The Film Festival Academy and Film Festival Research Network are two examples of how scholars and festival professionals are sharing knowledge and tools.February 24th, 2013 | Courtney Sheehan
According to Film Festival Academy co-founder Tomas Prasek, "I have seen so much useless competition in areas where collaboration would have benefited both parties...everybody says, ‘How do other festivals deal with that?’ and that's exactly what people should be asking through some kind of platform." He recently told The Independent's Courtney Sheehan why professionals could benefit from playing on the same team.
As international film festival circuits become increasingly visible online, scholarly interest in festivals as objects of study, particularly outside the US, continues to grow. At the same time, festival professionals are realizing the potential in forming collaborative partnerships through membership networks.
Hailed as one of the most important Israeli documentaries of recent years, Arnon Goldfinger's The Flat exposes family secrets and raises moral questions which Goldfinger recently discussed with a non-fiction theory class taught by USC's Michael Renov. Reported by Wendy Dent, who premieres her family-inspired film December 25 at IDFA.
Documentary filmmaking often means opening wounds. And that means wrestling with moral dilemmas. For documentary filmmakers, those issues can be the most unsettling.
Nathaniel Mann describes meeting his Intrepid Cinema colleague and the heights they'll climb to make films together.September 18th, 2012 | Nathaniel Robin Mann
We love our 10 to Watch filmmakers so much we just want to keep talking about them! Here's the inside scoop on 10 to Watch's Mike Day from his friend, colleague, and co-conspirator, musician Nathaniel Robin Mann.
Director Mike Day, 10 to Watch in 2012, is the one-man turbine behind Intrepid Cinema's documentaries. Here, Intrepid's composer and on-location sound designer Nathaniel Mann tells The Independent about their friendship and working relationship:
Known for directing major movies, John Madden explains how "Marigold" breaks mainstream rules.May 4th, 2012 | Katherine Brodsky
Though he makes major motion pictures with traditional distribution, John Madden pushes against age bias with today's US release of The Best Exotic Marigold Hotel, starring only actors over 60.
Director John Madden, who started out in producing British television, has made a name for himself across the pond helming films such as Shakespeare in Love, Proof and more recently, The Debt.
Kurt Brokaw reviews his top choices from the 17th annual showcase of contemporary French film.February 27th, 2012 | Kurt Brokaw
Senior film critic Kurt Brokaw brings us a second consecutive year of critic's choices from Rendez-Vous With French Cinema, running March 1-11, 2012. His picks include Free Men, Unforgivable, Untouchable, 17 Girls, 38 Witnesses and The Well Digger’s Daughter.
Senior film critic Kurt Brokaw is viewing the prescreened main slate of the 2012 Rendez-vous With French Cinema showing March 1-11, at the Walter Reade Theatre, BamCinematex, and IFC Center. His critic’s choices from among 20 films include:
Free Men (Les Hommes Libres)
(Ismael Ferroukhi. 2011. France. 99 min.)
Courtney Sheehan reports from the third annual Cinelink forum at the Sarajevo Film Festival.September 19th, 2011 | Courtney Sheehan
Tax incentives. Public and private funding. Transnational co-productions. During a year abroad to study regional film festivals and exhibition, Courtney Sheehan takes in Southeast Europe through the lens of presenters at the third annual industry Cinelink forum during the Sarajevo Film Festival.
For the past three years, film professionals from all over Southeast Europe have gathered at the Sarajevo Film Festival (SFF) to discuss the state of the regional film industry during the Cinelink forum, the track of the festival established for that purpose.
Print journalist Geoff Edgers takes a turn as a documentarian with "Do it Again," about his tireless effort to reunite the Kinks.September 23rd, 2010 | Erin Trahan
What if your favorite band had separated and you could be the reason they reunited? What if you could convince Sting to sing and play guitar with you backstage? Music journalist Geoff Edgers dared to dream and from those dreams came his first documentary, Do it Again. He discussed the making of with The Independent's Erin Trahan.
With latent teen rocker angst and a career as a print music journalist threatened to the point of extinction, Geoff Edgers hit mid-life determined to shake things up. Part one of his plan: get the Kinks back together after a decades-long split between the band’s two lead figures, brothers Ray and Dave Davies. Part two: in lieu of a reporter’s notebook, bring a documentary film crew.
Against all odds, students and faculty at Haiti's Ciné Institute use their cameras to transform pain and destruction into artful moving images.May 6th, 2010 | Beth Brosnan
In a special report for The Independent, Beth Brosnan speaks with students and staff of Ciné Institute, Haiti's only professional film school, about life after the region's devastating earthquake. Brosnan explores how, months later, they're using filmmaking techniques to cope with tragedy, rebuild, and even thrive in the face of adversity.
On January 12th, Haiti’s only professional film school, Ciné Institute, lost its main building in the massive earthquake that devastated the Port-au-Prince region.
In surveying more than a year of films and filmmaker interviews, Randi Cecchine decides that yes, funding streams can influence form, and the difference between the US and foreign models may surprise you.March 4th, 2010 | Randi Cecchine
US docmakers may feel pressed by funders to change the world with every film. The Independent's Randi Cecchine asks how is that mandate influencing docs' form, and what happens when funding models drastically differ, as they do abroad?
Over the past few years, I've had the pleasure of attending a number of film festivals and conferences, some with a press pass blogging for The Independent, some as a filmmaker; and each time I watch films, attend panel discussions, and most importantly, speak to documentary filmmakers to learn about their creative practice and the realities of producing.
Social media is free, can reach a large audience, and did we mention it's free? Two filmmakers share pointers on how they used social media to their advantage.February 17th, 2010 | JBlair Brown
Let's face it...social media is quickly taking over the world. With everyone and their mother – literally – on sites such as Facebook, Twitter and YouTube, how can independent filmmakers use social networking to find and build an audience?
Your film has all the elements of an underground hit: tears, laughter, intrigue, love, hate, betrayal… audiences will love it! But you spent your entire budget on production.
So the question remains: How can you effectively spread the word so that your film is viewed by as many people as possible, particularly when you lack adequate funding?
What Is Social Media?