Independent Streak Magazine--October/ November 2021

In d ep en d en t

St r eak

M a g a zin e Oct ober / November 20 21

Ft. L auder dale I ntl. Film Festival 2021 Distr ibution in Fr ance FL OW Film Festival Miami Film Festival GEMS 2021 Flor ida Ar ts Networ k Unveiled Miami 48 H our Film Festival K ey West Film Festival Director I nterviews Film Reviews & More Film Sp o t lig h t s : - "Boxed" - "T he Subject" - "Shutter the Door s" - "I r on Temple" - "Wade in the Water " On Cover : "Boxed," L aur el L evey & Avi H offman. Photo by Nikolas Wolf

I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Fi l m Rev i ew : " Box ed"

By Rachel Gal vin Flipping through pages of a timeworn diary, Leah Stronski (played by Laurel Levey) recalls moments in her life, sharing them with the audience in the short fictional film ?Boxed.?

She has overcome a lot in her years, including enduring the horrors of The Holocaust, along with her husband, Dovid (Avi Hoffman). We see the couple cramped in a boxcar with their son, Shlomo (Alex Coren) on their way to a concentration camp.

Amid the desolation and trepidation of the moment, there is a spark of hope as Dovid asks Leah to dance. Once professional dancers, now all that seems left of their life is a box with carefully protected dance shoes.

Leah is unsure whether this dark space is the right place to engage in such once joyful activity, but Dovid's nudging gets her to change her mind. Hand in hand, despite fear and uncertainty, the couple holds onto what dignity and sense of identity they can, comforted by their connection and love.

We see moments showing how they lived a life full of faith and happiness before everything fell apart when the Third Reich tore apart their lives. The story ends on a high note but with a touch of sadness, leaving the audience unsure of exactly what befell the couple. Luckily, the director announced after the film's first screening, that there will be a part two, called ?Escape,? followed by a part three, still unnamed, to tell the rest of the tale. ?Boxed?was shown at Savor Cinema on September 25 to the biggest audience since COVID-19 began, approximately 200 people. As many people congregated on the patio outside, enjoying catered boxed meals by Lenore Ryan Noland, inside, Steffan Zeichner was already playing violin, welcoming people into the theater. Local actress, 1 singer and comedienne Stacey Steele was the night's emcee and

introduced director Alyn Darnay and movie creator and star Laurel Levey, who said a few words. Managing Director of Broward County Film, Hal Axler, who has returned to work at Savor and help operate the other sister theaters ?

Cinema Paradiso-Hollywood and Gateway Cinema-- also got up and spoke, marveling on the crowd and how good it was to get together. Before the movie was shown, there was a video of John Lux, from Film Florida, talking about how the film was selected to receive funds from their Emerging Filmmakers Fund, which began this year. Levey's production company, Shemesh Films, was actually the first recipient.In addition, two trailers were shown -- ?Unsaintly Gods,? by Jerome Anthony Larkin, and ?Mob King,?

by Ciro Dapagio.

Before the film began, Darnay said, "You guys have this wonderful freedom we enjoy in the U.S. But what would happen if it were all taken away from you?

Because in Germany in the 1930s, that's exactly what happened. The Jews were preyed upon ... basically because the German economy [was bad] and the people who were in charge of the government had to blame somebody, and they blamed the Jews. They stopped them from being able to have careers.

They stopped them from having shops, everything."

He added that he does not believe something like that would happen here; we would catch it in time, but adds that it is "a cautionary tale," adding that he wants everyone to understand that "although our story is a fantasy, the actual events did really happen."

This is Darnay's second Holocaust film. The first one, "IM.MU.IN.TY," received awards all over the world. Darnay is not only a prolific director, but also actor, author, writer and acting teacher.

Avi Hof f man as Dovid & Laurel Levey as Leah.

Phot os by Nikol as Wol f .

Following the film, there was a Q&A with the main cast and director, who sat in the front. The film received accolades from many in the audience, and there were quite a few questions, including a few prompts presented from the film's Director of Photography, Anthony Dones, who sat in the audience. Dones brought the perfect tone to the film, especially in the boxcar, utilizing his Blackmagic Pocket Cinema 4K camera and just the right lighting to capture the moment.

Levey, who has been a local actress in film for over 10 years, said that she had written the piece years before as a monologue, which coincidentally she performed in one of Darnay's acting classes and it had received an enthusiastic, albeit tearful, response. Deni Sher later would help to convert the story into a screenplay format. Sher, who was in the audience, said at the Q&A, ?When Laurel showed me and the piece turned into a script, I had no idea of the magnitude it was going to become. As a screenwriter, I am so honored because it was done so professionally. I give Laurel so much credit.?

Another important element that added to the quality of piece was set design. The boxcar was constructed by master craftsman James Hook from his home of Hobe Sound before being brought down to the set in Ft. Lauderdale, at Canvas Film Studio, where it was reconstructed. In addition, he dressed up the other location, which was Paolo?s Threes Company restaurant in Dania Beach, to turn it into a 1970s bar/ club.

He also helped to create Leah's diary, which included pages from Avi

Hoffman's mother's diary. Hoffman's father and mother were Holocaust survivors. The pages were written originally in four different languages (Polish, Russian, Yiddish, Hebrew), as his mother was a polyglot and would later became a Yiddish Literature professor.

The number on Hoffman's arm in the movie was actually his father's number in the camps and the number on her arm belonged to one of Hoffman's other relatives.

The musical score in the film added much to set the tone. It was composed by Ian Frederick, a composer from Bogota, Columbia. In one portion of the film, we see Leah and Dovid dancing in the club in the 1970s. The music for that scene was composed by Emil Temeltas. It also was an original score. Christine Kerber was the choreographer.

Although the dance scene was challenging for the duo, given that they are not really professional dancers, they both found the box car scene more challenging, having to sit on a cement floor cramped for hours on end? for the physical and emotional toll. ?I've done a lot of Holocaust education in my life, but to shoot an entire day in a box car was incredibly traumatic for me,? said Hoffman, who said he imagined what his parents went through.

The film does not reveal how the couple escaped from Auschwitz, that is something that will be covered in part two, appropriately titled ?Escape.??We didn't have money to do a feature so we thought we would do it in parts,? said Darnay.

The team spent about six months creating the film, two of those days on set filming for 12-hour days.

Part of the process was obtaining old period photos from Wikipedia Commons to include as part of the beginning of the film, to set the feel for the film. Greg Jocoy did 3-D effects on them. Darnay said they also did a lot of research to make sure everything was accurate, down to the costumes and props. Levey also worked on 2

Direct or Al yn Darnay.

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getting the perfect Yiddish accent.

Hoffman already was fluent in Yiddish, so he was a big help. ?It was my first time [working behind the scenes also on a film]. I cannot believe how many hours it takes to create a 13 minute film. It is so challenging,? said Levey.

She continued, ?There are so many things I learned from my partner, Alyn,? saying the way he

Direct or Al yn Darnay. writ er/ act ress Laurel Levey, act or Avi Hof f man, emcee St acey St eel e & act or Al ex Coren.

focused on every single frame, the lighting, etc, was like ?a symphony,? adding, ?I got the filmmaking bug. To make a quality film takes a lot of money.? ?One of the things that attracted me to the film is that I could do it with subtitles,? said Darnay, who said he liked that challenge. He added, ?The high point of the film, to me, is when [Dovid] says he wants to dance one last time and he brings her arms up to start.?

Darnay has been very pleased with the reception the film has been getting, saying that he has received many calls from festivals asking they can include the film. In his long career, he has never seen anything like it.

As of press time, the film has already been accepted in many film festivals, including the local Ft. Lauderdale International Film Festival, where it will be screened four times as part of the "Jewish Journeys: The Pages of our Lives" segment, on November 9 at 3 p.m. at Gateway Cinema in Ft. Lauderdale, November 11 at 1 p.m. at Cinema Paradiso-Hollywood, November 12 at 3 p.m. at Gateway, November 18 at 3:30 p.m. at the Gateway and November 21 at 1 p.m. at Cinema Paradiso.

Act ors Andrew Brown & Ira Grossman as Nazis.

Phot o by Nikol as Wol f .

Writ er/ Act ress Laurel Levey recent l y received a RIsing St ar Award at t he Ft .

Myers Beach Int l . Fil m Fest ival .

I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Film Review : "Dogs"

By Rachel Gal vin When Roman (Drago? Bucur) arrives to explore his new land, after he inherited it from his grandfather Uncle Aleciu, he finds more than he bargained for. It seems that he is not the only one who feels they have a claim to the property. Some shenanigans have been going on, and the people in this town are more than happy to hint about it in one way or another. The situation becomes more and more tense, and the people become more and more threatening as they discover his intent to sell the land. You see, these are criminals, led by Samir ("Snowpiercer?s" Vlad Ivanov) that are so dangerous that even the local police captain, played by Romanian cinema legend Gheorghe Visu, is powerless against them. When Roman's friend goes missing (about the time a mysterious severed foot is found), Roman has to decide whether to cut his losses or stay and fight.

The movie, which is in Romanian with English subtitles, is what you might call a "slow burn," with painstaking pans showcasing the land, the home, Roman's angst or quiet moments between the other characters filled with tension. This method adds to the suspense and makes the acting more natural, but requires much patience.

This is not your standard character arc with formulaic plot points. It is more of a slice of life in a place you would rather not be, and as prosaic as it begins, it ends in conflict and tragedy.

The film, written and directed by Bogdan Miric?, won the coveted FIPRESCI Prize in the Un Certain Regard section of the 2016 Cannes Film Festival. It was his directorial debut.

The cinematography is beautiful, created by Andrei Butica, and there are masterful performances by three of Romania?s finest actors. Their own press describes it well, saying that "Dogs" is a terrifying allegory about class and corruption that builds towards a grim and bloody showdown.

With "Dogs," Miric? places himself squarely in the Western tradition exemplified by Sam Peckinpah and Anthony Mann.

"Dogs" opened in theatres and virtual cinemas nationwide on Friday, September 10.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Pi cture Perf ect Pi cni c

By Rachel Gal vin Richard Sosa & Frank Ruffolo have led several events throughout the year to bring together people in the film industry. In July, they had a picnic at C.B. Smith Park in Pembroke Pines, Florida. It brought in actors, directors and other film industry professionals of all ages to enjoy networking and good food (It was a potluck)! The group also celebrated Michelle Filippi's birthday. Michelle worked with the Ft. Lauderdale Intl. Film Festival for years and now is working with Miami Web Fest. During the event, everyone had a chance to get up and talk about what they do in the industry. Their group is a replacement for the Florida Hampton Table, which used to be run by Rose Warner, who passed away, and Richard Sosa.

The event al so became a They announced at the birt hday part y f or Michel l e Fil ippi, who can be f ound event that they working f or Miami Web are looking to Fest . have a new name for the group and a new logo. They asked people to submit their ideas and said the winning name would be revealed at a later time (see Page 7).

Lef t : The group pauses t o t ake a pict ure.

Bel ow: Some of t he good eat s brought by t hose in at t endance.

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Top: Cel ine Al va & Sara Rogers; Chel sea Al varez & Richard Sosa; Paquit o Beseda t al ks t o group; Carol yn Kenney & Eyal Perel mut er; bot t om: Christ ine & Frank Ruf f ol o; t he group l ist ens t o Richard speak; Michel l e Fil ippi & Paquit o Beseda.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Flor ida Ar t s Net wor k Reveals New Logo

By Rachel Gal vin

Richard Sosa had made an announcement at the picnic he and Frank Ruffolo ran over the summer (see page 5) that they wanted to create a new name and logo for his group. So, he had a contest wherein people could pick a name for the group. He designed the logo himself.

On October 8 at the Pier 6 Rooftop in Pompano Beach, Florida, they revealed the logo. The event brought in 70 people to network and have a great time. Congrats to Richard Sosa and Frank Ruffolo, as well as Chelsea Alvarez, for the great event. Alexandra Bello, who was last year's winner of the Rose Warner Award for Excellence, was there to reveal the logo to the crowd.

Find Florida Arts Network on Facebook.

Above: Group shot . Bel ow: Indust ry f ol ks mingl e: Ken La Kier, Max Caden, Chel sea Al varez, Daniel Got t f ried, Al exandra Bel l o, Jayson Cast a, Cel ine Al va, Rachel Gal vin; Christ ine Ruf f ol o, Al exander Marant e, Rachel Gal vin, Jayson Cast a, Sara Rogers & Cel ine Al va; Frank Ruf f ol o, Richard Sosa & Chel sea Al varez.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

P u b lis h e r 's No t e The Wit ching Mont h is upon us.

Hal l oween l overs rejoice! Let out a good cackl e, why don't you?

As you choose your cost ume, t hink about who you are as a brand. If someone l ooked at you, what woul d t hey t hink you do f or a l iving? Are you a st udent ? A mom?

A dad? A gol f er? A l ibrarian? Coul d you easil y port ray a doct or or do you l ook more l ike a t hug?

Everyone has a variet y of charact ers t hat t heir l ook best f it s int o. Of course, as an act or, you coul d "pl ay anyt hing," right ? Unf ort unat el y, t hat is not what agent s and cast ings direct or t hink. They l ook at t al ent as being in a cat egory. So, if you seem t o keep get t ing asked t o audit ion f or cert ain t ypes of rol es and it is not what you woul d l ike t o be, reeval uat e your l ook and maybe make some changes. Discuss it wit h your agent . Of course, if you change your l ook, t hat may mean you need new headshot s t oo, so proceed wit h caut ion. Best of l uck!

Rachel Gal vin Publ isher

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Cover Phot o: Avi Hof f man & Laurel Levey. Phot o by Nikol as Wol f .

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

M I A M I FI LM FESTI V A L GEM S NOV EM B ER 4 - 10 Miami Dade Col l ege?s (MDC) renowned Miami Fil m Fest ival unveiled the line-up for the eighth annual edition of its acclaimed Miami Film Festival GEMS, expanding to seven days from its traditional four-day format. Legendary Spanish filmmaker Pedro Almodóvar?s "Parallel Mothers," starring Penélope Cruz, will open the Festival. "King Richard," produced by and starring Will Smith, will be the Centerpiece screening, while Denmark?s Oscar submission shortlist candidate Fl ee will close the event. The f est ival wil l hol d it s screenings at MDC?s Tower Theat er Miami f rom November 4-10. ?This year?s GEMS program demonstrates the ongoing vitality and vibrancy of cinema - we expanded the festival due to the increasing number of outstanding films that GEMS has attracted,? said Executive Director Jaie Laplante. ?We are grateful to return to our home theater, Tower Theater Miami, and are excited to welcome patrons back to share the communal theater experience.?

More about t he Fest Opening GEMS 2021 on November 4 is "Parallel Mothers" from acclaimed Spanish filmmaker Pedro Almodóvar, whose "Pain and Glory" opened GEMS 2019, and who was awarded the Festival?s highest honor, Precious Gem ? Master Award, at the 38th edition of the Festival earlier this year. "Parallel Mothers" was nominated for a 9 Golden Lion for Best Film at the 2021 Venice Film Festival, where

Penélope Cruz won for Best Actress.

The Centerpiece Screening will take place on November 6. "King Richard" (United States) is produced by and starring Will Smith in the true story of the hard-driving father of tennis superstars (and South Florida residents) Venus and Serena Williams. The film is directed by Reinaldo Marcus Green.

Raising early excitement for the festival?s official opening will be Pablo Larraín?s critically revered "Spencer" (US/ UK/ Chile/ Germany), which will be featured as the GEMS Preview Night on October 27. The drama stars Kristen Stewart (a front-runner for this year?s Best Actress Oscar) as Princess Diana, at the moment when she decides to leave her marriage to Prince Charles.

Closing the Festival on November 10 will be "Flee" (Denmark), the acclaimed animated documentary that won the Grand Jury Prize at this year?s Sundance Film Festival. Shortlisted for Denmark?s Oscar submission selection, this timely film about an Afghani émigré with a secret is directed by Jonas Poher Rasmussen.

GEMS 2021 will include the first three selections of the season competing for the Festival?s prestigious awards. "Paris, 13th District" (France), a drama directed by Jacques Audiard, will compete for the GEMS Festival?s top prize, the $25,000 Knight MARIMBAS Award, supported by the John S. and James L. Knight Foundation.This is a juried prize for a film that best exemplifies richness and resonance for cinema?s future. Audiard previously won the top Award at MFF in 2016 forDheepan.

Filmmaker Claudia Huaiquimilla?s second feature, "My Brothers Dream Awake." The film was nominated for the Golden Leopard at the 2021 Locarno Film Festival.

The first selection to compete in the $10,000 Knight Made in MIA Short Film Award, supported by the Knight Foundation, is the world premiere of the short documentary ?A Date, with History?(United States), an unexpected glimpse into the complex social history of Miami in 1955, directed by Gaspar González. ?A Date, with History? reclaims a historical incident that occurred at the Historic Hampton House in 1955, and will be paired with a retrospective screening of Regina King?s adaptation of Kemp Powers?One Night in Miami, which also reclaims a Hampton House historical night.

Many of films being presented as Special Presentations in the GEMS 2021 selection are anticipated to be official submissions to the 94th Academy Awards for the International Feature Film category. The

complete list of films screening as Special Presentations include: - 7 Prisoners (Brazil), a drama spotlighting the plight of human trafficking, directed by Alexandre Moratto. Moratto is returning to MFF?s Official Selection, following his first feature "Socrates," winning MFF?s 2019 Jordan Ressler First Feature Award.

- Bel f ast (United Kingdom/ Ireland/ United States), a drama set in Northern Ireland during the turbulent late-1960s, directed by Kenneth Branagh, winner of TIFF?s People?s Choice Award.

- Dear Mr. Brody (United States), a documentary directed by Keith Maitland that tells the strange tale of Michael Brody Jr., a 21-year-old hippie millionaire who in 1970 promised to give away his $25 million inheritance in an effort to usher in a new era of world peace. This screening will take place in a special outdoor setting at Moxy South Beach.

- Happening (France), a tense, gripping thriller about a student in 1960s France who seeks an abortion at a time when it was illegal, directed by Audrey Diwan. *Winner of the Golden Lion, top prize of the 2021 Venice Film Festival.* - A Hero (Iran/ France), a drama/ thriller about a man on leave from debtors?prison, directed by Asghar Farhadi, winner of the Grand Prix at Cannes Film Festival.

- Huda?s Sal on (Palestine/ Egypt/ The Netherlands), a new drama about blackmail and double-agents in the Palestine occupied territory, from double-Oscar nominated filmmaker Hany Abu-Assad.

- Jul ia (United States), a documentary spotlighting legendary cookbook author and television icon Julia Child, directed by Julie Cohen and Betsy West. The screening will be accompanied by a post-screening Julia-inspired dinner at Michelle Bernstein and Julio Cabrera?s popular restaurant Café La Trova.

- Lingui, The Sacred Bonds (Chad/ France/ Germany/ Belgium), the story of a woman in Chad navigating the severe legal and religious choice restrictions for her 15-year-old daughter?s unplanned pregnancy, directed by Mahamat-Saleh Haroun.

- Mot hering Sunday (United Kingdom), which tells the story of a maid coming to terms with her sexuality in post-World War I England, directed by Eva Husson.

- The Peopl e Upst airs (Spain), a comedy about two couples exploring the complexities of modern-day relationships, directed by Cesc Gay, starring 2021 MFF Precious Gem Awardee Javier Cámara.

- Red Rocket (United States), a comedy/ drama that follows a washed-up porn star returning to his small Texas hometown, directed by Sean Baker.

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A Tal e of Love and Desire (France), a romantic drama about an Algerian-French teenager who falls in love with a young Tunisian girl, directed by Leyla Bouzid.

- The Worst Person in t he Worl d (Norway/ France), a comedy/ drama on the travails of a young woman navigating her love life and career path, directed by Joachim Trier, winner of the Best Actress award at Cannes for Renate Reinsve.

A selection of films, including the three titles in juried competitions, will be available for 72-hour viewing windows in the Festival?s concurrent Virtual platform.

GEMS 2021 was programmed by co-directors of programming Lauren Cohen and Jaie Laplante, with additional contributions by Ibero-american specialty programmer Carlos Tejera.

All Spanish-language films in Miami Film Festival GEMS are supported by Viendomovies, found on Xfinity, and FlixLatino. AIDS Healthcare Foundation, dedicated to exploring discussions of health and sexuality, will sponsor A Tale of Love and Desire. All French-language films are supported by TV5Monde USA. The full line-up and schedule of GEMS 2021 is live at www.miamifilmfestival.com.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Spot l ight : "Shut t er t he Door s"

By Rachel Gal vin Dimly lit with pops of blue and pink, the historic bar seems like at one time it was quite the place to be, but now it sits quite desolate, save two inhabitants. Sam, a man who appears weathered by life, commiserates at the bar with Jimmy, the attentive bartender, who acts as a spiritual beacon ready to take in all Sam's woes and dish out sage advice in return. Sam is bothered by something, although we are not sure what at first. But the pressure of regret, grief and maybe even a little fear sits on him like a burden. Jimmy also looks pensive, unsure and concerned. Something has gone terribly wrong here and we don't find out until the end exactly what it is. But, in the meantime, in this short 13 minute film, we witness a man unraveling with friendship as the only respite.

The emotions are deep and real, therefore underplayed and natural.

That type of acting technique can only come from seasoned actors. ?Shutter the Doors? has just that in Ian Buchanan and Billy Wirth.

Buchanan is well-known for his work in soap operas like ?General Hospital,? ?The Bold and the Beautiful,? ?All My Children? and ?Port Charles.? In addition, he has been in countless TV shows and films, including ?Twin Peaks,? ?Nip/ Tuck,? ?Quantum Leap,? ?It's Garry Shandling's Show,? ?Charmed,? ?Panic Room,? ?The Seventh Sign,? ?Stargate? and so many others. Wirth was a vampire in ?The Lost Boys,? but also has been seen in ?Sex and the City,? ?Scorpion,? ?Body Snatchers,? ?Tales From the Crypt,? ?CSI,? ?Chicago PD,? ?Godfather of Harlem? and others.

Both have worked with Sussman before on several of her films.

11 She wrote the film ?Kismet,? which Wirth directed and was in, as

well as co-writing ?MacArthur Park,? which he directed. Buchanan was in her short ?One Night in Hollywood.?

Sussman has written, directed, and/ or produced award-winning short films and documentaries that collectively have screened at over 40 film festivals, along with securing distribution. She is the founder of Spiral Gate Productions and a judge for the prestigious PAGE International Screenwriting Awards. And she has entered "Shutter the Doors" into the Oscar race.

This short film is perfectly timed, as we discover that it deals with business closing during the pandemic, something felt by countless people at this time, making the film all the more poignant.

SHERI SAYS Asked how she came up with the idea for the film, Sheri Sussman said, "It was February 2021 and I hadn?t really written anything during the pandemic, and just felt like writing something 'just to write' one night. I always wanted to write a role for Ian Buchanan of a man in a moment of his life that had broken him. He's such an inspiring, brilliant actor who has always amazed me with what phenomenal range and depth he has. I had a scene in my head, since I've know him, of him sitting alone at the end of the night at a bar with a glass of Scotch. I didn't have any story or character or even the idea of what had broken him. I just started writing that scene, and pouring the mood I - and most of the world - was in into the scene, which fit this set up.

"Also, I've always wanted to write a role for Billy of an empath with a kind heart always wanting to save people, that I know him to be, and bring that out on screen. He as the bartender just was perfect."

"It unintentionally turned out to be capturing a moment in time and what seemed to be a collective consciousness of the whole world having the same feeling of wondering what was going to happen, and

the helplessness of it all," she said.

Sussman said she has not only encountered many people who have lost their businesses during this difficult time, but her family did as well. "We lost a small business our family had for 24 years that meant a great deal to us for many reasons.

And I watched so many small businesses drowning and shutting down. Jerry?s Deli had just suddenly closed across the street from where I live the week before I wrote this. It had been a lifeline for us during the quarantine and the owners were so kind to everyone. We?d been going there during COVID and Writ er/ DIrect or Sheri Sussman. suddenly they just closed in a week, after making it through the whole year of lockdown," she said.

Asked about her writing process, she said, "Ironically, this short is the first script - feature or short - that I've ever written not knowing the complete story, characters, all the beats and major turning points. I am all about the structure and craft of scriptwriting and work extensively in an outline form of 'train of thought' before I start scripting page one."

She added, "I can write anywhere I have to, but I love writing in my bed on my laptop! Sometimes, I play music to carry emotion through a draft or sequence. And other times, I need complete silence to hear what the characters are saying, and writing becomes merely transcribing. I am always writing though I think. Once I have a concept for a script, I walk around hearing and seeing it in my head 24/ 7. It?s a bit of insanity I suppose, when people are talking to you in your head and stay until you write it down to get them out! I carry old-fashioned post-its and make notes on my cell phone."

The writing process ended up being bery quick and so did the turn

around before filming. Sussman said, "I wrote it in about an hour and we shot it three weeks later in a 12 hour day. I gave it to Ian and Billy, and then to Justin Janowitz, an incredibly talented Cinematographer who does stunning work that I've known for 10 years. We've always wanted to work together. So when those three said, 'Let's do this,' we went right into pre-production. So the script was being rewritten and tweaked even while we were on set. Justin and the actors were all on board with me being super flexible. When we saw something that wasn't working on the spot, we revised it immediately. Everyone had great input to creating every detail of the world during the whole process. I was so fortunate to work with everyone involved with every step of this film ... honestly, such incredibly talented, professional and kind people."

Buchanan and Wirth were not only actors in the film, but also producers. "They both were 100% invested and made themselves so available personally and professionally with their time and talent to the film," said Sussman, "Ian came up with a lot creatively and was feedback for me as an EP every step of the project. Creatively also, he added ideas like singing, 'One for my Baby (One more for the Road),' which also helped create Sam?s character and backstory. He worked through all the moments of the film, as every beat and second really counts in this piece, and contributed to making it carry the reality of the character. Billy did the same and as well, adding input into making his character as authentic as possible. I took a story he told about one of his experiences and wrote the dialogue from that. They both were creatively involved in all aspects of the film and helping to promote it."

Asked how she met the cast initially, she said, "I met Billy through a mutual dear friend of ours, Matt Mellon, who called Billy about a script I?d written about a man trying to save his younger brother from addiction. Billy loved it and, at the time, had his feature also about addiction that he was going to direct, 'MacArthur Park,' so we clicked immediately. I met Ian through a mutual friend who had hired me to write a feature that is a satire on the 'fringe side of Hollywood' to see if Ian would come on board the project. He did. We also immediately hit it off exchanging harmless Hollywood war stories and have been friends ever since. They were easy for me to work with because I have such love and admiration for them as actors and as people. I felt extremely safe, trusted and respected by them as a writer and a director."

She said that the most challenging part of filming was staying true to her original vision. She was going for a minimalist and stripped down feel as far as the performances, dialogue and look. "Even not 12

Ian Buchanan as Sam.

shooting inserts and cutaways was a choice," she said. "Also, trusting audiences would get it with the repetitive dialogue style with different subtext. Making it timely but yet timeless."

Her goal was to make sure every detail was precise and not give into "false drama." She explained, "I wanted to make it old school cinema with a taunting, slow pace much like 'Wings of Desire' and 'Paris, Texas' and films I love. I know it?s a counter intuitive style for a short film."

She also said, she wanted to give "the actors room to act," adding, "I?m hands on with actors, but let them do what they know how to do best. I love collaborating with great, intelligent actors who make everything you write better and trust your guidance."

They had a very nice location in which to shoot, The Mint in Los Angeles (6010 W Pico Blvd.) Asked why she chose that spot, she said, "I looked at 20 bars in Los Angeles and it was so hard as most were closed, and others were not allowing filming, and I was online every night searching for bars. It came up on my search after going to Malibu one day and looking at a bar they said we could use. But, Justin didn?t love it and so I kept looking. I had hung out at The Mint and I never thought of it; but, when I saw it [in my search], I called immediately. I knew it was perfect. It was the legendary place that had history and stories, which was what our film was exactly about. It created the depth that this wasn?t just a 'Cheers' bar, but a place where people?s careers and dreams had been made. It added to Sam?s character also.

They?d been closed for a year and gave it to us for a low fee, and were so nice."

The lighting was done by Justin and his gaffer Justin Garcia, 13 sound by Andy Kantos, who worked remotely, and editing by Scott

Harvey, which was done via Zoom.

Asked what her advice would be for those starting in the biz, she said, "Just do the work. We all go off course getting caught up in the noise of the business; but for most of my career, my work has carried me to the next project. Don?t be afraid to say 'no.' I am still learning that one! Don?t do projects you know in your gut are not representative of the body of work you want to be known for at the end of it all ... no matter what the reason. Just write. Just pick up a camera and shoot always."

Writing has been her first love. "I am a writer to the core and still love it," she said, adding, "Although I've made my living writing, I now love directing as well."

She added, "I appreciate all the love for this film as it is a piece of work that means a lot to me."

What's next for Sussman? She already is working on getting financing for another feature. Find out more about her at www.sherisussman.com or www.spiralgateproductions.com.

IAN SPEAKS When Ian Buchanan found out about the storyline of this film, he said it appealed to him immediately. Being home alone during the pandemic helped him get into character. Instead of traveling half the year like normal, he ended up sitting home and dealing with the sense of loss in his life. It became a moment of reflection, which certainly added to his character.

At the same time, he ended up being very busy during the pandemic, not only doing Zoom rehearsals for this movie, but doing over a dozen plays over Zoom and voiceover work as well, in addition to Zoom 'Meet and Greets' and 10 episodes of a series he shot himself at home.

His favorite part of making this film, he said, was being with Sheri and Billy and the "lovely words." He added,"The COVID protocol made it challenging. It was a small crew. Few people had been vaccinated so we were hyper sensitive and aware of the risks."

He enjoyed being a producer as well, saying, "I have produced theater, but this is my first film. It was such a joy with a small cast and a wonderful crew. Given the same circumstances, I would do it again."

Buchanan started acting studying at The Strasburg Instutute and then as a foreign observer at The Actors Studio. He has done countless films and TV shows since then, as well as soap operas. Asked which he prefers, he said, "I've always loved the pace of soap operas. They

require a lot of stamina, physically, mentally and emotionally. There is very little waiting around and minimal rehearsal. A short film is similar.

I like to stay connected and my least favorite thing is to sit alone for hours in a trailer."

His advice to someone starting out in the business? He would say, "Don't worry" and "Just let life unfold, not unravel. And bring your best and be kind in the process."

Buchanan said one of the projects he is doing next is that he will be narrating the letters of Jonathan Frid on a biography of his life, which is on Amazon and Apple. He said check his IMDB for the rest.

Talk in g t o Billy Talking about how he first met Sussman, Billy Wirth said, "Sheri and I are great friends and have worked together over the years on numerous projects. A few have successfully made it to the screen.

When Sheri said she was writing a short for Ian Buchanan and myself to do over the semi-lockdown and that she would direct it as well, I was excited. I had never worked with her as a director and I have been friends with Ian since I I started my career in New York, so I thought this could be fun. Then, when I read the script, I loved it and was all in.

Sheri pretty much wrote a role for me that is closer to me in many regards than anything I have ever done. I was up for the challenge and excited to work with Sheri and Ian, and help tell a thoughtful, poignant story."

Asked about his role as a producer, he said, "I do enjoy helping good stories get made. I like the collaborative nature of filmmaking and being part of the creative process. There are many aspects to producing and I enjoy many of them, especially the creative aspect of working with with different writers and helping develop material."

Asked how he prepared for his character, he said, "Preparation is vital to enable an actor to have an organic truthful moment that hopefully is captured by the camera. The more I prepare, the more I am able to let go and trust the moment to moment time between action and cut. The preparation definitely starts with the written word - the screenplay. I start with the story and the character and go from there. Then, on the day, it?s all about relaxing and letting go, and feeling what I am feeling in real life.

Once I can feel what I am feeling -- the nervousness, the anxiety, any tension in my body, etc. -- and become aware of it and acknowledge it, then that energy is free to flow through me and

thus achieve a relaxed state. Then, I am free to trust the work and preparation I?ve done on the character and material, and if need be, do a 'moment before' preparation exercise to get me in the mind set, emotional state of the character in the story and commit fully to truthful behavior within this 'imaginary circumstance.' If I can?t feel what I am feeling in real life and get to a state of calm, then there is little chance I can be free to obligate myself to the feelings the character might feel. Once I can get to the free and relaxed state, then I have a chance. It?s a lot like sports and that is what first attracted me to the craft of acting. If moment to moment behavior happens spontaneously in a scene, the rest of the world disappears and it?s like riding a wave or flowing down a mountain on skis or, as athletes say, being in the 'Zone.'"

He added, "My favorite part of this project was working with Sheri and feeling her passion and commitment to the material. It?s inspiring to work on something that everyone involved believed in. Working opposite Ian was also a delight as he is such a giving actor and kind human. Also everyone Sheri brought on board from DP Justin to script supervisor, to catering, etc., the whole crew, were essential in creating an environment that felt safe and supportive to allow the flow to happen."

He continued, "I guess the most challenging part was to find that frequency or zone and not over act. Sheri was great in that she knew where that frequency lay and I knew she did, so I could let go even more and trust the moment to moment experience, knowing if I wasn?t in the pocket, Sheri would see that and share some thoughts or direction and we?d do another take."

What type of director does he prefer? "It?s always great to work with

Bil l y Wirt h as Jimmy.

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a director who has passion and that understands actors and cares about each take and the overall 'performance.' So, hands-on directors are good if it isn?t about ego, etc.," he said, adding, "Sheri is great in that she cares deeply about everyone involved in the collaborative process of filmmaking. Also, she has such knowledge of film history, storytelling and screenwriting and is in tune with everything on set that creates the space where actors can play and, hopefully, have a truthful moment. Sheri has such passion for 'classic' filmmaking and has an innate understanding of human behavior that informs her 'style.' She is a great storyteller and understands more than many successful directors the subtext of what is happening underneath the surface that is vital to great filmmaking."

He said, "I have had the good fortune of working on some excellent films with some great directors: Joel Schumacher, 'The Lost Boys;' Franc Roddam, 'War Party;' Abel Ferrara, 'Body Snatchers', and Herbert Ross, 'Boys on the Side,' to name a few. I love all these films and have learned so much from them and the friendships made from them. I have a great friendship with Franc Roddam to this day and value his love and mentorship more than words can express."

"I love filmmaking and acting. The great thing about the craft of either is there is always room for growth and more learning. I feel like I am just beginning in some regards as I now have a life of experience to draw upon that informs my creativity in ways that my younger self could not," added Wirth.

His advice to someone new to the biz? "I?d say if you have real passion to create and tell stories and collaborate with artists, then go for it! Also, be open to where you may fit in to in the industry while also pursuing where you want to fit in, so to speak."

Wirth added, "Of course, I have to share about being part of the iconic film ?The Lost Boys? that has stood the test of time and is a classic in the horror / comedy genre. My journey with this film is ongoing and I am so grateful for all the loving support that I receive from all those who have loved this film over the years, and have shared it with their friends and passed it on to their children. The friendships with the actors and crew are forever friendships, as are some I?ve developed with fans of the film.

"This was a big Hollywood Film production in the best way and I loved working with such talented people and craftsman in all departments. As it was my first big film that I worked on, It was so cool that we got to work with the stunt department, ride motorcycles, hang from cables and get physical. I was ok that I barely had any dialogue for, at the time, I was really just finding my way and it was a 15

perfect role for me to work on the physical aspects of acting, and not be burdened with more than I was ready for on such a high stakes Hollywood Production.

"I also like the challenges that Indy filmmaking brings, as some of the obstacles lead to great creative results. I have learned from all the projects and great directors I worked with that inspired me to get behind the camera and try directing. Sheri gave me that opportunity with asking me to direct the short film 'Kismet' that she wrote and produced starring Garry Marshall and Mariette Hartley, which then led me to direct my first feature 'MacArthur Park' that premiered at Sundance in competition in 2001. I am proud of both films and look forward to directing again soon."

Wirth said he is "wide open as to what is next" for him. He is currently developing a few projects, some as a producer and, hopefully, as a director and actor. He also said he "put out some music that he and his friends created years ago but never realized fully at that time." In addition, he is hoping to do an exhibit of his Polaroid art, which he has been doing for many years, many of which are on his Instagram at @BillyWirth.

One last thing Wirth would like to say: " Peace, love and prayers for all humanity, animals and sentinent beings on earth."

Now Pl aying Wondering where you can see "Shutter the Doors?" Well, it keeps getting accepted into film festivals, so the list is growing. It was first shown at the Pasadena International Film Festival. It will be at the Hollywood Women's Institute Film Festival on October 23 at UCLA (where they have won Best Narrative Short), the SOHO International Film Festival virtually on November 4-9, the NewFilmmakers NY festival in January 2022 and in Florida at the Ft. Lauderdale International Film Festival as part of the "Closing Time" block on November 5, at 3 p.m. at Cinema Paradiso Hollywood, November 8 at noon at Gateway Cinema, November 11 at 1 p.m. at Gateway Cinema and November 18 at 1 p.m. at Gateway. They also are doing a deal with ShortsTV. And the film has been officially approved by the Academy for Oscar race now and will be screened by voting members.

I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Promoti ng FLI FF 2021

The Making of t he Ft . Lauder dal e I nt l . Fil m Fest commer cial Photos by Rachel Galvin, Jayson Casta and group shot by Gregory von Hausch

On September 9, Brian Bayerl and Danny Wilson, of Greendoor East, Inc. worked their magic once again -- creating the commercial for the Ft. Lauderdale Intl. Film Festival. This is something they have been doing for about eight years in one way or another.

Each year, the theme is different and so is the commercial, and poster. This year, everything is focused around FLIFF's newest locale -- the historic Gateway Theatre (1820 E. Sunrise Blvd., Ft. Lauderdale), which they recently started leasing. It will be one of the three main locations for films and events this year at the fest. The other two are Savor Cinema (503 SE 6 St, Ft. Lauderdale) and Cinema Paradiso-Hollywood (2008 Hollywood Blvd, Hollywood, FL). They brought back Candice Loper, who was in another year's commercial as Mary Poppins. This time, she was a starlet on the red carpet with paparazzi waiting not so Top, Lef t : Brian patiently to get her attention. Sandy Maranesi, of East Coast Makeup, helped her and others Bayerl, Candice Loper to look their best. & Danny Wilson; t op, right : Candice poses "I would just say, being a filmmaker in Ft. Lauderdale, that FLIFF is an important part of for paparazzi. On our culture, they both bring great films to us and also let local filmmakers show their work. right : Danny Wilson, It always an honor for us to be asked to do this and we hope it helps generate interest for Gregory von Hausch, new audiences to come see some great films that otherwise might not be on the radar."

Sandy Maranesi & To find out more about this year's fest, see page 23.

Brian Bayerl. Bot t om: Group pics of cast & crew.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Miami-Ft . Lauder dale 48 Hour Film Pr oject The deadline for the Miami-Ft. Lauderdale 48 Hour Film Festival was Sept. 26 and 10 filmmakers turned in their projects on time.. Films included "The Purple Avenger & Dragonboy" by Bigfoot Productions, "BADFISH" by ACTBroward!, "Oops, My Bad" by Champion Eternal, "El Nebulus"

by MonopolyDog Films, "Matcha Matcha" by REC Society, "All In" by the Civil Filmgineers, "(I Fell In Love With) The Monster Under My Bed" by Wesley & Jane, "The Leap" by One County Film, "(Mock)

Tails From the Pub" by Prize Box and "Are You Positive?" by Space Dream Productions.

This year's winners: Best Film: The Leap Runners Up: Monster Under My Bed & Tales From the Pub Best Director: The Leap Best Writing: Tales From the Pub Best Actor: Ben Tschirgi, Monster Under My Bed Best Actress: Casey Sacco, The Leap Best Editing: Matcha Matcha Best Cinematography: Tales From the Pub Best Sound: El Nebulas Best Graphics: Purple Avenger & Dragonboy Best Use of Prop: Matcha Matcha

Best Use of Character: El Nebulas Best Use of Line: Are You Positive?

Best Special Effects: Oops, My Bad Best Musical Score: Monster Under My Bed

Required Elements: - Character: Van or Vanessa Nebulus, mixologist - Prop: A notebook - Line: "You drive me crazy."

Not sure what the 48HFP is all about?

For more information, visit www.48hourfilm.com/en/miami-fl.

Ev i l ai r e Pr od u ct i on s can provide camera, l ight ing, st age buil ding, audio conf igurat ion and recording equipment to get the most out of your next event.

For more than 20 years, Eric Vilaire and his Evilaire Productions has been capturing important moments, including l ive event s, concert s, cl osed st age project s and more. Video production is the driving passion for Evilaire Productions and they pride themselves on having incredible attention to detail.

Cont act Evil aire Product ions t o f ind out how t hey can hel p you wit h your next project !

Evilaire Productions is located at Davie United, at 4350 SW 59th Ave. in Davie, FL. For more information, call 954-368-4982, email Ev@evilaire.com or visit www.evilaire.com.

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Evil aire St udios, Sout h Fl orida's best kept secret , is l ocat ed at Davie Unit ed wit h ot her art ist s, musicians and st udios. Vil l aire says, "Thank you t o DNS Propert ies f or l et t ing us t o be abl e t o be surrounded by mural s and art by several dif f erent art ist s, incl uding Gregory Dirr, Andrew Escudero, Renda Writ er, Res Q & Emmanual Gonzal es!"

I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

N or t h M i am i ?s Com m u n i t y Pl an n i n g & Dev el op m en t Dep ar t m en t w i n s Tel l y Aw ar d s The City of North Miami?s Community Planning & Development (CP&D) Department won three prestigious 2021 Telly Awards for their original production of the Resilient North Miami video. The video was produced and released last August during the height of the COVID-19 pandemic.

The CP&D Department received two Silver Telly Awards in the Social Video Craft categories of Voiceover and Mixed Media, as well as one Gold Telly in the Social Video General category of Social Impact.

The Resilient North Miami video was created as a call to action by the Sustainability Division of the CP&D Department, for the purpose of highlighting the city?s fragile environment, growing economy and social equity goals. The coveted Telly Awards have been honoring excellence in video and television across all screens and platforms since 1979.

They receive over 12,000 entries from all 50 states and five continents, representing work from some of the most respected advertising agencies, television stations, production companies and publishers from around the world. ?We are incredibly honored to be recognized alongside well-known brands like Netflix, Microsoft, Condé Nast, HBO Latin America, Nickelodeon, BET Digital, Adobe, Playstation, BBC Global News and PAPER,? says Tanya Wilson, AICP, director of North Miami?s CP&D Department.

K e y W e s t Film Fe s t iva l The Key West Film Festival will take place Nov. 17-21.

The event will open with "Brian Wilson: Long Promised Road," which follows the journey of the Beach Boys' Brian Wilson as he delves into mental illness, struggles with depression and makes amazing music that we continue to love today. This intimate look at his life is sure to tug at the heart strings and inspire. The film will be followed by a Q&A with David Fear, Senior Editor of Film for "Rolling Stone" and director Brent Wilson. It also will be followed by the opening night party at the Audubon House for all pass holders.

For more information and the whole schedule, visit https:/ / keywestff.com/ .

For more information on the Telly Awards, visit www.tellyawards.com.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Film Review : The Subject

By Rachel Gal vin When documentary filmmaker Phil Waterhouse (Jason Biggs) decides to document a local kid, spotlighting gang activity, he does not know his life is about to change. The slow crumbling of this main character's life is the plot of "The Subject."

In the film, Waterhouse is obsessed with rewatching footage of his interview with the Harlem-based teenager. At first, the film does not reveal why he is so obsessed, but as the plot develops, more and more comes to light, and how what happened during filming affected others, and what did not happen and should have happened.

Waterhouse's involvement gains notice from the press as well for all the wrong reasons. Meanwhile, his relationship with his girlfriend is affected as well. He wonders is he responsible, could he have done something differently? But, he really does not understand the breadth of his responsibility until he is confronted to his core.

This film starts slowly and builds to a passionate and emotional climax. Biggs is more subtle in his performance until he lets everything loose at the end. This film is so timely and will leave you thinking long after.

The film also stars Aunjanue Ellis, who delivers the most powerful performance in the film, as well as Anabelle Acosta, Carra Patterson, Nile Bullock and Caleb Eberhardt.

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Tal king Wit h Direct or Lanie Zipov Asked why she got involved with the project and what led her to wanting to directing the script, director Lanie Zipov said, "Screenwriter Chisa Hutchinson and I have known each other for over a decade. We had worked together in the theater ages ago. I adore her writing, and the way she tells stories. She is also a stellar human. I reached out to her, and she sent 'The Subject' to me. The screenplay hit me in the gut. Everything ? the writing, the characters, the story ? spoke to me. Chisa wrote it over a decade ago, and, sadly, it feels more relevant every day. I immediately wanted to make it."

Zipov added, "The film required four different cameras to tell the story. There are two cameras for the 'documentaries' in the film, the narrative camera and a consumer camera used by the person following our main character, Phil (Jason Biggs) around. It was a challenge to figure out how to shoot with those four cameras, and I love challenges."

She continued, "Our leads ? Jason Biggs, Aunjanue Ellis and Anabelle Acosta ? were our first, dream choices. We worked with a terrific casting director, Destiny Lilly, and she expertly guided us through everything. I wrote the three of them letters, letting them know why I thought they were the only folks for the movie."

She said she talked with Biggs in a West VIllage tea shop about the role and was thrilled to have him on board. Aunjanue was coming off shooting a TV series but met with her and Chisa at the end of the day in a Hell's Kitchen diner to discuss the script. The talked with Anabelle over the phone and they clicked right away. They had their "dream team."

She added, "Carra Patterson, Nile Bullock and Calebe Eberhardt auditioned, and they all nailed it. As soon as each of them left the room, we turned to each other and were ready to make them offers.

Aunjanue El l is as Lesl ie Barnes

They were Marley, Malcolm and Kwame, respectively."

They shot the film in Harlem, as well as in a cafe in the Bronx, a store in Westchester and a house in New Jersey.

She added, "I love shooting in New York City. The energy is magical.

When I first moved to New York, I volunteered at East Harlem Tutorial Program, and we shot many scenes near there as a kind of tribute to that wonderful institution. Mottley Kitchen in the Bronx was great to us. Luckily, they were closed on Mondays and allowed us to film in their gorgeous cafe. Lola NY has two locations in Westchester, and we shot Jess?s shop scenes in their beautiful store. It was a terrific experience.

"Finding the right house was a challenge. We wanted something nice, but not super slick. Phil?s a documentary filmmaker after all. When we found the house we used, I breathed a sigh of relief. We were able to shoot the bulk of our days there. It had the exact look I imagined, and it had a window into the screening room, which we needed for the voyeur scenes. Perfection.

They got lucky that the film was made before the pandemic. She said, "I shot a short film, 'Love?s Baby Soft,' starring Alexa Swinton, this summer. Everyone was thrilled to be working, and was committed to doing so safely. The main challenge is things move a little slower."

Asked what was her favorite part of filming 'The Subject,' she said, "I loved so much of the process! It?s hard to choose one thing. Being on set was a dream. Working with the actors on such a thoughtful script

and seeing all of the prep with DP Darren Joe pay off were dreams I still don?t want to wake up from. If you told me I needed to spend every day on set with Jason, Aunjanue, Anabelle, Carra, Nile, Caleb and 'The Subject' crew, I would gladly do it."

The biggest challenge? "A surprise snow storm hit during filming. We were in New Jersey, stuck for the night. We scrambled for hotel rooms, and everyone was fine. But I was concerned about everyone?s welfare.

Traffic literally moved 1 mile an hour. It was treacherous and unexpected," she said.

She added, "'The Subject' was fortunate to have a stellar festival run before distribution, but that means this process has been a marathon.

Creating the film was the easiest part! We?ve needed energy, time and resources to build on the festival success and attract a wider audience.

Getting 'The Subject' out in the world is challenging, particularly in COVID times where it?s uncertain if folks will see independent films in movie theaters."

The scenes at the end with Biggs and Ellis were very intense. Zipov said of their performances, "Working with Jason and Aunjanue on that scene was amazing in every sense of the word. They brought it every day. They really relied on Chisa?s searing script to guide the emotions and on each other. We talked through everything before getting to set, and then they soared. What perfect scene partners! It?s a master class in acting, where they hit every beat.

"That scene was shot over four days with two of the same types of camera. It?s an operatic endeavor, and we wanted to capture every emotion so that Jason and Aunjanue didn?t have to do 50 takes of each part of the scene. We shot it in order, two days at a time. We shot two days, then had two days off from it. That worked well because we were all fresh when finishing the final two days."

It took them 20 days in total to shoot, but it was done over three months. Post-production on the film, such as editing, scoring, coloring, sound mixing, etc. ran about five to six months, but was not done full-time. She said, "When you have an independent film, you need to work around your team?s schedule."

Her advice to someone getting a start as a director?

1. "Get on set in any capacity. You learn so much being on set.

2. Watch all kinds of films and TV. You never know what?s going to inspire you.

3. Make a movie. A short. A film that costs no money. Anything to get the creative juices flowing.

4. Expand your network of people who will support you and whom you can support.

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5. Focus on what you can control. There is so much you can?t."

Zipov is currently wrapping up post-production on her short "Love?s Baby Soft" and may have some other projects in the works soon.

She suggested, "Hire folks from 'The Subject.' They are literally the best, most inspiring and creative people I?ve met in my life."

A Chat Wit h Chisa Hut chinson, Screenwrit er When asked how she came up with the idea for "The Subject," Hutchinson said, "I watched a 'news report' for which a 'journalist' decided she was going to 'be homeless' for two weeks. And she's walking the mean streets, scavenging for food in trash cans, sleeping on a cardboard box with a camera crew following her around. And it made me feel weird. Like to what end, lady? You know? And how is this not exploitation? It made me think about Kevin Carter, who won the Pulitzer for his famous photograph of the emaciated Sudanese child, sitting in the dust, a vulture hovering behind her, waiting for her to die. He admitted to waiting 20 minutes for the vulture to spread its wings -- it never did -- before taking the picture and walking away.

These people who can walk away from the wreckage ... they're the ones who get to tell the story of the people most impacted by whatever caused it. They get to go on with their lives and even win awards. Their success is built on the suffering of others. And that feels fucked up to me. So I wrote a script about it."

What was it like working with the director? Hutchinson said, "Honestly? I never had to work at that. I trust Lanie to do her job and the cast and crew to do theirs. I will say that any time I had an idea about something, I felt totally at ease sharing it because Lanie created a culture on set where there wasn't really a hierarchy. She was like, 'A good idea is a good idea. I don't really care where it comes from.' So [it was] easy."

She said it technically took her 10 years to complete the script. It began as a play, which she created in grad school at NYU. "This story, more than any other I've ever written, gave me the most trouble," she said. "I think I have six drafts of the play version because that's how long it took for me to be able to respect the protagonist enough to make him likeable, for starters. And then the ending, the reckoning that happens at the end, has changed in color and function for sure, given how fed up black folks are with stories about how non-black people don't really value our lives. Aunjanue Ellis (one of our leads) was hugely instrumental in helping me nail that. So yeah. A long writing process. Lots of things to consider."

21 She added, "And my process? Kinda boring. I just sit in my bed

with my laptop. I don't even play music because I like to read over what I wrote aloud to test it out. It helps. That and snacks. Snacks always help. Right now, Goldfish is like writing fuel for me. It was Milano cookies before that. Might be Fig Newtons next week. Don't judge."

She has always loved writing, she said, explaining, "I've always been a word nerd, but theater (which is ultimately what I studied formally) was not something I really had access to because I grew up in a family that had more pressing things to spend money on than theater tickets.

And movies were things that just existed for general consumption. It never occurred to me that people got paid to write them. That I could get paid to write them. So, I wrote short stories as a kid, but they were like 80% dialogue. It wasn't until I got a scholarship to a swanky private school with a whole-ass Arts Department and its very own theater that I realized I was actually writing scripts all that time."

Asked if she made tweaks to the script, she answered, "When it was a play? Yes. As a screenplay? Not so much. At Lanie's very smart behest, I added the scene in which we get to see Phil's girlfriend, Jess, on her own, outside of her relationship to him, doing her own thing. Made that role juicier (and Anabelle squeezed out every last drop). And also as I mentioned, Aunjanue's input on the ending was clutch -- my gawd, that woman is fierce. But those were the most major tweaks."

She added, "My favorite part was being on set with the cast and crew and feeling the personal investment that everyone had in the vision. I already am always tripped out as a playwright when a bunch of people

Phil Wat erhouse (Jason BIggs) int erviews Mal col m Barnes (Nil e Bul l ock).

Jason Biggs as Phil Wat erhouse.

gather to build a performance from the blueprint of one of my scripts, but film takes that feeling to a whole other level. It was my very first feature, so I was astonished by how many people it takes to make one.

It's legit a small army of people who, by the way, are not getting paid very much, so you have to assume they just believe in the work. And that rocks my little soul. I had an idea, and aaaaaaall these people believe in it enough to throw their weight behind it.

The hardest part was getting it out into the world. We're all basically unknowns in this business, right? So there's that. Then, the pandemic hitting just as we were about to start our festival circuit felt like a huge loss. And oddly, the fact that the Black Lives Matter movement was hitting its stride around the same time made it harder for our selling agent to talk about it without feeling like they were guilty of the very thing that Phil is guilty of in the film. So while folks believed in the film and so many who've seen it seem to be affected by it in a deep and lasting way, it's been a struggle connecting it with audiences.

Her advice to new writers? "Say yes to everything. I first met Lanie when we were both writers for a devised theater project that got to be kind of a pain in the butt for me, but whatever, I did it anyway because everything is a learning experience, if nothing else. And for years, Lanie and I have kept in touch, admired each other from a respectful distance. And after maybe a decade, she hits me up for a screenplay. I sent her 'The Subject.' And here we are. I have so many stories like this. I participated in a thing. That thing may not have been the best experience, may have been a tempest in a teapot ... I

may not have seen how it was going to change my life years down the line, but it absolutely did. And it wouldn't have if I never said yes.

Asked what is next for her, she said, "I've been wandering into the TV sphere. Last year, I was in the room for Showtime's upcoming 'Three Women,' based on the best-selling book by Lisa Taddeo (who is a friggin' genius empath). Right now, I'm writing for another series for Hulu. I also just closed on a deal wit h Showtime for series based on the crazy-ass life of Karamo Brown ('Queer Eye'), who is just as dope as you think he is. I get to work directly with him and Stephanie Allain, a bad-ass producer who's basically like a fairy Godmother for black writers. And I haven't given up on theater. I got two world premieres coming up -- 'Amerikin' at Alley Theatre in Houston opening in February and Whitelisted at the Contemporary American Theater Festival in Shepherdstown, WV this summer.

She said you can find out what else she is up to by checking out her Instagram (@Chisabh), Facebook and Twitter (chisahutchinson) or her website (www.chisahutchinson.com).

"The Subject" was released on October 22 on demand and in theaters in New York City, Los Angeles, Seattle, Chicago, Boston, Cleveland, Dallas-Fort Worth, Detroit and Frankfort (MI). For more information, visit www.thesubjectmovie.com.

Anabel l e Acost a as Jess Rivas.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

36th A nnual FLI FF

VENUES

By Rachel Gal vin FLIFF is coming! Hold onto your hats and get ready for the cinematic wave that is about to blow through Ft. Lauderdale. That's right, the Ft. Lauderdale International Film Festival is almost here. It will run November 4 -21 and will include not only Savor Cinema and Cinema Paradiso as places to screen films, but also the newly-leased Gateway Cinema, among other special locations. For example, the opening night event on November 5 will be held at the Museum of Discovery & Science (MODS) and will feature Marvel's "Eternals."

This 36th annual event will be a hybrid experience again so those who choose to stay home can do so and experience the films virtually...and there are a lot of them -- 154 of them actually, according to FLIFF CEO & President Gregory von Hausch, who said, "Opening Night at The IMAX will kick off 18 days of great film and events, with talent coming in from across the globe. And, we are thrilled to have Gateway Cinema in the FLIFF family this year, joining Savor Cinema and Cinema Paradiso with daily screenings.?

And, as always, there will be parties and plenty of filmmakers coming in from around the world. Daniel Baldwin will be here with his documentary: My Promise to PJ." Director Hilary Shakespeare?s and co-writer sister Anna-Elizabeth Shakespeare will be here with their British coming of age comedy about first romance, "Soundtrack to Sixteen." They will travel all the way from London to attend their screening with leads Scarlett Marshall and Gino Wilson. Maria Gregorio of "Vasy's Odyssey" will be in attendance.

Award-winning director Iman Zawahry?s first feature-length film, "American-ish," which is also the first American Muslim romantic comedy, will be here too. The University of Florida College of Journalism and Communications lecturer, Zawahry, will attend screenings with co-writer and actress Aizzah Fatima, actress Salena Qureshi, and producers Paul Seetachitt and Roy Wol. These are just a few of the wide range of film Daniel Bal dwin is sl at ed t o be in at t endance f or his industry professionals who will be in attendance. document ary "My Promise So get your calendar out and get ready to plan for films, Q&As and red To PJ" at Savor Cinema on carpet soirees. Keep an eye out for the next issue of Independent Streak Sat u r day, Novem ber 20 Magazine for more details and also www.FLIFF.com at 5:15pm 23

Gat eway Cinema 1820 E. Sunrise Blvd, Fort Lauderdale, FL Savor Cinema 503 SE 6 Street, Fort Lauderdale, FL Cinema Paradiso 2008 Hollywood Blvd, Hollywood, FL -

-

Nov 5 (Onl y): Official Opening Night: Museum of Discovery & Science AutoNation® IMAX 3D theater 401 SW 2 St., Ft. Lauderdale, FL Nov 6 & 20 (Onl y): Pompano Beach Cultural Center - 50 W Atlantic Blvd, Pompano Beach, FL

TICKETS $12 General Admission in advance $15 at the door $10 Seniors, Military & Students $8 FLIFF Members.

Films and events subject to change.

Virt ual Hub is available for Livestreaming films and events, or for streaming films On Demand.

www.fliff.com

Jayce, Tif f any and Jax Bart ok wil l be arriving t o FLIFF again, t his t ime f or Jayce's f il m "The Prisoner," and he al so wrot e "Last Chance," direct ed by Tif f any and st arring Jax. Cat ch a Q&A wit h Bart ok f amil y at t he KIDS Short Fil m Program t o see "Last Chance" Nov 11 at 3:30 p.m. at Gat eway Cinema. "The Prisoner" is showing wit hin t he MACHIAVELLIAN short f il m program. For det ail s on al l showings of "Last Chance," check t he FLIFF schedul e.

FEA TURED A T FLI FF

Shakespeare Sist ers: Direct or Hil ary Shakespeare?s and co-writ er sist er Anna-El izabet h-wil l at t end t he screening of t heir f il m "Soundt rack t o Sixt een" on Thursday, Nov. 4 at 7:45 p.m. at Cinema Paradiso-Hol l ywood, Sat urday, Nov. 6 at 5 p.m. at Gat eway Cinema, on Sunday, Nov. 7 at Savor Cinema at 3 p.m .

Maria Gregorio, who st ars as Al exandra, in "Vasy's Odyssey," comes in f rom Madrid t o at t end screenings on Nov 7 at 1:30 p.m. at Gat eway Cinema; Nov 7, at 5:15 p.m. at Cinema Paradiso; and Nov 8, at 7:30 p.m. at Savor Cinema.

Just some of t he guest s you w ill f ind at t he Ft .

Iman Zawahry, direct or of t he Lauder dale Int l. Film f irst American Musl im romant ic Fest ival (Subject t o change). comedy, "AMERICAN-ISH" (An Of f ical Opening Fil m of FLIFF) wil l at t end screenings of her Tamaz Szabo Kimmel , a popul ar Hungarian act or and st ar of t he f il m Nov. 4 , 6 p.m. at Cinema suspense t hril l er "Tal l Tal es," wil l f l y in f rom Budapest t o at t end screenings of t he f il m on Nov Paradiso; Nov 5, 7:30 p.m. at 6, 7 p.m. at Gat eway Cinema and Nov 7, 3 p.m. at Cinema Paradiso Hol l ywood.

Gat eway Cinema and Nov 6, 1 p.m. at Savor Cinema. Joining her wil l be co-writ er and Christ ina Georgiou, writ er/ direct or and composer of "The St ray St ory: A act ress Aizzah Fat ima ("High Dogument ary," f l ies in al l t he way f rom Cypress. Forensic Maint enance," "The Code" and Neuropsychol ogist Norma Torres, f ounder of YouCanMakeADif f erence,inc, TV?s "The Good Wif e"), act ress and Tracie Crawshaw/ vol unt eer wit h Pil ot s N Paws wil l al so at t end t he Sal ena Qureshi (Net f l ix's "The screening on Nov. 20, 2 p.m. at Savor Cinema, which benef it s POPO Societ y," CBS' "Madam Secret ary"), and producers Paul Pit bul l s rescue and Canine Assist ed Therapy. You can meet t he dogs and Seet achit t ("Rock Jocks," "Precious Cargo") and Roy Wol organizat ion represent at ives st art ing at 1 p.m. and af t er t he f il m Q&A. ("The Garden Lef t Behind," "Bikini Moon," "Tom In There wil l al so be an earl ier screening of t he movie, Nov. 6, 1 p.m. at America" and "Art Machine").

Cinema Paradiso benef it t ing Hoof -Hand-Paw Connect ion.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

April Dobbins Named Programming Direct or at Coral Gabl es Art Cinema

FLOW FI l m Fes t i v a l 20 21

April Dobbins has been named programming director at Coral Gables Art Cinema. Born and raised in rural Alabama, April is a writer, filmmaker and educator who has lived in Miami for almost 10 years. Currently a master's candidate at Harvard where she studies Arts in Education, April received her M.F.A. in Motion Pictures at the University of Miami. She's worked in higher education for 15 years, serving as a program director, writer and film lecturer.

Her creative work has received support from Sundance Institute, Knight Foundation, Firelight Media, International Documentary Association, Oolite Arts and many others.

April will serve on the senior management team alongside Brenda Moe, executive director, and Michelle A. Humphreys, communications and engagement director. Together, they will work in partnership to fulfill the organization's mission and build upon its years of excellence.

Coral Gables Art Cinema serves South Florida as its premiere nonprofit cinema with a mission to inspire, engage, and enhance its community through the powerful medium of great film. Open 365-days a year, its state-of-the-art auditorium boasts 141 seats, 4K digital projection, 3D, and often shows films on 35mm & 70mm. The cinema is entering its next stage of growth in 2022 when it will begin the build-out of an additional auditorium and screen for increased programming. The cinema is located at 260 Aragon Avenue (map), directly across the street from Books & Books, on the western end of the ground f l oor of t he Museum Parking Garage. www.gabl escinema.com.

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Kimberl y Jones

The FLOW Film Festival was back again this year, but at the last minute, they decided to make it a virtual event. Held from September 29 to October 1, the festival included so many short and feature films, music videos, Q&A's and more, all of which included women involved in the creation process. The event was co-founded by Kimberly Jones and Tiffany Porter with Alexandra Bello as executive director and president of marketing. One of the most original aspects of the fest was the virtual after party through Virbela, where people could create an avatar to explore a virtual world and interact with the avatars of film professionals from around the world via microphone

and chat.

For more inf ormat ion, visit www.f l owf f m.com.

A w a r d W i n n er s : The Hope Excel l ence Award: Just Another Dream Brava Di Bel l o: The Reunion Sybl e G. Award f or Lif et ime Document ary: An Artist?s Journey from China to America Best Pict ure: Just Another Dream Best of Fest : World Cup Best Act ress: Deepa Kiran- Rimi Best Act or: Niko Ravel- Scrapt Best Support ing Act or: Terrance Richardson- Caroline Best Direct or: Blessing Egbe- Coat of Alms Best Edit or: Amir Adib Parvar- Unsettled Best Cinemat ography: Aleksei Podturkin- Impasse Best Cost ume: Kali Mah Tina Best Musical Score: Mother, Daughter, Holly Spirit Best Music Video: Glimmer Best No/ Lo Short : Block Best Ensembl e Cast : Forbidden Birth Best Animat ed Short : The Boy and the Mountain Best Short Fil m: Evolution of Women Best Short Comedy: Mate & Date Best Screenpl ay: Victor Best Document ary: Duchenne Boys Best First -t ime Fil mmaker: Andriana Andrea MoreySabor A Ti Best Perf ormance Fil m: La Que Es Best Famil y Fil m: Just Like You Biggest Social Impact : The Impact Best of Af rica: Illusion Best Short Narrat ive: How Long?

Best Short Fil m Noir: Do you believe me now?

Best Original St ory: Beneath the Sound Best Foreign Language Fil m: 12 o?Clock Best Visual Ef f ect s: Bloom Best of Lockdown: (Dis)Connected Best Original Score: Christmas Freak

Best of Fl orida Dramat ic Short : Simulacrum Best of Fl orida Document ary: Fellowship of the Springs Best of Fl orida Music Video: Counterfeits of Control Best St udent Short Fil m: AD[HD] Best St udent no/ l o Short : Cyber-ex Best St udent Dramat ic Short : Queen Best Music Video: Love is Meant for You Best St udent First -t ime Fil mmaker: Jenny?s Vision Best of Lockdown St udent Fil m: Tock FLOW Famil y Award: Feet

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Spooky Em pir e 2021 Hor ror Film Fest As usual I.S. publisher Rachel Galvin will be joining Kurt Donath to run the Horror Film Festival at Spooky Empire. This year, it will be held at the Hyatt Regency in Orlando (9801 International Dr.) from October 22 to 24.

The convention will have plenty to do and see, including plenty of vendors, artists, merchandise, activities and celebrity guests.

Visit https:/ / spookyempire.com/ for a full list.

Things are always subject to change.

As for the festival, there will be shorts, microshorts and features to see, and filmmakers from around the world will be coming in to meet fans new and old. There also will be filmmaker panels and there will be awards given on the last day. Categories include Fearmaker of the Year, Best Feature, Best Short, Best International Film, Best Special Effects, Florida Spotlight and Audience Choice.

Want a spooky good time? Enjoy the fun at the con and make sure to stop by the film festival, say hello and watch a few flicks!

For more info. on the convention, visit https://spookyempire.com/ and click on Film Festival to find out more about the fest.

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Wade in t he Wat er

By Rachel Gal vin Cathleen Dean's documentary "Wade in the Water" provides a history lesson that many may not know about, about the history of segregation when it comes to pools and even the ocean itself.

She utilizes historic pictures mixed with poetry and prose, narration over words, coupled with others talking about the issue, to tell a troubled tale beautifully, making it all the more poignant.

Asked what inspired her to do the film, Dean said, "A few years ago, I started swimming with an organization called Diversity in Aquatics. I was in really great physical condition at the time and I wanted to train for a triathlon. I just needed to work on swimming. I never made it to a triathlon but I did have the opportunity to accompany Thaddeus Gamory, the head coach of the DIA masters swim team, to the International Swimming Hall of Fame. Bruce Wigo, the then director, took me on a tour of the gallery to view an art exhibition he had curated and he explained the rich history and swimming culture of Africans.

That planted the seed. Later in the year, I was combing through the Wolfsoon archives and I came across some archival footage of the wade-ins that took place in Fort Lauderdale. With my new knowledge of the history of African swimming culture and the access to the archival footage, the storyteller in me had no other choice but to put it together." (Both Gamory and Wigo spoke in the film).

This is not Dean's first film. "RunWay Afrique" was her first documentary and it won Best Doc at the Miami Fashion Film Festival. "Being," a short narrative film that she directed, won Best Short at the Martha's Vineyard International Film Festival.

Visit her IMDB for additional credits: www.imdb.com/ name/ nm3667523.

Dean also is the Director of Arts and Theatre at the L.A. Lee YMCA/ Mizell Community Venter and hosts and curates "Montage," a monthly film series at the Pompano Cultural Center.

She shot the film at Hollywood Beach and in Ft. Lauderdale.

"It took a year to complete the film," she said.

"When the idea came to me, I cut a trailer and entered it as a work-in-progress in the Cinema Slam competition sponsored by the Miami Film Festival. It won. I then spent the next year completing the short film.

I'm working to expand it to a feature."

She added, "There are three things that I hope people with come away with after watching this Direct or Cat hl een Dean. film: to dispel

the myths and negative stereotypes that black people don't swim, to encourage more BIPOC people to swim and reconnect with the water, and last, but most important to understand, is that children of color are drowning at seven times the rate of other children and we all need to do something about this. Drowning prevention is all of our responsibility." In addition to making this film a feature, she is in pre-production on another short film called "Water is Our Medicine." "It focuses on the healing benefits of water and the mindfulness community of practice that meets every Sunday morning at DR. VON D. MIZELL-EULA JOHNSON STATE PARK,the historically black beach in Dania," she added.

Dean also has had her film nominated for a Suncoast Regional Emmy Award and is a finalist in the If/ Then Shorts pitch competition.

You can see "Wade in the Water" at the Ft. Lauderdale Intl. Film Festival on November 8 at 1 p.m. at Cinema Paradiso-Hollywood, November 10 at 1 p.m. at Gateway Cinema and November 17 at 3:30 p.m. also at Gateway.

" I ELECT: Power Ever y Four Year s" "I Elect" is having a screening at the Ft. Lauderdale International Film Festival on November 18 at 3 p.m. at Gateway Cinema.

The screenplay was written by Bill Spring and directed by Ricky J. Martinez. The piece, which is a one-act one-woman show on film, is brought to life by Carey Brianna Hart. Jose Lima produces.

The film continues to be timely in that it talks about the power of voting and political turmoil. Hart gives an enaging and poignant performance as her character gives her feelings to the audience.

In the grip of the 2020 pandemic, just days before the presidential election, she recalls her shock four years ago on that fateful election night of 2016, with worry about the next election that was about to take place. To snap herself out of this downward spiral, she decides to record her feelings on a video message to her fellow voters. She decides to give testimony to power -- the power of voting.

The character "Bella" takes a stand against racism and voter suppression. The recollection of that blistering night as she watched those fateful election results sparks a memory that shatters her nerves, as we witness her working her way to a revelation of personal power.

There will be a party following the screening of the movie, a good time to network and maybe get involved in a discussion about the meaning behind these powerful words.

Fil m Review: "I r on Templ E"

By Rachel Gal vin Looking at the beaming smile of Tony Torres, you might think, ?Man, that guy hasn't got a care in the world. I want what he's got.? For the most part, you would be right. A successful professional who owns a gym and is a professional body builder, who loves his family and has adoring friends, Torres has it all together. But things did not always go as planned for Torres. He got caught up in some trouble not of his own making all because he decided to help out his best friend.

The beautifully filmed documentary ?Iron Temple? documents the dichotomy in Torres' life, utilizing interviews with him, his family, his friends and members of his gym who say Torres has changed their lives. It also uses flashbacks told in reenactments in a unique way as if it is a film within a film. The story is true and shows how when he was questioned about his best friend, who was wanted for murder, he chose to stay silent about his whereabouts, and paid a price.

Director Aaron Abelto said, ?The idea behind Iron Temple came about after I was finishing my Oscar run with my previous film ?The Power of Movement." My friend Nathalie Cardona told me about this new gym she was attending and how cool the owner was. She told me he had a really interesting story and that I should do a short film about it. I figured why not, it could be a great opportunity to do a smaller project. I met Tony at Iron Temple Gym and he told me his story and, right there at that exact moment, I knew I had my next film.?

He added, ?So this is the third film working with my main team.

Rajesh D. Felix, the producer of the film and co-founder of Able 2 Film Entertainment, has been working with me from the beginning. We had dreamed of making it in this industry back in our college days. I met David Escorcia when I was about to do I Before Thee and he has

Tony Torres.

28

been my director of photography and colorists for all of my films.

David and myself have built a great bond as director and DP to the point that anytime I have a project he is on board and ready to film.?

It was filmed with Panasonic S1H during COVID-19 and took about 6 months to be completed.

The way the film was put together was a little different than the average documentary. He discussed why he chose the way he filmed it, saying, I have seen quite a few documentaries and I wanted to do something different. I felt that documentaries have a specific audience that they cater to and I wanted to broaden that. Narratives are the majority of films that individuals always want to see, so why not put both of them together into one? Thus we have 'Iron Temple,' a docu-narrative hybrid film for all audiences.?

He added, ?The editing process was interesting because as a writer/ director of the film, you sometimes do not look at the edit objectively. I feel like the most difficult part was building the narrative. For instance, I wanted the audience to fall in love with Tony and root for him to succeed even though he did something wrong.

That is why the flashbacks and interviews are placed at specific points in the film to help guide the narrative.?

This is not Abelto's first film. His first feature was "I Before Thee." It was a dramatic narrative that gained him his first world-wide (R t o L): Woody Deant l ooks on whil e Aaron Abel t o, and 1st AC Andrew Hoo distribution deal and served as his real introduction to the industry.

After that success, he went on to do "The Power of Movement," which check out t he monit or, and DP David Escorcia f il ms Tony Torres and Ruben E.A. Brown in t he car. was a documentary about Cancer and mental illness. "This film garnered a lot of attention, which in turn, gave me my first Oscar run.

The Power of Movement became an Oscar contender for the 93rd Academy Awards," he said.

"Iron Temple" had its Los Angeles theatrical release on October 8, 2021 in Santa Monica, California at Laemmle Theatres. It was slated to have a theatrical run in Miami, Florida at Silverspot Cinemas on October 22. It wil l be rel eased worl d-wide on al l digit al pl at f orms on November 2.

Asked what is next for him, he said, "At the present moment, I have a couple of scripts that I have been shopping around to a couple of major studios. I am planning to start pre-production on my next narrative film at the beginning of the year."

And for Torres? "Tony is starting to get more into acting and building his brand and business. He also judges bodybuilding contests in his spare time," added Abelto.

What would he say to those filmmakers pursuing their dreams in the industry? "I want to tell everyone to keep pushing forward and follow your dreams. It takes a lot of sacrifice and determination to reach your ultimate goal," he said Local act or Erick Szot , as Tony's at t orney, wit h Tony Torres. www.irontemplemovie.com.

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

FI LMSTOCK 2021 Something new is coming to South Florida and people in the film industry. The event that is coming soon is called FILMSTOCK. It is a new industry expo for people to meet with agents, casting directors, film distributors, show runners, vendors and other industry professionals.

One of the people involved with the event is longtime acting coach and actress Sara Rogers, who calls the event a "first of its kind," adding, "Our vision is not a Sundance or a Tribeca Film Festival but a Business Industry Expo." She said the event will be held on November 13 right in the middle of the Ft. Lauderdale International Film Festival. She is partnering with Lou Silver to make this event a reality.

Instead of the usual event where the same local people get together to network, she said they will be bringing in professional and industry leaders, including Photographers, Videographers, Industry Organizations, Graphic Artists, Make-up people, Wardrobe Stylists, Set Design personnel, Casting Directors, Soundstage Production House Owner / Operators, Craft Services experts, Executive Transportation Services, etc.

They also are offering a couple of other unique concepts. The first is Speedcast ing. This offers actors a chance to do a 10 minute talk in front of casting directors and agents to showcase who they are -- introduce themselves, do a monologue, etc., so that the powers-that-be get a chance to consider them for their next project or for representation. In addition, they will have a Pit chf est , which is similar but for filmmakers who want to pitch their project to distributors and potential investors.

There are plenty of opportunities to get involved. For those interested in being a vendor, they can purchase a table in the main lobby for $79. For those wanting to attend, tickets range from $25 for general admission to all access VIP ticket for $199. There will be door and raffle prizes too.

See t he ad on t his page f or more. You can also call Sara at 786-247-7761 for details.

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I NDEPENDENT STREAK M AGAZI NE Ar e Fr en ch M ov i es (St i l l ) A Th i n g?

By François Scippa President of Dist rib Fil ms US Figures Let me be clear, if you look at figures - cold and insensitive figures - it doesn?t look good. With less than 0.5% of market shares for around 100 movies released in a year in the U.S. (those are 2019 figures, let?s not even consider 2020), French movies are not what you would call huge hits?

"Climax" was the big winner but Gaspard Noé, the director, has become an international name and his last movie to be released in the U.S. was not what you would expect from a French movie. The movie actually did better in the U.S. than in France, released by the amazing people from A24, and generated less than $725,000 at the box office. Unifrance, the organism promoting French movies in the world, does a very enlightening yearly report about how French movies reach foreign audiences. One of the conclusions is that in the U.S., in theaters, French movies don?t thrive. The other conclusion is that they continue to be bought by distributors and released, no matter how they perform in theaters. So, is there a trick? Not really, at least not if you consider love as a trick. At Distrib Films US ? and our fellow independent French film distributors (Kino, Film Movement, Icarus Films, Strand, Kimstim, etc.) -- we need to run businesses that are profitable, so our love for French movies is not enough to explain why we still buy them.

A Genre Per Se If theater runs are clearly not the best option for box office successes, we know, thanks to festivals, universities, and film societies, that there are still viewers who have an appetite for modern French cinema. Gregory Von Hausch runs and selects movies for the Fort Lauderdal e Int ernat ional Fil m Fest ival , which is entering its 36th year, and is a huge connoisseur of French cinema. He always selects some of the best French titles of the year and enjoys a recurring and very happy audience coming back to discover what the French have to offer. Like Gregory, many other festivals in the U.S. focus on French movies, not only following us, the distributors, but also 31 directly with sales agents and producers. In the vastness of movies

produced every year, French films represent a particular genre.

Think a Dif f erent Kind of Dist ribut ion When I moved to the U.S. seven years ago, I thought I would release movies exactly the same way I used to do it in France. At least 50 cinemas in the first week of a release with around 10 in Paris. Then, depending on the results of the first week (movies are released on Wednesdays in France), you?d get more or less cities, more or less prints. I quickly understood that I would have to adjust to each U.S. market and its performance potential compared to France. In the U.S., with the kind of movies we had and still represent, you have to think long-term; you can never count on a blitz success. So, every market, every theater, every festival and every screening comes with its own marketing, audience and timing. Italians invented a movement to produce and distribute food differently, more equally and ecologically: Slow Food.

Well, my work today is Slow Film Distribution: I patiently select movies, understand how to release them, and contact theaters and bookers who appreciate our tastes and culture of French foreign films. The very pleasant surprise is that those bookers exist and are true partners. We?ve even continued working together during the pandemic with virtual cinema links, online Q&As, and virtual events.

How t o Ch oose?

A stupid postcard of Paris will never drive the audience to your movie; however, a clever, truly sincere story with amazing actors ? all happening in the streets of Paris ? will work. It is safe to say that a "smart cliché" has good chances to reach its U.S. audience. I mean, if you don?t have an Oscar or Cannes winner. "Just a Sigh (Le Temps de l?aventure)", directed by Jerome Bonnel, was one of those. So was "Perfumes," starring Emmanuelle Devos and Gregoire Montiel, "Someone Somewhere," directed by Cedric Klapisch, and "Monsieur and Madame Adelman," directed by Nicolas Bedos. All

is Netflix. At the beginning, the platform needed content - a lot - and bought our movies to stream. Not huge dollars, but it allowed us to take risks on more movies, and have a part of our investments recouped by the Netflix sale. It stopped abruptly, maybe for the best. You think twice before wanting to release in the U.S. now and need to assess the whole life of the release: from cinemas - including festivals, night screenings, wine and cheese events! - to VOD, educational streaming to DVD. And month after month, we can fine tune our distribution strategies and continue developing our networks and partnerships.

those titles had very singular stories but included reassuring aspects of what American people can expect from France. On the business side, you need to be patient. Time is key in discovering a French or foreign film: months, sometimes years. It was the case of "Hippocrates: Diary of a French Doctor."

The movie made a splash in its theatrical debut and received some awful reviews (while the French ones were raving). But the film found its audience on iTunes, home video, and educational streaming, making up in two years what it lost in two weeks.

What ?s Next ?

The past years have seen huge changes in the cinema industry: major actor changes, the dominance of new platforms, and social movements (Oscar So White and Me Too). Major distributors and powerful companies had to adjust their processes, compliance policies and stories. All of this has affected American movies and shows more than foreign films. The true change for us

So, Are French Movies (St il l ) a Thing?

Let?s be clear, once again: YES!!! French movies are made independently, controlled by its author and director (often the same person in France). In the vast majority of them, the movie is driven by a true vision of creativity and society, a take on people and relationships. At least the movies I like! Of course, the efficiency of the narration, and the sharpness of the action are not always spot-on, but like a good glass of wine or a novel, one can develop his/ her own sense of criticism, taste, likes, and dislikes about this or that part of the movie, and discuss it with others. The goal here is not to please everyone but to show, on screen, a personal vision of life.

François Scippa President of Dist rib Fil ms US

About Dist rib Fil ms: Distrib Films has been releasing movies since 2010, starting in France and then expanding to the U.S. As an independent company, Distrib Films President and Head of Distribution François Scippa Kohn has built a strong network of connections within the industry with producers, sales agents, theater and festival bookers, VOD aggregators, and all types of vendors helping to release each movie with a tailored approach. www.distribfilmsus.com

Dist ribut ed t hrough Dist rib Fil ms: (L t o R): "Perf umes," "The Freshmen," Someone Somewhere," "Papicha."

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To d d Co m ic A r t

V a n Lin d a & Il l u s t r a t i o n

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I NDEPENDENT STREAK M AGAZI NE Oct ober / Novem ber 2021

Academy Museum of Mot ion Pict ur es Opening Phot os: ©Academy Musuem Foundat ion On September 25, 2021, as part of a week of celebrations culminating in the museum?s public opening on September 30,the Academy Museum of Motion Pictures hosted an Opening Gala co-chaired

by Jason Blum, Ava Duvernay andRyan Murphy. The celebratory evening included the presentation of the inaugural Vantage Award to Haile Gerima, for his work as a filmmaker who has helped to contextualize and challenge dominant narratives around cinema, and the inaugural Visionary Award to Sophia Loren, for her extensive body of work that has advanced the art of cinema. The Vantage and Visionary Awards were generously presented by Rolex. Bob Iger, Annette Bening and Tom Hanks were also recognized with the Pillar Award for their leadership of the recently completed Campaign for the Academy Museum. Designed by the Haas Brothers, the Pillar Award references the soaring sphere of the Academy Museum and the iconic gold of the Oscar.

The event was attended by many notable actors and filmmakers, who came together to support the new museum, which advances the understanding, celebration and preservation of cinema. (See more about the Academy Museum in previous issues of Independent Streak Magazine).

Produced and designed by Opening Gala Creative Director Lisa Love and Artistic Director Raúl Àvila, the evening was inspired by Academy Award® -winning movie "Spirited Away," written and directed by acclaimed filmmaker Hayao Miyazaki. From a cocktail hour on the Wilshire Terrace, guests passed through a whimsical Hayao Miyazaki inspired ?tree tunnel? to a dinner under the stars on the Dolby Family Terrace. Guests enjoyed a special musical performance by Lady Gaga and the opportunity to preview the museum?s highly immersive exhibitions, including a retrospective of the work of Hayao Miyazaki. Dinner was prepared by Wolfgang Puck Catering, which oversees catering services at the museum and its restaurant Fanny?s.

Generously presented by Rol ex ? founding supporter and official watch partner of the Academy Museum ? with leadership support from J.P. Morgan, who has more than 100 years of experience in the entertainment industry, the evening raised more than $11 million to support the Academy Museum?s access, education and programming initiatives.

Some of t he many guest s in at t endance: Top: Nicol e Kidman; l ef t : Mol l y Shannon, Annet t e Bening & Warren Beat t y, Jamie Lee Curt is.

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