The Atlanta Film Festival (Atlff), one of the country’s largest Academy Award-qualifying film festivals, will celebrate its 40th birthday April 1–10. Welcoming an audience of almost 25,000 attendees, the fest receives more and more submissions every year, topping 4,000 in 2016. A first wave of six features and 12 short films was announced recently, showcasing filmmaking talent from Bangladesh, Canada, India, Pakistan, Palestine, South Africa, the United States, and beyond. Atlff’s 2016 Screenplay Competition also named five pilot finalists and 12 screenplay finalists; the winners receive a three-day immersive retreat and one-on-one development with industry professionals. Congrats to screenwriters Heidi Willis (“Black Sunday”), John Pisano-Thomsen (“Dietrich Danzig”), Erik Adolphson (“Lemon Made”), and pilot scribe Mike Makowsky (“Cold Spring Harbor”)! Congratulations are also in order for the filmmakers whose Atlff 2015 official entry “Bear Story (Historia de un oso)” took home the Academy Award for best animated short Feb. 28. The Gabriel Osorio Vargas-directed short was...
- 3/1/2016
- backstage.com
The winners of the 88th Annual Academy Awards have been announced, the biggest award Best Picture went to 'Spotlight.' 'The Revenant' took home the Best Director Oscar for Alejandro González Iñárritu, making Iñárritu the third director in history to win back-to-back directing and Leonardo DiCaprio finally got his Oscar for Best Actor (and there was much rejoicing).
Emmanuel “Chivo” Lubezki also won his third Best Cinematography Oscar in a row for 'The Revenant.' 'Mad Max: Fury Road' was the big winner of the night for most awards, sweeping the technical categories to earn six Oscars, including Best Production Design.
It was a great year for Irish talent picking up nominations but only Stutterer, which was directed by Irishman Benjamin Cleary managed to pick up a award in Best Short Film (Live Action). The short can be viewed on the Rte player here.
With all the talk of Leonardo DiCaprio...
Emmanuel “Chivo” Lubezki also won his third Best Cinematography Oscar in a row for 'The Revenant.' 'Mad Max: Fury Road' was the big winner of the night for most awards, sweeping the technical categories to earn six Oscars, including Best Production Design.
It was a great year for Irish talent picking up nominations but only Stutterer, which was directed by Irishman Benjamin Cleary managed to pick up a award in Best Short Film (Live Action). The short can be viewed on the Rte player here.
With all the talk of Leonardo DiCaprio...
- 2/29/2016
- by noreply@blogger.com (Flicks News)
- FlicksNews.net
I will be posting updates of all of the Oscar action here tonight in this post (and live tweeting). You can check out all of the nominations below, I will Red Bold the winners as they are announced. 2015 brought a crazy amount of competition and there’s absolutely no telling which way the votes will go with this room of talent. Will Leo finally win his Oscar? Will George Miller take the Oscar for Best Director? Will Stallone finally earn the gold for Rocky after all these years?
The Revenant leads the way with 12 nods, including Picture, Director (Alejandro G. Iñárritu), Actor (Leonardo DiCaprio) and Supporting Actor (Tom Hardy). Mad Max: Fury Road follows with 10 nods, with the action epic getting the well deserved Picture and Director nominations.
Here we go…
Best Original Screenplay
Spotlight – Tom McCarthy, Josh Singer
Inside Out – Josh Cooley, Pete Docter, Meg LeFavue
Straight Outta Compton — Jonathan Herman,...
The Revenant leads the way with 12 nods, including Picture, Director (Alejandro G. Iñárritu), Actor (Leonardo DiCaprio) and Supporting Actor (Tom Hardy). Mad Max: Fury Road follows with 10 nods, with the action epic getting the well deserved Picture and Director nominations.
Here we go…
Best Original Screenplay
Spotlight – Tom McCarthy, Josh Singer
Inside Out – Josh Cooley, Pete Docter, Meg LeFavue
Straight Outta Compton — Jonathan Herman,...
- 2/28/2016
- by Graham McMorrow
- City of Films
Oscar-Nominee 'Bear Story' Dir. Gabriel Osorio on His Grandfather's Exile & Latin American Animation
With two Academy Award nominations this year and the increased overall quality of productions made in the region, Latin American animation is rapidly evolving from a technique sporadically employed in those territories to a viable alternative medium for artists to explore both local and universal stories.
“Bear Story” (“Historia de un oso”) by Chilean animator Gabriel Osorio - currently nominated in the Best Animated Short category next to works by three previously nominated filmmakers and a Pixar production - tackles one of the darkest chapter’s in his country’s history through a personal CG animated narrative about a bear who copes with loss by sharing his story using an intricate diorama with handcrafted metal figurines.
Touching and delicately textured, the story, inspired by Osorio’s grandfather’s experiences, is sophistically written to be satisfying on an emotional level and carry its historical undertones subtly. Osorio talked to us about the memories that marked his childhood making animation in Chile, and storytellers’ responsibility to give us hope.
Carlos Aguilar: I know that your grandfather inspired “Bear Story." Tell me about his story and how did it become the basis for this animated short?
Gabriel Osorio: Mi grandfather was imprisoned after the coup d’état of 1973, during Pinochet’s dictatorship, and was then exiled to England simply because he was a public official during the socialist government. When I was born my grandfather was still living in exile and I grew up with this image of a grandfather that for some reason was forbidden from returning to the country and be with his family. That marked a great part of my childhood and that somehow pushed me tell the story of this character that is forcibly separated from his family and how terrible it is to return after many years in exile and realize that nothing is like it used to be.
CA: Though the short film works perfectly for a young audience, adults will understand the political and historical nuances that are also part of the story. Why was it important for you to have these two readings within the film?
Gabriel Osorio: From the very beginning I thought of making a story that could be seen by anyone, children or adults, for that reason it was important not to be literal or focus only on the historical or political aspects, but instead create a story that could speak about feelings and emotions with which any person can identify. In that sense, it was very important for me to have these distinct levels of interpretation, because they creates the possibility for new interpretations to be generated based on the experiences of each audience member. That’s always been the type of cinema that I want to make, which creates a dialogue with the audience and leaves spaces open for interpretation.
CA: How did the idea of using a bear and his story of being separated from his family and locked away in a circus as a metaphor to talk about your country’s dark past come about?
Gabriel Osorio: I met my grandfather when I was 10-years-old and what caught my attention the most was seeing how tall and big he was. He was like a bear. I believe that the use of this particular animal comes from that and the metaphor comes from trying to find an analogy between what he lived and what our family suffered living so many years away from him. For our team it was very important to convey a message about family and the importance of families remaining together.
CA: Tell me about the two visual styles that are you used in “Bear Story.” The present has a very particular elegant design, while the metal world of the music box seems even more meticulously crafted.
Gabriel Osorio: Both visual styles were a challenge in terms of the technical aspects because it in fact required us to make two different short films. In terms of the design and the art of the film, which was done by Antonia Herrera, it was important to show the details in the world of the metallic figures. I believe that the textures and the worn out details, contribute to creating the idea that there is a story behind the objects. They support the idea of this nostalgia and the idea that things were different in the past. It was also important to reflect the hard work and affection that the bear puts into the making of those figures because for him they represent his family, his memories. This also relates to the work we did as animators.
CA: The bear in the film is a storyteller himself and used the music box to share his story. Why did you feel this was the right
storytelling device for the film?
Gabriel Osorio: Besides my grandfather’s story, the idea of a bear as a storyteller has to do with a metaphor about our work as animators and filmmakers. Despite the fact that the bear knows his life is not like he would like it to be, he still tries to pass along a positive message of hope. I think that we as animators have the responsibility of giving hope to the new generations, to understand that injustices exist and will always exist in the world, but we can always do our part so these stories don’t happen again.
CA: “Bear Story” is entirely a visual short. Why did you decide dialogue was unnecessary for the story you were trying to tell?
Gabriel Osorio: It was a decision based mostly on my personal preferences and the nostalgia for a type of cinema that is rare these days. One of my favorite films is “City Lights” by Chaplin, and I personally believe that if you can express yourself simply with images, those ideas will stay with the viewer. It also has to do with my training in Fine Arts. I specialized in oil paintings and the use of images.
CA; “Bear Story” has connected with audiences from different nationalities and ages, even though perhaps some of them might not know of the historical context. What do you think makes it a universal tale?
Gabriel Osorio: The film has screened in many festivals around the world and it has won awards in Taiwan, Australia, the U.S., Greece, the Netherlands, etc. It’s definitely a universal story, which was always our objective. I think this is due to the fact that it’s a very human tale, very sad and nostalgic, that captivates audiences and generates empathy for the character. After every screening people always ask the same thing, “What happened to the bear’s family?” People are intrigued after watching it.
Some people in Europe have associated the short with the Russian revolution and people in Taiwan with the Japanese invasion, so even though this happened in Chile, exile is something that has happened everywhere in the world and that’s why many people see themselves reflected in the film
CA: How hard is it to make animation in Chile in terms of financing and resources?
Gabriel Osorio: Within the region, Chile stands out in terms of programs and initiatives that support the making of audiovisual works, both in film and television. In recent years these programs have opened specific opportunities for animation, which has increased the production of animated works. What’s complicated is that the resources granted by these funds are still too low for the entire production of an animated feature and one can only submit a project for consideration once a year, which means that productions that don’t get these resources are stalled.
CA: Would you say Latin American animation is going through a period of growth and greater international exposure? If so, why do you think that is?
Gabriel Osorio: Without a doubt, Latin American animation is going trough a great moment, and proof of this is that “Bear Story” is nominated for Best Animated Short and “Boy and the World” for Best Animated Feature. Added to this, animated features and animated television series are being produced in the majority of the region’s countries, which stimulates the possibilities for co-productions and opens the window for the exhibition of Latin American animated cinema in Latin America and the world.
I believe this growth is due to the specialization of professionals working in animation and an interest for the content being produced to cross borders. Projects are being developed thinking in the global market, which allows them to reach more territories and screens.
CA: What was your reaction when you found out about the Oscar nomination?
Gabriel Osorio: It was a total surprise. Although we were hopeful since we got on the shortlist, it was still a dream that seemed far away and is now a reality. Two years ago I would have never imagined we would be in this position. The best part is that the nomination is not only positive for Punkrobot as an independent animation studio, but it’s also a tremendous accomplishment for Chile and Latin American animation I general.
CA: Do you plan to make an animated feature in the near future?
Gabriel Osorio: Yes we have a couple ideas on file and we are eager to make an animated feature. We feel that having made two animated series with 40 episodes in total, besides the short film, has given us the necessary experience to achieve it. We want to continue making stories that connect on an emotional level with the audience through messages and themes that are simple and universal.
You can watch "Bear Story" as part of Shorts HD's theatrical release of the 2016 Oscar Nominated Short Films - Animation playing in cities around the country now.
“Bear Story” (“Historia de un oso”) by Chilean animator Gabriel Osorio - currently nominated in the Best Animated Short category next to works by three previously nominated filmmakers and a Pixar production - tackles one of the darkest chapter’s in his country’s history through a personal CG animated narrative about a bear who copes with loss by sharing his story using an intricate diorama with handcrafted metal figurines.
Touching and delicately textured, the story, inspired by Osorio’s grandfather’s experiences, is sophistically written to be satisfying on an emotional level and carry its historical undertones subtly. Osorio talked to us about the memories that marked his childhood making animation in Chile, and storytellers’ responsibility to give us hope.
Carlos Aguilar: I know that your grandfather inspired “Bear Story." Tell me about his story and how did it become the basis for this animated short?
Gabriel Osorio: Mi grandfather was imprisoned after the coup d’état of 1973, during Pinochet’s dictatorship, and was then exiled to England simply because he was a public official during the socialist government. When I was born my grandfather was still living in exile and I grew up with this image of a grandfather that for some reason was forbidden from returning to the country and be with his family. That marked a great part of my childhood and that somehow pushed me tell the story of this character that is forcibly separated from his family and how terrible it is to return after many years in exile and realize that nothing is like it used to be.
CA: Though the short film works perfectly for a young audience, adults will understand the political and historical nuances that are also part of the story. Why was it important for you to have these two readings within the film?
Gabriel Osorio: From the very beginning I thought of making a story that could be seen by anyone, children or adults, for that reason it was important not to be literal or focus only on the historical or political aspects, but instead create a story that could speak about feelings and emotions with which any person can identify. In that sense, it was very important for me to have these distinct levels of interpretation, because they creates the possibility for new interpretations to be generated based on the experiences of each audience member. That’s always been the type of cinema that I want to make, which creates a dialogue with the audience and leaves spaces open for interpretation.
CA: How did the idea of using a bear and his story of being separated from his family and locked away in a circus as a metaphor to talk about your country’s dark past come about?
Gabriel Osorio: I met my grandfather when I was 10-years-old and what caught my attention the most was seeing how tall and big he was. He was like a bear. I believe that the use of this particular animal comes from that and the metaphor comes from trying to find an analogy between what he lived and what our family suffered living so many years away from him. For our team it was very important to convey a message about family and the importance of families remaining together.
CA: Tell me about the two visual styles that are you used in “Bear Story.” The present has a very particular elegant design, while the metal world of the music box seems even more meticulously crafted.
Gabriel Osorio: Both visual styles were a challenge in terms of the technical aspects because it in fact required us to make two different short films. In terms of the design and the art of the film, which was done by Antonia Herrera, it was important to show the details in the world of the metallic figures. I believe that the textures and the worn out details, contribute to creating the idea that there is a story behind the objects. They support the idea of this nostalgia and the idea that things were different in the past. It was also important to reflect the hard work and affection that the bear puts into the making of those figures because for him they represent his family, his memories. This also relates to the work we did as animators.
CA: The bear in the film is a storyteller himself and used the music box to share his story. Why did you feel this was the right
storytelling device for the film?
Gabriel Osorio: Besides my grandfather’s story, the idea of a bear as a storyteller has to do with a metaphor about our work as animators and filmmakers. Despite the fact that the bear knows his life is not like he would like it to be, he still tries to pass along a positive message of hope. I think that we as animators have the responsibility of giving hope to the new generations, to understand that injustices exist and will always exist in the world, but we can always do our part so these stories don’t happen again.
CA: “Bear Story” is entirely a visual short. Why did you decide dialogue was unnecessary for the story you were trying to tell?
Gabriel Osorio: It was a decision based mostly on my personal preferences and the nostalgia for a type of cinema that is rare these days. One of my favorite films is “City Lights” by Chaplin, and I personally believe that if you can express yourself simply with images, those ideas will stay with the viewer. It also has to do with my training in Fine Arts. I specialized in oil paintings and the use of images.
CA; “Bear Story” has connected with audiences from different nationalities and ages, even though perhaps some of them might not know of the historical context. What do you think makes it a universal tale?
Gabriel Osorio: The film has screened in many festivals around the world and it has won awards in Taiwan, Australia, the U.S., Greece, the Netherlands, etc. It’s definitely a universal story, which was always our objective. I think this is due to the fact that it’s a very human tale, very sad and nostalgic, that captivates audiences and generates empathy for the character. After every screening people always ask the same thing, “What happened to the bear’s family?” People are intrigued after watching it.
Some people in Europe have associated the short with the Russian revolution and people in Taiwan with the Japanese invasion, so even though this happened in Chile, exile is something that has happened everywhere in the world and that’s why many people see themselves reflected in the film
CA: How hard is it to make animation in Chile in terms of financing and resources?
Gabriel Osorio: Within the region, Chile stands out in terms of programs and initiatives that support the making of audiovisual works, both in film and television. In recent years these programs have opened specific opportunities for animation, which has increased the production of animated works. What’s complicated is that the resources granted by these funds are still too low for the entire production of an animated feature and one can only submit a project for consideration once a year, which means that productions that don’t get these resources are stalled.
CA: Would you say Latin American animation is going through a period of growth and greater international exposure? If so, why do you think that is?
Gabriel Osorio: Without a doubt, Latin American animation is going trough a great moment, and proof of this is that “Bear Story” is nominated for Best Animated Short and “Boy and the World” for Best Animated Feature. Added to this, animated features and animated television series are being produced in the majority of the region’s countries, which stimulates the possibilities for co-productions and opens the window for the exhibition of Latin American animated cinema in Latin America and the world.
I believe this growth is due to the specialization of professionals working in animation and an interest for the content being produced to cross borders. Projects are being developed thinking in the global market, which allows them to reach more territories and screens.
CA: What was your reaction when you found out about the Oscar nomination?
Gabriel Osorio: It was a total surprise. Although we were hopeful since we got on the shortlist, it was still a dream that seemed far away and is now a reality. Two years ago I would have never imagined we would be in this position. The best part is that the nomination is not only positive for Punkrobot as an independent animation studio, but it’s also a tremendous accomplishment for Chile and Latin American animation I general.
CA: Do you plan to make an animated feature in the near future?
Gabriel Osorio: Yes we have a couple ideas on file and we are eager to make an animated feature. We feel that having made two animated series with 40 episodes in total, besides the short film, has given us the necessary experience to achieve it. We want to continue making stories that connect on an emotional level with the audience through messages and themes that are simple and universal.
You can watch "Bear Story" as part of Shorts HD's theatrical release of the 2016 Oscar Nominated Short Films - Animation playing in cities around the country now.
- 2/23/2016
- by Carlos Aguilar
- Sydney's Buzz
Here are the nominations for the 88th Academy Awards; and The Revenant leads the way with 12 nods, including Picture, Director (Alejandro G. Iñárritu), Actor (Leonardo DiCaprio) and Supporting Actor (Tom Hardy). Mad Max: Fury Road follows with ten however, with the action epic getting the well deserved Picture and Director nominations.
Surprisingly Aaron Sorkin (Steve Jobs) and Quentin Tarantino (The Hateful Eight) didn’t get a screenplay nod and Steven Spielberg and Ridley Scott missed out in the Director category.
The 2016 Oscars will air live on Sunday, February 28th on ABC, hosted by Chris Rock.
Best Picture
Spotlight
The Big Short
The Revenant
The Martian
Brooklyn
Mad Max: Fury Road
Bridge of Spies
Room
Best Director
Alejandro G. Iñárritu – The Revenant
Adam McKay – The Big Short
Tom McCarthy – Spotlight
George Miller — Mad Max: Fury Road
Lenny Abrahamson — Room
Best Actress
Brie Larson – Room
Saoirse Ronan – Brooklyn
Cate Blanchett – Carol
Charlotte Rampling...
Surprisingly Aaron Sorkin (Steve Jobs) and Quentin Tarantino (The Hateful Eight) didn’t get a screenplay nod and Steven Spielberg and Ridley Scott missed out in the Director category.
The 2016 Oscars will air live on Sunday, February 28th on ABC, hosted by Chris Rock.
Best Picture
Spotlight
The Big Short
The Revenant
The Martian
Brooklyn
Mad Max: Fury Road
Bridge of Spies
Room
Best Director
Alejandro G. Iñárritu – The Revenant
Adam McKay – The Big Short
Tom McCarthy – Spotlight
George Miller — Mad Max: Fury Road
Lenny Abrahamson — Room
Best Actress
Brie Larson – Room
Saoirse Ronan – Brooklyn
Cate Blanchett – Carol
Charlotte Rampling...
- 1/14/2016
- by Graham McMorrow
- City of Films
If there’s a trio of categories that aren’t given the respect that they deserve (or frankly, any respect at all), it’s the short film categories. Be it Best Animated Short, Best Documentary Short, or Best Live Action Short, they all are mostly ignored by the masses, especially when the first two have feature length cousins in Best Animated Feature and Best Documentary Feature to compete with as well. Still, they deserve to be noticed, so I wanted to quickly list what’s in contention this year. I’ve included the categories in my most recent Oscar prediction update, so there’s that as well. The Academy Awards are the sum total of all the categories, so these have their place, no doubt about that. It’s just a shame that more folks don’t recognize this. Here are the three short subject categories and the remaining contenders...
- 11/24/2015
- by Joey Magidson
- Hollywoodnews.com
Tim here. Today, the Academy announced that it has whittled the initial list of 60 titles eligible for the Best Animated Short Film Oscar down to ten finalists that will go on to compete for the five nominations in January. Like all of you, I imagine, I haven't seen most of these ten, but let's run through them quickly to see what we've got:
Bear Story (Historia de un oso) - Gabriel Osorio, director; Pato Escala, producer (Punkrobot Animation Studio)
This Chilean effort - Cartoon Brew notes that it would be the first Chilean film ever nominated if it makes it - looks to be a toy-esque animal fable done in charmingly plasticky CGI. Trailer
Carface (Autos Portraits) - Claude Cloutier, director (National Film Board of Canada)
A car with, get this, a face, sings "Que Sera, Sera", accompanied by images in thick lines and full color of cars and machines.
Bear Story (Historia de un oso) - Gabriel Osorio, director; Pato Escala, producer (Punkrobot Animation Studio)
This Chilean effort - Cartoon Brew notes that it would be the first Chilean film ever nominated if it makes it - looks to be a toy-esque animal fable done in charmingly plasticky CGI. Trailer
Carface (Autos Portraits) - Claude Cloutier, director (National Film Board of Canada)
A car with, get this, a face, sings "Que Sera, Sera", accompanied by images in thick lines and full color of cars and machines.
- 11/20/2015
- by Tim Brayton
- FilmExperience
The Academy of Motion Picture Arts and Sciences today announced that 10 live action short films will advance in the voting process for the 88th Academy Awards. One hundred forty-four pictures had originally qualified in the category.
The 10 films are listed below in alphabetical order by title, with their production companies:
“Ave Maria,” Basil Khalil, director, and Eric Dupont, producer (Incognito Films)
“Bad Hunter,” Sahim Omar Kalifa, director, and Dries Phlypo, producer (A Private View)
“Bis Gleich (Till Then),” Philippe Brenninkmeyer, producer, and Tara Lynn Orr, writer (avenueROAD Films)
“Contrapelo (Against the Grain),” Gareth Dunnet-Alcocer, director, and Pin-Chun Liu, producer (Ochenta y Cinco Films)
“Day One,” Henry Hughes, director (American Film Institute)
“Everything Will Be Okay (Alles Wird Gut),” Patrick Vollrath, director (Filmakademie Wien)
“The Free Man (Zi You Ren),” Quah Boon-Lip, director (Taipei National University of the Arts)
“Shok,” Jamie Donoughue, director (Eagle Eye Films)
“Stutterer,” Benjamin Cleary, director (Bare Golly Films)
“Winter Light,...
The 10 films are listed below in alphabetical order by title, with their production companies:
“Ave Maria,” Basil Khalil, director, and Eric Dupont, producer (Incognito Films)
“Bad Hunter,” Sahim Omar Kalifa, director, and Dries Phlypo, producer (A Private View)
“Bis Gleich (Till Then),” Philippe Brenninkmeyer, producer, and Tara Lynn Orr, writer (avenueROAD Films)
“Contrapelo (Against the Grain),” Gareth Dunnet-Alcocer, director, and Pin-Chun Liu, producer (Ochenta y Cinco Films)
“Day One,” Henry Hughes, director (American Film Institute)
“Everything Will Be Okay (Alles Wird Gut),” Patrick Vollrath, director (Filmakademie Wien)
“The Free Man (Zi You Ren),” Quah Boon-Lip, director (Taipei National University of the Arts)
“Shok,” Jamie Donoughue, director (Eagle Eye Films)
“Stutterer,” Benjamin Cleary, director (Bare Golly Films)
“Winter Light,...
- 11/20/2015
- by Michelle McCue
- WeAreMovieGeeks.com
The Academy of Motion Picture Arts and Sciences has announced the 10 finalists vying for the Animated Short trophy at the 88th Academy Awards. Member of the Short Films and Feature Animation Branch will select five nominees from group during branch screenings in Los Angeles, London, New York and San Francisco in December. They finalists, which emerged from a group of 60 entries, are: Bear Story (Historia De Un Oso), Gabriel Osorio, director, and Pato Escala, producer…...
- 11/19/2015
- Deadline
Once again, these will be narrowed down to five. A Pixar entry here, along with a legendary animator Richard Williams. “Bear Story (Historia De Un Oso),” Gabriel Osorio, director, and Pato Escala,...
- 11/19/2015
- by Sasha Stone
- AwardsDaily.com
The Academy Of Motion Picture Arts And Sciences announced on Thursday the shortlists for both categories.
The live-action selections were culled from 144 eligible submissions while there were 60 for animation.
Members of the short films and feature animation branch viewed all the eligible entries for the preliminary round of voting and will next select five nominees.
Branch screenings will be held in Los Angeles, London, New York and San Francisco in December.
The 10 live-action films appear below in alphabetical order by title, with their production companies:
Ave Maria, Basil Khalil, director, and Eric Dupont, producer (Incognito Films);
Bad Hunter, Sahim Omar Kalifa, director, and Dries Phlypo, producer (A Private View);
Bis Gleich (Till Then), Philippe Brenninkmeyer, producer, and Tara Lynn Orr, writer (avenueROAD Films);
Contrapelo (Against the Grain), Gareth Dunnet-Alcocer, director, and Pin-Chun Liu, producer (Ochenta y Cinco Films);
Day One, Henry Hughes, director (American Film Institute);
Everything Will Be Okay (Alles Wird Gut), Patrick Vollrath, director (Filmakademie...
The live-action selections were culled from 144 eligible submissions while there were 60 for animation.
Members of the short films and feature animation branch viewed all the eligible entries for the preliminary round of voting and will next select five nominees.
Branch screenings will be held in Los Angeles, London, New York and San Francisco in December.
The 10 live-action films appear below in alphabetical order by title, with their production companies:
Ave Maria, Basil Khalil, director, and Eric Dupont, producer (Incognito Films);
Bad Hunter, Sahim Omar Kalifa, director, and Dries Phlypo, producer (A Private View);
Bis Gleich (Till Then), Philippe Brenninkmeyer, producer, and Tara Lynn Orr, writer (avenueROAD Films);
Contrapelo (Against the Grain), Gareth Dunnet-Alcocer, director, and Pin-Chun Liu, producer (Ochenta y Cinco Films);
Day One, Henry Hughes, director (American Film Institute);
Everything Will Be Okay (Alles Wird Gut), Patrick Vollrath, director (Filmakademie...
- 11/19/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Festival brass hailed a record turnout for the renowned event and honoured a range of international filmmakers at the awards ceremony on Sunday night.
All in all 330 shorts were culled from more than 3,000 submissions and screened throughout the festival, which ran from June 16-22 and awarded more than $115,000 in prizes including $20,000 in cash awards.
“It’s been a spectacular success on all fronts for ShortFest this year, with a uniformly ecstatic response from audience and filmmakers alike for the screenings, the panels and seminars and the special events the festival mounted,” said festival director Darryl Macdonald.
“With record numbers of attendees and filmmakers, the festival lived up to its growing reputation as one of the most important events of its kind in the world.”
Select 2015 Palm Springs International ShortFest award winners appear below. For the full list click here.
Jury Awards
Best Of Festival Award
Carry On (Esel, pictured) (Austria), Rafael Haider
Winner received $5,000 cash prize courtesy...
All in all 330 shorts were culled from more than 3,000 submissions and screened throughout the festival, which ran from June 16-22 and awarded more than $115,000 in prizes including $20,000 in cash awards.
“It’s been a spectacular success on all fronts for ShortFest this year, with a uniformly ecstatic response from audience and filmmakers alike for the screenings, the panels and seminars and the special events the festival mounted,” said festival director Darryl Macdonald.
“With record numbers of attendees and filmmakers, the festival lived up to its growing reputation as one of the most important events of its kind in the world.”
Select 2015 Palm Springs International ShortFest award winners appear below. For the full list click here.
Jury Awards
Best Of Festival Award
Carry On (Esel, pictured) (Austria), Rafael Haider
Winner received $5,000 cash prize courtesy...
- 6/21/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
David Gordon Green returns to his alma mater to present Manglehorn; local newcomers impress with Homeless feature.Scroll down for full list of winners
RiverRun International Film Festival in Winston-Salem, North Carolina, wrapped last night with Shawkat Amin Korki’s Memories on Stone winning best narrative feature and Hao Zhou’s The Chinese Mayor winning best documentary feature.
In the audience awards, best of the fest went to honoree Stanley Nelson’s The Black Panthers: Vanguard Of The Revolution; best narrative feature went to Anywhere Else by Ester Amrami; best documentary feature went to Marc Silver’s 3 ½ Minutes and best indie was Proud Citizen by Thomas Southerland.
The festival presented 165 films in total in its 17th annual edition; more filmmakers than ever before attended the event.
“Films showcased at our festival this year reflected diverse stories from around the world, immense talent from directors, many trained in Winston-Salem, and a host of passionate projects that are jewels...
RiverRun International Film Festival in Winston-Salem, North Carolina, wrapped last night with Shawkat Amin Korki’s Memories on Stone winning best narrative feature and Hao Zhou’s The Chinese Mayor winning best documentary feature.
In the audience awards, best of the fest went to honoree Stanley Nelson’s The Black Panthers: Vanguard Of The Revolution; best narrative feature went to Anywhere Else by Ester Amrami; best documentary feature went to Marc Silver’s 3 ½ Minutes and best indie was Proud Citizen by Thomas Southerland.
The festival presented 165 films in total in its 17th annual edition; more filmmakers than ever before attended the event.
“Films showcased at our festival this year reflected diverse stories from around the world, immense talent from directors, many trained in Winston-Salem, and a host of passionate projects that are jewels...
- 4/27/2015
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
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