Brazilian director Petra Costa's film ELENA (2012) screened this week at the 16th Thessaloniki International Film Festival.

Petra Costa

Edited down from 200 hours of footage to 83 minutes, the film is visually stunning with every shot edited to create cinematic poetry.

ELENA is told through the eyes of Petra Costa from her years as a seven year-old looking up to her then teen actress sister, Elena Andrade, to her own years as a young adult in search of her sister's lost soul. When Petra was seven, Elena left Brazil for an acting career in New York. As a young aspiring actress from Brazil, Elena Andrade had her whole life ahead of her and everything any young woman could ask for- youth, beauty, exotic allure, exceptional talent and an attractive (though dangerous) melancholy.

While in NY, Elena got close to Hollywood when she began to frequent the film industry's most famous directors and players. She soon learned, however, that success in film would mean many years of patience and a constant vacillation between feelings of worthlessness, insecurity and inflated egos in the face of a career entirely dependent on the choice of casting directors and whimsical filmmakers. Elena's art began to suffer with the dramatic highs and lows of the film industry until this once 'always dancing, always singing' happy artistic soul, thus described by her idolizing younger sister, became stifled and distant to the point of muteness and immobility. Elena was so troubled by the depth of her cancerous melancholy in the face of the constant rejection she faced in NY's film world that when she felt she would never have the ability to live as the artist she felt she was, she contemplated taking her own life.

In the form of a lyrical soliloquy at times inspired by the imagery of a drowning Ophelia from Shakespeare's Hamlet, ELENA is poignantly and stylishly told. Petra Costa lived many years with a chasm in her heart left by her sister's passing. The making of this film and all its poetic cinematic language is a loving tribute to her beloved late sister. While the film focuses on one actress in the grand and daunting city of NY, it is symbolic for the fragile existence of an artist's voice that becomes muted and drowns under the stifling cloak of a mere subsisting existence, questioning what it really means to be an artist, a life that without creation and cathartic release is no life worth living.

Director: Petra Costa Script: Petra Costa,Carolina Ziskind Cinematography: Janice d’Avila, Will Etchebehere, Miguel Vassy Editing: Marilia Moraes, Tina Baz Sound: Olivier Goinard, Guile Martins Music: Fil Pinheiro Producer: Petra Costa Production: Busca Vida Filmes, Brazil Τ. +55 11 2373 7488 contato@elenafilme.com www.elenafilme.com Type: HDCam /Color Production Country: Brazil Duration: 82' Production Year: 2012

Awards Audience Award, Best Documentary Award, Best Direction, Best Editing, Best Art Direction – Brasilia FF 2012, Brazil Special Mention – ZagrebDox 2013, Croatia Anna Politkovskaïa Prize for Best Documentary – International Womens FF Creteil 2013, France

Written by Vanessa McMahon

The 16th Thessaloniki Documentary Festival – Images of the 21st Century (March 14 - 23, 2014) AWARDS

AUDIENCE AWARDS

- The Peter Wintonick Audience Award for a film over 45’ in the International Selection goes to:

FOUR LETTERS APART – CHILDREN IN THE AGE OF ADHD by Erlend E. Mo, Denmark, 2013

The Audience Award for a film under 45’ in the International Selection goes to:

BEACH BOY by Emil Langballe, UK 2013

The Audience Award for a Greek film over 45’ goes to:

BECOMING AN ACTOR by Dimitris Koutsiabasakos, Greece, 2014

The Audience Award for a Greek film under 45’ goes to:

SOCIAL CONSERVATORY - NOTES by Thekla Malamou and Alexandra Saliba, Greece, 2014

FIPRESCI AWARDS

The FIPRESCI (International Federation of Film Critics) Jury consisting of: Annika Gustafsson (Sweden), president Fritz de Jong (The Netherlands) Alexey Gusev (Russia) Frédéric Ponsard (France) Michael Pattison (UK)

Bestows the FIPRESCI award for a Greek film to:

KALAVRYTA – PEOPLE AND SHADOWS by Elias Yannakakis, Greece, 2014

Jury rationale: For investigating what is an ongoing historical trauma for the Greek people, and for documenting the importance of anti-fascist struggle both in the past and with regard to the present.

And the FIPRESCI award for an international film to:

ON THE EDGE OF THE WORLD by Claus Drexel, France, 2013

Jury rationale: For involving the viewer in the unsteady milieu inhabited by Parisian 'clochards' in an enchanting and unexpected way. Director Claus Drexel and cinematographer Sylvain Leser demonstrate a full stylistic control, filming their characters from a distance and vantage point that makes these homeless people stand out as individuals with dignity and wisdom.

AMNESTY INTERNATIONAL AWARD

The Amnesty International Jury consisting of:

The representatives of the Greek Section of Amnesty International: Irini Tsolaki (Vice President) Katerina Kalogera (Treasurer) Maro Savvopoulou (Press officer) Marianna Leondaridou (Member of Amnesty International – Film critic) Effie Voutira (Anthropologist, Professor at the University of Macedonia) Aris Hadjistefanou (Journalist, Director)

Awards the best film dealing with human rights issues to:

ÇAPULCU – VOICES FROM GEZI by Benedetta Argentieri, Claudio Casazza, Carlo Prevosti, Duccio Servi, Stefano Zoja, Italy-Turkey, 2013

WWF AWARD

The WWF Jury consisting of:

Yorgos Vellidis (Marketing Director, WWF Greece) Iason Kantas (Press officer for WWF Greece) Alexandros Kandarakis (Program Coordinator direct dialogue, Marketing Department WWF Greece)

Awards the best film in the HABITAT section to:

WINTER by Cristina Picchi, Russia, 2013

DOCS IN PROGRESS AWARD

The Docs in Progress international jury, consisting of:

Anne Grolleron (Arte, France) Claudia Neuhauser (ORF, Austria) Evi Papamichail (RIK, Cyprus) Awards the best documentary in the Docs in Progress session of the Doc Market to:

SAD PEOPLE FACTORY, Director: Michèle Dominici, Producers: Karina Si Ahmed, Jean-François Lepetit – Flach Film Production, France The award is accompanied by a 15.000 euro award equivalent to services by the Authorwave Post Production house (Greece).

EDN AWARD 2014

The EDN Award is presented annually during Docs in Thessaloniki to an institution, group or person for outstanding contribution to the development of documentary culture.

On the occasion of celebrating the 10th edition of The EDN Award, the 2014 honour is presented to Tue Steen Müller. He receives the award for a lifelong commitment to the documentary genre and for personally contributing to the outstanding development of the European documentary culture.

-16TH TDF PRESS RELEASE-

Edited by Vanessa McMahon

The curtain fell on the 16th Thessaloniki Documentary Festival - Images of the 21st Century with the closing ceremony that took place on Saturday, March 22nd, 2014 at the Olympion theater. The awards of the festival’ s 16th edition were bestowed during the ceremony.

The ceremony was presented by journalist Maya Tsokli, who made special reference to the recently deceased, dear friend of the Festival, Peter Wintonick. The 16th TDF paid tribute to the acclaimed Canadian documentary filmmaker. “Alas, we have only been given one life, and we desperately try to prolong it, enriching the number and variety of our experiences and memories. This is exactly the value of the documentary genre”, said Tsokli, adding that the documentaries screened “allowed us, the audience, to partake in events and conditions from the real world that we would have never experienced, but which are now part of the “drawer” of our personal experiences and memories. In that sense, documentaries do extend the duration of our existence in this world. I feel as if I had a personal experience of the trenches of Homs, and I am genuinely worried about the fate of Basset, wondering whether he is still alive. I am wondering if Or’s father accepted his son’ s decision and if the young boy Linar is now living a normal life. I am thinking of the women in Afghanistan, who play with fire every day, and I am profoundly concerned about how safe Loukas may feel, lost in the many paradoxes of his life. All those people entered my life these past few days and I shall be carrying them with me”. Tsokli also commented that “the 16th edition of the Festival, which keeps investigating issues and making suggestions with the same panache, has ended after meeting its ambitious goals, but the institution faces a precarious future.”

Mr Dimitri Eipides, Director of the Thessaloniki International Film Festival and the Thessaloniki Documentary Festival, said in his opening speech: “Another edition of the Documentary Festival has come to an end. We met our goals once again, and the audience responded once more with enthusiasm. The screening theaters were packed, and the films gave rise to debates and productive interactions. Our guests are leaving with the best of impressions, and our Festival is steadily growing its international status and appeal. Thessaloniki is now established as an ideal destination for every cinema lover across the globe. With the support of the city’s audience I am confident that the institution will have a great future.” Mr Eipides added: “I wish to thank you all. All my associates and our volunteers, who worked tirelessly. I would also like to thank our faithful supporters: the Ministry of Culture and Tourism, the Municipality of Thessaloniki, Public Television, the MEDIA programme and of course the European Union and NSRF and all the sponsors of the Festival. Let us meet again next year, for the 17th Documentary Festival, that will take place from 13 to 22 March 2015”.

After Mr Eipides’s speech, the 16th TDF awards were presented. The first one was the Amnesty International award for best film in the Human Rights section of the festival. This year's committee consisted of Amnesty International representatives Irini Tsolaki, Katerina Kalogera, Maro Savvopoulou and Marianna Leontaridou, as well as Effie Voutira (Anthropologist, Professor at the University of Macedonia) and Aris Hadjistefanou (Journalist, Director). Ms Tsolaki, vice president of the Greek Section of Amnesty International, thanked the Festival for promoting films that depict cases of human rights violations from across the world. “Selecting a documentary that it both is technically exceptional and it highlights human rights violations is hard. What we could not ignore in such a selection was the films’ role in revealing human rights violations by police violence and state power abuse.” That criterion led the committee to give the award to the documentary Çapulcu - Voices from Gezi by Benedetta Argentieri, Claudio Casazza, Carlo Prevosti, Duccio Servi and Stefano Zoja.

The WWF Award for best film in the Habitat section of the Festival was presented to the documentary Winter by Cristina Picchi. The WWF Jury consisted of Yorgos Vellidis, Iason Kantas and Alexandros Kandarakis. WWF representative Natalia Kalevra presented the award and commented: “From the many excellent participating films, we selected the one that intrigued us the most with its artistic value and excellent cinematography. The film showed that the harmonious coexistence of man and nature is possible even under adverse circumstances. This is a vision that we have been promoting for decades at WWF Greece.”

For the second time the Docs in Progress Award, part of the Agora - Doc Market section, was presented, which is accompanied by a 15.000 euro award equivalent to services by the Authorwave Post Production house. This year’s international jury consisted of Anne Grolleron, Claudia Neuhauser and Evi Papamichail. The jury awarded Sad People Factory, directed by Michèle Dominici and produced by Karina Si Ahmed, Jean-François Lepetit – Flach Film Production. Authorwave representative Panos Bisdas said: “Authorwave is an avid supporter of this very successful institution.” He also expressed his thanks to the filmmakers and said he hoped that they have the opportunity to present their completed projects in one of the Festival’s future editions. Producer Karina Si Ahmed, who received the award, thanked the Festival and talked about the subject of the film, which investigates the widespread phenomenon of depression.

The FIPRESCI (International Federation of Film Critics) award was bestowed next. This year’s jury consisted of Annika Gustafsson (president), Fritz de Jong, Alexey Gusev, Frédéric Ponsard and Michael Pattison. Before announcing the winners, Ms Gustafsson talked about the difficulties documentary filmmakers face, taking cue from a talk she had with Israeli director Yaron Shani, whose film Life Sentences was screened at the Festival. In 2009, at the 50th Thessaloniki Film Festival, the director had won the Golden Alexander for his feature Ajami. Now, as a documentary filmmaker, he admitted that he had faced much bigger obstacles in his attempts to secure funding and distribution. His documentary won an award at the Jerusalem Film Festival but was afterwards screened only a couple of times by two Israeli film societies and a specialized documentary TV channel. “The experience is similar for many filmmakers from countries without strong tradition in the genre, which is why the Thessaloniki Documentary Festival is such an important event. I know that it serves as a school and inspiration for Greek documentary filmmakers,” said Ms Gustafsson, who also thanked Mr Eipides and his associates for organizing a festival that is becoming better every year in both its international and Greek sections, adding: “it gives me great hope to see all those children visit the Festival with their teachers, since they are the film lovers of tomorrow.” By unanimous decision, the FIPRESCI award for a Greek film was bestowed to Kalavryta - People and Shadows by Elias Yannakakis. According to the Jury rationale, the film was awarded “for investigating what is an ongoing historical trauma for the Greek people, and for documenting the importance of anti-fascist struggle both in the past and with regard to the present.” In his speech, the director thanked the jury, the Festival for screening his film, his crew and the people of Kalavryta. “The award and this entire effort belong to them,” said Yannakakis, adding: “The film was made on the occasion of the 70th anniversary of the Kalavryta massacre. The timing was unique, as the film coincided with the financial crisis, the problems Greece has with the German government and the resurgence of neofascism in Greece. We believe that this documentary, together with all the others filmed on the matter in recent years —and those that I am sure will be made in the future — can serve as a weapon to show reality without resorting to an anti-German rant. A terrible massacre took place at Kalavryta in 1943. If we use this documentary properly, we will succeed in satisfying our rightful claims and eliminating neofascism in Greece.”

The FIPRESCI award for an international film was bestowed to On the Edge of the World by Claus Drexel, “for involving the viewer in the unsteady milieu inhabited by Parisian 'clochards' in an enchanting and unexpected way. Director Claus Drexel and cinematographer Sylvain Leser demonstrate a full stylistic control, filming their characters from a distance and vantage point that makes these homeless people stand out as individuals with dignity and wisdom”. The German director greeted and thanked the audience in Greek, and he said he was surprised and moved for receiving an award “from this wonderful Festival, in a country I love deeply.”

The 16th TDF award ceremony concluded with the four audience awards for Greek and foreign documentaries. Marketing manager of Fischer Yorgos Makrygiannakis, who presented the awards, said that Fischer has been supporting the Thessaloniki Film Festival for seven years and the Thessaloniki Documentary Festival for two. “We are honored, happy and satisfied that we are able to offer our support to such a prominent institution, that promotes culture in our beloved Thessaloniki. It is a great honor for us to present the awards selected by you, the audience and friends of the Festival.”

The Audience Award for a Greek film under 45’ was bestowed to Social Conservatory - Notes by Thekla Malamou and Alexandra Saliba. The filmmakers thanked the teachers, students and volunteers at the Social Conservatory and expressed their hope that the documentary will inspire more people to participate in collective action. They added that their documentary is part of the wider “Caravan Project”, which brings to light stories that go untold by the mainstream media, but have the power to inspire and inform people.

The Audience Award for a film under 45’ in the International Selection went to Beach Boy by Emil Langballe, who thanked the audience and said that this distinction means a great deal to him. The Fischer Audience Award for a Greek film over 45’ went to Becoming an Actor by Dimitris Koutsiabasakos, who thanked the Festival for the opportunity to present his film, his associates for their invaluable help and of course the audience for their vote. “To make this film, we depended on volunteers and had to struggle daily, having no support at all,” said the director, who dedicated the award to the memory of his brother, writer Petros Koutsiabasakos.

The ceremony ended with the presentation of the Peter Wintonick Audience Award for a film over 45’ in the International Selection, which went to Four Letters Apart - Children in the Age of ADHD, by Erlend E. Mo. The film was screened as the closing film of the 16th TDF.

16 TDF PRESS RELEASE

Edited and photos by Vanessa McMahon

STAY TUNED for multiple interviews and film reviews coming soon!

Images from 16th Thessaloniki Documentary Film Festival 14-23 March

For festival news, visit the blog at:

http://www.filmfestivals.com/blog/thessaloniki

Canadian director Shawney Cohen's film The Manor (2013) screened at the 16th Thessaloniki Documentary Film Festival last week.

This award winning doc depicts the modern American family at its best, and worst. This is the story of Shawney Cohen's paradoxically functional family in all its dis-function. Shawney is a struggling filmmaker balancing between the world of film and his family run strip club. He is the designated manager of a strip club his father bought thirty years ago when he was six years old called 'The Manor'.

On the outside it would look like a thirty year family business with parents who are still together for more than 40 years are a modern day family success story. But the business is stripper women on display at their club and the family consists of Shawney's outcast brothers with parents who battle self-destructive eating disorders; his mother is anorexic and his father is obese at 400 pounds.

Shawney expresses a desire to leave The Manor and become a filmmaker, but if he leaves then who would manage the club with his parents being as afflicted with their diseases as they are? Shawney feels a great responsibility to see his parents get well before he goes in pursuit of his dreams; however, his parents seem incapable of change and content to live with their problems as they are.

Throughout the film, Shawney films his efforts to help his family through their problems, but to no avail. By the end of the film, his parents celebrate their 42 year wedding anniversary and we are left to wonder if his mother will ever get help for her delicate anorexic condition and if his father will continue to numb his problems and pain by gorging himself with food. Shawney admits: "For years I wanted my dad to give up the manor, but the truth is I can't imagine my life without it."

The Manor is a poignant and bittersweet true story about the American dream gone horribly wrong, and yet in its own fragile poetic way some things have gone so right.

Written by Vanessa McMahon

View trailer here:

AWARDS: Best Documentary (Honorable Mention) – Karlovy Vary IFF 2013, Czech Republic Best Editing – Woodstock FF 2013, USA Tribeca Film Institute (TFI) Award 2013 Best Pitch Winner – IDFA Forum 2012, The Netherlands Hot Docs Fund Award – Hot Docs FF 2012, Canada

Shawney Cohen

BASTARDS (2014) at 16th Thessaloniki Documentary Film Festival.

'Bastards' by British director Deborah Perkin focuses on the troubled fate of illegitimate children in Morocco. The film opens with the official English definition of the word 'Bastard': “1) a person born of parents not married to each other and 2) an unpleasant or despicable person”. Just after we are reminded of what the word truly means, multiple images of innocent children grace the screen. Adorable, loveable, unlucky, these children (aka 'bastards') are the offspring of illegitimate marriages in Morocco. In Morocco, like in all Muslim countries, sex outside of wedlock is still illegal. While Morocco is recognized as the Arab world's most liberal Muslim country, women who bear children outside of marriage are social outcasts and their babies, most times abandoned by their father, are considered a fatherless illegitimate. 'Bastards' is told from the POV of Rabha who has a daughter from her unrecognized marriage (because she was forced into marriage underage at 14 years-old) as she fights against the archaic Moroccan legal system in order for her daughter to receive immunizations and to become a 'legitimate' child in society.

I interviewed Deborah in Thessaloniki, Greece during the 16th annual Thessaloniki Film Festival. Here is what she had to say:

ME: When did you decide to make a film about the situation of illegitimate children in Morocco?

DEBORAH: It was four years ago, after a vacation touring around the Imperial Cities and noticing how many women were working and clearly taking part in public life. To a Western eye, women are not at the forefront of Moroccan society, with the cafes full of men and so on, but to my eye, having worked in Egypt, Jordan and Turkey, it was extraordinary to see so many women out and about. I could see that something special was going on in Morocco, so I came home and researched what it was. It turned out that Morocco had reformed its Family Law code to give women and men more equality within marriage and in care of children. I checked with leading international experts on Islamic law, and discovered that Morocco leads the world in terms of women's rights. That was a story that I had never heard before, so I wanted to share it. I decided to focus on illegitimate children, the most innocent and vulnerable group of people in a a Muslim society, where sex outside marriage is illegal.

ME: How did you find your characters? Was it hard to get your cast to decide to be filmed?

DEBORAH: I found a charity called the Women's Solidarity Association*, and after a lot of discussion, they decided to trust me and open their case files. It wasn't hard at all to persuade women to be filmed. I was amazed! Nine out of ten were desperate to tell me their stories. I started filming with around ten single mothers before I found my main character Rabha El Haimer. Not only was she articulate and passionate, but her case was just coming to court, and she was happy to let me follow her.

* The charity is run by an inspirational woman called Aicha Chenna - she set up her charity in the face of death threats 30 years ago, but now she's honoured by the Moroccan king and in 2013 was given the French government's highest honour, the Legion d'Honneur.

ME: The title is very well chosen. You are focusing on these innocent children who would be the definition of 'bastard' in the dictionary and yet it is the men who are the 'bastards'. Was the double-entendre intentional?

DEBORAH: Yes, absolutely. At the top of the film I run white text on black with the two dictionary definitions, inter-cut with shots of beautiful innocent illegitimate children looking straight into camera. The idea was to challenge the audience - who are the real bastards here?

ME: How long did it take you to film this and how many hours of footage did you have by the end?

DEBORAH: The main shoot with Rabha took two months, and the overall shooting period was 18 months. I had to keep going because the man Rabha was taking to court appealed against the verdict. I had to see the story through to the end.

ME: If Morocco is the most liberal of Muslim countries, how must this situation be in other Muslim countries?

DEBORAH: Sex outside marriage, whether that's adultery or between single people, is forbidden in Islam, so it depends on the country as to how severe they wish to be with people who break the law. Stoning to death is still the punishment on the law books in 14 countries. In Saudi Arabia where women are not even allowed to drive, it is hard to imagine what life must be like for a child born out of wedlock. I imagine they are hidden within families, just as they used to be in Britain, where the extra child was brought up by the grandparents, pretending it was their child. I'm no expert. It would be great to hear from people in other countries. I'm thinking seriously about setting up an anonymous page where people can post their thoughts and experiences.

ME: Do you think the monarchy in Morocco makes the situation better or worse than other Muslim countries?

DEBORAH: I imagine it makes no difference. You could argue that Morocco and Saudi Arabia are the most and the least socially liberal Muslim countries, and they are both led by monarchies. Tunisia does not have a monarchy and used to lead the way for women, and of course Turkey is a secular society, where family law is not based on Islam, thanks to Ataturk, who said women could stop wearing the veil in the 1920s. Now the government is becoming more religious and conservative. None of this happened under a monarchy.

ME: What do you think about the rise of poverty happening in the world today, and with that the rise in homelessness? And how, in your mind, does that affect women's rights, and human rights in general?

DEBORAH: Massive question! I think history proves that when resources are scarce, men tend to take the best jobs and women fare worse. The argument tends to go that men need better pay in order to support the family. However, there's a huge amount of evidence to show that in order to lift communities out of poverty and ill-health, it's best to train the women. My husband, who is a UK National Health Service doctor, is working on a project to train pregnant women in South Sudan about basic mother and child welfare. It's building on a model which has proven that this is the way to extend women's rights to health and control over their bodies. Much better than training up male health workers, who tend to leave their communities and go for better paid jobs in the cities. It's not rocket science - it's about educating women who then spread the knowledge around their families and friends, and who tend to stay within their communities, not abandon them.

ME: While the rest of the Arab world has been experience the Arab Spring, do you think Morocco could head in a similar direction? Or do you think the men are open to change and progress as much as the women?

DEBORAH: Morocco had pro-democracy protests in February 2011. I filmed them, wondering if they'd become part of my story somehow, producing more legal reform. My personal view is that there wasn't any appetite for violent revolution, firstly because most people love King Mohammed VI and see him as a force for good, and secondly because there is a justice system open to individuals. It might not be perfect - and Moroccans will tell you all about that - but at least a woman like Rabha in my film has access to the courts.  

ME: Will you continue to make documentaries? If so, what will you work on next?

DEBORAH: Yes, I love making documentaries, especially ones like "Bastards" where I can open people's eyes to a world they hadn't known much about before. I'm looking at several new stories, another one in the Arab world, and one close to my home in Wales.

ME: How did it feel to be a guest at the 16th TIFF? How was the reaction to your film?

DEBORAH: It was a wonderful place for my world premiere. TIFF is a really vibrant festival with a huge and dedicated audience, as well as a brilliantly well-organized festival team, ushering me to press conferences and interviews and panel discussions. There were two sell-out screenings of "Bastards", and at each one the audience groaned and sighed and laughed in all the right places. I've worked in television all my life, where you don't hear the audience reacting, so this was really special, to be in darkened room with a big screen and 265 people all focused on my film! After the screenings the Q+A sessions were tremendous. The audience, about two thirds Greek, and one third other nationalities, asked thought-provoking and wide-ranging questions. Thank you TIFF!

Visit Deborah's website here: http://www.deborahperkin.com/bastards/

Director Deborah Perkin

Interview by Vanessa McMahon

Ah, beautiful Paris! City of lights, city of love, city of des Beaux-Arts and grand history...city of great poverty and a rising homeless population. Meet Jeni, Wenceslas, Christine, Pascal and many others who live on the streets all year long in Paris during freezing winters, hot summers and wet shoulder seasons. While they struggle to subsist under the bridges, in alleyways and in the metros in plain sight, they endure a near invisible existence. In his visually stunning and touching documentary- 'ON THE EDGE OF THE WORLD' (2013)- director Claus Drexel films the homeless of Paris to look at them up close and personal and hear what they have to say. -Vanessa McMahon

I interviewed Claus during the 16th annual Thessaloniki Film Festival and here is what he had to say:

ME: When did you decide to make a film about the homeless of Paris? How long did it take?

CLAUS: I wanted to make this film for a long time, but never really decided to move on it. My idea was to give these people, that we see everywhere but never hear, the possibility to talk to us. Then one day, I pitched the idea to my producer friend Florent Lacaze. He loved the project and urged me to do the film as soon as possible. So we set up our team (1 cinematographer, 1 sound engineer and myself), made a few camera, lens and microphone tests and started right away. The shoot lasted more or less one year.

ME: How did you find your characters? Was it hard to get your cast to decide to be filmed?

CLAUS: The first two months we walked through Paris and talked with many homeless people. Maybe one hundred. Then I decided to focus on the dozen that are in the film, as I was deeply moved by their incredible loneliness. I first expected that most of them would not accept to appear in a film. But I was totally surprised by how warmly we were welcomed. I then understood that our society always thinks about material solutions for these people, but what they need most, his human relationships and consideration.

ME: Would you say that Paris is one of the worst places in the world to be homeless? Why?

CLAUS: It certainly is the most striking, because of the incredible splendor of the city. On the other hand, as it is a big city, there are many humanitarian associations out there. You don’t starve in a city like Paris.

ME: The film is shot beautifully. Can you talk about the aesthetics of the shoot?

CLAUS: I wanted to emphasize the incredible contrast between the situation of these people and the splendor of Paris. As in a painting, I also believe that there is a deep resonance between the inner beauty of these people and the magnificent backdrop.

ME: Most people think that France has a good social system (compared to poorer countries), so why are there so many homeless people?

CLAUS: Maybe the French social system has reached its limits too, regarding the ongoing crisis. On the other hand, it is important to understand that many of these people have much deeper problems than just economical ones. Even if you’d provide them with a home, they’d come back on the streets sooner or later. It’s hard to understand, but we must accept that and have consideration for them, even if they remain a total mystery to us.

ME: Do you think that being homeless is it at times a conscious decision for people or a matter of poverty? Or both?

CLAUS: Living on the streets is so tough, that no one would go for it conscientiously. Even if some people say so, I believe it’s one last expression of pride: if you say that you chose this situation, it sounds as if you still have a control over your life. But I think that they just can’t do otherwise. When people tell me that they can’t understand why the homeless just don’t make the effort to find a job and move on, I answer them asking why – if themselves, they’d like to have more money – they just don’t make the effort to run as fast as Usain Bolt, who is obviously very rich. We all have our limitations and deserve equal recognition as human beings, regardless of what we are able to do and what not.

ME: What do you think about the rise of poverty happening in the world today, and with that the rise in homelessness?

CLAUS: I sincerely believe that money is the worst invention of mankind. Its main purpose is to enable some to have much more than they need, inevitably taking it away from others, who consequently have less than they need. And it gets worse and worse. If money didn’t exist, no one would pile up tons and tons of potatoes in his garden that he wouldn’t be able to eat, leaving the others starving. And we should not forget that some of the greatest works of art, like the incredible cave-paintings in Lascaux and elsewhere, prove us that homo sapiens were able to achieve extraordinary tasks before money existed.

ME: Do you think this material digital age has created a greater divide between those who have and those have not? And do you think that those having a hard time making money are those who are having a difficult time changing as rapidly with modern times?

CLAUS: I personally don’t think that what the digital age offers is a great enrichment. I have much more consideration for a little drawing made by the hand of Man, than for a telephone with a fruit printed on the backside. But what frightens me, is the ability of the industry to impose this change onto us: if you don’t follow, you drown. In India, for example, welfare money is now wired on people’s cell phones. If you don’t own one, you get no money. So, yes, it definitely creates a greater divide.

ME: Will you continue to make documentaries? If so, what will you work on next?

CLAUS: Coming more from the fiction world, I loved making a documentary. In fact, what I loved most, was meeting different people. I certainly want to make another documentary one day, but I’ll have to find the right subject first. In the foreseeable future, I only work on fiction projects.

ME: How did it feel to be an award winner at TIFF? How was the reaction to your film?

CLAUS: Receiving the international critics award was a fantastic surprise. I’m very grateful to the jury members, who told me very nice things about the film in private, after the ceremony. On the other hand, a competition is always like a lottery. You’re lucky, if most of the jury members are responsive to the kind of films you make. It doesn’t mean that the awarded film is “better” than the others.

View trailer here: https://www.youtube.com/watch?v=fpX3veILyy8

Vimeo behind the scenes here:

Claus Drexel

Interview by Vanessa McMahon

SONOMA INTERNATIONAL FILM FESTIVAL WINNERS ANNOUNCED

Sonoma, CA (April 6, 2014) - The Sonoma International Film Festival’s 17th edition came to a rousing close Sunday night following five spectacular days that featured capacity audiences for a wide variety of films from around the world, infused with gourmet food and phenomenal wine, serving up a bountiful cinematic feast.

“This has been an extraordinary year,” said SIFF Executive Director Kevin McNeely. “We are energized by the talent we’ve seen by both emerging and established filmmakers and we’ve enjoyed introducing them to our vibrant community.”

Festival attendees were treated to a weekend full of food and fun, with daily wine tastings in the Backlot Tent, a Latin Fiesta with Mexican food by Rancho Viejo, La Casa and Maya with Robledo wines, and music by the Carlos Herrera Band, as well as the LGBT Queens & Cowboys party, inspired by the film of the same name, complete with music and dancing. Festival audiences were treated to a special concert following the screening of Born in Chicago, featuring musicians from the film, including blues greats Elvin Bishop and Charlie Musselwhite, Nick Gravenites, Harvey Mandel and Barry Goldberg.

And in between all the fun…there were movies! The audiences ate (and drank?) them up, as did the jury, who were struck by the quality of the filmmaking and storytelling.

Jury members for SIFF this year included talent manager at Untitled Entertainment Beth Holden-Garland, Ted Hope, film producer and CEO of Fandor, and Kate McEdwards, head of non-theatrical booking for independent distributor Oscilloscope for the Narrative Features. Entertainment attorney E. Barry Haldeman, independent producer and festival programmer Helen du Toit, and Emily Verellen, director of programs and communications for Fledgling, made up the jury for Documentary Features. The Short Film jury included Elliot Kotek, Editor-in-Chief of Beyond Cinema, film producer Lloyd A. Silverman and managing editor of IMDb, Keith Simanton.

FESTIVAL AWARD WINNERS

Best American Independent Feature: Brahmin Bulls, directed by Mahesh Pailoor

A disillusioned architect and his distant father come together after many years, but when a woman from the past resurfaces, old wounds threaten to break their new-found relationship. The film stars Mary Steenburgen, Justin Bartha and Michael Lerner.

The jury chose this film for it’s universal recognition of the father-son relationship told through the specificity of a cultural lens.

Best World Feature: Siddharth, directed by Richie Metha, who won this award several years ago for his film Amal, and produced by David Miller, who won last year’s award with his film Blackbird.

After sending away his 12-year-old son Siddharth for work, Mahendra (a chain-wallah who fixes broken zippers on the streets) is relieved his financial burdens will be alleviated. But when Siddharth fails to return home, Mahendra learns he may have been taken by child-traffickers. With little resources and no connections, he travels across India with the hope that whatever force arbitrarily took his child away will return him unharmed.

The jury selected this film for its tremendous heart and humanity in a quickly changing time. It is classic storytelling with a fresh perspective.

Honorable Mention: Everything Is Fine Here, directed by Pourya Azarbayjani

An engaged girl is gang raped in a desert area of Teheran. In a strict conservative society the crime of the assailants is the catastrophe of the victim. Overwhelmed by rumors her life turns into a nightmare.

The jury awarded this with an honorable mention for its courageous approach to narrative storytelling.

Best Documentary Feature: The Human Experiment, directed by Donald Hardy, Jr.

Narrated and executive-produced by Oscar winner Sean Penn, the film lifts the veil on the shocking reality that thousands of untested chemicals are in our products, our homes and in us. The result: Rising rates of everything from cancer to autism to infertility. The film follows a band of unlikely activists who are fighting back. Ranging from a conservative businessman to a teenage radical, they are staking their lives on this battle to protect our health. They go head-to-head with the powerful and well-funded chemical industry to uncover a system that's been hidden from consumers, where science is for sale and million-dollar PR campaigns keep dangerous products on the shelves. What will it take to stop this vast human experiment before it's too late for our health?

The jury felt the quality of the documentaries this year was amazing and they were all quite impressed. They felt the film they picked not only told an important story that needed to be told but was equally entertaining.

Best Narrative Short: Door God, directed by Yulin Liu

On Chinese New Year, a little girl learns reality is not what it seems as she discovers how betrayal can be done out of love. A 7-year-old girl, Lingli, has been waiting two years for her mother to come home. When her family finally puts up the Door God on Chinese New Year, her mother finally returns, but brings irreversible change to Lingli and her family.

The jury was affected by this tale of a small girl and her father learning to exist in a new normal following the mother’s abandonment. It is a story of hope and stoicism.

Best Documentary Short: Happy Hands, directed by Honey Lauren

1975. Saigon was falling and the lives of thousands of Vietnamese would change forever... Displaced... a new country, a new language, America. Opportunity...but not a home and not a job. A dream. Hollywood icon, Tippi Hedren, gave her time and heart on the South China Sea, bravely helping Vietnamese refugees and eventually becoming a fixture in the camp known as Hope Village. There, Miss Hedren personally conceived and provided the means for twenty of the first refugees to establish themselves as manicurists. Together, they brought beauty to the masses, and established a new industry that became a Vietnamese American Dream for a people whose language has no word to describe it. This is the story of the Vietnamese 'nail worker.'

The jury was struck by this revealing introduction of how South Vietnamese immigrants earned a living and gained a sense of self via an unlikely route…nail salons.

AUDIENCE FAVORITE WINNERS

The Stolman Audience Award of $1000 for Best American Independent Feature: The Fourth Noble Truth, directed by Gary T. McDonald

After being convicted of road rage, playboy movie star Aaron Redmond is sentenced to individual mediation lessons with an enlightened Buddhist teacher named Rachel who frowns upon his bad boy lifestyle. In each of their encounters, Rachel teaches Aaron one essential truth, and avoids his patterned flirtations. But soon their mutual attraction forces both Aaron and Rachel to rethink their life choices, or risk losing love. Film stars Harry Hamlin, Richard Portnow, Kristen Kerr

A³ Audience Award of $1000 for Best Documentary: Taking My Parents to Burning Man, directed by Joel Ashton McCarthy and Bryant H. Boesen

Burning Man is a controversial arts festival in the Nevada desert that is notorious for dust, destruction, and debauchery. Needless to say, it's not your average place for a family vacation...that is until Bry decides to rip his parents from their day to day office jobs and throw them into an adventure of a lifetime. Featuring Bryant H. Boesen, Charles Boesen, Lilice Boesen.

Audience Award of $1000 for Best World Feature: Butterfly’s Dream, directed by Yilmaz Erdogan

In a small Turkish town, two young tuberculous poets try to survive while publishing their poems. As they both fall in love, their life would never be the same.

Festival attendees partied on into the night following the Closing Night screening of Belle directed by Amma Asante and starring Gugu Mbatha-Raw, Tom Wilkinson, Miranda Richardson and Emily Watson.

About the Sonoma International Film Festival: Now in its 17th year, the Sonoma International Film Festival (April 2-6, 2014) takes place in the heart of Northern California’s Wine Country and features more than 110 hand-selected films including independent features, documentaries, world cinema, shorts and a showcase of Spanish language films. All films are shown at intimate venues within walking distance on Sonoma’s historic plaza. The Festival is dedicated to promoting independent film, supporting filmmakers around the world, and inspiring film lovers. Most films screened at the Festival have attending filmmakers and actors making for spirited Q&As. This unique 5-day event offers world-class cuisine from local artisans and exceptional wine from Sonoma vintners. Renowned filmmakers, industry leaders and celebrities such as Bruce Willis, Susan Sarandon, Robin Williams and Danny Glover, Demián Bichir and Mary-Louise Parker have walked the festival red carpet and enjoyed its intimate ambiance.

For more information visit: http://www.sonomafilmfest.org/

-OFFICIAL SIFF PRESS RELEASE-

Edited by Vanessa McMahon

What would you do if you had a lot of money, exquisite taste and a talent for taking pictures of nude men? Well, in Angela Christlieb's film NAKED OPERA (2013), she offers us a peak inside the world of someone who lives just so. Meet Marc. He is a unique and very wealthy man from Luxembourg who believes himself to be a real life Don Giovanni. Marc spends all his money and time in the effort to create his existence modeled after the opera while traveling all over the world to see Don Giovanni performances. He lives a lavish life surrounded by beautiful young men while staying in the world's most luxurious hotels eating and drinking only the finest of gourmet food and wine. But there is a great sadness in Marc's seemingly rich life.

While in search of the perfect Don Giovanni performance, Marc sees himself as a kind of artist errant and empathizes with other artists, Hemingway for one. Throughout the film, Marc speaks of Hemingway: “Hemingway could never afford this room. Artists are usually very poor” and “Hemingway said: 'you don't pay whores for coming, you pay them for leaving'”. Marc is himself a kind of Don Giovanni living a world of material decadence in search of something real and true, that great divine and pure love that money can never buy. When Marc feels betrayed by his lover at the end of the film, he admits: “I am so much more familiar with loving than being loved.” This real life Don Giovanni lives his life to die a hero. In the poignant and excellently eccentric documentary, NAKED OPERA, Marc shows us that all the world's wealth can never heal a wounded heart.

NAKED OPERA (2013) by Angela Christlieb screened at the 16th Thessaloniki Documentary Film Festival.

View trailer here:

-Written by Vanessa McMahon

Only a hand full of people in the world can say they spent 23 years involved in the telling of Muhammad Ali's life story, and American director Bill Siegel is one. To Siegel, Ali is not only a world renown international athlete and hero, but a mirror into which any person can see a piece of themselves. In his latest film about Ali, 'The Trials of Muhammad Ali' (2013), Bill tells a three part story of the man who went from Olympic winning athlete to spiritual leader for the Nation of Islam to a Civil Rights activist and ambassador for peace. The film is a lyrical homage to one of history's greatest personalities depicting archival footage from all stages of Ali's professional life featuring interviews from his brother, Rahman, his bride Khalilah Camacho-Ali, New York Times writer Robert Lipsyte and Nation of Islam leader, Louis Farrakhan. In his fight to preserve history, Bill Siegel's beautifully documented film provides a crucial account of one of American history's most exemplary and beloved figures, Muhammad Ali.

I recently interviewed Bill during the 16th annual Thessaloniki Documentary Film Festival. Here is what he had to say:

ME: What made you feel so close to Muhammad Ali that you felt this was a film you had to make?

BILL: Muhammad Ali is like a superhero but athletic. He is immortal, yet he is one guy. I really appreciate his ability and his on the ground way of being who he is.

ME: When was the first time you met him?

BILL: 1990

ME: This isn't the first film you have made about him. You have a 23 year history spent on the telling of Ali's story.

BILL: I worked on a six hour series called: 'Muhammad Ali: The Whole Story' in 1990. That's the 23 year old part. That was my first job in documentary film. I was a researcher and my job was to immerse myself in his whole life. So, I did that and it stayed with me. Then I went on to make another film, 'The Weather Underground', and that was when I knew I had to come back to another Ali film. I wanted to make a film about him in three acts. Act 1: Cassius Clay, Louisville, Kentucky, Olympic gold medalist, hero finds the Nation of Islam and becomes Muhammad Ali; Act 2: Muhammad Ali gets drafted to fight in Vietnam and refuses to go, gets sentenced to five years in prison, has his passport taken away, can't fight within the USA and can't leave the USA, that's the exile years; Act 3: Ali appeals his case all the way to the Supreme Court and wins. So, it was very clean in my mind. I knew what the story was that I wanted to tell. 1,2,3 you're out. But then it got complicated because I started to work with other people who got the Ali fever, as I call it, because once you immerse yourself in that man's life you begin to see yourself. He is the United States Civil Rights Movement. He is like A-Z. He is such a prism through which to find ourselves. That's really why ultimately I wanted to make the film, to understand more about myself.

ME: Has Ali seen the film?

BILL: Not the final version. He saw a fine cut and he loved it. I could tell because he loves watching stuff about Muhammad Ali. So, it's not hard to do.

ME: What was the biggest challenge about filming this movie?

BILL: Overcoming myself and just getting it done.

ME: Because you had to make huge sacrifices to get this movie made.

BILL: Yeah, I did.

ME: You said that you want to be a warrior against the ability for history to disappear and that is something you hold close. Can you talk about your passion for history?

BILL: I really believe in history. I believe in the role that the past plays upon the present which forms the future. It sounds so simple every time I say it but I do trust in that. I try and teach my children that too. Without history, you cannot understand who you are. That's what I believe anyway.

ME: Now that you have spent 23 years of your life on Muhammad Ali, what's next for you?

BILL: I want to do a film called: 'America Sells Itself'. I have access to incredible archival footage about American propaganda films. The first piece of American propaganda is the Declaration of Independence. So, I want make a film about the world and the role America has played in it. I feel that if we are going to survive in humanity then we cannot go on like we are going on. We just can't. It's a very humanitarian story. I don't want a revolution in particular. I just want a reckoning. I want people to understand the damage that the United States has done in the world. It's terrible, really. And within the USA people think it's still red, white and blue and beautiful and it's not. It's not.

ME: So, 'America Sells Itself' is your next film. Can we expect that to be something you start on soon?

BILL: It will probably take me six years.

ME: What has your experience been like here in Thessaloniki?

BILL: Really great. Awesome. I just love it and I cannot wait to come back.

View the trailer here:

Interview by Vanessa McMahon

New Artists Alliance's partners Gabe Cowan and John Suits are two of the most prolific producers of indie filmmaking today. While most industry players will attest to how hard it is to even finish one film in today's uber competitive climate, this indie powerhouse team is cranking out 5-6 new films a year and going on strong. When asked how they do it, Gabe just replies with a solar smile: “We don't sleep”. Most recent on the NAA slate are two debut films at the 2014 Tribeca Film Festival: Courteney Cox’s directional debut “Just Before I Go” and Adam Rapp’s “Loitering with Intent” starring Sam Rockwell and Marisa Tomei. Up next on the menu, New Artists Alliance is cooking up a medley of films for 2014 consisting of a documentary on Juvenile Justice issues entitled “The Ordinary World” and new thrilling movies of all genres which will star Dane Cook, Michelle Trachtenberg, Jaime Pressley, Robin Thicke and others.

I interviewed Gabe in LA this past week about his two films premiering at the 2014 Tribeca Film Festival. Here is what he had to say:

ME: New Artists Alliance is about to shoot its 18th feature. Can you tell us about how you began the NAA journey?

GABE: Yes, we are about to shoot our 18th feature. My partner John Suits and I met while studying for our MA degrees at Cal Arts in 2006. Before that summer, we shot a short film that was a 30 minutes. At the end of that weekend we said: "If we can shoot a half hour in a weekend then we can shoot a whole feature in a week". We just did the math. We went to our teachers and asked if we could use the school equipment and insurance but they refused and said: "No, go be an intern on a big movie". So we said: "Screw you guys!" and wrote a feature script in nine days and went and shot it in a week.

ME: What was your first film?

GABE: It was a thriller called "Breathing Room". It was six weeks from the time we decided to make a movie to the time we had written, cast and shot it. Somehow we got it into a bunch of festivals and sold the movie. We made a bunch of money and came back to school as these guys that had done an indie movie. After that, we went to work on our thesis project. I went to Rwanda and shot a documentary on reconciliation and forgiveness in post-genocide Rwanda and my partner John shot a drama about the effects of alcoholism on a family. But when we tried to sell those movies, we realized just how hard it is to make money on Dramas and Documentaries. We are tremendously proud of those films but we needed to figure out a way to make work we were proud of that also paid the bills. So we now make two genre films for every drama or documentary we do. 

ME: That's a great model. You make the films that will make money first then the passion projects on the side?

GABE: With dramas you can attract bigger names. One of the films we have at TriBeCa called “Loitering with Intent”, which stars Sam Rockwell and Marisa Tomei. This caliber of actor probably won’t do a genre film unless it’s incredibly elevated but they might make a drama because they’re talented passionate artists looking to do something cool. In the case of Loitering With Intent, Ivan and Michael had written a wonderful script and we were lucky to be a small part of it. There are not a lot of good dramas around but those are often the good films. 

ME: Do you and John always work with the same crew?

GABE: We have a rotating crew that are three different crews. We like to use the same people because we sort of have mental telepathy at this point with a lot of our DPs and mostly, although not always, with first time directors. Part of the idea of the company was to share the profits with our cast and crew and to help first time directors get their films made. Ten or eleven of the seventeen films we've made have been first time directors. 

ME: Are the scripts you produce always written by the directors?

GABE: About 70% of the time the script is written by the director and 30% not. For example, the other film we have at TriBeCa called “Just Before I Go” is directed by Courtney Cox who is herself a first time director. She really worked her way up to this by directing seven or eight episodes of her TV show and she directed a Lifetime movie. We've known each other for years. I used to be in a band with David Arquette called 'Ear 2000', one of the worst names in show business, but it was a really fun band. We toured and even had a song on the Scream soundtrack. When I ran into her at a party last year, I hadn't seen her for ten years. She asked me what I was up to and I told her about New Artists Alliance and the films we had been producing and she said: "I have a script and I want to make my first movie”. She asked me to read the script and give her notes, which I did. When I got back from SXSW last year we had won the Audience Award with one of our films “Cheap Thrills”, which was also a first time director. 

ME: Can you talk about your genre films? What do you look for when you decide to produce an indie genre?

GABE: The thing that we try to have as the consistent theme is character driven genre stuff. I think the first couple of movies we made that wasn't the rule. The rule was just to get it done. But then we wanted to focus on the film being good and the best way for that is to focus on the characters and get into meaningful change within whoever it is you are following through this journey. 

ME: Why is it so important to keep the indie film budget so low?

GABE: It's very tough today to make more than $600K on on lower budget films. You have to have really big names and the movie needs to be exceptionally good. But nothing is a sure thing because even Spielberg and Scorsese have made bad movies. Great filmmakers sometimes make bad movies so you can't rely on the movie being great. What you can rely on is your bottom line number that tends to be about $500K which is what lower budget indies are generally worth. Even the movie with Sam Rockwell and Marisa Tomei was really hard financing that film because smart money knows that dramas have a very hard time making a return on investment. Some do incredibly well. The vast majority do not. The lead producers on that film were Lars and Jay who helm the amazing Parts and Labor team. They made “Beginners” amongst a slew of other incredible movies so they know how to make a profit on art house films. They understand that space. Our skill set leans more toward elevated genre. For us, it’s a safer financial bet - and you still get the opportunity to make great work that you’re proud of. Look at Mark Duplass hooking up with Jason Blum for Creep or look at You’re Next or Cheap Thrills or Big Bad Wolves. Character driven genre rocks. They get that space, but still the genre space is such a specific and small box to fit in, especially if you are making good genre films. In the end, it’s more reliable for us plus you get the opportunity to tell interesting and unexpected stories inside the genre space.

ME: The genre films then provide the space to make the dramas in between?

GABE: Yes. We make about five movies a year.  It's really hard and we barely ever sleep but last year we made “Loitering with Intent” and “Just Before I Go” with Courtney Cox. Both of those are at TriBeCa this year. We also made a movie called “Chuck, Hank and the Sad Diego Twins”. That was our one genre film that takes place inside a video game which has David Arquette in it. We were in downtown LA with a fifty person fight sequence like “Braveheart” literally lighting the streets on fire for that one, with basically no money. 

ME: Where are most of your films shot?

GABE: Almost all a shot in Los Angeles because actors like to hear that they can sleep in their homes. The tax incentives on the bigger budget films make that tough though. 

ME: What was your passion project film for last year that was not genre?

GABE: Our passion project last year is called “The Ordinary World”, which is a documentary. I started a screenwriting program for juveniles who are being tried as adults. We went into a juvenile maximum security facility and I did this screenwriting workshop with a 14 year-old facing 200 years in prison. There are also a couple of 17 year-olds facing sentences too. I brought in Destin Cretton who wrote and directed “Short Term 12” last year. He came in for a couple of classes and met with the kids and we wrote this twenty page screenplay. We are now going to go out and make the movie which will be a film by these kids who are facing really tough stuff. Ultimately, the screenwriting class became a reflection of them facing themselves. 

ME: How long did it take to get these juvenile stories out?

GABE: It took a long time. You can imagine what these kids are going through because decision making at that age is so tough. In the case of these kids, it took about six or seven classes before they stated breaking down because you have to be pretty tough when you're in prison; being emotionally vulnerable isn't really an option. I just witnessed the trial for one of the kids from the class. He was accused of 4 counts of attempted murder and 36 other counts. The evidence makes it clear that he was part of the shooting but he was a child at the time. While he is guilty, at the same time I don’t think he want to kill the people he was shooting at. I think he wanted to scare them. But when you’re a kid and you’re making bad choices you do deserve a second chance at some point. I know I did. I mean, I didn’t shoot anyone but at 16 I made plenty of decisions that were less than stellar. He is probably going to get sentenced to 250 years. The Supreme Court made a rule that juveniles can not be convicted for “life” so they call it 250 years rather than a life sentence but we all know what it is. It’s the rest of your life in prison because of making bad choices and typically being born into a difficult circumstance. The documentary about the kids and this writing class is called “The Ordinary World”. A terrifically talented first time director named Ben Lear is helping the ship on the doc. We shoot the short film the kids wrote in a few months. The guy did it but because the evidence is clear he was part of the shooting. He just turned 18 and he was tried as an adult. While he is guilty, at the same time I don't think he went to kill the people they were shooting at. I think he just went to scare them. But when you're a kid and you're making bad choices you do deserve a second chance at some point. He is probably going to get sentenced to 250 years; you can't call it 'Life' in prison so they give you like 300 years. The Supreme Court made a rule that you can't sentence a juvenile to 'Life' but it's the same thing. The film is called “The Ordinary World” and it's a documentary. We brought cameras into the writing class and we interviewed all the kids so we really got to know them. On one story, we had some raw interviews with the kid and wrote a twenty minute short which is a loss of innocence story. That's in post production now and we will be shooting the short in a few months. We are hoping that Destin will direct it although he is busy with his Jennifer Lawrence movie. 

ME: You have so many incredible projects going on. What is next for you?

GABE: We have these two at TriBeCa and we have a movie that comes out next month called “Making the Rules” with Robin Thicke and Jamie Pressley, which is a romantic comedy. We’re going into production mid May on a super cool science fiction film entitled 400 days. It is partly based on real life simulations being conducted where NASA and others take would be space travelers and place them in a simulator to see how hundreds of days in a small space affects the human psyche. The whole movie we are playing with the idea “is it a simulation or is it real”? It’s something J.J. Abrams would do. To train for a mission to Mars you have to be in a spaceship simulator for 250 days and the psychological effects are huge. The space.com people got us in touch with NASA and so we researched a lot about this and there is a whole concept in the movie where the people are in the simulator and after 397 days of this 400 day mission they're running out of oxygen and are forced to leave even though their mandate is not to leave.  When they exit there is no light and the ground is not earth. We don't know if this is a simulation or if it's real.  It's something like J.J. Abrams would do.

ME: On that note, can you tell us about your J.J. Abrams story?

GABE: I've been a member of a charity organization call the Children's Defense Fund with J.J. Abrams for like fifteen years. During my first year of film school I asked him about being a young filmmaker and if he could give me advice. I said: “I'm ambitious and I'm gaining new skills. You're doing so well. Maybe you could advise me on what should I do?” He was super generous with his time and totally honed in on me and gave me advice. The bottom line of what he said was: “Don't take 'no' for an answer. Go make a movie. Get a camera. You can get a camera anywhere now. Just go make a feature and that will be the best film school you can possibly have.” And that was my motivator. If you look up what J.J. tells young filmmakers, this is something he says a lot - and he’s right. It wasn't just to me that he says this. But he he is right. You have to just go out and do it. We made our first feature for $16,000 and we ended up making hundreds of thousands of dollars on it. It is by far the best percentage we’ve made in terms of return on investment. It was before DVD fell apart and before the whole industry changed, but the experience of making that movie launched our company, New Artists Alliance.

Look out for news from New Artists Alliance here: http://http://www.naafilms.com/

Interview with Gabe Cowan conducted by Vanessa McMahon

DIE WÄLDER SIND NOCH GRÜN (The Woods Are Still Green) has been selected for the main competition section "The Golden Goblet Award" at Shanghai International Film Festival. World Premiere is on June 17th, 2014 in Shanghai.

Screening - 13:30 at Hall 2 at Shanghai Film Art Center.

The Press conference shall be hold afterwards at 15:30 at Hotel Crown Plaza Shanghai, 400 Pan Yu Road , Shanghai, SH 200052.

http://www.woods-movie.com

"We are very honored, that that out of 2907 entries, our film is part of the 15 films in the main competition section," says the film's producer Robert Hofferer of Vienna based ArtDeluxe Films.

View trailer here:

The annual Shanghai International Film Festival celebrates its 17th edition this year. For more information visit: http://www.siff.com/InformationEn/Index.aspx

'Aban +Khorshid' produced by Tommee May- Saturday June 21st at 1:30pm in Palm Springs.

Aban + Khorshid got 4th runner up and special jury mention in Seattle International Film Festival.

“A beautifully filmed and tragic story, based on real life events, about freedoms here that carry the death penalty elsewhere."- 2014 Jury Statement from the Seattle International Film Festival (SIFF).

Just a bit shy of twenty minutes in length, Tommee May’s Aban + Khorshid left filmmakers and critics moved to tears after its debut at the Cannes Film Festival this year. Inspired by true events, Aban + Khorshid is an intimate portrait of two lovers, glimpsing into the world in which they met, moments before their execution for being homosexual.

The young producer behind this powerful and touching film is Tommee May. Tommee, is the founder of Come What May Productions. Her film credits include the comedy GOATS starring David Duchovny and Vera Farmiga, which she co-produced and also starred in; THE ROMANTICS staring Katie Holmes, Josh Duhamel, and Anna Paquin, which she served as associate producer; and most recently, she can be seen as Mia in Nick Cassavetes’ YELLOW. She also co-created and starred in THE ONE 'N DONE series which can be seen on Funny or Die. Tommee studied under the tutelage of Mike Nichols and George Morrison while in NY, and performed in several off-broadway plays. Her upcoming short films include ILLUSION, and DELICIOUS AMBIGUITY, which Tommee both produced and stars in.

View Trailer:

'Aban +Khorshid' Press Release edited by Vanessa McMahon

Tim Guinee, who's starred in Homeland, Revolution and The Good Wife has made his directorial debut with a short film production of Horton Foote's One Armed Man. The short has received immense praise from the likes of Gus Van Sant, Ellen Burstyn, Matt Damon, Ed Harris, Edward Zwick, Richard Dreyfuss, Charlie Kaufman, Robert Duvall, Mandy Patinkin and more. All can be viewed at http://onearmedmanmovie.com. It was the Grand Jury Winner for Best Short Film at the USA Film Festival and was a Grand Jury Nominee at South by Southwest, amongst others. The film was executive produced by Tim's close friend Philip Seymour Hoffman and is dedicated to his memory.

It is the story of CW Rowe, a successful cotton gin owner and Ned, the man who lost his arm in it. Ned wants his arm back. The film stars Charles Haid, John Magaro and Terry Kinney. At this year's Palm Springs Int'l Shortfest the film will be playing Thursday, June 19 at 7pm.

View Trailer here:

"It's Okay" World Premier at 2014 Palm Springs International Shortfest. Running time: 14 mins 53 sec.

TEASER: http://itsokayfilm.com/

Directed by Tamar Levine, the film is about a young couple struggling to break free of the restricted world they've created together.

A married couple in their thirties struggles to break free of the restricted world they've created together as they reach a turning point in their relationship. Tensions between them ebb and flow as each pushes against the routines and predictability that come with marriage and aging. It’s Okay is directed by Tamar Levine and stars JENNA FISCHER ("The Office") and THOMAS SADOSKI ("The Newsroom").

SCREENING INFO: Thursday, June 19th @ 4:30pm, Camelot Theater (2300 E Baristo Rd, Palm Springs).

Edited by Vanessa McMahon

Last year at the end of February, Aimée-Lee Curran (director), Mark Sims (producer) and Lâle Teoman (writer/actress) set out to make a short film entitled "The Palace That I Live In".

They raised the funds for the film via the crowd funding platform Pozible and short on a rural property in Bathurst, Australia over four days, with three actors, nine crew, six dogs and a mouse. The film will held its world premiere today June 21st as a part of the Dreamscapes program.

Palm Springs International ShortFest is the largest short film festival in North America and Academy Award accredited. Out of 3000 films only 330 were selected.

The three filmmakers will be at the festival for the 2nd year running, after a film they entered last year- Jump - written and directed by Aimée-Lee, produced by Mark Sims and costume designed by Lâle, won best Student Live Short Under 15 Mins.

"We are all in our late 20s, incredibly motivated and are doing everything we can to push ourselves and make films we can be proud of", says producer Mark Sims, "In 2014, director Aimêe-Lee Curran was mentored by Kim Farrant and worked as the director's assistant on the feature film Strangerland, starring Nicole Kidman, Joseph Fiennes and Hugo Weaving."

View film website here: http://thepalacethatilivein.wordpress.com

Trailer:

Aimée-Lee Curran:http://aimeeleexcurran.com

Mark Sims:http://marknsims.com

Lâle Teoman:http://laleteoman.com

Edited by Vanessa McMahon

Palm Springs Shortfest Forums and Panels.

Master Classes with Ted Hope and Allison &Tiffany Anders; Representatives from Anonymous Content, CAA, CSA, ICM Partners, Karga Seven Pictures, Nickelodeon, Participant Media, Preferred Content, Sundance Film Festival, TNT, Tribeca Film Festival, Toronto International Film Festival and many others.

The Palm Springs International ShortFest is best known for its award-winning film shorts, but each year the Festival also welcomes a long guest list of filmmakers and industry attendees for the ShortFest Forums and Panels. Two Master Classes feature indie film guru and Fandor CEO Ted Hope discussing his film experiences, as well as director Allison Anders join her daughter Tiffany Anders to talk about music in film. Prominent industry figures from Anonymous Content, CAA, CSA, ICM Partners, Karga Seven Pictures, Nickelodeon, Participant Media, Preferred Content, Sundance Film Festival, TNT, Tribeca Film Festival, Toronto International Film Festival and other organizations participate in four days of ShortFest Forums covering a wide range of emerging trends and new practices in the global film community. Celebrating its 20th anniversary, the Festival takes place June 17-23, 2014.

“The ShortFest Forums have grown into an extraordinary gathering of industry professionals, all ready to meet and mentor our new class of emerging filmmakers,” said Festival Director Kathleen McInnis. “We are so excited to bring together so many people at ShortFest, which every year generates new relationships and projects.”

“We have so many returning industry guests to help us celebrate our 20th Anniversary,” said Director of Industry Relations Christina Sasse, “Our distinguished industry guests come back each year because the ShortFest Forums are as inspiring for them as they are for our filmmakers. They love coming to our “summer camp for filmmakers” and some of them really enjoy making it into a boot camp!”

The schedule for today, June 21st, at ShortFest includes:

11:00 a.m. Meet the Programmers - Easily our biggest panel of the ShortFest Forums – both on the stage and in the audience – these worldwide festival programmers share their inside secrets, offer tips and advice, and tell it like it is when you are submitting your film to their festivals. A great way to meet the gatekeepers and tastemakers you want in your film life!

Expected panelists: Sharon Badal (Tribeca Film Festival), Dilcia Barrera (Sundance Film Festival), Beth Barrett (Seattle Int’l Film Festival), Jeffrey Bowers (Hampton’s International Film Festival), Jake Brown (St. Kilda Film Festival), Jonathan Marlow (Telluride Film Festival, Fandor), Gráinne Humphreys (James Dublin International Film Festival), Magali Simard (Toronto Int’l Film Festival), Paul Sloop (Cleveland International Film Festival), Ania Trzebiatowska (Off + Camera Int’l Festival of Independent Cinema Kraków)

1:00 p.m. The Players-Part I: The Business - A panel of agents, managers, producers and press discuss the current and future state of the business of filmmaking: from buying and selling, to commercialization and franchises, and marketing to a demographic, these top players will discuss the trends they see today in the business of film that affect/effect the filmmakers of tomorrow."

Expected panelists: Jeremy Kay (Screen International), Nick Ogiony (CAA), Anne Thompson (IndieWire), Peter Trinh (ICM Partners) and moderated by Kevin Iwashina (Preferred Content).

3:00 p.m. The Players-Part II: The Art - This panel of distinguished tastemakers, gatekeepers and content creators discuss the health and welfare of the art of world cinema: does it all “start with story”, is there room outside the box for a new-new wave of cinema (and if so, do we call that Television), who are the “fresh” voices and where do they find their audience?

Expected panelists: John Anderson (New York Times), Brian Banks (Nickelodeon), Alix Madigan (Anonymous Content), David Poynter (TNT), Pat Saperstein (Variety), Diane Weyermann (Participant Media).

Sunday, June 22 – ShortFest Industry/Filmmaker Brunch

Once again the Festival will host its signature Industry Roundtables: a unique blind-dating formula which pairs industry professionals with festival filmmakers for networking, relationship building and developing a collaborative support system. Those scheduled to participate include: Scillia Andreen (IndieFlix), Robert Bella (DreamWorks SKG, Post Production Supervisor), Jon Bloom (AMPAS), Christopher Carley (Gran Torino), Andrew Crane (American Cinematheque), Scott Dwyer (KQED), David Elliott (Four Brothers), Claudette Godfrey (SXSW), Alexi Hawley (The Following), Fred Joubaud (Ouat Media), Jody Lambert (People Like Us), Lisa Landi (KQED), Michèle Ohayon (Colors Straight Up), John Nein (Sundance), Rob Ramsey (Intolerable Cruelty), Doreen Ringer-Ross (VP, Film & TV BMI) and Marja-Lewis Ryan (Four-Faced Liar), Sharon Swart (producer) and many others.

Panel only tickets are available to the public for $11 each; Master Class tickets are $12. All ShortFest Forum programs are presented free to accredited filmmakers participating in ShortFest and its concurrent Short Film Market. Tickets can be purchased by calling (760) 322-2930 or visiting www.psfilmfest.org.

About Palm Springs International ShortFest

Designated by AMPAS as an award-qualifying festival, and accredited by the International Short Film Conference, the Palm Springs International ShortFest and its Short Film Market is the largest and most prominent short film showcase in North America. The Festival and its concurrent 3,000-plus title Film Market continue to serve as a scouting ground for new filmmaking talent and are well attended by those in the business of buying and selling short films.

The Palm Springs International ShortFest is supported by an ever-growing number of new and longtime sponsors with local, national and international prominence. The Title Sponsor is the City of Palm Springs with Presenting Sponsors The Desert Sun and Spencer’s. Major Sponsors include: Ignition, Panavision, Stampede Post Productions, Smart Source Rentals, the Hard Rock Hotel, the Greater Palm Springs Convention & Visitor’s Bureau, KQED San Francisco, the Casting Society of America, Nickelodeon and The Australian Consulate General in Los Angeles. The official host hotel and media center is the Renaissance Palm Springs. More information is available online at www.psfilmfest.org

-OFFICIAL PSSF PRESS RELEASE-

Edited by Vanessa McMahon

Carry On Receives Best of the Festival Award Whisker Receives Future Filmmaker Award; Dragula, Showfolk and Bendik & the Monster Receive Audience Awards Joanna, 90 Days and Tyres Each Receive 2 Awards.

PALM SPRINGS, CA (June 22, 2014) – Celebrating its 20th birthday, the 2014 Palm Springs International ShortFest, the largest short film festival and only short film market in North America, announced its Festival award winners on Sunday, June 22, 2014. 330 short films screened throughout the Festival along with more than 3,000 filmmaker submissions available in the film market. More than $115,000 in prizes, including $21,000 in cash awards, were awarded in 21 categories. Held from June 17-23, 2014, the Festival had another record-breaking year in attendance for ticket buyers, filmmakers and film industry delegates.

“The 2014 Palm Springs ShortFest far surpassed all of our expectations,” said Festival Director Kathleen McInnis. “Our audience, filmmaker and industry attendance all soared, as did the striking talent we were able to showcase during our 20th anniversary year. Well over 800 filmmaker and industry guests made our Filmmaker Forums one of the most dynamic we have ever had, and most of the screenings had all filmmakers in attendance—a great bonus for our audience who love their q/a sessions! Filmmakers brought themselves here from 37 countries, the most we have ever had, which speaks directly to the success of our targeted outreach to world cinema. We couldn’t be happier to have hosted this year’s class of SHORTFEST 2014—they are extraordinary!”

The 2014 Palm Springs International ShortFest award winners are:

JURY AWARDS:

BEST OF FESTIVAL AWARD – Winner received $2,000 cash prize, camera package valued at $10,000 courtesy of Radiant Images, and Final Cut Pro X courtesy of Apple Computer. The winner of this award may be eligible to submit their film to the Academy of Motion Picture Arts and Sciences for Oscar consideration.

Carry On (China), Yatao Li. During the brutal withdrawal of Japanese forces at the end of WWII, a Chinese father does whatever he can to save his family.

GREATER PALM SPRINGS CONVENTION & VISITORS BUREAU GRAND JURY AWARD – Winner received $5,000 cash prize courtesy of the Greater Palm Springs Convention & Visitors Bureau.

Joanna (Poland), Aneta Kopacz. An intimate portrayal of a young mother who must contemplate what she wants to leave behind for her toddler son and husband.

FUTURE FILMMAKER AWARD – Winner received a $2,000 cash prize.

Whisker (New Zealand), Steven Saussey. A homeless hobo wants to feed his dog but has nothing to give him, until he notices a ‘beard growing contest’ at a local pub that presents a way to get the dog what he needs...

PANAVISION BEST NORTH AMERICAN SHORT – Camera package valued at $60,000 courtesy of Panavision.

90 Days (9O天) (Canada/Hong Kong), Timothy Yeung. Armed with a 90-day tourist visa, a young Chinese girl arrives in Hong Kong. She is quickly led by her guide to the big city’s seedy back alleys, where she is prepared to work as a prostitute in a series of red light hotels with the hopes of earning money for her family.

AUDIENCE AWARDS:

BEST LIVE ACTION SHORT: Dragula (USA), Frank Meli. A young guy with an all-American father, jock older brother and an understanding mother (Missi Pyle), comes to terms with his inner voice when he performs a drag number at the high school talent show, after being taken under the wing of a famous old drag performer (Barry Bostwick) in a gay bar.

Runner-up – Young Americans (USA), Kevin Lacy

BEST DOCUMENTARY SHORT: Showfolk (USA), Ned McNeilage. Showbiz vets residing at the Motion Picture & Television Fund Home share wisdom and inspiration (and a little song and dance) garnered over lifetimes in the business.

Runner-up – The War Photographers (USA), Steven Kochones.

BEST ANIMATION SHORT: Bendik & the Monster (Norway), Frank Mosvold. A monster dreams of a being a cabaret singer. Bendik dreams of a better relationship with his mom and her boyfriend. The two of them can hardly dream of what will happen if they work together.

Runner-up – The Gulf (Canada), Carl Beauchemin, Thomas Chrétien, David Forest

SHORTFEST ONLINE AUDIENE AWARD: Juliet (Australia), Martin Høgberget. Obsessed with Shakespeare and Alex, the hottest guy in school playing Romeo in the school play, Brooke is convinced the way to her Romeo’s heart is to star opposite him in the school play…and she will do anything to get the part.

JURY CATEGORY AWARDS:

Awards in the non-student and student categories were selected by ShortFest jury members Nigel Daly (Screen International), Steven Gaydos (Variety) and Katie Holly (Blinder Films). All first place winners in the non-student categories received a cash award of $2,000. First place winners in the non-student Animation and Live Action categories may be eligible for Academy Awards consideration. Second place recipients received a $500 cash prize.

BEST AnimatION short: First Place ($2,000) – Los Rosales (Italy), Daniel Ferreira. A humble and solitary robot is stuck in a repetitive life, turning wheels and cogs all day to produce his only means of survival—until he finds a way to feed his heart instead.

Second Place ($500) – Dwarf Giant (Nain Geant) (France/Switzerland), Fabienne Giezendanner.

BEST Live Action short over 15 minutes.

First Place ($2,000) – That Music (Esa Música) (Colombia), Darío Vejarano. Omar, a construction worker, receives a recorded message on his cell phone from an unknown caller. Even though nobody speaks in the message, he vaguely recognizes a melody amidst the noise of the recording. From that moment on, he starts a search to find out the name of the song in an attempt to remember the life he once led.

Second Place ($500) – The Nostalgist (UK), Giacomo Cimini.

BEST Live Action short 15 MINUTES AND UNDER:

First Place ($2,000) – The Chicken (Germany/Croatia), Una Gunjak. On her sixth birthday, Selma receives a chicken from her dad, a soldier away at the front, but her joy is quickly squashed when she realizes her mother has other plans for the new pet.

Second Place ($500) – Oranges (Naranjas) (Colombia), Iván D. Gaona

Honorable Mention – Through the Breaking Glass (A través del espejo) (Spain), Iván Mena

BEST Documentary short:

First Place ($2,000) – Joanna (Poland), Aneta Kopacz. An intimate portrayal of a young mother who must contemplate what she wants to leave behind for her toddler son and husband.

Second Place ($500) –The Dogwalker (Hundvakten) (Sweden), Caroline Ingvarsson

Honorable Mention – A Paradise (Un Paraiso) (Cuba/UK), Jayisha Patel

STUDENT CATEGORIES: All first place winners in these categories received a 1-year download membership to Videoblocks, AudioBlocks or GraphicStock.

BEST STUDENT ANIMATION:

First Place – Mend and Make Do (UK), Bexie Bush

A woman’s memories of her youth, love and family life come alive through everyday household objects.

Second Place – The Little Cousteau (Maly Cousteau) (Czech Republic), Jakob Kouril

BEST STUDENT Live Action short over 15 minutes

First Place – The Aftermath of the Inauguration of the Public Toilet at Kilometer 375 (Egypt), Omar El Zohairy

A mistimed sneeze at a government ceremony dedicating a new public toilet unleashes a nightmare for one civil servant in this beautifully shot dark comedy.

Second Place – Serori (Japan/Netherlands), Pedro Collantes

BEST STUDENT Live Action short 15 MINUTES AND UNDER

First Place – Siham (Lebanon/USA), Cyril Aris

A young couple struggles with impending news as they spend time at the husband’s childhood home.

Second Place – Here (UK), Colum Eastwood

BEST STUDENT DOCUMENTARY short

First Place – Tyres (Myanmar), Kyaw Myo Lwin. Amazingly gorgeous look at an unusual place and people who serendipitously create beautiful art along the way as they recycle old tires into functional fashionware.

Second Place – The Immaculates (Gil immacolati) (France), Ronny Trocker

BEST STUDENT CINEMATOGRAPHY

First Place – Aung Ko Ko (cinematographer), Tyres (Myanmar). Amazingly gorgeous look at an unusual place and people who serendipitously create beautiful art along the way as they recycle old tires into functional fashionware.

Second Place – Jeff Wong (cinematographer), 90 Days (9O天) (Canada/Hong Kong)

BEST US FILM SCHOOL STUDENT FILM AWARD - $2,000 cash prize courtesy of KQED, San Francisco.

Pigs (Singapore/USA), Laura Mohai. A boy with Down’s syndrome tries to help his grieving mother.

ADDITIONAL PRIZES:

ALEXIS AWARD FOR BEST EMERGING STUDENT FILMMAKER – The Alexis Award is selected by the Festival’s programming team and was created in honor of Alexis Echavarria, a young filmmaker, whose talent as a budding filmmaker and gift for inspiring excellence among his fellow students were cut short suddenly in 2005 at age 16. The recipient received Final Cut Pro X courtesy of Apple Computer.

First Place - Sun Can Blind (O Sol Pode Cegar) (Brazil), Toti Loureiro. Terrible consequences follow when Paulo shares with his friends that he lost his virginity to the housekeeper who lives in his home.

Runner-up - He Took His Skin Off For Me (UK), Ben Aston.

HP BRIDGING THE BORDERS AWARD PRESENTED BY CINEMA WITHOUT BORDERS - The winner received the award’s diploma and an HP ZBook Mobile Workstation with a color critical HP DreamColor display and Thunderbolt™2, an approximately $3000 value. The runner received a certificate for an upcoming Method Acting Intensive Workshop provided by The Lee Strasberg Theater and Film Institute with a value of $2000

First Place - Foad (Norway), Farzad Samsami

A street smart Moroccan boy devises a business opportunity with the desperate refugees at his seaside town in this film about dreaming of a better life.

Runner-up - Kush (India), Shubhashish Bhutiani

About Palm Springs International ShortFest- Designated by AMPAS as an award-qualifying festival, and accredited by the International Short Film Conference, the Palm Springs International ShortFest and its Short Film Market is the largest and most prominent short film showcase in North America. The Festival and its concurrent 3,000-plus Film Market continue to serve as a scouting ground for new filmmaking talent and are well attended by those in the business of buying and selling short films.

The Palm Springs International ShortFest is supported by an ever-growing number of new and longtime sponsors with local, national and international prominence. The Title Sponsor is the City of Palm Springs with Presenting Sponsors The Desert Sun and Spencer’s. Major Sponsors include: Ignition, Panavision, Stampede Post Productions, Smart Source Rentals, the Hard Rock Hotel, the Greater Palm Springs Convention & Visitor’s Bureau, KQED San Francisco, the Casting Society of America, Nickelodeon and The Australian Consulate General in Los Angeles. The official host hotel and media center is the Renaissance Palm Springs. More information is available online at www.psfilmfest.org

-OFFICIAL PSISF PRESS RELEASE-

Edited by Vanessa McMahon

“The Sun Can Blind” (O Sol Pode Cegar) (Brazil) by writer/director Toti Loureiro screened at the 20th Palm Springs International Shortfest. Made on a shoestring budget, the film wowed audiences for its gritty realism and naked truth about hard social life in Brazil's metropolis Sao Paolo. Paulo is a Paulista (native of Sao Paulo) who begins an affair with his maid, Maria. The two of them begin to feel growing emotions for each other as their intimacy intensifies but when Paolo shares his bedroom secrets with his street friends, horrific events take place showing us the dark side always lurking behind the light.

“This is my first film as a writer and director, and is the first part of trilogy of films about Brazilian teenagers,” says Toti, “The film was featured by Folha de Sao Paulo, the most respected Brazilian newspaper as one of the best Brazilian short films of the year, because of the courage in portraying the social differences of the country showing a relationship of exploration.” When I asked Toti about his experience at the Palm Springs International Shortfest, he replied: "Winning this award was a blessing. It was more than I was expecting, especially as there were so many other great films and talented filmakers in Palm Spring this year."

“The Sun Can Blind” (O Sol Pode Cegar) won the Alexis Award (honor to the young filmmaker Alexis Echavarria) for Best Emerging Student Filmmaker at the 2014 Palm Springs Shortfest. Loureiro received Final Cut Pro X courtesy of Apple Computer.

View trailer here:

Edited by Vanessa McMahon