did some really weird things that even the actors admitted to thinking wouldn’t work. More so, this movie wouldn’t even be possible with big names and producers attached since I did things that are so far away from typical film-

HOW HAS THE FILM CHANGED OVER TIME? Heather: Originally, the script was a light-hearted drama with some humour, but because of our lack of experience, a lot of the jokes didn’t land. The overall performances took on a darker tone as that’s what Philip found to work better on set.

making that I’m sure no one would allow it. I came into the movie solely focused on doing what is best for the story, so I was happy cutting down things I wrote since I knew it wasn’t beneficial to the movie.

WHAT WAS YOUR FAVOURITE SCENE IN THE FILM?

Heather: The most fun scene to shoot was the slow motion paint fight scene, for obvious reasons. However, my favourite scene is Sadie breaking down in the garden as she comes to terms with how she fits into Theo’s life.

WHAT WAS THE MOST DIFFICULT SCENE TO SHOOT? Philip: Our lack of professional equipment and our ambitious shot list proved every scene difficult. However, running backwards through a pitch black, broken down house, trying to be as stable as possible while avoiding broken glass and destroyed wooden floors probably tops the list.

WHO ARE MYKAL REE-DAVIES AND CATHERINE VELARDE?

Philip: Mykal Rees Davies and Catherine Velarde (two leads) were high school sweethearts. Unfortunately, while filming, Myke struggled with a debilitating mental state. However, it was quite remarkable to see that when Cathy was around him, she essentially cured him.

Through practicing his art and expressing love he found peace. It’s probably not for us to say, but we feel and saw his deep affinity for her transcend the struggles he was fighting.

Philip: We ended up finding the bits of realism from when I would roll the camera and before I would say “action” to find the true emotion, which ended up making the film closer to a tragedy, as it’s all true on camera. We basically listened to what the movie wanted to be and what we found was anything but a happy film.

Scan for Page @blulinepictures aghostandtheboy.com Run Time 72 Mins FILM: THE MAGAZINE /MAY 2015

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WILD IN BLUE Writer/Director: Matthew Berkowitz

DIRECTORS STATEMENT

Truth lies in the obscurity of the term, while an image can hide behind the mask of cinema. Cinema is truth, truth as the essence of narrative, of story, of subjective honesty; objectivity does not exist here. This is the truth for Charlie, as he struggles with his own honesty, his own guilt, remorse and hate. Charlie’s most passionate moments in life, his most painful moments in life, his most loving moments in life are all captured on film. All these feelings are convoluted at

a point, as each feeling, love, hate and pain all become interchangeable; interchangeable to the point where each reflects the other, and as Charlie grows up each emotion cannot exist without the other. So it is with his relationship with Ben and Ashley. Ben who has the most convoluted sense of these feelings, where pain and pleasure become one; while Ashley might be the most honest of the three. Charlie is what? Charlie is a man, a guilt-ridden fraud, hiding behind his veil of power and violence.

For me it was important to focus on the man, the man who relies on nihilism to exist. When we discussed the idea: “A killer makes his own movie” I considered a few questions. What is a film? What is a killer?

Most importantly what is love? Love was the most crucial element of the film; Because Charlie, in order to exist, would have to love one thing. That thing was movies.

This took me on a journey, taking writings from my favorite films, my most influential filmmakers, and most influential film theorists.

The most interesting part of this to me is that at a point I realized that if these are the men who influence me, and Charlie is influenced by myself and therefore my influences; then Charlie must be a reflection of myself. But cinema is self-reflexive; and authorship is bullshit, as I am a reflection of my influences, and Charlie is a reflection of me, and all Cinema is evolution. Charlie wanted to make an honest film, I must have wanted to as well.

www.wildinbluemovie.com Run Time: 88 Mins.

VINNY PIANA

Vinny Piana is the driving force behind MAAKO studios, a cutting edge hub for music creation for movies and is profiled for Film the Magazine.

PLEASE CAN YOU TELL US ABOUT YOUR BACKGROUND?

VP: I was born in Toulon, in the south of France. I have however lived most of my life in London. I still have family back in Toulon & Montpellier, so thankfully I do still come over regularly and get some warm sunshine on my back!

I have from a young age been involved in music, first as a guitarist in various bands and toured extensively across Europe. I then expanded my activities in composing, engineering and music production.

HOW DID YOU BECOME INVOLVED IN MAAKO? VP: Maako Studio is my creation. It is a hub of amazing composers, musicians, producers and engineers in East London. I am very lucky to live in an old factory that has been converted into Work / Live-in spaces and this is reserved primarily for artists.

I have my own recording studio and also share spaces, equipment and skills with other producers, composers and engineers in the building, many of whom work at a very high level. It is an amazing hub of creativity, knowledge, skills and the desire to help each others in our activities.

HOW HARD IS IT TO GET YOUR CREATIONS IN FRONT OF FILMMAKERS?

WHERE DO YOUR IDEAS COME FROM AND WHEN YOU ARE COMPOSING FILM SCORES, DO YOU FIND INSPIRATION FROM OTHER COMPOSERS?

VP: It’s a feel thing. Visuals and stories always translate into music in my head. I just hear it. You tell me a story and I hear the music that also “tells the story”. You can tell the story with dialogues, you can tell it with music too. Of course you don’t need to write the entire story musically. But what it means is that I feel the vibe, the mood, the energy that is suitable to enhance the emotions expressed in the visuals of the story.

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FILM: THE MAGAZINE /MAY 2015

HOW WOULD YOU DESCRIBE YOUR MUSIC?

VP: Driven by emotions! Really that’s it. I love building intensity, push / pull /tension / release. I like an edge in the music, something that will trigger an emotion in you.

Of course you often need easy listening background music, simple pads etc. But the big moments have to generate strong emotions by the combination of images and sound. I love that part of it.

VP: It is easier with indie film makers.

Essentially, affordability comes into it and there are not too many barriers. People are accessible. Of course beyond that it is difficult, yes.

WHAT’S YOUR GUILTY PLEASURE?

VP: I enjoy all the music I listen too. I have no shame on that front!

WHAT’S THE BEST PIECE OF ADVICE YOU HAVE BEEN GIVEN?

VP: Constant and never ending improvement.

maako.london

Ducky in the ice, the mission begins.

DUCKY DUCK Writers: Julia Eliseeva & Denny Motion Director: Marc Ryan Marc Ryan Production/JH-production

The very first time we met Ducky – it was about three years ago in an airport – we asked her if she could ever imagine participating in a movie about her extraordinary life, she was immediately fired up to the point that she missed her flight to Moscow where the authorities gave her and only her permission to interview Edward Snowdon!

Although she was very upset about missing her flight, she felt that our film was much more important to her and so she began to tell us about some stories of her life right away.

After this and many subsequent meetings we had recorded material totaling 223 hours and from there, Julia and Denny had began to form a story from it.

The result was a story so exciting, so funny but above all – really new, that the director Marc Ryan enthusiastically agreed to set this story in scene!

“Finally not any old fairytale, changed beyond recognition with fashionable puppets or killing monsters as actors, no!

But a lovely, exciting and funny story with much fantasy, action and feelings. One or

Talahan, the adviser for the Prince of Wisdom.

More or less polite penguins in the ice cave.

the other might discover tiny pieces of our reality in it?” Mark Ryan remarked.

With Ducky’s desire to play herself in this film, we agreed of course and to come in contact with Dracula was also not a problem. As an example the people in the office of the Ministry of Finance helped us, they visited his workshop as quickly as possible.

What happened after our press release “casting” was sent out? I cannot count all of the sleepless nights because of the interest in our movie, just to get be cast in even the smallest role!

But in the end we found the most talented and disciplined actors and they all performed wonderfully well – thank you!

Foxy on the search in the newspaper archive.

jh-production.com Run Time: 132 Mins.

MCREAM Writer/Director/Producer: Agneya Singh

A motley crew of university students set out on a journey in pursuit of a mythical form of hash, confronting a series of encounters that begin to unravel the myriad realities of rebellion.

FIGS is the typical cynic one finds lurking in the expansive lawns of Delhi University. Entangled in a web of drugged out delirium, he’s the quintessential rebel.

His world is thrown into disarray when his conservative parents begin to chalk out a strategy for his future. Things only become worse when a sudden scarcity of hash deprives Figs of his favorite pastime.

Unable to cope with the situation, Figs joins forces with his best friend MAGGIE on a quest to attain M Cream, a mythical form of hash. They hastily devise a plan to trek to the far reaches of the Himalayas in pursuit of this goal. Maggie ropes in her boyfriend NIZ, who’s purportedly headed to the hills on a photo assignment. Unbeknownst to Figs, the trio is joined by JAY, a close friend of Niz. Chaos ensues as the reckless travelers journey

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FILM: THE MAGAZINE /MAY 2015

across the Himalayan expanse. The road trip results in a series of unexpected encounters that begin to unravel the myriad realities of rebellion. Difficult choices are made and uncomfortable sides are taken as Figs and the others begin to comprehend the mysterious ways of the world we live in.

AGNEYA SINGH

Agneya Singh is an Indian filmmaker and screenwriter. He is often identified with the revolutionary new wave of Indian cinema. Starting out as a documentary filmmaker in New Delhi, he subsequently began to explore narrative structures in story telling. Focusing as a director and cinematographer, Agneya

has worked on a multitude of subjects in both documentary and narrative film.

These works provide radical commentaries on various aspects of Indian society and polity. His short films and videos have been screened at several film festivals and media showcases and he is a graduate of the Tisch School of the Arts, New York University. mcreamfilm.com Run Time: 113 Mins.

SCREENING TIMES SUNDAY 10th May

Welcome to the St. Tropez and Nice International Film Festival

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MONDAY 11th May

1

Screening Room 1

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MONDAY 11th May

Screening Room 2

10:00am Junque Directed By: Kemberlee Bonnet 80mins

10:00am Seven Things To Do Before You Die Directed By: Kwun Wab Ho 96mins

10:45am Stones From The Desert Directed By: Max Olivier 90mins

11:20am WAX: We Are The X Directed By: Lorenzo Corvino 103mins

12:00pm American Native Directed By: Steven Oritt 76mins

12:20pm Pretty Rosebud Directed By: Oscar Torre 81mins

1:40pm Wild In Blue Directed By: Mathew Berkowitz 88mins

1:30pm Vegas Vikings Directed By: Christian Schoyen 74mins

1:55pm The Other Side Of Cannabis Directed By: Jody Belsher 72mins

2:45pm She Rocks The Planet!

Directed By: Meredythe Dee Winter 48mins

3:15pm The Falconer: Sport Of Kings Directed By: Edwin Broch 70mins

4:55pm Le Vieux Chapeau de Rudy Directed By: Philip Scarborough 14mins

4:30pm The Center Directed By: Charlie Griak 72mins

5:15pm The Black Butterflies (Les Paillons Noir) Directed By: Antoine Blanchet 17mins

5:15pm Border Trafficking Directed By Peter Rautek 20mins

5:45pm Jump Into My Arms Directed By: Rex Carter 9mins

5:45pm Magic Matty Directed By: Nico Raineau 4mins

7:45pm Nostalgic Directed By: Ronald Eltanal 12mins

5:55pm Felix Austria!

Directed By: Christine Beebe 77mins

5:45pm From Scratch Directed By: Thomas Keumurian 40mins

8:00pm Busted City Directed By Paul Carr 82mins

6:30pm Between Millimeters Directed By: Angela Schwabenbauer & Jorge Riesenfeld 99mins

9:30pm Dating Eliza Directed By Simon Allen 13mins

3:20pm Textisms Directed By: D. Jeremy Bolton 17mins 3:50pm The Boxcar Children Directed By: Mark Dippe & Daniel Chuba 81mins

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7:10pm Jonny’s Sweet Revenge Directed By: Mark David 108mins 9:00pm Where is Elle-Kari And What Happened To Noriko-san Directed By: Dvorit Shargal 50mins

SCREENING TIMES 1

TUESDAY 12th May

1

2

Screening Room 1

Welcome to the St. Tropez and Nice International Film Festival TUESDAY 12th May

Screening Room 2

10:50pm 196 Directed By: Anna Arlanova 50 mins

11:50pm Ludo Directed By Katrin Ottarsdottir 71 mins

11:50am On That Love Directed By Giovanni Bongioanni 115 mins

1:10pm Trio Directed By: Dae Eol Yoo 15 mins

2:00pm Broken Crystal Directed By: Jackie Marie 13 mins

2:25pm Aurélia Directed By: Jade Courtney Edwards 13 mins 2:50pm Oren Directed By: Tahyna Tozzi 16 mins 3:05pm Castor Directed By: Alon Juwal 14 mins 3:20pm Gazelle – The Love Issue Directed By: Cesar Terranova 90 mins 5:00pm Q&A with Neil McEwan 6:00pm Four Tails Directed By: Christopher Villiers 24 mins 6:30pm Children Of War – Nine Months Of Freedom Directed By: Mrityunjay Dewrat 157 mins

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1:40pm Code Oakland Directed By: Kelly Amis 22 mins 2:05pm As The Tree Under The Hurricane Directed By: Claudia Fischer 70 mins 4:00pm Ladies Of Science Directed By: Alessandra Usai 57 mins 6:00pm Albert Directed By: Joshua Costea 9 mins 6:10pm The Dark Side Directed By: Florina Titz 52 mins 7:00pm Summer Of Tom Directed By: David Lueza 30 mins 7:40pm Leaving Stockholm Directed By: Zein Kurdi 20 mins 8:10pm The Coffinmaker Directed By: Jason Paul Laxamana 103 mins

WHAT THE WORLD wildlifegazing.com NEEDS NOW?

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WEDNESDAY 13th May

1

Screening Room 1

10:00am The Morning After Directed By: Shanra Kehi 78 mins 11:20am Girl On The Northern Line Directed By: Harvey Marcus 16 mins 11:45am Francesca Directed By: Diana Bald 4 mins 12:00pm I Love Kuduro Directed By: Mario Patrocinio 94 mins 1:45pm The Naked Truth About Fairies Directed By: Ivan Cordoba 19 mins 2:05pm Old Bay Directed By: Lena Rudnick 19 mins 2:25pm Strings Directed By Crystal Us 17 mins 2:45pm Story Of An Uncommon Day Directed By: Crystal Us 14 mins 3:20pm The Journey Directed By: Lance Nielsen 112 mins 5:15pm Privacy Directed By: Jack Ganey 4 mins 5:20pm Dolled Up Directed By: Jack Ganey 28 mins 5:50pm Public Access Directed By: Kevin Hanna 20 mins 6:10pm Cleaning The Fish Directed By: Myrna Paramita 15 mins 6:25pm When The Man Went South Directed By: Alex Bernstein 84 mins

Is an Axis Vertical - Production Media Presentation, branch “Wildlifegazing”.

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FILM: THE MAGAZINE /MAY 2015

Produced and Directed by Fabienne M. Lefeuvre

8:00pm Is There A Middle Class In Albania Directed By: Pluton Vasi 45 mins

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WEDNESDAY 13th May

2

Screening Room 2

10:15am Generation ‘89 – Growing Up In The Year Of Change Directed By: Anke Ertner 71 mins 11:35am A Ghost And The Boy Directed By: Philip Blue 72 mins 12:50pm Sam’s Box Directed By: Felipe Gon 14 mins 1:20pm Dissonance Directed By: Bryan Fox 19 mins 1:50pm Icarus – Casting From The Clouds Directed BY: David Ondaatje 5 mins 2:00pm What The World Needs Now Directed By: Fabienne Lefeuvre 10 mins 2:15pm Bar Songs Directed By: Ryan Collins 80 mins 4:15pm The Sniffer Directed By: Anastasiya Verlinskaya 50 mins 5:15pm Todd And Anne: Water In The Pot Directed By: Jeffrey Engelson 27 mins 6:00pm La Scultura Directed By: Mauro John Capece 96 mins 7:35pm Kyra Kyralina Directed By: Dan Pita 95 mins

SCREENING TIMES 1

THURSDAY 14th May

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Screening Room 1

10:20am Cotton Directed By: Marty Madden 92 mins 11:55am Holly Grove – The True Life Story Of Monserrat Directed By: Carlos Hurtado 7 mins 12:05pm Lapsus Directed By: Karim Ouaret 30 mins 12:35pm All Seasons Become One Directed By: Shannon Michael Terry 14mins

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Welcome to the St. Tropez and Nice International Film Festival THURSDAY

10:15am

14th May

2

Screening Room 2

Song Of The Phoenix Directed By: Tianming Wu 110 mins 12:25pm The Hotel Dieu Directed By: Adrian Thiessen 80 mins 2:00pm Grit Directed By: Ilan Srulovicz 16 mins 2:15pm Miss You Directed By: William Beutler

1:20pm Seven Lucky Gods Directed By: Jamil Dehlavi 112 mins

3 mins

3:25pm Hopscotch Directed By: Shomshuklla Das 86 mins

Directed By: Alex McCall

4:55pm Carry On Directed By: Yatao Li 16 mins

Bada Bing Bada Boom

5:10pm New Skin Directed By: Sabrina Culver 16 mins

3:20pm Written By Mrs Bach 57 mins 4:20pm Directed By: Fiona Mackenzie 15 mins 4:45pm B.C.D. Directed By: Andy Wakefield 66 mins

5:25pm Addiction Directed By: Sabrina Culver 16 mins

6:15pm

5:55pm Queen Mimi Directed By: Yaniv Rokah 75 mins

30 mins

7:20pm Forgiveness Is A Weapon Directed By: Scott Cronan 34 mins

Directed By: Andreas

8:00pm Mcream Directed By: Agneya Singh 115 mins

Caring For The Recently

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FRIDAY 15h May

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Screening Room 1

10:am Ducky Duck Directed By: Marc Ryan 132 mins 12:20pm Filigrane Directed By: Gail Segal 20 mins 12:40pm Dementia Directed By: Parcival Intalan 98 mins 2:40pm Blonde Directed By: Joanna Strange 21 mins 3:00pm Le Pain Directed By: Meryl Murman 43 mins 4:15pm Sweet And Sour Salsa Directed By: Gustavo Cuervo Rubio 80 mins 5:35pm Helio Directed By: Teddy Cecil 20 mins 6:10pm Aurora Directed By: Pascal Fontana 22 mins

Deceased Directed By: Henry Davies

6:45pm Jeanne Heinrich 22 mins 7:15pm From Seoul To Jakarta Directed By: Damien Dematra 120 mins

6:35pm South Beach On Heels Directed By: Dmitry Zhitov 80 mins 8:05pm When Tears Have Fallen Directed By: Henrik Henziger 20 mins 8:40pm Salome Directed By: Kevin Bisbangian 15 mins

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FRIDAY 15th May

2

Screening Room 2

11.50am Aspirin For The Masses Directed By: Adam Nixon 105 mins 1:45pm Mother’s Day Directed By: Nico Raineau 22 mins 3:20pm The Back Up Plan Directed By: Christina Kim 7 mins 3:30pm Tumble Dry Low Directed By: Jefferson Stein 7 mins 3:40pm The Date Directed By: Olga Korotko 5 mins 3:45pm Eye Level Directed By: Alisa Dagilo 4 mins 3:50pm Jaysin Voxx ‘Hand ON Me’ Directed By: Carlos Hurtado 3 mins 3:55pm Our Resilient Genome Directed By: Alexandra Pina Kingman 5 mins 4:00pm Short Group Q&A 4:40pm Your The Enemy Welcome Back Directed By: Pankaja Brooke 46 mins 5:30pm Is This The Real World Directed By: Martin McKenna 90 mins 7:10pm The Look Directed By: Shawn McDaniel 20 mins 7:40pm Parallax Directed By: Graham Nolte 78 mins FILM: THE MAGAZINE /MAY 2015

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Director: Kevin Bisbangian Writers: Kevin Bisbangian Judith Wyler

Katarina Kikta – the lead actress in “Salome” gives us some background to her role in this thought provoking film:-

Actress: Katarina Kikta.

I grew up in a small town in the High-Tatra Mountains of communist Slovakia. In winter when everything was covered in snow and ice and the temperature dropped to -20C, I would daydream of being in a big sunny city with palm trees, huge American cars rolling down the streets, and being in movies.

Katarina Kikta as ‘Salome’. Photography by Andrew Pegram

SALOME

Escaping from the small town came when I was a teenager, I then made it all the way to London with just £40 in my pocket for rent, food & education and set about learning English well enough to put myself through a London drama school, which I did.

My parents thought I’d be back in three months; it’s now been 14 years. Blimey…! I met the director Kevin Bisbangian who cast me as the title role in his film “Salome”which has been nominated in five categories in this year’s St.Tropez film festival.

One of Kevin’s key strengths as a director is his talent in getting great people together in the same room, cast and crew alike – one of them was the dashing actor John Tooke who I had some very intense scenes with.

John sadly passed away after a motorbike accident last year and “Salome” is dedicated to his memory.

The character of “Salome” was one that took up residence in my brain for the duration of the filming and occasionally still rears her fiery head when I’m stuck in traffic or in a queuing at the post office!

Under the name ‘Sonikat’ I recently released ‘First Explorations’, my first album of soundscapes. Some of these tracks became the dance films ‘Uncaged’ and ‘Light’ which are now being sent to festivals. I’m also currently scoring a couple of other short films.

I’m at St Tropez as I have been nominated for the Best Lead Actress, we are also in

Cannes at The Short film Corner, it’s sunny and there are definitely palm trees there. It’s my first nomination for anything and I’m looking forward to enjoying every minute of the festival and meeting lots of talented people.

Screening at St Tropez IFF on the 15th May sonikat.bandcamp.com

Run Time: 30 Mins.

ELENI COLLINS Talented actress Eleni Collins is profiled for Film the Magazine.

Eleni is a bilingual actress and will complete her BA in acting in June. She is also an Equity and Spotlight member and recently performed at the Drayton Arms with the Fringe production “Trust Me” and is currently working for a production of “The Wonderful World of Dissocia” as a final year performance for her degree.

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FILM: THE MAGAZINE /MAY 2015

Written and directed by Kevin Bisbangian, Eleni was recently cast for the Feature film “Usual Girl”.

Speaking to Film the Magazine Eleni said “This is particularly exciting to me, as most of my experience so far has centered on stage acting, yet film is something that truly captures my imagination and inspires me. Another passion of mine is dancing, I have taken ballet lessons for many years and it is still something that I love! Not only because of dancing itself but also for the inherent importance it carries to the self-awareness of body language and non-verbal communication in acting. I love travelling and getting in touch with diverse cultures and civilizations and I’ve always been keenly observing the performance of international, non-English speaking actors and the manner in which they, nevertheless, manage to blend into English productions and make a marked impression on audiences. Whilst I was on a recent trip to France, I discovered just how much I enjoy horse riding and I cannot wait to pursue this hobby further!”

www.elenicollins.com

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FILM: THE MAGAZINE /MAY 2015

ALL SEASONS BECOME ONE

NO FILM INTENDED

Director: Shannon Michael Terry Original Concept: Diana Shui-lu Wong

A FILM INSPIRED BY A PAINTING

The large 10 by 20 foot modular painting, All Seasons Become One, by artist Diana Shui-Iu Wong, contained an already complete idea within it suited for a short film. The film was originally made to accompany the work of art to exhibit in museums and galleries.

SYNOPSIS

Director Shannon Michael Terry explains, “An artist paints the four seasons as her alter ego travels through a realm of inspiration. Once the artist has realized the final season, the alter ego arrives at the completed painting.

What happens next is a reflection of humanity’s relationship to nature and the never-ending power of creativity.”

WHEN TEARS HAVE FALLEN Director: Henrik Henziger

WHAT WOULD YOU CHOOSE?

In a near future almost all of mankind has lost it’s emotions. For these people a certain drug is the only way to briefly experience joy or sadness.

In this indifferent world, where function and economy governs, we follow an exception to the rule, a young mother, who faces an impossible choice when her son is submitted life supporting medical care. Would you make the same choice?

WHO IS THE DIRECTOR?

With his background in linguistics, philosophy and literature, Henrik Henziger started his career in filmmaking in 1997.

He received an outstanding education at the renowned Spanish film school ”Ecam” (1999-2002), while simultaneously working on major productions directed by great masters like Terry Gilliam and Baz Luhrman, to mention a few.

Since 2003 Henrik has been one of Sweden’s highest regarded Assistant Directors, working on commercials, tv series and feature films. Through his extensive experience he’s had the privilege of learning from a great number of

HUMANITY AND NATURE

We have arrived at a point in time where human evolution has brought about a more full understanding of nature, and the ability to see the whole of the natural world, and our planet, as interrelated. But even as the agents of life’s most advanced accomplishment, we pursue a destructive path and threaten the very resources we need to survive. Will nature take a step backwards and overcome us?

Or is there more that we have yet to see that will increase our chances of survival, and to thrive?

excellent directors like Susanne Bier, signing major titles such as ”The Bridge”, ”Arn - the knights templar”, British ”Wallander”, ”In a better world” and ”Brothers”.

In 2009 Henrik Director Henrik Henziger professionally debuted as a director on a feature pilot called ”The power of the realm”. He has also directed some corporate and commercial films. With the poetic sci-fi short ”When Tears Have Fallen” Henrik has turned his full attention to directing and there are many more films to come.

The director states, “This isn’t a biography of an artist, as you might expect. It is an audiovisual journey with no dialog.

The painting All Seasons Become One acted as a conceptual storyboard for the film. After negotiating how to represent the symbolic elements, I adapted the artist, Diana Shui-Iu Wong’s concepts, which challenged me to find practical solutions in translating between the mediums of painting and film. Can I extract the painting out into the concept of a film? Can I achieve the story arc present in the paintings concept? By limiting as much as possible the way the story could be told, we get minimalistic results, making room for the viewer’s own perceptions.

allseasonsbecomeone.com Run Time 14 Mins

REVIEW BY SHANNON MICHAEL TERRY

What a great concept Henrik Henziger has brought to life. An amazing reflection of human conditioning and the void of true connection, yet so much potential love being brought forth from the lead actress Magdalena Sverlander.

As if she alone is holding all of humanity’s remaining warmth and kindness.

The composition and framing, the atmosphere and final color, all play a major role in communicating the depth and longing within the human spirit.

The play of dark and light is evident in both script and cinematography. The sound design is extremely effective as well. Henrik Henziger really knows how to challenge himself as a director.

DIRECTOR’S THOUGHTS ON THE FILM?

Today’s society is successively growing harder and colder.

We care for and help each other less each day.

We wanted to make a beautiful, intimate and emotional film, set in a futuristic metaphor of what our world might become if we follow this path we’re on.

Thus, our film tells a touching tale through a timely analysis of our society. It challenges you to ask yourself where mankind is headed and what it’ll be like once it gets there.

/whentearshavefallen

Run Time 20 Mins FILM: THE MAGAZINE /MAY 2015

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QUEEN MIMI Director: Yaniv Rokah Producer: Elliot Kotek

When you feel like a queen, even a laundromat can be a palace.

Marie “Mimi” Haist defied her adulterous husband and moved onto the streets in her 50s, living in parking lots and doorways until finding her “home” one stormy night between rows of washers in a Californian laundromat.

Encouraged to stay by a more than generous laundry owner, Mimi’s ‘the past is the past’ philosophy endeared her to regular fluff and fold clients and, after more than 20 years, Mimi has made some unlikely friends, ranging from local loves to Hollywood A-listers Zach Galifianakis and Renee Zellweger.

Filmed over 5 years by barista/actor/director Yaniv Rokah while he worked at a cafe across the street, Queen Mimi is the story of an unlikely hero. Now 89, Mimi reminds us to never give in and never give up, and that if you ever find yourself in the gutter, to never stop looking at the stars.

THE QUEEN

Marie “Mimi” Haist - now 89 years young, Haist has been homeless for 35 years.

On a stormy night 25 years ago, she walked into a Laundromat and the owner let her stay the night, on a plastic chair between the 2nd and 3rd row of washer/dryers. Soon entrusted with the keys to the store, Marie transformed into the predominantly pink-wearing, dancing & singing “Mimi” with a past as mysterious as her ability to survive. Mimi offered laundry services to young actors, creatives and professionals living in and around Santa Monica and, as their careers ascended, some also took the time to ensure they helped their friend. It’s never too late to find your family, or yourself.

THE DIRECTOR

Yaniv Rokah grew up on the Mediterranean in Netanya, Israel. As the youngest of 10 kids, he wanted to escape the family circus, but traded one crazy situation for another by moving to New York to become an actor.

After attending the Lee Strasberg Theatre Institute in New York, Yaniv moved to Los Angeles and has appeared on shows including “NCIS: Los Angeles” and “The Beast”, Jon Avnet’s You Tube series “Kendra” and in several U.S. commercials, including a SuperBowl spot for Verizon.

Yaniv had a supporting role in Marc Forster’s 2013 blockbuster “World War Z” starring Brad Pitt and can currently be seen in the TV series DIG on USA Network. But, the performance that has made him the most friends and fans is that as a barista at Caffe Luxxe in Santa Monica, where he met Mimi!

/QueenMimi Documentary queenmimifilm.com Run Time 75 Mins

Two anglers float the Big Hole River in Montana.

ICARUS CASTING FROM THE CLOUDS Writer/Director: David Ondaatje

A cinematic journey from above while fly fishing in Montana, British Columbia and Mexico. According to the Greek myth, Icarus, upon attaining his freedom, soared joyfully above the earth using wax wings before flying too close to the sun... similar to the filmmaker’s new-found delight in capturing the beauty of fly fishing from the sky.

DIRECTOR’S STATEMENT

I have worked on productions with sizable crews lasting several months, and also on very small projects which were filmed, edited and written almost entirely alone.

All can provide a wealth of opportunities to express ideas visually in a compelling and creative way, regardless of budget. I am drawn to new technologies, new lenses and new means of capturing unique perspectives on familiar and unfamiliar things. This short film, ICARUS - Casting from the Clouds, is a true labour of love, filmed over the course of a year on remote locations in Canada, Mexico and in Montana. It attempts to communicate the essence of fly fishing exclusively using aerial footage. Learning to operate an

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FILM: THE MAGAZINE /MAY 2015

Chasing bonefish in the Yucatan, Mexico.

aerial rig was an exciting and frightening adventure in itself. Every time I thought I had it mastered, it crashed. That, I suppose, was a consequence of constantly pushing to get something new. I was extremely lucky that, despite numerous hard landings, outright crashes and other misadventures, the aerial rig managed to survive almost all of my ambitious manoeuvrings. Only on the last day of the last trip, did one of the propeller motors finally stop working… telling me it was time to go home and start editing.

This short film is the result of these wonderful misadventures and was as much fun to shoot as any film I have made.

Run Time: 5 Mins.

THE BOXCAR CHILDREN Exec Producer: Maureen Sargent Gorman Directors: Daniel Chuba Mark A.Z. Dippé Co-Director: Kyungho Jo Writers: Original Book:

Justin Merz Zach Strauss Gertrude Chandler Warner

A new animated film based on one of the best selling children’s books of all time.

Meet Henry, Jessie, Violet and Benny, four orphaned brothers and sisters who mysteriously appear in a small town on a warm summer night. No one knows who these young wanderers are or where they have come from. The children make a home for themselves in an old abandoned boxcar they discover in the woods.

The children create a warm, happy life for themselves, discovering the rewards of independence, hard work and the joys of family - until one day Violet gets too sick for her brothers and sister to care

for her. They must take Violet to a doctor risking discovery and the loss of their secret home in the forest.

This touching tale of family togetherness explores themes of personal integrity, generosity and kindness. The film is based on the best selling children’s book that has been in continuous publication since 1924, translated into 15 languages and sold over 60 million copies around the world.

The four Boxcar Children are played by: Zach Gordon, the star of the “Diary of a Wimpy Kid” movies Joey King from “Oz Great and Powerful” & “Ramona and Breezus” Mackenzie Foy from “Twilight” and “Interstellar” Jadon Sand from “The Lego Movie” and “Frozen” And grown up stars include: Emmy winner Martin Sheen and Oscar winner JK Simmons

Please Scan this link for the Trailer.

Run Time: 83 Mins.

FILM: THE MAGAZINE /MAY 2015

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TRAFFICKER Writer/Director: Larry Smith

Larry Smith has had a fascinating career that stretches back over 40-years, here he gives us some insight to his amazing life in film that led up to his latest project “Trafficker”.

PLEASE COULD YOU GIVE US SOME BACKGROUND TO YOUR CAREER? LS: I’ve been in this industry since I was 20-years of age, so a fairly long time!

I came in on the lighting side early on and then worked my way through and then spent around 28 years working for Stanley Kubrick on and off which was an amazing experience, as hard as it was! Of course we all know that he’s not around anymore and it’s funny how you miss people like him and the industry misses him as well. He gave you such great insight into what was possible because he was such a master technician on every front really, so the camera side and also because he had a very interesting take on cinematography as well as producing and of course as a director. You don’t realise that you take a lot of that with you over the years and then you realise that when you come to do a movie like “Trafficker”, even though it had a much smaller budget than the films that Stanley made, but then he never actually made huge budget films. People always thought that he did but he didn’t, he was just very smart in the way that he made movies and I tried to apply that to “Trafficker”.

A lot of people thought he was anti-Hollywood but he wasn’t, he just didn’t like living or working in America and realised that the UK suited him and he could work there in the way that he liked.

So he could work within the Hollywood system but not dealing with them on a day to day basis like you do when you live in LA, so it became a really good way of working for him which I completely understood. What Stanley always used to do, I mean he pushed himself, harder than he would ever push you; it’s hard to believe sometimes because he would push you hard as an individual to a great extent. This word “perfection” which a lot of people use he didn’t know what it meant, he was always striving for it but in all of the years that I knew him and in my opinion he came very close to it.

Because of the way he worked, the nature of the way he worked he was always striving - “there must be more, there must be more”. It’s a bit like the old radios that you used to tune by hand, so you would get say Radio Luxembourg and it would be the best possible reception but you were always trying to tweak it!

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JUST OUT OF INTEREST, DO YOU THINK HE WOULD HAVE EMBRACED DIGITAL CAMERAS AND TECHNOLOGY?

LS: Funnily enough I had a long discussion about that because I’m a film man although I shot “Trafficker” digitally – it’s just still nothing like film. People can tell you that digital is better but, the real truth of the matter is that digital is not film and never will be. The information and the quality and forgiveness of film, digital just doesn’t match it. Or another tack you often get is that it’s cheaper, but it doesn’t have to be, I’m just involved with something now with the British Society of Cinematographers. So we’ve put a package out now in conjunction with Kodak, so on lower budget films you can get the camera and film stock and get it developed and all for a net price. But in answer to your specific question, Stanley loved new technology. What I think he would have done is taken digital cameras and tested them as I do and that he would have come up with this conclusion: It’s very interesting, but it’s not film.

HOW WOULD YOU CHOOSE YOUR NEXT PROJECT? LS: I try to choose stories that you think are interesting, that you feel people want to see. So stories with emotion and it’s always script driven for me. Unfortunately that puts you into a precarious category these days; the really good scripts tend to be art-house films and low budget films which by definition means that you don’t get paid as much. But these large budget films drive me insane, months and months of “green screen” and 3D, it’s not filmmaking. I want to be on a film that’s got a story and something to say and sometimes I have to wait a month to see a movie because there is nothing out there that I want to see, I mean I don’t want to see remakes of remakes! There

is some amazing talent out there, some great scripts but the big studios they just see it as safe to make these franchise movies – it’s just not an interesting way to work. And the other really interesting thing about lower budget or art-house films is that the schedules are tight, I mean too tight. I mean there are very few art-house films that wouldn’t benefit from another week of shooting where you can then really finesse it. But you have to work really fast and you have to develop a style of working , but of course you don’t want to churn out art-house films that don’t look that good but you want to be able to choose a subject. Okay, it’s going to be hard but I’m going to try to do the best that I can with that and it really is a challenge, but it’s a challenge that I’m prepared to live with.

ARE YOU INVOLVED WITH THE INVESTMENT SIDE FOR ‘TRAFFICKER’?

LS: Yes, I’m involved with raising every cent of it! So along with Martin Vestergaard and Haik Vartany (the executive producers) we raised all of the money. Okay so it’s not something I like to do, but you have to start somewhere and of course it’s hard raising money.

And you can only work to what you’ve got, so first of all you want to shoot the movie and you want to shoot it beautifully and you’re passionate about the story.

So then you have “X” amount of money and then you ask where is the story set so for example “Trafficker” was set in Australia, but I couldn’t make the film in Australia for the amount of money that was offered to us from an Australian investor that we had to then turn down.

So then I went to Martin and Haik and I said that I think we can shoot this movie in Thailand which we did with new investment. Was it hard, yes. Did I need another week, absolutely. But I knew I could find the locations that looked like Australia and I’m guessing the question you will ask next is how did I know that I could do that? I know because it goes back to earlier in the interview about working with Stanley Kubrick. So it would be a case of be selective on that, and when I was a director of photography I knew that I could also deliver the film very quickly and I knew I had complete control of all of the creative decisions.

HOW DO YOU CHOOSE THE CREW? LS: Mostly I have the same camera crew that I work with. So normally I have a nucleus of a camera operator (if I’m not operating it myself), focus puller and a grip. Invariably we also take our loader but I know all of the local guys in Thailand, I’ve worked with them several times and I’m very comfortable with the camera crews and lighting crews from there. And if I’m directing I’ll also bring my own production designer and assistant director, those key people when you’re doing low budget films, that group of 7 or 8 people that you really really know, that are going to deliver for you and it takes the pressure off of you! traffickerthemovie.com Run Time 88 Mins FILM: THE MAGAZINE /MAY 2015

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WRITTEN BY MRS BACH Producer/Director: Exec Producer:

Alex McCall Pamela Kaufman

Over the past twenty-five years some works previously attributed to Johann Sebastian Bach have been re-attributed to other composers, barely causing a ripple in the placid waters within the classical music landscape, but when accomplished academic, musician and forensic document examiner, Professor Martin Jarvis, dares to suggest evidence exists advocating the great maestro’s wife, Anna Magdalena, as a serious contender for recognition, the reaction of the Bach orthodoxy is swift and fierce, and access to key research materials is denied.

The rapid acceleration of emerging technology and forensic techniques changes beliefs and critical thinking in ways the world has never seen before. Forensic evidence is meticulously presented onscreen, underpinned by slick graphics.

‘Written by Mrs. Bach’ is a science-based investigative documentary.This film asks sets out ‘The Case for Anna Magdalena Bach’ - and investigates the impact on the monetary value of Bach autographs in the wake of Jarvis’ research.

‘Written by Mrs Bach’ is one of the most controversial films of the year, generating heated debate in press, radio, social media and television throughout the globe.

“Bach claim rattles a men-only world” Daily Telegraph.

“Iconoclastic..” Scottish Daily Express.

“The works in question are immortal masterpieces” Washington Post.

“If the thesis turns out to be true, it puts a bomb right at the heart of the old patriarchal view...” Sunday Telegraph Online.

“Here’s to you Mrs Bach....” The Herald.

“There will always be those who find themselves threatened by any possible change and this one is particularly threatening because it involves a woman” suggests Dr. Alan Powell, Emeritus Professor of History at Charles Darwin University in Australia.

The film is narrated by renowned British composer, Sally Beamish. www.writtenbymrsbach.com Run Time: 57 Mins.

FILM: THE MAGAZINE /MAY 2015

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Rehearsing outside the house photograph

by Natalia Fontana

Born and raised in Grenoble, France, Pascal Fontana is a Cinematographer and a Photographer. He spent the majority of his youth in the French Alps, before moving to Puerto Rico and The United States of America at the age of 24. It was the first film he watched whilst he was in second grade that changed his life: “White Mane” (Crin-Blanc in French).

“The story of filmmaker Albert Lamorisse impacted me in such a way that I will never forget it” he recalls.

He graduated in Business Administration (Bachelor in B.A.) from The Sacred Heart University in Puerto Rico. He then decided to attend the School of Visual Arts in New York where he developed his passion for photography and cinematography. As he set up his studio in the colonial part of San Juan, he was

Chiara as ‘Aurora’ and Gustavo as ‘Max’ on set.

Writer/Director: Pascal Fontana

SYNOPSIS

Crossing the Great Forest proves to be a journey into the unknown for six year old Aurora, a homeless immigrant child who is abandoned by human traffickers. Having no place to go and lost in the immensity of the mountains, Aurora wanders until she comes across a cabin in the woods.

It immediately feels like home. Max, the owner of the cabin returns and realizes somebody has disturbed his home.

The next day, at the crack of dawn, he is taken by surprise with the discovery of a high-spirited child hiding in his house.

AURORA is a reflection on abandonment and compassion.

Pascal Fontana walking the scene photograph by Natalia Fontana

AURORA

able to hone his style and develop a vivid artistic sensibility. He also continued to forge his education at The International Film and Television Workshops at Rockport, Maine in 2001.

During the last sixteen years, Pascal has successfully worked in commercial film and photography for major advertising agencies executing campaigns of international prominence that included AMNESTY INTERNATIONAL. For the last few years he has been working to crossover to film narratives and fiction. In 2012 and 2013 he completed the program of Level One and Level Two of “Expanded Cinematography” at the Global Cinematography Institute in Los Angeles, founded by Vilmos Zsigmond ASC and Yuri Neyman ASC. Recently, he wrote, directed and photographed his first short film with poetic imagery and strong cinematic choices. He currently lives in San Juan, Puerto Rico, with his wife and four children and is eager to start his next film project.

Run Time 22 Mins

WHAT THE WORLDS NEEDS NOW? Producer/Director: Fabienne M. Lefeuvre

Human conflicts with wild animals are on the rise worldwide. In Belize, the estimated 800 remaining jaguars are threatened due to an increase in human settlements and growth of farming activities. In Africa, the illegal trade in wildlife jeopardises the lives of both elephants that are being hunted for their ivory and rhinoceros for their horns. Globally, it is the fourth largest illegal trade after narcotics, counterfeiting of products and currency and human trafficking.

It is also one of the most lucrative: it is estimated to be worth at least US$ 19 billion per year.

According to the latest figures, the world wildlife population has halved in the past 40 years. It has taken less than half a century for humans to alter and damage ecosystems and bring certain species to extinction or near extinction.

Our short documentary ‘What The World Needs Now?’ aims to give a voice to those who cannot speak nor defend themselves. It raises questions, about our level of humanity and responsibility.

How wild are the animals we now see? Is the destiny of wild animals to be kept in private game reserves or/and zoos? Can the enclosures in those locations be a match to their natural habitat? Do we have a right to dictate their future? Zoos, wildlife sanctuaries and others are considered as educational locations where wild animals are not just considered as commodities to attract visitors but, there to serve a purpose. But is it the price that these caged animals have to pay to protect their wild counterparts? Do we encourage the public to engage with wildlife when they visit zoos or sanctuaries or do we just deprive these animals of their freedom and social ties with their peers?

What is our responsibility as citizens of this world? To watch them be decimated in the wild or to act and promote their freedom?

www.wildlifegazing.com Run Time 10 Mins FILM: THE MAGAZINE /MAY 2015

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Writer/Director: Steve Prowse Nominated for best Script.

With outdated biplanes, no radio, lights, defences nor parachutes, these WW2 Soviet pilots terrorized the Germans. All women. All true.

WHY I CHOSE THIS STORY?

My wife’s father flew spy planes for the CIA back in the sixties, her brother’s a commercial pilot in the States, and her grandfather was a pilot for the US Navy that’s how she came across it and passed it over. It’s a regular in lists of Greatest Stories Never Told.

Initially I was unconvinced. Writing a true story is very constrictive for a writer and there is a completely different dynamic to it. I’d never written one before, nor did I intend to. But as I started to research the more the tears and expletives came from what these women achieved and the hardships they endured.

Still, I was reticent. What finally persuaded me was when I discovered Hollywood

back in 2001 had planned a movie based on this story. The lead was to be...Malcolm McDowell. Yes, a man. That’s when I decided to have a shot at it – to try and do these pilots justice.

No movie could even begin to encapsulate their experiences. All I can say is that I tried my best. As a musician adds a score to a movie, I merely added dialogue to established facts and did the tiniest bit of editing. In a way I feel like a fraud being in the company of

WW2 Soviet Pilot ‘Natalya Meklin’.

THE NIGHT WITCHES the other screenwriters.

With the female-led FROZEN and THE HUNGER GAMES dominating at the box-office, as well as the planned EXPENDABELLES, the demand is proven. The only difference? This is not a fantasy. It happened. It’s time has come.

BIO

After winning a scholarship to Cambridge, I am a CFO by trade and has therefore may have written a lot of fiction in the

Winner of 15 screenplay competitions and over 40 official selections.

past. At some point in my life I was also an international bridge player. In the last two years my scripts have been nominated over 120 times with over 20 wins, one of which currently has a shopping agreement with a major Hollywood studio.” /TheNightWitchesMovie TheNightWitchesMovie.com

Run Time: 115 Mins.

Here, Claudia Fischer, the documentary maker behind “As a tree under the Hurricane” describes how she came to make this thought provoking film:

Two years ago, Ati and Mindhiva were guided my way by a friend in common.

Ati and Mindhiva are sisters, and part of the Arhuaca tribe, a culturally rich tribe indigenous to Colombia. The sisters asked me to help them achieve their dreams of higher education. You see, the sisters wanted to achieve a college degree that would allow them to give back to the culture and the people they love so much. But a series of obstacles had rendered it impossible for the girls to attend the National University.

While I wasn’t able to find a way to help them into the University, I was really impressed by their drive, compassion, and determination. These girls were literally fighting to learn, to be educated, so that they could give back to the people around them while still maintaining the tribes bountiful culture. I tried to make the media and press aware of these two women and their fight for knowledge, but not a word was broadcast nor a sentence printed regarding their struggle...

I never got an answer from the press or media.

This only fueled my passion for the sister’s battle and I became inspired to tell the story of these two sisters on my own. I wanted to share their journey in order to create support for the Arhuaca women of the Sierra, women who want to achieve a higher level of education to contribute to their people and

Attending medical consultation.

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AS THE TREE UNDER THE HURRICANE

FILM: THE MAGAZINE /MAY 2015

help them preserve their culture.

I obtained the permission from Ati, Mindhiva and their relatives to record them with a small HD camera. I recorded them for a year, accompanying them through the good and bad. After that I taught myself how to edit and edited the footage for almost a year.

Mindhiva in Bogota

Writer/Director: Claudia Fischer

“A beautiful look inside an indigenous culture in Colombia. No car chases here.

Just plenty of humanity, beauty, and desire for education and service. Well done.“ Libba Jackson, Journalist.

Run Time: 70 Mins.

IS THIS THE REAL WORLD Writer/Director: Martin Mckenna Producer: Deborah Barlow

In the real world you have to compromise. In the real world you have to grow up. Seventeen year-old Mark Blazey does not want to live in the real world.

Mark Blazey (Sean Keenan – Strangerland, Drift) is a high school kid who’s going to stay young …even if it kills him.

MARK’S WORLD IS DIVIDED BETWEEN SCHOOL AND HOME At school he skirmishes for the respect of his friends. But the real battle is with the steely vice principle, Mr. Rickard (Greg Stone – The Bank, Oranges and Sunshine). The boy is determined to stay free. The teacher equally determined to enforce the rules. And neither is willing to back down.

At home Mark is dealing with a family on the edge of collapse. His erratic mother (Susie Porter –Star Wars II, Little Fish) doesn’t find nurturing all that natural. His troubled brother (Matt Colwell – Australian hip-hop star 360) is dicing with the law. The bedrock of their security, the grandmother (Julia Blake- X Men, The Last Dance) is fighting for her life.

And into this already complicated world comes love; in the form of Mr. Rickard’s daughter, Kim (Charlotte Best).

AND LOVE CHANGES EVERYTHING

With an eye for detailed moments of the beautiful in the everyday, IS THIS THE REAL WORLD, tells the intimate and profoundly moving story of family relationships, of teen love, rebellion, escape and the consequences of staying too young for too long. Nominated for best original screenplay at the Australian Writers’ Guild awards, this film is the first feature for director, Martin McKenna, and for producer, Deborah Barlow.

Andreas Heinrich James Jacobs Clay Coleman Alexander von Glenck

The short film “Jeanne” is fully in English and was shot in one week in cooperation with Bavaria Film in and around Munich, Germany.

Anton’s (Edward Piccin) farewell of Sabrina (Margarete von Glenck)

In a small picturesque town Anton bids goodbye to his pregnant fiancée Sabrina.

Like the third Sunday of every month, he had received an order to carry out under the strictest of secrecy. However, this time his journey evolves into something much different than he had planned – and unexpectedly, Anton is confronted with his past. He has to face an action, he had long repressed.

In “Jeanne” there are two story lines – one in the past about unsuccessfully chasing a whistle blower, and one in the present – interweaving to become an entangled puzzle of life over existential themes of love, death, fate and the opportunities that forgiveness creates.

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Jeanne the brave, ready for defense

Writer/Director: Director of Photography: Editor: Producer:

Run Time: 91 Mins.

In the past: Jeanne (Marisa Leonie Bach) talking to her husband Georg (Simon Licht)

JEANNE

isthistherealworldfilm.com pointofviewfilms.com.au

/jeanne.by. andreas.heinrich @jeanne_tweet PAMY GMBH MEDIAPRODUCTIONS

Outlook – all good things come from above.

FILM: THE MAGAZINE /MAY 2015

Run Time: 22 Mins.

WAX: WE ARE THE X Writer/Director: Lorenzo Corvino

WHAT IS WAX

Actress: Gwendolyn Gourvenec

These young people succeeded in being appreciated by important and established actors that included Rutger Hauer and Jean-Marc Barr who agreed to participate in the film, captivated by the enthusiasm of the young French and Italian actors, for the first time participants in this film. The movie is about an adventurous journey, and was entirely shot in POV perspective, often by using smartphones on set, granting the cast freedom of expression and experimenting in new forms of film-making for the audience.

This movie can therefore be considered a “Self(ie)-Movie”, both as an independent, self-produced project and as a film based on self-portraying, which is so popular among young people now. The film has a different narrative register, a crossover of genres, from thriller to adventure, romance to comedy and from drama to animation and social comment. The film also deals with current topics such as the cultural confrontation between people from different European Countries affected by the financial crisis of recent years and aims to reveal the generational struggle of searching for one’s own dignity through work, which is an important issue both inside and outside of Italy. Finally, the film encourages a debate on the relationship between the idea of sacrifice and that of liberation.

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Actor:Davide Paganini

SYNOPSIS

What is WAX, amongst other things?

WAX is a Point Of View road trip movie, an adventure and romance film, a small generational thriller focusing on the adventures of two young Italian men and a young French woman. It’s a film made by some angry guys with a budget ten times lower than an average debut movie, scraped together in less than two years!

POV: SHOT WITH A SMART-PHONE

This film presents a road trip movie and an instant movie based on the dynamics between three people who are together the whole time. Such a film cannot be shot according to the traditional standards of the objective camera, arbitrarily choosing what and who to show.

An identification, or better an overlapping is required between the character’s view and the audience’s view, so that a sort of emotional osmosis can be created in the very moment everything takes place.

Actor: Rutger Hauer

Someone passes a video to a number of journalists: this is the testimony left by three people in their thirties, two men and a woman, of their road trip throughout the French Riviera. The video relates to the task that they were carrying out during the last week before becoming involved in an accident. The three of them share a whole generation’s fate, a generation of expendables.

THE DIRECTOR

Lorenzo Corvino was born in 1979 in the Apulian town of Lecce, in Italy. He has a scientific high-school certificate and a degree in Liberal Arts from La Sapienza University in Rome. He has a diploma in film making at the NUCT in Cinecittà.

He is a novelist and a journalist. He has directed several “making of ’s” and has worked as an assistant director. He has also directed many short films and video clips, winning some international awards along the way! WAX is his debut feature film for which he is the director, scriptwriter and producer.

Director: Lorenzo Corvino with Actor: Jacopo Maria Bicocchi

“WAX” is an Italian debut film, a first time not only for its director, but also the producer, the director of photography, the production designer, the musician, the casting director and other professional collaborators. And even though it is a debut, the people involved in the project, even with national and international sponsors, never gave up when facing the most difficult of challenges that included shooting in four different Countries, on a scheduled flight across the Atlantic Ocean, in the middle of the desert, on a 1892 train in Provence and even on the terrace of the Fairmont Hotel in Monte Carlo!

as a type of non-telephone communication, filtered by story planning which is essentially cinematographic.

All of us now use smartphones; we use them to communicate, to shoot videos to be uploaded to Social Networks and You -tube. But up until now, no one has turned the smartphone into an aesthetically mature means for showing emotions on the silver screen, both when actually using it on the set and when simulating its use in order for the aesthetics of such a shot to create an immersive narrative.

The smartphone became the answer: a tool as everyone knows, everyone uses everyday. In this film, it is used simply, as a means for telling stories, submitted

Please visit the website: www.vengeance.it Run Time: 103 Mins.

FILM: THE MAGAZINE /MAY 2015

ST. Tropez international Film Festival

Los Angeles Film and Script Festival

Beverly Hills Film Festival

World Premiere

Official Selection Screenplay Competition

Honorable Mention

Mountain Film Festival Jury Prize

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“A new Arthur Miller.”

- Richmond Times Dispatch

Hand Spun Films Presents A Film By

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Vibrancy Media, LLC

Adam Nixon, “Aspirin For The Masses”

Laura Blasi Arthur Gibb Daisy Gibb Daniel Wyland Anthony Hacsi Executive Producers Adam Nixon, Charlotte Yakovleff Co-Executive Producer Donna Momper Nixon Oneyear-Pinero Written & Directed Produced Edited

By Adam Nixon

By Charlotte Yakovleff

By Matthew Rusnak