Sissy

August 24, 2022 by Carmela Baranowska

After his mother's death, Luca finds he has hit rock bottom. Living on the streets among the homeless, to somehow feel closer to her, he finally decides to go back home for his father's birthday where something magical just might happen.

Interview with Director Eitan Pitigliani

Congratulations! Why did you make your film?

I made this film in memory of my mom, who passed always recently, and this film wants to be not only a tribute to her, but to all the moms in the world, and to the people we love, who remain within us forever, even if they’re no longer here or if they have passed away… with this film, I wanted to give a voice to our loved ones too, imagining them in a beautiful world, somewhere in the skies, happy and free, finally able to have the time of their life.

Imagine I’m a member of the audience. Why should I watch this film?

Sissy is a film that deals with the loss of a mother, and I believe that seeing our loved ones finally able to have fun, no matter what, would help all those who are suffering and grieving for the people they love who are no longer alive.

How do personal and universal themes work in your film?

Love is a universal theme, as long as death… and when the person who passed away is a mother, things get way more complicated, the world seems to crumble, and one just feels like it’s all falling apart and that life is just over. But it’s only then that we must try to see the silver lining of all this, which I believe us represented, by the fact that our loved ones, especially our moms, start living a second life, her spirit lies within us, where it will always be, all the while they may be physically somewhere else, in another dimension, that I wanted to portray as a beautiful garden, surrounded by water, with bird chirping and butterflies floating everywhere, around my mom, who in that world has taken the shape of a little girl, finally able to be happy and break free.

How have the script and film evolved over the course of their development?

The script was very well received by the people involved in the project, both the actors and the professionals like the 2 Oscar-nominee make up-artist and special effect designer Vittorio Sodano, the 2 David Di Donatello’s winner Marco Spoletini, the Positano Art of Dance Award Anna Cuocolo, the very talented young cinematographer Antonio De Rosa and the Israeli Tv Award winner Avi Belleli… even though, thank to them and to the work done with the actors and with the producers Martina Borzillo and the Oscar-winning producer Andrew Carlberg (who won the Oscar with Skin in 2019) and also Rai Cinema, many things have changed in the script… I like to share the stories I write and once they’re in the hands of a team made of such great professionals, it’s just great, and fun, to see what they feel like taking to the table and how beautifully they make the story shine with their art, to which I bring my personal view as a director… but it’s really a team-work, this time captained by a 7 year old little girl… our Sissy

What type of feedback have you received so far?

All those who have seen Sissy - I must admit - said wonderful words about it, especially the audience members, both in Cleveland and Rhode Island, and at Giffoni. They inspired me with their feedback and their tears (it happened quite a lot to see them with watery eyes)… it’s the just the beauty of Cinema, to be able to share a story with the audience and see them feel for it and make it their own story.

Has the feedback surprised or challenged your point of view?

All the feedbacks were very thorough and incredibly inspiring, and that made me realize that this story had to be told. Also because my goal, when I came up with this film, was not to impress the audience or to make something gimmicky that would stand out because of the artificiality of the narration… instead of, I wanted to be honest and true and close to the people from the get-go, in order to share my personal story and making them able to make it theirs and dive into it… I owed it to my mom, the person I loved and love the most in my life.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Sissy has just started its festival journey with 2 Academy Awards qualifying festivals (the 46th Cleveland Intl Film Festival, where it world premiered, and the Flickers’ Rhode Island Intl Film Festival) as well as the 52nd Giffoni Film Fest and Cordillera… all I am hoping is to be able to screen it before as many audiences as I can, to share the story with them and to honor the memory of my mom.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I would definitely love to get the message across to the audience worldwide and to amplify it as much as possible, also because this is a time where we all need hope and to uplift our spirits in order to live our lives to the fullest and help those who suffer. I would love for programmers and festivals to take note of Sissy and enabling the film to be seen by their audiences to help me get the message across, in honor of my mom and of all the people who have left us and who are no longer here.

What type of impact and/or reception would you like this film to have?

I would love Sissy to be of help to all the people who have lost someone they loved, in order to heal their pain and bring them to a point in which they would see the absence of their loved ones as a means to give them a voice and feel them within… they’re part of our souls and forever will be.

What’s a key question that will help spark a debate or begin a conversation about this film?

I think the key question would be what happens after we pass away… if it’s really the end of everything, or it it’s just a start, the start of another life, of the ones who passed, but also of those who remain in this world, who are now able to feel the presence of their loved one within themselves, empowering them in a way, and help them face life, guiding them ona spiritual journey toward the light.

Would you like to add anything else?

Yes, a word about the cast… lead by Vincenzo Vivenzio, who is an incredible actor, the only one who could play the protagonist of this story. He’s amazing and every second of his acting in the film just shows how much he dug into the character, who is young man who decided to life on street among the homeless in response to his mother’s death….

It was a very difficult task and Vincenzo just made it happen beautifully… along with him, the 7 year-old little girl Dea Lanzaro, who stupefied all us, bringing to life the role of the protagonist’s mother… something very unique and unlikely for a kid that young… but she did, astonishingly… in the cast I also had the pleasure to have Fortunato Cerlino (from Gomorrah the series) an established top Italian actor, who played the role of the father in a fantastic way, and Mirella D’Angelo, who worked with Federico Fellini in the past, and here was the candy on the cake… in a very special role that the audience will discover watching the film… I feel so honored to have this incredible actors in this special and magical film.

What other projects are the key creatives developing or working on now?

I am currently working on my first feature and I can’t wait to film it and to bring it to life… I can’t say much to the story yet but it will be off the ground soon…

Interview: August 2022

We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela

Sissy

Length:

20 minutes

Writer/Director

Eitan Pitigliani

Producer

Martina Borzillo and Andrew Carlberg

Key cast:

Vincenzo Vivenzio, Dea Lanzaro, Fortunato Cerlino, Mirella D'Angelo

Instagram:

https://www.instagram.c

om/sissy_thefilm/?hl=en

Milk

August 23, 2022 by Carmela Baranowska

When she sees an old man unable to pay for his milk, a young girl has a change of heart.

Interview with Writer/Director/Producer Celia Jaspers

Watch Milk here:

Congratulations! Why did you make your film?

I've been a director my whole working life, but haven't done a lot of self made projects. And during lockdown I entered the 48 hours Film Festival here in New Zealand, just with my family and shot and edited at home and I was astonished to be in the final and then go on to win Best Family Film. From there I was invigorated to make another one and the idea of Milk came to me as I was driving back from the shops one day straight after lockdown.

My then 8 year old daughter who starred in the first film, was the inspiration and I felt a strong sense of compassion and looking after those in your community after our countries lockdown, and when this idea came me, I raced home before I forgot it and wrote it out in one shot. It had a few edits of course, but it wasn't until Co Producer Auriga encouraged me to actually make the film, did things really start moving. I wanted to make a simple, yet well told film, but also it was self funded and needed to be within the scope of whats possible with no budget!

Imagine I’m a member of the audience. Why should I watch this film?

Milk isn't like most short films, its ultimately a happy tale, but you may cry! In just 5 short minutes, you are transported to a simpler time in rural New Zealand and you will feel the essence of this town and the people within it. It hits you in the heart and everyone relates to either the act of giving, or receiving, or just sacrifice or compassion, it affects everyone differently. But I've even shown it large school groups and theres nothing quite like 200 kids all quietly sobbing and wiping their eyes after watching your film!

How do personal and universal themes work in your film?

The themes of compassion and kindness are very prevalent in this short tale. And you can watch it in another language and still understand the transaction. There's just a very powerful moment of sacrifice that seems to affect so many people. I knew it was powerful when I wrote it, but was unsure if it would translate on screen, but I'm constantly amazed and humbled at the impact it has on people.

How have the script and film evolved over the course of their development?

The script was written rather quickly, but did have another couple of drafts to fine tune. Co-Producer Juanita is a seasoned scriptwriter and she provided some valuable notes as well as my subsequent passes. But it all came together in 2 or so months from inception to filming. I shot what was written, but it was really the editing that the film came to life and the moments were discovered. And then releasing it to festivals and all the interviews and speaking about it has also clarified what the film is to me personally! It's taken on a life of its own that's for sure.

What type of feedback have you received so far?

It's been so amazing to hear how the story has travelled, and how universal, strong language/culture it is. Lots of feedback from festival directors and programmers that love the production quality and messaging, as well as overall product. Its done surprisingly well in children's festivals, which I didn't plan for at all, I didn't' even realize it was a kids film!

Has the feedback surprised or challenged your point of view?

It's been very humbling and I'm so pleased for the cast and crew who all gave their time freely and to hear how well its received has been wonderful for us all. We haven't gotten in to some more prestigious or grown up festivals, but I don't take that personally, its just a style and taste and I know this film won't fit in to every schedule.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Milk is ready to be available to the world. I would love the film to be seen and shared by as many people as possible, and if the message makes someone change their point of view, or perhaps decide to show some compassion to someone in their community, I'd be thrilled.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I'd be happy to chat to sales agents, but I also want this film to be freely available, so whilst its the kind of content that would share well and be suitable for public sharing, if we can get it on more platforms and streamers, Im very open to that also. The more press we can generate around the unique circumstances of its production, 50% women crew and 100% above the line women, and perhaps a mother/daugther production, and it was all done for zero budget. The film was literally made with so much kindness and compassion from the entire village where we shot, to all the camera suppliers, lighting gear and colourist, mastering and sound mix.

What type of impact and/or reception would you like this film to have?

I'd love Milk to make people think, or just pause for a moment and remember what it's like to receive compassion from others, and if they can perhaps find a way to help someone in their lives.

What’s a key question that will help spark a debate or begin a conversation about this film?

It brings up interesting themes depending who you talk too. One programmer commented how great it was to shine a light on the idea of food shortage and elderly living on the bread line, whilst others noticed that a child wouldn't be walking around town by themselves, whereas in NZ and in this village, you actually would. So where we are is literally a slice of a simpler time and perhaps one that many fondly remember, but aren't living in to.

What other projects are the key creatives developing or working on now?

My Dp Jono Drew is doing amazing projects with his Gimbal and Stabilize gear on big projects in Auckland, whilst I'm in prep about to shoot another short film, The Polycees in Wellington. Still in the children's / family genre, but with a more comedy, fantasy theme this time. And I've written a family feature film that I'm keen to shop around and find a production company/Producer for. I'm still working full time in the industry moving between from freelance jobs in film and tv.

Interview: August 2022

Milk

Length:

5:00

Writer/Director

Writer, Director, CELIA JASPERS, has a long career in factual and documentary making and is now embarking on her narrative story telling journey. Working in the industry since 15 years old, she's worked on many different formats, genres, films, tvcs, sports, documentaries and primetime tv. MILK is a self funded passion project born out of the pandemic lockdown in New Zealand, where Celia noticed real compassion and a strong feeling of community in the small rural town where she lives with her family.

Producer

Celia Jaspers, Auriga Martin, Juanita Deely

The three women producers formed Triquestra Films in order to create films. They came on board in association with Celia's production company Scorpio Productions to assist with MILK. Auriga is a creative and finance technology CEO, heralding from California, but now lives in NZ, and Juanita is a prolific writer and former ad agency executive.

Key cast:

Charlotte Jaspers (Girl), Frank Edwards (Old Man, Christy-Anne Sullivan (Shopkeeper)

Looking for:

journalists

Facebook:

http://facebook.com/celiajaspers

Instagram:

http://instagram.com/celiajaspers

Hashtags used:

#milkfilmnz

More info:

Irish Film Institute, Dublin - 28 August;
My Hero Film Festival, online - 19 November

(with a handful of other submissions still possible for selection between now and December)
Its had 90+ selections and 35+ awards over the past year of touring festivals, including 5 Academy accredited festivals, Show Me Shorts, LA Shorts, Tirana, Chicago Children's & HIFF.

B I D L A

August 12, 2022 by Carmela Baranowska

Bidla means "change" in Maltese. A documentary by Amanda Eke. Bidla explores the music fusion of Ghana (traditional Maltese Folk Music) and Hip-Hop on the Mediterranean Island of Malta through the lens of Hip-Hop artists and cultural anthropologists.

Interview with Writer/Director/Producer Amanda Eke

Congratulations! Why did you make your film?

I came to discover Malta in the summer of 2017, through a Fulbright Fellowship. My purpose for moving there was simple, I was an English teacher to Primary, Secondary and University Level students. However, the country’s charm and music made me stay a while longer. Besides teaching, I was performing Spoken Word Poetry in and out of clubs and bars in the underground scenes in Malta.

Through that, I discovered a group of Maltese musicians performing a one-of-a-kind ballad and it was called, Għana (pronounced A-na). Għana at my first listen sounded like something I had never heard before; my ears were stunned hearing high pitched noises coming from these men’s voices.

As I saw them go back and forth with one another trading one high pitched verse, for another high-pitched verse I became intrigued at the synchronicity of it all. I asked locals and discovered this, Għana is a rhyming conversational form of music in Malta, and it was performed originally by women on rooftops to communicate to neighboring women. Contemporary Għana is now performed exclusively by men and consists of either ballads or “completive arguments” sung by at least two men accompanied by guitar. I immediately connected the impromptu style of Għana to battle rap.

To my surprise, others in Malta had connected those dots too, and through some digging I discovered the quiet and humble whispers of the underground Hip-Hop community within Malta. Through that I discovered Hip-Hop artists on the Island who were combining the two genres, Għana, and Hip-Hop, into a whole new sound. It was then that the seeds of my film were born, I knew HAD to document this phenomenon going on and tell the world.

Imagine I’m a member of the audience. Why should I watch this film?

My film, BI D L A, really does delve into that aspect of the “idea” of Għana as a dying art form and what the politics around that are. It is important to note, Għana has been combined with many other music genres throughout the years as the film shows. It is important to not confuse preservation with mummification.

B I D L A, even looks at the younger generation that are making Għana music with their parents, [Recent 2020 Malta’s Got Talent Winner’s Lydon and Jomike Agius make an appearance in the film].

I think what the hybridization of Hip-Hop with Għana does is bring a new audience to Għana. Hip-Hop now is one of the most popular forms of music globally and brings a massive audience with that.

We see as these artists in the film have combined both genres into one new sound, through the creation of hybridity with Għana and Hip-Hop, in which it is helping to bring forward a generation of past identity forward. The film will be loved by Hip-Hop lovers and Folk music lovers alike!

How do personal and universal themes work in your film?

Over the shooting period of one month, this film encompasses live performance, interview, song production and recovery of archival footage. To truly represent the music of Malta and its combination with Hip-Hop the visual aesthetics represent a time shown through the lens of both new and old. The film begins with an Introduction of Malta, showing recovered archival footage of a scenic shot of the island above, displaying the island and its topographical contents.

We see an archipelago that sits still, frozen in time. Then with brief adjustments to the film, we see archival interplays to scenes of labor and work. We see older footage of people as they toil away in the fields, working domestic day laborer jobs, cutting fish on boards, winding rope for a sailboat.

All to the tune of Rapper REA and her hip hop song. The music, Hip-Hop and Għana as utilized, provides snapshots of experience at each cross-section of time - just like the archival images the audience is shown throughout the film, just like the interviews, just like the videos. We use music to tell our stories. Music provides an important, necessary, and vital piece to this documentary. Music plays to personal and universal themes in this film with both the older generation to the newer one, through visuals and sounds.

How have the script and film evolved over the course of their development?

No other documentary film work has been made contemplating these two genres and their combination on the island country of Malta or anywhere else in the world. Shooting B I D L A was in every way was a passion project. I am a spoken word poet and artist myself and have toured globally. Through that experience brought great grounding and influence on the vision I had for my film. As it pertains to my directorial style, let me say this: Visuals and audio have great power.

They tap on that part of our brain that works silently in the background of our waking moments. It manages what we see and conjures emotion. Likewise, the nuances in speech, words, and tone, hit us very deep. Navigating the world, we are constantly hit with a huge amount of information that becomes the fabric for our sense of being. Moving with the times of music in Malta has evolved the vision of the film DAILY, as people intercept and understand culture differently as each day passes.

What type of feedback have you received so far?

The feedback has been WONDERFUL! The film has challenged both old and new stereotypes on music and culture in Malta, while also introducing a whole new platform for new artists combining the two art forms. The film has brought nostalgia to many as they remember the old folk songs of Ghana from their childhoods, mixed with Hip Hop.

Has the feedback surprised or challenged your point of view?

The feedback has given me a new point of view of collaboration. Music is to be shared and the impact this film has had and will continue to have is truly remarkable in how our past is not far away from our present, and this can be seen through the music we make and share.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I am looking to achieve absolute visibility and opportunities for distribution, management, funding and all the like. This film is very special and I believe can be taken to new heights with the right eyes seeing it.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

To amplify B I D L A 's message even LOUDER, I need producers, sales agents, buyers, distributors, film festival directors, journalists, lawyers, collaborators all alike to come aboard to assist me on this journey to help the world see oral traditions through music and how important and RELEVANT this movie's message is today.

What type of impact and/or reception would you like this film to have?

A long lasting legacy of understanding oral traditions. One thing unique to Hip-Hop is its reflection on the unique importance of space and identity. From its very inception in New York City in the 1980s, representing one’s neighborhood at battles was a central part of the culture. The idea of place is huge. These ties are present and reflected by MC’s names, languages and local slang as well as in references to specific geographical markers and signature musical styles of a particular locality.

This is like the artists who performed, Ghana folk music in Malta, where ones locale tells a narrative and music style is represented through that. Through this we see a marker of common issues of marginalization and contested localities being negotiated by both Għana and Hip-Hop. What these place-identities tell us about the political, socio-geographic, and cultural context in which Hip-Hop culture is produced is poignant throughout Għana.

Hip-Hop and Rap is being used in Malta in contemporary times to perform the initial functions of it in the 1980s, to tell the stories of the people. Odes to neighbourhood’s, stories of the dysfunction happening in society etc. What is significant about my film, B I D L A, is it looks at artists on the island that have combined these two genres bringing the past and combining it with the present for a different look at identity and meanings for the future.

What’s a key question that will help spark a debate or begin a conversation about this film?

How can artists combine music genres, bringing the past and combining it with the present, for a different look at identity and meanings for the future?

Would you like to add anything else?

B I D L A has won the distinct honor of being played at the JOHN F KENNEDY Center's Real 2 Reel Film Festival in July 2021. A portion of the film has now been archived at the Kennedy Center.

What other projects are the key creatives developing or working on now?

I am host and creator of The Poet Speaks Podcast (Available on all streaming platforms), I interview poets from all over the world engaging in Spoken Word, Slam Poetry and oral traditions.

My show was named as one of Strategic Media Inc's "Top 5 Podcasts by Black Creators" in February 2022. It has now been seen in over 20 countries across all seven continents with over 1 million views of the platform's content. The poets on the show have included Slam Poetry champions from over 5 countries around the world as well as numerous Poet Laureate winners and authors. The podcast has also done video work at the KOTOBA Grand Slam Poetry Championships of Japan and the vlog/ video for that content has now become a viral hit across Japan.

Currently in development and pitching to turn this into a show for Television.

https://www.amandaeke.com/podcast

In addition, I am a Spoken Word artist, and educator currently living in Japan. I work with Spoken Word and the fusion of culture through it and oral tradition. I run a global touring workshop teaching people all about the basics of Spoken Word, rhyme and oral tradition based on my Nigerian Igbo Oral Heritage.

Interview: August 2022

B I D L A

Length:

28:50

Writer/Director/Producer

Amanda Eke is a Nigerian American Artist, Spoken Word Poet, Film-Maker, and Educator. Unable to read until she was 7, she has forged a career as an artist in many mediums and has helped so many discover their own “voice” through her work. She has won numerous awards including a Fulbright Fellowship for her scholarship and a UN (United Nations) Award for her artistry work.

She uses her love for writing, film, and music to address socio-political issues, and contemporary culture prevalent in society today. Her global touring workshop series, "The Poet Speaks" is an engaging experience into the culture of Spoken word, rhyme, and tradition, held for all ages. Amanda is also the host of a podcast show of the same name, The Poet Speaks Podcast, that has her speaking to Spoken Word Artists and performing poets from all over the world.

Key cast:

Rachelle Deguara : Rachelle Deguara (REA) REA is a product of the emerging Maltese Hip-Hop scene. A woman who has been producing songs and poetry on themes of social justice and the environment. She runs her small business – Mellowmoon, produces Hip-Hop under the stage name of REA and is an active member of Movement Graffitti, a social justice organization in Malta. She is known for presenting the multidisciplinary engagements organized within the communities of Malta. Through her music, she presents a fusion of old traditional Għana with the more contemporary Rap and Hip-Hop genre music.

Andrew Alamango : Andrew Alamango is an Ethnomusicologist, guitarist, composer and music promoter from Malta, who has been active since the 1990s. Alamango embarked on a project to recuperate Malta's early musical recordings. In 2010 he undertook the restoration and eventual re-release of thirty 78rpm shellacs from the 1930s, published in his book entitled Malta's Lost Voices.

Ranier Fsadni : Ranier Fsadni is a columnist for The Times of Malta and a lecturer in Anthropology at the University of Malta. He has served as chairman of the Academy for the Development of a Democratic Environment, a Euro-Mediterranean think tank; adviser on Mediterranean and maritime affairs to the prime minister of Malta; adviser to the Maltese Minister of Foreign Affairs on the Arab League, and director of operations of the European Commission-League of Arab States Liaison Office. He is a researcher in the field of Għana, and one of the only academic writers in the world on it.

Andrea Delicata : Andrea Delicata is ½ of the Maltese Hip-Hop group, Marmalja, the Maltese word for ‘rabble.’ Which perfectly captures the nature of the act. Essentially a duo but often accompanied by a full band onstage, their rap is fueled by angst, rebellion and protest, infused with Traditional Għana. Their song, Marija s-Sabiħa, was a big Maltese Music Short film which blends Għana with Hip-Hop, something that had never been done before at the time. In 2015 they released an underground Maltese rap album called “Demm Ġdid”.

Looking for:

sales agents, journalists, film festival directors, distributors, producers, buyers

Twitter:

https://twitter.com/the_poet_speaks

Facebook:

https://www.facebook.com/BIDLA2020

Instagram:

https://www.instagram.com/aekeful/

Hashtags used:
#BIDLA

More info:

https://www.amandaeke.com/film

Screenings 2022:

May 21-22
Hip Hop Cinefest Film Festival (Rome, Italy)

June 23-26
12th Annual
Charlotte Black Film Festival (Charlotte, North Carolina)
:

It's Wijilan

August 10, 2022 by Carmela Baranowska

A short documentary about how hip hop can truly make an impact at the very core of life itself. truthful and heartwarming.

Interview with Editor/Director Alexander Sinaga

Congratulations! Why did you make your film?

This film, reveals our activities in supporting the children's future around the Wijilan area to create masterpieces, to distribute positive energy into a vehicle that shades and encourage positive vibe for the hood, even the whole world.

We do realize that kids are the future. Similar to the definition of "home", they are the stepping stone. We see music as the way they process themselves, and yet build the physical interaction among their friends.

Imagine I’m a member of the audience. Why should I watch this film?

We need to deliver this film to the whole world, that the future is in our hands and neighborhoods should be our focus.

How do personal and universal themes work in your film?

Love is something that colours our life, something that is naturally coming to our life and bonds everything together into one big story - by giving love seeds to our future generations.

How have the script and film evolved over the course of their development?

Everything happens organically and according to the circumstances.

What type of feedback have you received so far?

Everything was good and with blessings, especially from the parents who gave a high appreciation for this workshop.

Has the feedback surprised or challenged your point of view?

Of course, we didn't expect this film to have such a large social influence. I feel very proud that it is regarded as important in the community.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We simply spread the love.

What type of impact and/or reception would you like this film to have?

We hope that this film motivates many individuals to do good in their communities.

Interview: August 2022

It's Wijilan

Length:

20:43

Director/Producer

Alexander Sinaga is a rapper and music producer of duo hip-hop based in Yogyakarta, named D.P.M.B. His album debut ‘Re-Attitude’ is on the list of Rolling Stone Indonesia’s 20 Best Album in 2015. Donnero, his stage name, is the founder of HELLHOUSE Records. Born in Magelang on October 17th 1986. He started to learn deeper about visual projects in mid-2016, creating the music video of Indonesia’s finest rappers such as Iwa K, Kill The Dj, Tuan Tigabelas, Yacko, Mario Zwinkle, Boyz Got No Brain, and many more. Moreover, “It’s Wijilan Documentary” is his dedication as a hip hop head and also his debut documentary movie - he is self-taught in directing and editing.

Twitter:

https://twitter.com/donnero_

Instagram:

https://www.instagram.com/donnerosinaga/?hl=en

Hashtags used:

#itswijilan #wijilan

More info:

The Party Job

August 09, 2022 by Carmela Baranowska

A young woman accepts a videography gig for what seems like a standard child's birthday party. The tension becomes unbearable as the absurd reason for the party becomes more clear.

Interview with Writer/Director/Producer Raechelle Banno and Actor/Producer Karina Banno

Congratulations! Why did you make your film?

RAECHELLE : THE PARTY JOB was made for a variety of reasons. The purest and first was I’d come across this idea years ago that I felt was whacky and heart warming, yet deeply personal. It was also the first time I felt called to direct. I had tried for quite a while to get it made but found it extremely difficult to tie anyone down to help me do so. At a time of deep creative frustration, I was venting to Karina and she told me we could just make it ourselves; bypass the middleman. So, we did. That energy quickly brought on Ryan Harrison at Sparrow Studio’s to assist in bringing the film to life. THE PARTY JOB then became a vehicle to launch our production company, Palindrome Productions.

KARINA : This was a script Raechelle kindly shared with me years ago, and I always had it in the back of my mind as a strong story only she could tell. Given we share similar taste and style, I was relentless that she had to direct it, and that we could bring it to life together. Having Worked and auditioned together as actors for many years, we knew we had a shorthand in understanding how to pitch Molly, so our on set relationship could be streamlined to focus on other elements.
It was also with the consistent encouragement from Leigh Pickford (a sensationally talented Casting Director of whom we greatly admire) checking in and reminding us how passionate he was about the script. Through this we found the belief that we really had something in our back pocket that could showcase our style as filmmakers.

Imagine I’m a member of the audience. Why should I watch this film?

RAECHELLE : THE PARTY JOB does what comedies do best: it opens us up to a world not too dissimilar to our own, heightens it with humour, and then hits us straight in the heart with truth. The truth of THE PARTY JOB is that we are all in this together. It celebrates the lived reality that Australian’s, both silly and sincere, would absolutely-no worries-mate go out of their way to be there for a fellow struggler... even if the theme is a little off kilter.

KARINA : I also love the idea that it’s a solid 15 minute short that has a clear beginning, middle and end. That can be a struggle to achieve, but I feel like Raechelle’s film has delivered an experience for audiences that is fun, emotional and succinct.

How do personal and universal themes work in your film?

RAECHELLE : The film explores anxiety and belonging. Both personal themes to me, and yet, the more I’ve learned to voice my experiences, I’ve learned how truly universal they are. I’ve always found that anxious people have a way of finding other anxious people. Molly immediately knows something is up when she arrives at Kens’ home. They’re eventually drawn together, resulting in the only grounded conversation we’ll see in the film. I wanted to create a film that saluted the idea that, when we recognise authenticity in one another’s vulnerabilities and can meet each other in the awkwardness, we might just find we belong after all.

KARINA : No one writes sentimental thoughts like Raechelle - so her delivery of these themes is so eloquently peppered throughout all the characters.

How have the script and film evolved over the course of their development?

RAECHELLE : I have to thank my agent David Sheridan for some feedback he gave me very early on in THE PARTY JOB’s development. He suggested two things: to delay Molly’s learning of the theme of the party and to not have Kens’ speak until his sweet exchange with Molly. This totally transformed the film - it created necessary tension (both comedic and sincere) as well as utilising the literal taking of Kens’ voice from the whole endeavour to then earn it when it really mattered. Simple, yet effective.

KARINA : For me, the addition of a tiny moment of air we added for Chester’s character involving tea; initially it was added as a function to give the illusion of time passing from one scene to another, but funnily enough, every time we have shown the film, this moment has resulted in the biggest laughs. And rightly so - Stephen Hunter’s delivery and pure approach knocked it out of the park. I found it so amusing that you can agonise over every detail of a script, and then throw something in with little thought into MAKING something funny and purely out of function can totally transform the overall experience of the tone and characters.

What type of feedback have you received so far?

RAECHELLE : We have been fortunate enough so far to have received some truly kind and encouraging feedback. Some on the cinematography (achieved so brilliantly by Brendan Barnes), the music (by the talented George Maher), the performances (a cast to die for), but a lot on the overall story. Many people have resonated with Kens’ or Molly’s feelings of being the ‘other’ and responded really well to their ‘seeing’ one another. I’m so proud people walk away from our film having had a good giggle and feeling what we’d dreamed they would: hope.

KARINA : Honestly, very positive. The trusted mentors and supporters of our work that we’ve shown the film to have expressed an appreciation of the simplicity of the film, but can stand back and acknowledge the difficulty it takes to pull off a succinct short film.
Also the rewatch factor is fun for THE PARTY JOB - very thoughtful elements added into the editing and cinematography that make for a great second watch, which has been super rewarding whenever commented on.

Has the feedback surprised or challenged your point of view?

RAECHELLE : My point of view on the film changed very early in pre-production. As I began meeting other creatives, whether that be cast or crew, I was surprised by how all were coming to the table with their own experiences of anxiety, either their journey or that of a loved one. Almost everyone began to interpret each character as having their own form of anxiety, manifesting in different ways - something I hadn’t initially considered. It was very touching. I went into this thinking I was making a very personal film, somewhat Trojan-horsed as a comedy. I quickly realised that there was no hiding the themes beneath the giggles - we were all making the same film. One about anxiety, that’s also funny. Anxious, but silly, just like life.

KARINA : I’ve been surprised by how many parents have resonated with this story, either for themselves or their kids. Anxiety is universal, but I think our story delicately balances the very personal battles we all go through just to get by.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

RAECHELLE : I hope We Are Moving Stories widens the reach of the film. I’m so very proud of what each and every individual achieved in the making of THE PARTY JOB and want to share it with as many people as we can. It was a phenomenal learning experience for me. If we can get some extra eyes on our special film, some that will connect with the story as much as viewers so far have, then I’ll be one happy woman.

KARINA : I also would love exposure for our production company; THE PARTY JOB was a labour of love that was intended to be a calling card for the exciting projects we’re developing. Through We Are Moving Stories, I’d love an opportunity to connect with like-minded audiences and filmmakers who are all about what we’re putting out into the world.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

RAECHELLE : Film Festival Directors, in the hopes that them coming on board will boost the film to a wider audience. THE PARTY JOB is a film that is meant to be shared with a crowd, laughing and resonating together. Film festivals are a great environment to ensure that happens.

KARINA : Speaking to that; Film Festival Directors are champions of emerging filmmakers such as ourselves, and the gatekeepers for projects like THE PARTY JOB finding an audience.

What type of impact and/or reception would you like this film to have?

RAECHELLE : I would like to continue the conversations that have already started with people who have seen the film. Viewers recognising their own anxieties, or those of someone in their life, and discussing the importance of transparency when looking to truly connect with people. The more comfortable and open I have become with my own anxiety, I’ve found that the experience of anxiety, (one that is so insular), is one that brings us together when we are open about it, don’t deny its existence, and accept that it is something we will continue to bring with us through life. How sweet would it be if a few extra people chatted about that?

KARINA : I like the idea of this film opening up conversations with the people in our lives about how we cope. Things can get very loud in our heads sometimes, and I think the message of this film is about having compassion to the individual experience and coping mechanisms that help us all get by.

What’s a key question that will help spark a debate or begin a conversation about this film?

RAECHELLE : What’s the weirdest thing someone has done for you to try and show you they love you?

KARINA : Have you ever had a connection or experience with a stranger that had an impact on you or them?

Would you like to add anything else?

RAECHELLE : I would like to thank every single person who helped make this film possible, during a COVID lockdown nonetheless. Everyone was kind, oh so professional, and taught me things I cannot wait to bring into the future productions I create.

KARINA : Speaking of lockdowns, I walked away from the challenge of making THE PARTY JOB under such strict restrictions feeling like we’d already faced every possible worst case scenario. And we still accomplished what we set out to do, and then some. The lockdowns forced us to be economical and strategic from every department, top to bottom. It empowered us; If we could get this passion project in the bag under those conditions, I’m excited for whatever we do next.

What other projects are the key creatives developing or working on now?

Under Palindrome Productions, we are developing a number of features and television projects. Most notably, our project BLACKHEATH has brought on some exciting collaborators, in co-producers Sparrow Studios, successful scribe Georgia Harrison, and award winning cinematographer Brendan Barnes (SASC).

Interview: August 2022

The Party Job

Length:

15:00

Writer/Director

RAECHELLE BANNO co-wrote (with Karina Banno) the 2020 short ‘@BladeRoller: Case Unsolved’, leading to its selection in the Sydney Underground Film Festival’s ‘Take 48’ lineup. Other works include being one of only eight teams selected as finalists for AACTA x Monster Pictures Isolation independent film development initiative for their project ‘BLACKHEATH’. She and her collaborator, Karina Banno, have multiple projects currently in development under their production banner, Palindrome Productions.

Producer

KARINA BANNO wrote & directed ‘The Unfortunate Files’, which won ‘Best Web Series’ at the Port Stephens Film Festival. ‘September’ (co-directed alongside writer Tara O'Connell), won 'Best Short' & ‘People's Choice' at the 2014 Martini Awards.
Recently, Karina’s screenplay ‘Gwen’s Girl’ was selected as a semifinalist for the TSL Screenplay Contest (2021) and she was a part of only eight teams selected as finalists in AACTA x Monster Pictures’ Isolation film development initiative for their project ‘BLACKHEATH’.

Key cast:

Karina Banno, Remy Hii, Pippa Grandison, Stephen Hunter, Ezekiel Sciacca, Miritana Hughes, Kelly Zacharias, James Winestock

Looking for:

film festival directors

Instagram:

https://instagram.com/palindromeprd?igshid=YmMyMTA2M2Y=

Where can I watch it?

THE PARTY JOB will be screening in CinefestOz’s 2022 Gala Night set which is held on the following dates/locations:

Saturday 27th August, Orana Cinemas Busselton.

Seafoam

August 06, 2022 by Carmela Baranowska

Billy tumbles down the rabbit hole after visiting her mother in a psychiatric health ward and recognizing an orderly who works there. Suddenly, he’s everywhere…

Interview with Actor/Writer/Director/Producer Izzy Stevens

Congratulations! Why did you make your film?

Cheers! It was the height of the pandemic when we shot Seafoam. December 2020. About 6 months earlier I had started coaching actors and filmmakers through making their own work, and I was seeing traction in their projects which jazzed me up and also lit a fire under my toosh.

I knew I wanted to make something before the year was up, and I had a goal of making a short that I both directed and acted in. In all my other projects, I've only ever done one or the other.

For weeks, this question had been popping up in my head: 'What would it feel like if you discovered that reality as you knew it was a lie?'

So I sat down on November 13th, 2020, after a day of working with clients, and I wrote this 5 page script from start to finish based on this idea I had rolling around in my head. It just came out. I immediately started calling people, and actually by the end of the night we had a shoot date in December set, with 4 key creatives signed on to the project. It happened very quickly.

Imagine I’m a member of the audience. Why should I watch this film?

The feedback I've gotten so far (and this was certainly my intention) is that Seafoam takes you on a thrilling journey. I love making female-focused psychological thriller films where you're essentially in the experience of the character, looking through their eyes.

The sound design was essential for that. Myself and my composer Dani Teo spent months cooking up some magic together. There is a sense of paranoia in the film and I think you'd feel that even if you were just listening to the score. It was fun to create!

How do personal and universal themes work in your film?

There's a trope in many thriller films that the woman is never believed, and she often appears unhinged as she tries to convince everyone of what she knows to be the truth. Rosemary's Baby is a brilliant example, but it's everywhere in psychological thrillers. The Invisible Man, The Witch, Hereditary.

In Seafoam, I was also musing on that ever-present, unsettling feeling of being watched, looked at, observed and followed that many women and female-presenting people experience in the world. It can really screw with our mental health, and I wanted to create that experience within a film, which I am now realizing is totally masochistic. Haha.

Even though none of my work yet as been strictly autobiographical, filmmaking helps me process a particular feeling-space I'm in within a moment in time. I think, when I watch it now, I can see how the Covid claustrophobia and social paranoia was impacting me at the time.

How have the script and film evolved over the course of their development?

I cut a few big chunks of the film in the edit because I didn't feel like it was serving the story, both visually and tonally. I had some pieces in there which confused the film, and because it's so short, everything the audience sees on screen feels important. I'm pretty ruthless in the edit, because too many ideas or themes can make the viewing experience muddy.

All I truly want is for the audience to be impacted. So yes, there was a lot of 'kill your darlings' happening.

What type of feedback have you received so far?

We recently played at LA Shorts, it was cool to see it on the big screen. The feedback after the screening was that they felt 'locked-in' and couldn't look away. That was great to hear.

People mentioned they loved the cinematography (Nathaniel Regier was my DP, he's so talented and he nailed the color!), and that they loved the sound design.

One guy said 'I couldn't stop staring at your face!' Which made me laugh because there was, for the most part, not much else to look at in the film. Haha.

I also loved hearing that people resonated and connected with that unsettling and scary feeling of being watched and observed. I'm glad that hit.

Seafoam - Behind the Scenes with Actor/Writer/Director/Producer Izzy Stevens

Has the feedback surprised or challenged your point of view?

It always surprises me!

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Eyeballs on the screen! Visibility for the project and also for the talented creatives involved. I'm developing a feature film (non-Seafoam related) right now, so I'd love to give this baby a juicy festival run and ramp up the excitement for what's to come.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I initially created Seafoam as a proof-of-concept for a feature, however gears have switched and I'm in the process of developing a different feature now. So I'd love to give Seafoam a marathon festival experience, and I'd be delighted to sell the concept. It's primed for it.

We'd be thrilled to engage with film fest directors, journalists, distributors and development execs!

What type of impact and/or reception would you like this film to have?

I'd love for this film to propel my key creatives into the spotlight. They're all so super talented. If this film raises the profile and visibility of our team, that'd be fantastic.

I also created this film whilst I was developing my coaching business in order to prove that what I was teaching my clients, actually works. That you can make your own work and have it level up your career. It's already been majorly impactful in that area, so I'm grateful for the process.

If I can inspire more creatives to follow-through on their ideas, I've lived a worthwhile life :)

What’s a key question that will help spark a debate or begin a conversation about this film?

What would it feel like if you discovered that reality, as you knew it, was a lie?

Would you like to add anything else?

Thank you for featuring my work again! You were so kind to reach out to me in 2018 when my film Phenomena got into Tropfest, and it feels lovely to return and have this chat with you. We Are Moving Stories is an important platform, thanks for championing emerging and established filmmakers, particularly the underrepresented folk. You rule.

Also, as I mentioned, I'm a creative career coach helping actors and filmmakers make their own work, with impact. You, reading this, (yes you!), please come say hi. I love meeting creative people who want to make an impact with their work. www.indiespunk.com

What other projects are the key creatives developing or working on now?

They're all working on some incredible stuff!

To name a few, Nathaniel Regier is constantly booked up as a DP on features and shorts, Pete Szijarto was just working on Outliers, Dalia Rooni scored a major development deal and is in the process of making her first feature, David Chernyavsky is developing a really special short film right now and so is Paula Crichton, who is also constantly booked up as a director and a DP. The list goes on, they're all making it happen and I am super excited to see all that they do.

Interview: August 2022

Seafoam

Length:

6:22

Writer/Director

IZZY STEVENS, an Aussie/American actor, award winning director, writer and producer, is best known for starring in sci-fi film franchise Occupation (Netflix). Izzy can also be found on Amazon Prime (Underbelly) and roaming the chocolate aisle of your local grocery store.

Izzy’s films have been screened at Hollyshorts, Cinema Australia, Tropfest, Cannes Diversity, Redline Int. Film Fest, (Winner: Best Experimental Film), and LA Shorts. In 2018, Phenomena was broadcast on National TV network ABC.

Izzy is also the founder of indie spunk, a production company and inclusive content studio offering coaching and support to emerging filmmakers to build their portfolios and strategize the growth of their careers.

Producer

MORIAH HALL is an award winning independent film producer and non fiction casting director. Her documentary film No Sanctuary premiered at MSNBC’s Meet the Press film festival, and went on to win documentary grand prize at Beaufort International Film Festival. Moriah has produced a number of short films that have played at Austin Film Festival, Poland’s prestigious CameraImage International Film Festival, The Wrap’s Shortlist Film Festival and so many more.

CHARLES VELASQUEZ-WITOSKY is a Mexican-American producer that works in movies, TV, theatre, and new media. Films produced include THE GENERAL SPECIFIC, a feature film which won Best Screenplay at the Atlanta Underground Film Festival and Best New Mexico Feature at the Santa Fe International Film Festival, as well as THE PATIENT, a short that played at the Austin Film Festival, OUT at the Movies, and other festivals. Currently he works in creative development at Showtime.

DAVID CHERNYAVSKY is an LA based actor and filmmaker who produces sketch comedy and short films that showcase the heart and humor of strong characters and their strange lives.

Key cast:

Izzy Stevens (Billy), Jae Kim (River), David Chernyavsky (Cowboy), Dalia Rooni (Namby), (Amy Punt (Mom)

Looking for:

journalists

Instagram:

http://instagram.com/indiespunk

Hashtags used:

#Seafoam #PsychologicalThriller #IzzyStevens

More info:

www.izzystevens.com

FatFlava - El EP (The film) feat Teoría, Lou G, Ghanjah Man, Ghetto, Khafela, Kame & Mxrea

August 04, 2022 by Carmela Baranowska

Fat Flava goes out at night and does a daily night tour while singing with the rappers around him.

Interview with Director José Salvador Toj

Congratulations! Why did you make your film?

In Guatemala there are many artists who do rap and the lack of videos motivated me to work in this branch of cinema.

How do personal and universal themes work in your film?

In this project there were many personal resources such as locations, the idea was to mix that with the proposals made by the artist.

How have the script and film evolved over the course of their development?

The script was created to record at night, one of the reasons is that the artists and we the producers have a job outside of music and film. The development of the filming was very daring because we filmed at dawn and the best thing is that we enjoyed it very much even though the next day we had to work.

What type of feedback have you received so far?

The project received good reviews from the first day it was published, it had many video reactions on YouTube and reached people from several Latin American countries. In Guatemala we had the opportunity to see the concert live and it helped us get to know more artists. In short, the feedback was so good that it came to Italy to participate, which make me very happy.

Has the feedback surprised or challenged your point of view?

Of course, the feedback changed our way of doing things, we try to invest more time in the projects so that the Hip Hop culture has high level productions.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I want hip hop music to be able to reach more countries around the world so that they know what we do in Guatemala.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I want film festival directors to come on board so they can give us their opinion on this film and also journalists so they can share and give us spaces to continue growing.

What type of impact and/or reception would you like this film to have?

I would like the music and film made in Guatemala to be consumed so that we can live from our art.

What’s a key question that will help spark a debate or begin a conversation about this film?

In Guatemala, hip hop music is frowned upon by society, a rapper is constantly pointed out as a criminal. A key question would be why these artists want to make hip hop music even though society doesn't see them well?

Would you like to add anything else?

I would like to thank these spaces, for us in Guatemala it is a great achievement to know that music and cinema are reaching countries outside of Latin America. Thank you so much!

What other projects are the key creatives developing or working on now?

We are working on the second Fat Flava EP with artists who write and do good Hip Hop.

Interview: August 2022

FatFlava - El EP (The film) feat Teoría, Lou G, Ghanjah Man, Ghetto, Khafela, Kame & Mxrea

Length:

18:16

Writer

FatFlava, BeatMaker and MC from zone 18 of the Capital City of Guatemala, Central America. He started in 2004 as a beatmaker and became a member of the group Poesía Callejera in 2008, formed by the Mcs: FatFlava and Psycho. The group was born in one of the areas considered by the National Civil Police (PNC) to be the most dangerous in Guatemala City.

Director

Salvador Toj, of K'iche' (Maya) origin, grew up in one of the poorest neighborhoods in Guatemala. At the age of 13, a group of French people come to his neighborhood to make a documentary and he becomes interested from that experience.

Due to few resources, Salvador did not go to university, however, his desire to learn made him look for different ways.

Producer

Key cast:

FatFlava (Rapper), Teoría (Rapper), Peligro (Driver), Lou g (Rapper), Ghanjah Man (Rapper), Ghetto (Rapper), Khafela (Rapper), Kame (Rapper), Mxrea (Rapper)

Looking for:

film festival directors

Twitter:

https://twitter.com/toj_salvador?t=xe2CYaUVbQaOgmwniRit1A&s=09

Facebook:

https://www.facebook.com/josesalvadortoj

Instagram:

https://www.instagram.com/salvadortoj/

Hashtags used:

#maisonestudios #artistaguatemalteco #hiphopdesdeguatemala

More info:

https://youtube.com/c/MAISONESTUDIOS

Break The Scene: Japan

August 03, 2022 by Carmela Baranowska

Japan is a country where the culture of street dance is really strong. In last 10 years, Japanese dancers are always at the top level of many competitions around the world such as RedBull BC ONE, FreeStyle Session and BBIC. This 16 minutes documentary, goes deep inside the hiphop dancing culture, that is surrounding Tokyo.

Interview with Director Sylysak Taido

Congratulations! Why did you make your film?

Break The Scene: Japan (BTSJ), represents all the memories I've built during my travels in Japan. I want to show through BTSJ, what's the vibe for the dancers in Japan.

Imagine I’m a member of the audience. Why should I watch this film?

You love Japanese culture, Japan’s night life and dancing? Break The Scene Japan makes you dive deeply into the dancing culture around Tokyo.

How do personal and universal themes work in your film?

I'm always looking for some new dance, looking and getting interested of many kind of dancers. Here in Break The Scene, I am showing multiples type of dancers. Competitive dancer, underground dancers, High level dancers, or student dancers. I am showing how their philosophy of dancing work.

How have the script and film evolved over the course of their development?

Break The Scene Japan is narrated to be intensive minutes after minutes of the documentary. We are going deeper and deeper while the minutes goes. From the Underground to the spotlight dancing stuff.

What type of feedback have you received so far?

This 16 minutes format, is not complete yet. Break the Scene Japan (16 minutes format) is a general view of what's happening there, we are introducing quickly what's dancing there through how they respect their OG, how they train to be champion, how Jams looks like there or how Japan want to shine through their battle...

This is not a documentary talking about Japan's dancing heritage, it is more about a nowadays point of view. And this is something that's really miss in this documentary, the Japan's dancing history.

Has the feedback surprised or challenged your point of view?

Honestly, I am already preparing a more longer format with more details and more people on it, but this 16 minutes format works really well, because the intensity is always there. The rhythm, and the story telling can be understand by everybody.

Through many years, I've been editing through my dancer vision to tell stories with dancers. Today we need to tell stories to everybody, to tell how dancing is working through simple words.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I want people to get interested into my concept Called: Break The Scene. I want people to spread this vision of dancing which is an immersive one.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Distributors, buyers, producers, film festivals, journalists... Everybody is welcome to spread the message.

What type of impact and/or reception would you like this film to have?

Break The Scene Japan, is a self produced documentary, for the next ones, I'd like to have a more consequent budget to make a more qualitative movie.

What’s a key question that will help spark a debate or begin a conversation about this film?

Why is dance so popular in Japan?

What other projects are the key creatives developing or working on now?

I am working right now for a biggest format for Break The Scene Japan, a 58 Minutes format. But I need to go back in Japan before to capture some more images.

Also I have a fiction dancing short movie, that I'm preparing in Iceland.

And Finally, I'm preparing the next Break The Scene movie which will be set in different countries (South Korea, Portugal...).

Interview: July 2022

Break The Scene: Japan

Length:

15:56

Writer/Director/Producer

Sylysak TAIDO, known as SakFilms, is a self-produced French Director. He produces lots of dance content, and is specialising with dance documentaries. He's traveling the world with a camera ready to capture every type of dance.

Film cast:

B-Boy Thienggy (interviewee), B-Boy Eighteen (interviewee), B-Girl Ami (interviewee), Funky Yui(interviewee), Takara (interviewee), B-Boy Katsu (interviewee)

Looking for:

buyers, distributors, journalists, producers

Instagram:

http://instagram.com/sakfilms

Hashtags used:

#Dance #SakFilms #NewDanceTv #HipHop #Locking #Breaking #Japan #Tokyo

More info:

https://sakufilms.wordpress.com

Where Can I Watch it?

It will be released on a French Streaming Platform called : Riding Zone TV

Balentia - Without Music

August 02, 2022 by Carmela Baranowska

Through the original audio of the footage of a video clip, the background of a music video without music is shown.

Interview with Editor/Writer/Director Stefano Pio

Congratulations! Why did you make your film?

In the past I have worked mainly with video clips. I made Balentia - Without music at a time when I needed to do something new with video that would allow me to experiment with sound. The idea of the project was to make the viewer listen to what a videomaker hears when he watches the footage. I therefore tried to tell the background of a music video only through sound, showing the curiosities that the spectator cannot see, such as the things the director says or the conversations that take place.

Imagine I’m a member of the audience. Why should I watch this film?

If you have never worked on a video clip you should watch it to know what is behind its creation. If you have already worked on a video clip instead you should watch it because you will find it curious and fun to find in my work what surely happens to you too. In particular, the thing I like most about the video is that from the dialogues that are heard in the background, albeit sporadic, the friendship that has developed between me and the guys in the video emerges. This is perhaps the thing that makes Balentia - Without Music special.

How do personal and universal themes work in your film

Balentia - Without Music is a very personal project, so it is difficult to grasp a universal theme. The thing that certainly emerges, regardless of everything, is the friendship that was born between me and the singer and between the singer and the other extras. Finally, the project removes the sacred aura of the video clip, humanizing both the singer and the director. I therefore believe that another fundamental theme is the humanity of every artistic profession, as behind every work of art there is a person, not a superior entity.

How have the script and film evolved over the course of their development?

The video started out as a traditional music video. The singer, Noir, wanted to involve his friends and came up with the idea of the car. He managed to find all the people and especially the horse. At the pre-production level, we only wrote the locations and props, but the realization was almost totally improvised on the set. There I shot almost everything that happened like a documentary. The singer and his friends are not actors, so I thought it was more functional to adapt to what was going on than to prepare the shots and the actions. This is what made the sound design so interesting, because the people on the set were spontaneous.

After more than a year I reopened the project and tried to unmute all the audio tracks of the clips and turn off the music. I was very surprised by what he was feeling and I decided to do a new color grading and export it to bring the new project to life.

What type of feedback have you received so far?

At the moment I have shown the video to a few people, many do not even know of its existence. It is a very personal job, so instead of advertising it everywhere I decided to offer it only to the right people and on the right occasions. Despite this, my professors from the Brera Academy liked it a lot and the people who participated in the video enjoyed listening to what had been said these days after more than a year. So for me the people who have appreciated are few but good and I am happy as well. Now Balentia - Without Music is a finalist at Hip-Hop Cinefest and I'm really happy, it was the first time I showed the video to people who weren't my friends and I didn't expect it would be understood. So I'm really excited about it!

Has the feedback surprised or challenged your point of view?

Admission to the festival made me understand that this project can reach anyone, not just those who know me.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

For a while, I stopped working on video clips. However, I have missed this world very much. So I thought that participating in this festival would be a pretext to re-enter the world and meet new people with my same love for the video clip.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Distributors, film festival directors and journalists.

What type of impact and/or reception would you like this film to have?

I wish people would start to care more about what's going on behind the camera. I'm not talking about a technical question, but a human one. I would like people to grasp the love with which directors and singers work on videos, beyond the "gangasta" character.

What’s a key question that will help spark a debate or begin a conversation about this film?

Is this a music video or a documentary?

Would you like to add anything else?

Thank you very much for this opportunity, I am very grateful.

What other projects are the key creatives developing or working on now?

On May 20th the video for "Cinema" by Ribi and arsenico.as will be released and at the beginning of June the new official video by Low-Red. These two videos are currently in post-production and are written, directed and edited by me. At the same time I am working on the pre-production of a psychological thriller short film written with Davide Nurra, so we are looking for a production to finance the shooting. So if you are a film producer, write me!

Interview: July 2022

Balentia - Without Music

Length:

3:33

Writer/Director
STEFANO PIO is an italian director of video clip and short movies. He directed the video clip of many Sardinian rappers, like Low-Red and Malakay, and was the editor of many video clip and documentaries directed by Enrico Rassu, like "Volume Experience" for IAMDDB or "Tu Non Sei Con Noi Bro" by Tredici Pietro. Now he is working for a new video clip for Low-Red and is writing a short movie.

Key cast/Producer

Davide Fenu (Noir)

Looking for:

film festival directors, producers, journalists, buyers, distributors

Facebook:

https://www.facebook.com/stefano.pio.5/

Instagram:

https://www.instagram.com/stefanopio.mov/?hl=it

Vitalis

July 29, 2022 by Carmela Baranowska

"I don't know if I'm still capable of knocking a guy out after three shots. I'd like to try, but only once."

Interview with Director Ivan Sougy

Congratulations! Why did you make your film?

This film speaks of both the intimate and the universal: the will of one man to live a thousand and one lives, with death always close by. It is a question of balance, of poetic force, of the way of life and death. Vitalis is a fascinating character, ambivalent because he both intrigues and rejects his listener.

Imagine I’m a member of the audience. Why should I watch this film?

It is the portrait of a man who talks about life and death. Of life experience and death experience to be more precise. This man has always done what he wanted to do, from positive to negative, from good to bad. The poetic force that he emanates through his presence on the screen and his words literally plunges us into this question of life and death and the relationship we have with them.

How do personal and universal themes work in your film?

How have the script and film evolved over the course of their development?

The film was made during the filming. I often used to tell Vitalis that it was a film we were making together, even though I decided on the shooting, on the story I was going to tell. The direction, his reactions in front of the camera contributed a lot to the writing of this film, which was then extended to the editing.

What type of feedback have you received so far?

The feedback is mainly very positive, the story of Vitalis fascinates... but it sometimes provokes reactions of rejection from certain spectators who have difficulty with his mode of existence, this anger and this aggressiveness which emanates from him.

Has the feedback surprised or challenged your point of view?

Absolutely not, I was expecting exactly these reactions.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

The film is there and could not be different now...

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

The film is already done...

What’s a key question that will help spark a debate or begin a conversation about this film?

Why didn't I tell the story of Vitalis' life in an exhaustive way, why are there still grey areas? This would be a good question to start a debate.

What other projects are the key creatives developing or working on now?

I work on the issue of refugees, as well as on the issue of inter-generational transmission.Interview

Interview: July 2022

Vitalis

Length:

33:40

Writer/Director

IVAN SOUGY is a writer and director of documentary and fiction films. As an amateur actor, he first acted for theatre and television before pursuing his studies in cinema and anthropology, making several documentaries, video essays and short fiction films. Each of his films and writings are the starting point for new visual and sound experiments, interweaving registers and media, archival images being one of his favourite playgrounds. His work revolves around the notions of order and disorder, interweaving the intimate and the universal, fiction and reality. He also works as an editor in documentary and for television.

Producer

Caroline Chassaing

Looking for:

film festival directors, distributors

More info:

www.ivansougy.com/

Where can I watch it?

Melbourne Documentary Film Festival

Lemme Go Talk My Ish

July 28, 2022 by Carmela Baranowska

Red Shaydez “Loses Her Head” in new music video!

Interview with Actor/Writer Red Shaydez

Congratulations! Why did you make your film?

We initially made the video to win a music award but we ended up winning before the video was completed. So we took extra time to capture creativity with a small budget.

What type of feedback have you received so far?

People were amazed by this music video. It’s gotten so much coverage.

Has the feedback surprised or challenged your point of view?

No I kind of expected it but not at the magnitude it became.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I’m trying to broaden our audience as big as it can possibly be.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Film festival directors, journalists, and distributors would def it amplify this video.

What type of impact and/or reception would you like this film to have?

I want independent creators to know art like this is possible. It can be done without a million dollar budget. If it’s your passion, you will find a way.

Lemme Go Talk My Ish - Behind the scenes

What’s a key question that will help spark a debate or begin a conversation about this film?

How many characters does the main artist play in this video? How did she get her head cut off?

Would you like to add anything else?

This video was directed and created by SNAPSBYKAT aka Katherine Otuechere. Red Shaydez was the featured artist, songwriter and actress.

What other projects are the key creatives developing or working on now?

Morning at the moment. We do have a film we hope to shoot that has been on hold since the pandemic.

Interview: July 2022

Lemme Go Talk My Ish

Length:

3:28

Writer

RED SHAYDEZ, (a stage name she developed from a pair of red sunglasses her aunt bought for her as a child), is a woman of countless talents. “Red” represents her aura and the passion she has for all of her pursuits. “Shaydez” intertwines her nickname and symbolizes her vision of the world as well as her point of view behind her sunglasses. The Boston-native powerhouse (with roots in Macon, GA and Jamaica), is a Boston Music Award winning hip-hop artist, professional video producer, public speaker, educator, and youth mentor. Red’s undeniable talent and electric personality have been widely praised by both local and national media such as MTV, BET JAMS, Boston 25 News , The Boston Globe, NPR MUSIC, and more! Her music video/mini-film for 'Little Sabrina' was selected for the 2020 Roxbury International Film Festival as well.

Director/Producer

KATHERINE OTUECHERE is a freelance director, cinematographer and editor based in Boston, MA. She began her journey as a filmmaker directing music videos for friends and local artists. She has since branched out to film commercials, short films, and documentaries. Being a freelancer has granted her the opportunity to draft compelling stories through her lens. Kat believes in creating with the intention to inspire.

Key cast:

Katherine Otuechere (Director), Red Shaydez (Rapper, Actor)

Looking for:

distributors, journalists

Twitter:

http://twitter.com/redshaydez1

Facebook:

http://facebook.com/redshaydez1

Instagram:

http://instagram.com/redshaydez1

Hashtags used:

#lemmegotalkmyish #lmgtms

Where can I watch it?

Hip Hop Cine Fest

TROP BELLE POUR CE MONDE

July 27, 2022 by Carmela Baranowska

TOO BEAUTIFUL FOR THIS WORLD

Interview with Director/Producer Aicha Ghembaza

Congratulations! Why did you make your film?

AICHA GHEMBAZA: I made this film to show the daily life of a severely autistic child. In France, for several years now, a rare form of autism has been the subject of media attention: "the ASPERGERS", and the French are unaware of this neurobiological disorder, while the number of autistic people in the world today is increasing. I want to show through this film that there are several Autism Spectrum Disorders.

And unfortunately in France there is no structure adapted for these children or adults, it is almost impossible to find trained professionals to take care of our autistic children, for most of the mothers, we leave our jobs to take care of our autistic child, we have to find the money to train ourselves, and take care of our children ourselves.

I hope this film is a way to change the prejudices about autism, to ask the President of the Republic for an Autism plan to help these thousands of children and their families.

Imagine I’m a member of the audience. Why should I watch this film?

AICHA GHEMBAZA: This film is a total immersion in my life, a reality that explodes in your face, autism is a serious subject that the world must take into consideration. I consider that there is an epidemic of Neurodevelopmental Disorders and that the world's leaders must take it into consideration, as well as the inhabitants of the entire planet, because we are all concerned.

This film must be seen in order to set up a debate and find solutions together.

How do personal and universal themes work in your film?

AICHA GHEMBAZA: My main theme is autism, severe autism, the hardest, most complex autism. The autism of my daughter, whom I am raising alone.

How have the script and film evolved over the course of their development?

AICHA GHEMBAZA: When I decided to make this film, I wanted to show a reality, a reality of our daily life, an autism that we don’t show, my goal was to make it clear that despite the serious behavioral disorders, we can help our severely autistic child. I wanted us to film louise in her good times and bad times, I brought a cameraman to our home to help me in the realization of this project.

Jérémy Trellu the editor suggested that we use my short films of Louise, very small to show the evolution of the disease when there is no suitable management. I did not know, not in advance how to go this past the week of shooting. I had organized a morning at the Olympic pool, a day with Dad at Cap Ferret, a day with a friend and her daughter and the rest of the shooting I really wanted to show Louise’s daily life.

What type of feedback have you received so far?

AICHA GHEMBAZA: I am impressed by the good feedback I received with this film. the courage to show my daily life because the majority of parents of autistic children keep their children at home. The film has 21 selections and 5 awards.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

AICHA GHEMBAZA: I am trying to raise awareness of autism, an epidemic about which we speak little or not at all.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

AICHA GHEMBAZA: I need everyone, sales agents, buyers, distributors, journalists...

What type of impact and/or reception would you like this film to have?

AICHA GHEMBAZA: I would like this film to change prejudices about autism, to give families the means to live with dignity and to have the necessary help to help our autistic children.

What’s a key question that will help spark a debate or begin a conversation about this film?

AICHA GHEMBAZA: what will become of our children?

Would you like to add anything else?

AICHA GHEMBAZA: SOPHIE JANOIS lawyer wrote this on April 6, 2022 on her face book

So we agree? April 2 was a real disappointment on the political side and it was again the associations that did the work! Autism awareness has been drowned in the flood of news which, it is true, has its share of horrors and distress...

So, I had fun writing the two-minute speech that I would have liked to hear from a candidate 😉:

Today is April 2, World Autism Awareness Day.

Autism affects 850,000 people in France, one in a hundred births. Although these figures deserve to be substantiated. People with autism have never really been referenced. These figures come mainly from international statistics that are well below reality. France has forgotten people with autism just as it has forgotten to take an interest in their number, this is very revealing.

Today, people with autism and their families feel treated like a negligible amount. This must change. This is all the more so since autism is one of the neurodevelopmental disorders that bring together millions of people with attention deficit and hyperactivity disorder (ADHD) and multidys disorders, with fetal alcohol syndrome in particular.

People with neurodevelopmental disabilities need a firm and intractable policy on the respect of their rights.

We only experienced announcement effects. But on the ground, nothing has really changed. Families who believed in a substantial reform are now disillusioned. Worse, they remain in pain, sometimes in terrible pain.

People with autism need to be understood in their invisible difference, accepted with their particularities. Their parents, their carers, need concrete and appropriate help for their child.

This involves diagnosing without delay, training competent professionals in the therapies as recommended by the High Authority for Health, providing schooling, offering the facilities necessary for schooling, ensuring that they are effective, to upgrade the status of AESH, to make medico-social establishments a passage towards a free life and not a prisoner within walls, to control these establishments, to simplify the administrative procedures for orientation or the allocation of allowances. It is about valuing skills and not insisting on differences. It is a question of supporting each autistic profile starting from the possible and not the reverse.

I would like to add that the recurring and stupid problem of holding mothers responsible for their child's disorders must absolutely disappear from both psychiatry and the courts. A mother, a father, must be able to be accompanied effectively and not be made guilty. Promises are no longer necessary, I will act without delay.

I want to hear people with autism, give them and their families a voice, work so that they have what suits them. Because each individual, autistic or not, is unique. I intend to offer them the guarantee of respect for their rights, their freedom, to protect them for the most vulnerable among them."

Here we are, we fill the nothingness as we can!

What other projects are the key creatives developing or working on now?

AICHA GHEMBAZA: I am currently working on another documentary, a long one, on autism with interviews of health professionals.

Interview: July 2022

TROP BELLE POUR CE MONDE

Length:

15:00

Writer/Director/Producer

AICHA GHEMBAZA

Born in Vienne (Isère), Aicha left her city to settle in the south of France (Marseille,
Corsica, Toulon). She moved to London in 1998 to improve her English and study
technological music. She participated in the development of Techno culture by becoming a
DJ, then organizer of parties in London, and then in Italy and France. She became a DJ
agent in 2001.
Aicha Ghembaza
wants to work for both television and cinema.
For many years she has been involved in the approach and study of the autism spectrum
and takes care of her daughter diagnosed with autism at the age of two and confirmed by
the CRA ( Autisme Resource Center ) one year later.
Aicha Ghembaza wants to make the French aware of the difficulties parents have in
raising an autistic child when there is no suitable structure in France.

Looking for:

sales agents, journalists, producers, buyers

Facebook:

https://www.facebook.com/Trop-Belle-Pour-Ce-Monde-102928361727042

Instagram:

https://www.instagram.com/Louisesarahmercedes/

Where can I watch it?

Melbourne Documentary Film Festival

Off-Identikit

July 26, 2022 by Carmela Baranowska

'Off-Identikit' is a documentary film about the extraordinary figure of Francesca Alinovi. During the 1970’s & 80’s, in Bologna and New York, streets were undergoing new avant-garde movements. While many remained skeptical, Francesca Alinovi, an art critic from Italy, was one of the first who created a new figure in the contemporary art world: the art critic as artist.

Interview with Director Veronica Santi

Congratulations! Why did you make your film?

Because the story of Francesca Alinovi has been censored for 40 years. We no longer find her in art history books, her story of her homicide has swept away what she did in her life. It's time for it to be studied again!

Imagine I’m a member of the audience. Why should I watch this film?

To learn something that has been forgotten by the news and dive into one of the most exciting moments in the history of twentieth century art.

How do personal and universal themes work in your film?

Alinovi was a militant art critic: art and life were one in her research and this necessarily leads to reflect on universal values.

How have the script and film evolved over the course of their development?

Each interview shuffled the cards: the people interviewed had not talked about Francesca Alinovi since the day of her death, that is, since June 1983.

What type of feedback have you received so far?

I was pushed not to stop talking about it, despite the fact that it is also an exhausting issue to pursue.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Talking to the new generations the name of an (almost) forgotten militant intellectual. Disseminating the culture of the street, the art that comes from the passion of those who produce and live it.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

journalists and distributors, anyone who helps to spread the film

What type of impact and/or reception would you like this film to have?

An exciting surprise.

Would you like to add anything else?

"I remember the best interview I have done was with Francesca Alinovi" - Keith Haring.
Francesca Alinovi...who?

Interview: July 2022

Off-Identikit

Length:

29:00

Writer/Director

Veronica Santi

Producer

Veronica Santi // Lucia Bellini, Cassandra Petersen

Key cast:

Robert Kushner, Kenny Scharf, Torrick “Toxic” Ablack, Ann Magnuson, Stefan Eins, Chris “Daze” Ellis, John “Crash” Matos

Instagram:

https://www.instagram.com/la_santissima/

Hashtags used:

#offidentikit #francescaalinovi #lasantissima

More info:

http://www.lasantissima.club

Made in association with:

Where can I watch it now?

YouTube

FINITE: THE CLIMATE OF CHANGE

July 21, 2022 by Carmela Baranowska

Concerned citizens in Germany step forward to save an ancient forest from one of Europe’s biggest coal mines, whilst they form an unlikely alliance with a frustrated community in rural northeast England who are forced into action to protect their homes from a new opencast coal mine.

Interview with Director/Producer Rich Felgate

Congratulations! Why did you make your film?

I first came to this project as more of a climate activist than a filmmaker. Watching documentaries is largely what opened my eyes to the environmental crisis and I wanted to do the same for other people. I got involved with direct action against coal mining and fracking and I was frustrated that there weren’t many films from the perspective of direct action, or that went beyond raising awareness and the typical mantra of “if we buy different stuff, things will get better” or “change will happen when there is the political will”.

I started filming a group I was involved with taking part in protests against the huge coal mines in Germany with the idea of making a short film and things escalated from there.

Imagine I’m a member of the audience. Why should I watch this film?

FINITE tackles an issue which impacts us all, the climate crisis and our addiction to fossil fuels which is pushing us to disaster. But crucially, despite the ubiquity of this issue, FINITE is an insight into a world that few of us are truly engaged with - the frontline battle between ordinary people and fossil fuel companies.

FINITE is a shocking and authentic look into direct action and at the lengths activists, frontline communities will go to protect nature, and the shocking pushback from corporate and state power. This film humanises the fight for our planet, in place of communicating the climate with abstract data.

Importantly, FINITE gives us hope for how the tide can be turned against climate breakdown; not with naive optimism, but by laying bare what is possible with collective action, because hope is action. If you're anxious about the climate crisis - (let's face it, who isn't?) - then you need to watch this film. FINITE builds into more of a thriller than a documentary and puts the audience on the edge of their seat.

How do personal and universal themes work in your film?

FINITE is a local chapter of the story that will define humanity: the climate and ecological emergency. It's a universal David and Goliath story but leverages an insiders view of the climate movement to reveal the people behind the headlines of climate protests.

How have the script and film evolved over the course of their development?

Since its inception, this film has escalated to say the least! I started out the project as more of an activist than a filmmaker and set out to make a short film following some of the protests I was involved with. Needless to say, the story grew and expanded into a feature and I gradually learnt how to make a film.

What type of feedback have you received so far?

Audience feedback so far has been overwhelming - we've had tears, cheers, gasps and a standing ovation. FINITE's ability to move audiences was validated by winning the Focus Future award, voted by the audience at our European premiere at the 32nd Internationales Filmfest Emden-Norderney in Germany. Most importantly, it's changing minds and changing behaviours, with audiences so far telling us they feel compelled to act against climate breakdown, through a mix of anger and heartfelt emotion channeled by the film.

Has the feedback surprised or challenged your point of view?

We haven't had anyone openly disagree with the message of the film at screenings yet, but I'm sure that time will come and will make for an interesting Q&A session! I've been surprised by the degree to which some of the more politically radical elements in the film speak to people who are outside of the bubble of radical climate politics.

Scenes where activists sabotage the machinery of the coal they are fighting against have been surprisingly uncontroversial, even welcomed by people I wouldn't expect to agree.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We are looking to publicise FINITE's online screening at Melbourne Documentary Film Festival and connect with audiences. We also hope the attract the attention of potential buyers, as our film is being distributed by Espresso Media International. We're also hoping to catch the eye of festival programmers in Australia and beyond.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Buyers, film festival directors, journalists and impact producers.

What type of impact and/or reception would you like this film to have?

FINITE is all about moving people to action. We're out of time in the climate emergency and people all around the world are using protest, direct action and civil resistance to make the change we need so despreately. The best impact possible from FINITE is for audiences to feel inspired, empowered and outraged by the film and join the climate resistance where they are.

What’s a key question that will help spark a debate or begin a conversation about this film?

The key question throughout the film is "what do you do when nothing else works?". We're at the point where decades of legal campaigning and government climate policy have not only failed, but allowed things to get catastrophically worse. We hope the film sparks debate about what is necessary, proportionate and strategically achievable for ordinary people do to in this age of climate breakdown.

What other projects are the key creatives developing or working on now?

I'm continuing to document climate protests and have recently been filming an exciting new campaign demanding the UK government stops issuing fossil fuel extraction and production licenses.

Interview: July 2022

FINITE: THE CLIMATE OF CHANGE

Length:

1:39:36

Director/Producer

RICH FELGATE is an award-winning documentary filmmaker and climate activist. His directorial debut is feature film, FINITE: THE CLIMATE OF CHANGE. He spent a year and a half living in protest camps with the communities he filmed in FINITE and was Europe’s first recipient of the Patagonia Media Grant. He has worked on broadcast TV shows for BBC and Discovery, plus short documentary “Frack Free Lancashire”, winner of the environmental award at the British Documentary Film Festival.

Twitter:

www.twitter.com/finitedoc

Facebook:

www.facebook.com/finitedoc

Instagram:

www.instagram.com/finitedoc

More info:

www.finite-film.com

Where can I watch it now?

Melbourne Documentary Film Festival - available online throughout Australia until 31st July

NaturVision FIlm Festval - Ludwigsburg, Germany - 22nd July, 21:00, Filmstudio

DokuFest - Prizren, Kosovo 5th-13th August

Ferguson Rises

July 20, 2022 by Carmela Baranowska

How does a father find purpose in pain? In 2014, Michael Brown Sr.’s son was killed by White police officer Darren Wilson in Ferguson, an event that fueled the global Black Lives Matter movement. But his personal story seeking justice and healing has not been told until now.

Interview with Director/Producer Mobolaji Olambiwonnu

Congratulations! Why did you make your film?

When Michael Brown Jr. was killed, he was just one year younger than I had been when I had my life-altering experience with the police. I couldn’t help but think that it could have been me; what happened to Michael Brown Jr. could have easily happened to me or to any other Black or Brown teen.

At the time of Michael’s killing, my wife was seven months pregnant with our only child, our son. I knew that if nothing changed, he would have to face these same dangers and injustices every day of his life too. It became clear to me, at that time, that I could not just sit there and do nothing. I wanted to someday be able to tell my son when he asked what I did at that crucial moment in history, that I did something meaningful, and that I at least tried to make a difference for him and other people. It is because of this that I made Ferguson Rises.

Imagine I’m a member of the audience. Why should I watch this film?

Ferguson Rises is the only film that intimately follows Michael Brown Sr., whose unarmed teenage son’s killing by police in 2014 sparked a global movement, and goes deep into the aftermath and protests. It also highlights the diverse voices of community members: from residents to police officers, to business owners and those who chose to say "enough is enough" by taking to the streets for a record 400 days straight. These varied perspectives are interwoven with a rarely seen portrayal of a Black father’s grief, to help us understand the human side of this tragedy and to give us an intimate view of what it means to be a Black man in America.

Ferguson Rises is ultimately about empathy. We sit with a grieving father, with police officers, with community members who are outraged at this murder, and with community members who are angry at protesters. We see that they are all human, and ultimately, they are capable of growth and healing, and that we may have something to learn from them.

How do personal and universal themes work in your film?

As a Black father, I have tried to convey several things with this film: the reality of what happened in Ferguson and what happens to Black people on a daily basis; the generally unrecognized human suffering, the rarely seen vulnerability and strength of Black fathers and Black men in this country; the common humanity that we all share; and the reframing of our suffering into hope, community and action.

How have the script and film evolved over the course of their development?

We started shooting without a script back in 2014 when things began happening and as we met people the films evolved from being just cemeteries of the community to having Michael Sr. as a central figure that grounded us emotionally in what the community was experiencing. So we now have Michael woven as a throughline between all the other characters and moments of the film. This was not the case initially because we also ran out of money before we could fully do this.

What type of feedback have you received so far?

So far the feedback has been powerful and moving. Audiences resonate with the film overall. They are most moved by the personal connection to Michael Sr. and the fact that while the film is sad, it is also hopeful.

Has the feedback surprised or challenged your point of view?

There has been some feedback from people who wanted the film to be more radical but for the most part, they understand that the person is very radical.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Through We Are Moving Stories, we hope to bring context and empathy to a wider, global audience. While this takes place in a small town in America, these themes impact the world.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We’re open to a variety of partnerships, including hosting screenings with facilitated discussions. We meant the film to be used as a tool to help young men find constructive ways to deal with their emotions, particularly those that could potentially lead to violence when not dealt with properly.

What type of impact and/or reception would you like this film to have?

Ultimately, I want this film to act as a catalyst for eradicating racism. We want people to watch it and see the humanity in everyone and then take action through facilitating screenings and workshops in their communities that get people discussing how to move past racial and cultural challenges.

What’s a key question that will help spark a debate or begin a conversation about this film?

How do a father and a community find purpose in their pain? What would the world look like without racism? What would be possible?

Would you like to add anything else?

As an African, this is also my apology to African Americans for not listening and not understanding our shared plight when I first arrived in America as a youth. It took me experiencing similar things to understand and I hope that the rest of the global non-black community can choose a less painful path to understanding since they will likely never experience what I or others did.

What other projects are the key creatives developing or working on now?

We are developing other projects around civil rights and social justice. We are also open to other projects that come from like-minded people and companies.

Interview: July 2022

Ferguson Rises

Length:

1:21:58

Writer/Director

Producer

MOBOLAJI OLAMBIWONNU is a graduate of UCLA and AFI. He is the recipient of the prestigious Audience Award at the Tribeca Film Festival and the Directors Guild of America Student Filmmaker Award. Besides freelance film work, MOBOLAJI has also worked in the fields of education, conflict resolution, and community organizing. His community-based experience is the conscience behind his work. Ferguson Rises is MOBOLAJI’S first feature film.

DAVID OYELOWO is an award-winning actor known for his role as Martin Luther King Jr. in the movie Selma and many other notable roles in film. His company Yoruba Saxon’s produced NIGHTINGALE (HBO), CAPTIVE (Paramount), A UNITED KINGDOM (Fox Searchlight), COME AWAY (Relativity Media), FIVE NIGHTS IN MAINE (FilmRise), and THE WATER MAN, directed by David (Shiv Hans, Harpo, RLJE, Netflix) and SOLITARY (BRON Studios)

JESSICA OYELOWO is a producing partner with DAVID OYELOWO in Yoruba/Saxon Productions. They have a first-look deal with Disney to develop and produce family-oriented content.

TANAYI SEABROOK has performed multiple roles in front of and behind the camera over the past 15 years. She recently won a local Emmy for producing and has worked in the capacity of producer for many years.
TJ ODEBUNMI has extensive experience as a writer and story analyst. In 2002, ODEBUNMI leveraged his vast business, political and media contacts in Africa to assist in the successful launch of The Africa Channel.

DAISY MO is also a West Point Graduate, and a former Captain in the United States Army. She brings those skills along with an extensive fiction writing background to her first role as a producer on Ferguson Rises.

LISA SMITHLINE is an innovative leader in the cause marketing field. As an impact producer and marketing strategist Lisa creates dynamic multi-platform distribution campaigns using film and new media. She currently works for the firm Moca Media creating highly successful impact campaigns for films.

TAMIKA LAMISON is an award-winning producer, director, and actor who is a founding member of Philmco and Make A Film Foundation a non-profit that grants 'film wishes' to children who have serious or life-threatening medical conditions by teaming them with noted actors, writers and directors who help them create short film legacies.

NICK MOON is a former executive at Yoruba/Saxon Productions founded by David and Jessica Oyelowo. He is passionate about spotlighting stories that unapologetically showcase humanity and evoke empathy.

Key cast:

Interviewees: Michael Brown Sr., father of Michael Brown Jr.; Tory Russell, St. Louis resident, Co-Founder, Hands Up United; Rev. Osagyefo Sekou, St. Louis resident, Organizer, Fellowship of Reconciliation; Jeff Ahrens, Ferguson resident; Susan and Ank Ankebrand, Ferguson residents; Rev. Renita Green (Lamkin), St. Louis resident, Pastor; Heather Taylor, St. Louis Police Sgt., Homicide Division; Gary Wiegert, retired St. Louis Police Sgt.; Cathy “Mama Cat” Daniels, St. Louis resident, Activist/Founder, Pot Bangerz; Dr. Leah Gunning Francis, St. Louis resident, Author of Ferguson and Faith; Montague Simmons, St. Louis resident, Chair, Organization of Black Struggle

Looking for:

distributors, film festival directors

Twitter:
https://twitter.com/ferguson_rises

Instagram:

https://www.instagram.com/ferguson_rises/

Hashtags used:

#fergusonrises #blm #crt #blackfilmmakers

More info:

https://fergusonrises.com/

Where can I watch it now?

Amazon Prime and iTunes

Me, Mahmoud and the Mint Plant

July 15, 2022 by Carmela Baranowska

While working in war-torn Mosul, Iraq, in 2017, Canadian nurse Trish Newport developed an unlikely friendship with Mahmoud – a local man who carried a mint plant with him wherever he went.

Interview with Writer/Director Cat Mills

Watch Me, Mahmoud and the Mint Plant here:

Congratulations! Why did you make your film?

A friend had told me this story as she knew Trish, our main character. I fell in love with the mystery behind Mahmoud and his mint plant - as well as the simple solution: that he carried the mint plant through a war zone due to a promise he made to his daughter. It was so touching and sweet and I felt it should be shared with the world

Imagine I’m a member of the audience. Why should I watch this film?

You should watch this film if you are becoming cynical and would like to be reminded of the power of small promises.

How do personal and universal themes work in your film?

I love stories about strangers connecting, as well as stories about kindness. There is so much bad news out in the world that I feel that being shown sweet and simple stories can help bring us back to a more optimistic headspace.

How have the script and film evolved over the course of their development?

We based the script on the article that Trish wrote for MSF about how she met Mahmoud and how his promise to his daughter helped keep her grounded in a war zone. The story was elaborated slightly through interviews with Trish.

What type of feedback have you received so far?

So far people have loved the film. Strangers have written to me, telling me about how the film has made them tear up. We're really pleased that the film has had such a positive impact.

Has the feedback surprised or challenged your point of view?

I'm happy the story has resonated with people.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We would love to have a large festival run and share this sweet story about a father's love for his daughter to a wider, global audience.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Film Festival directors.

What type of impact and/or reception would you like this film to have?

We would love for people to be inspired and to tell their friends and family that they love them.

What’s a key question that will help spark a debate or begin a conversation about this film?

How do you stay grounded during times of crisis?

Would you like to add anything else?

Nope - thanks for supporting the film!

What other projects are the key creatives developing or working on now?

We just finished a new short film for Al Jazeera Witness called The Billboard Squad: Dave Meslin, a 47-year-old Canadian activist, is known for his campaigns to defend public space from commercial interests. For 15 years, he has been lobbying Toronto to remove illegal billboards from neighbourhoods across the city.

You can check it out on Youtube: https://www.youtube.com/watch?v=5zcTCBMgBY0&t=1s

Interview: July 2022

Me, Mahmoud and the Mint Plant

Length:

5:32

Writer/Director

CAT MILLS is an award-winning filmmaker with a passion for the unconventional.

She is a graduate of the University of British Columbia, holding a BFA in Film Production, and is a fellow of the CFTPA Producers Internships program, the documentary Channel Doc Accelerator Program and the DOC Breakthrough Program.

Cat's 2016 film about the Toronto Repair Cafe, FIXED!, won first place in the 2016 Hot Docs Short Film Pitch competition and has been winning awards on the festival circuit. Her 2017 film BIG MEN, SMALL DOGS (CBC Short Docs) went viral with over a million views in the first few weeks of its release.

Producer

Felicity Justrabo is a Toronto-based documentary film producer. She is the producer of five short films for CBC’s Short Docs, including the award-winning viral hit Finding Fukue. She is also the associate producer for the one-hour human rights documentary In Search of a Perfect World (CBC) and the feature films Coppers (TVO, TIFF 2019) and Borealis (NFB/TVO).

Felicity has also worked on several feature documentaries as a production coordinator, including Rob Stewart’s final film Sharkwater Extinction (2018, TIFF 2018) and Peter Jackson’s documentary debut They Shall Not Grow Old (2018). Currently, she is producing the CBC docuseries Writing the Land and the feature film The Yes Men Build a Wall.

Key cast:

Trish Newport

Looking for:

film festival directors

Twitter

https://twitter.com/catstercat

Hashtags used:

#CBCShortDocs

Where can I watch it now?

Melbourne Documentary Film Festival 2022

The Land Speaks

July 14, 2022 by Carmela Baranowska

Pairrebeene/Trawlwoolway artist Lisa Kennedy and Environmentalist/Educator Bryan Watterson unpack their feelings of connection to their property in Toora, South Gippsland which they have been listening to and returning to a state of biodiversity for the past twenty years.

Interview with Director Gaia Mitting

Congratulations! Why did you make your film?

Thank you so much! I am close family friends with the primary interviewees Bryan and Lisa, and was so incredibly inspired by the reforestation and artistic work they have been doing on their property and in the surrounding community in Toora, South Gippsland over the past twenty years. Growing up, I always knew that what they were doing was special but it is only now that I fully appreciate the scope of their vision, its importance, and how much of it they have so far put into action.

I wanted to provide a platform for them to share this work through the filmic medium. I am hugely passionate about environmental respect and conservation and art and was deeply inspired by them as individuals. In a time of such environmental destruction and climate cruciality, and in a world rife in disconnection, Bryan and Lisa’s story and message is of incredible urgency, and it was truly special to be a part of it.

Imagine I’m a member of the audience. Why should I watch this film?

The film has a strong message, but communicates it with a great deal of gentleness and sensitivity. It aims to prioritise the voice of the Earth and encourage audiences to listen to it, whilst offering ways they can contribute to change in their own lives through the example of Lisa and Bryan. It features interviews with incredible artists and advocates within the wider community who are all inspiring.

Once desolate, the Land now thrives with 66,000 trees, an Indigenous-led Community Sculpture Circle, and the return of wildlife to the area. Bryan and Lisa, once considered unconventional for their environmental focus in a traditional farming community, are seen as inspirations.

How do personal and universal themes work in your film?

It's a deeply personal story about the connection of two people to the Land, but how they have expressed that connection is incredibly pertinent in a universal sense. Throughout the film, Lisa and Bryan unpack their feelings of personal, environmental, creative, cultural, and familial connection evoked from their property in Toora, South Gippsland. The film explores how this personal connection has rippled outwards and contributed towards positive change in the wider community.

At its core, it is a personal story of two people of incredible grit who sold their house to buy a block of land and then listened to it deeply. On a wider scale, it is about the cruciality of connection in its various forms, and its power to positively affect people and thus the planet.

How have the script and film evolved over the course of their development?

My team and I collaborated closely with Bryan and Lisa on this film to ensure that it was a respectful and accurate portrayal of who they are and what they have done. From the beginning we were on the same page about creating a film which complemented in its tone the magical, uninhibited creative force of the Land. We wanted to portray the Land as its own character, to listen to its voice and give it the space to speak. Being a documentary, we had an idea of the themes we wanted to tackle and the direction we intended, but were open to let it breathe and evolve right up into the shoot.

The structure was also dependent on which additional interviewees involved in the projects would be available on the day of shooting. We ended up having an incredible community turn-out which was so special. It was truly an honour to speak to everyone involved in the projects in and around the property. We really wanted to listen to the people and land itself and let the film evolve from that, rather than being bound to a rigid structure. During the edit, I ensured I was consulting with Lisa and Bryan and the additional interviewees to ensure portrayals were accurate and respectful throughout the entire process.

What type of feedback have you received so far?

The feedback we have received so far has been super positive! This screening with the Melbourne Documentary Film Festival will be the film's premiere, its pretty fresh. Lisa and Bryan have both been thrilled with the final outcome which was always my main priority, so that's the best feedback I could ask for.

Has the feedback surprised or challenged your point of view?

It has been humbling to know that what we have created is fully embraced by the two people it is about. As a filmmaker that has been my main concern going into this project, so I am overjoyed that it is the case.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

It's fantastic to be represented through We Are Moving Stories! I would love to encourage people to attend the screening of 'The Land Speaks' on the 24th of July at Cinema Nova as part of the Melbourne Documentary Film Festival.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

As we are at the beginning of the journey of sharing the film, I would love for anyone who is inspired by and connected to its message to come on board!

What type of impact and/or reception would you like this film to have?

I hope that this film inspires people to consider the connections to nature that they have in their own lives, and to be fueled by this towards contributing to positive change. Through Bryan and Lisa's example the film aims to advocate for the fact that this essential action is achievable by everyone in many different and personal ways.

What’s a key question that will help spark a debate or begin a conversation about this film?

What does connection mean to you? How can connection in its various forms contribute towards positive change?

Would you like to add anything else?

Throughout the filmmaking process, I worked closely with the Cinematographer Erin McMahon and Producer Harriett Bothroyd who are both incredible. I am hugely grateful to everyone in our amazing team for bringing this film to life.

As I am not a First Nations person, I have been highly aware of ensuring that I do not step into areas of cultural appropriation/misrepresentation when portraying Lisa's cultural perspective in the direction of this film. I have worked closely with Lisa as Cultural Consultant to ensure this. All culturally-specific content is presented respectfully and as verbatim. I have sought permissions and approvals throughout the filmmaking process. The aim of this film is not to make any cultural statements.

What other projects are the key creatives developing or working on now?

I myself (GAIA MITTING, Director/Editor) am currently writing and directing 'A Walk with Kate,' a short fictionalised feminist/gothic depiction of bushranger Ned Kelly's sister Kate's life, which is currently in pre-production. I'm also doing Sound Design for another short film 'Tabbeh,' directed by Sarah Ghassali and also in pre-production.

ERIN MCMAHON (Director of Photography) is currently working on a two week shoot for a series as a Boom Operator at the end of June. She is currently also in pre-production for the short film she is directing called Lithium, and pre-production for two films she is doing Sound on as well. All will be completed sometime in the next year.

HARRIETT BOTHROYD (Producer) is currently working on two student-led films, 'Lithium' and 'Bokeh,' for her final years at University as a Writer and Production Designer, and on the side is creating scripts and stories of her own.

Interview: July 2022

The Land Speaks

Length:

20:16

Writer/Director

GAIA MITTING is a Melbourne-based emerging filmmaker. She has a deep passion for sustainability, animal activism and environmental respect, and believes strongly in the power of film to contribute towards significant change in society through engaging people’s emotions. Gaia is in her third year of a Bachelor of Film and Television (Honours) at Swinburne University. In 2021, Gaia was a part of the team for the award winning short film 'La Tansouna' (dir. Sarah Ghassali).

Producer

HARRIETT BOTHROYD is a third year student studying film and creative writing at Swinburne University of Technology. She enjoys working on films at every stage of production, and The Land Speaks is the first documentary film she has produced.

Key cast:

Lisa Kennedy (herself), Bryan Watterson (himself).

Looking for:

distributors, film festival directors

Facebook:
https://www.facebook.com/The-Land-Speaks-Short-Documentary-Film-107787038355111/

Where can I watch it?

Melbourne Documentary Film Festival / Melbourne Cinema Nova-24th of July 2022.

My Fight

July 13, 2022 by Carmela Baranowska

When you break your Wings, remember you have Claws.

Interview with Director/Producer Bebi Zekirovski

Congratulations! Why did you make your film?

Once I heard Mitche's story I got so attached to the story and I thought that it would be a great idea to share his story with the world because there are so many people who can benefit from this film. As we all know how big is drug addiction problem between young people then there is also a big need for films like "My Fight" that gives young people and their families a hope for their problem.

Imagine I’m a member of the audience. Why should I watch this film?

This film has to be watched by young people for them to see first hand how easy is to get in to drugs and get locked in that hard life style from where it is very hard to get out. But in this film Mitch explains how he found the way out of his drug addiction and the mental health issues .

How do personal and universal themes work in your film?

The personal story of Mitch is a great problem in the world.

How have the script and film evolved over the course of their development?

The script and my plan was originally to be a short film but the film developed so much during filming that it ended up as a feature length movie.

What type of feedback have you received so far?

The feedback so far is great, we have feedback from young people and parents who think that the film is a must see for teenagers, the parents and everyone who is going trough rough times with drugs and mental health.

Has the feedback surprised or challenged your point of view?

Knowing the story and finishing the film we were hoping for good feedback and we are so happy to see that the film got the massage out there and the feedback is great.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I would like the film to be seen by as many people as possible so the message gets to all the people that need help.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

distributors, sales agents, buyers, journalists.

What type of impact and/or reception would you like this film to have?

I'm hoping to make a big impact with young people to stop them getting in to drugs or make them help their friends or family members that are already in to drugs.

What’s a key question that will help spark a debate or begin a conversation about this film?

Can this affect me or my family ?

Would you like to add anything else?

I would like to recommend to everyone that has seen the film or will watch it later and to everyone that needs help with drugs or mental health.

What other projects are the key creatives developing or working on now?

At the moment I'm working (still in research) on a new documentary that will be filmed in India and it's a very unique project.

Interview: July 2022

My Fight

Length:
1:02

Director/Producer

Bebi Zekirovski an awarded Australian Film maker with over 15 years in the industry, has worked on many International and Australian Productions and his films have been screened at many film festivals around the world.

Key cast:

Mitch Bath

Looking for:

distributors, sales agents, buyers

Facebook:
https://www.facebook.com/My-Fight-107284424396963

Instagram:

https://www.instagram.com/myfight_documentaryfilm/

Hashtags used:

Where can I watch it now?

Melbourne - Melbourne Documentary Film Festival 31st July

Her, Grace

July 12, 2022 by Carmela Baranowska

Some people are born into history. The rest of us have snapshots.

Interview with Director/Producer GRACE and KATRINA LOLICATO

Congratulations! Why did you make your film?

In Australia, migrant and 'multicultural' stories tend to follow a predictable pattern. They are slow paced, linear and often, culminate with the migrant's increased happiness in the new homeland. Visual media is often used as evidence that the narrative is watertight, universal and ensures the story is read as nostalgic, banal or quaint. Audiences start to make the images fit their expectations.

We wanted to explore the possibility that technologies of storytelling might offer subtle disruptions to the expected.

Imagine I’m a member of the audience. Why should I watch this film?

Because it gives you the confidence to make your own!

How do personal and universal themes work in your film?

The film begins as the viewer might expect. But with time comes disjuncture. Homeland traditions can be seen reimagined on, and imbued into, the Australian landscape. Rather than laying to bare the obvious, we utilise editing techniques to visually depict moments of continuity and change.

Repetition of visual motifs such as pasta, the hills hoist, the camera, birthdays, ceremony and the embrace along with the audibility of our storyteller's breath hint at continuity through generations while also evoking a sense of the tension between the brevity of life and the enduring impact of death. The home archive is edited to evoke the experience of memory itself - fleeting, patchy and in 'bits and pieces'.

How have the script and film evolved over the course of their development?

This started out as an exercise in oral history. There was really no script before our interview with our storyteller started. Our challenge was to try to weave together moments of really familiar and familial history into something that a general audience could recognise as a story.

Working with our Dad as the storyteller, it at times became difficult to recognise the difference between creating space for the unsaid and just leaving the audience out of the conversation. So time away from editing between attempts really helped to create enough distance to (hopefully) strike a balance.

Her, Grace

What type of feedback have you received so far?

So far, the feedback has been fairly consistently polarised.
There are those who 'get it' and there are those who want to make it fit more neatly and evenly paced into the usual narrative. We have found that some filmmakers tend to want to enhance the nostalgic aesthetic, we guess, in a bid to get the audience to connect to the characters. But connection to our storyteller was not really the goal. We have had editors want to add sad and quaint 'ethnic' sounding music, slow down the pace of the editing and smooth over our storyteller's speech pattern. We think the goal is to make the story more recognisable as a 'multicultural' story. To put it neatly in that pocket. Maybe the aim is to use nostalgia as a hook.

Researchers and artists working within the multicultural art framework as well as general 'CALD' audiences tend to better understand that we don't really need you to connect to this story in particular, but to instead think about those themes - mortality, the notion of agency, the brevity of life, continuity and change within families through time. They will more readily sense that we are asking them to think through what constitutes a 'normal life'. They are more likely to see that this isn't a story about a boy meeting the queen, but instead about the contrast between the promise of 'a better life' and the reality of carving one out for yourself. Audiences who deal with being represented as 'multicultural' or CALD and who are frustrated by the usual suitcase-to-integration narrative see it as a subtle undermining of the grand narrative through the use of the personal.

Has the feedback surprised or challenged your point of view?

It surprised us in that we assumed the feedback would be reversed: We assumed filmy types would be more likely to dig our approach and general audiences and academics would be more confronted by it.
From a critical perspective, it's made more obvious just how steadfast the 'multicultural' approach to storytelling is.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We want to contribute to that discussion about what defines innovation. Is it fancy effects that make the ordinary look more extraordinary? Is it offering an exceptional story that counters but might also strengthen the definition of 'ordinary'? Or is it possible to nudge boundaries by putting a slightly difference lens over the top of the familiar? In our case, we are attempting to represent the process of memory and storytelling itself, to see if that made a slight difference to how the migrant story might be received.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Unlike most makers of films, this film was not intended for world domination! But if we want these stories to be celebrated beyond what they can demonstrate in terms of migrant contribution to the mainstream then the answer is all of the above! We need to start bending the boundaries between categories of people and their stories. We need to stop thinking about experience purely in terms of what is marketable. Remaining independent and low fi gives us an opportunity to experiment without risk. With no dollars at stake, as long as we can be in a conversation, even if it is amongst just a few like-minded people, it's still a win for us.

What type of impact and/or reception would you like this film to have?

Her, Grace is a request for audiences and cultural producers alike to really explore the home archive as an archaeological resource. We want people to dig around their own material, ask a few of their own questions and think beyond the narrative to see where there might be opportunities for connection across our seemingly impossible-to-bridge social, cultural and economic differences. There is beauty in the losses and in exploring the everyday. Look closely. Beyond the nostalgia.

What’s a key question that will help spark a debate or begin a conversation about this film?

Ultimately, what we would like audiences to consider is, What can we learn from the homemade-banal that the made -for-the-masses-grand narrative might miss?

What other projects are the key creatives developing or working on now?

We are currently working on another experimental oral history which explores how we make collective memory in Australia. In this next film, we document our storyteller, Phillis' difficult relationship to the only home she ever knew - Ballarat Orphanage. Abuse, isolation and loss contrast sharply with Phillis' desire to have the Ballarat Orphanage site listed as a place of significance and for a memorial garden to be instated. Her grief is really palpable. We again use personal and lost and found archive and a single voice to piece together the story, in bits.

Interview: July 2022

Her, Grace

Length:

8:32

Director/Producer

GRACIE LOLICATO and KATRINA LOLICATO: Two oral historians with the same face and super similar voices investigate what it means to be Australian. Working across media and always in partnership with others, our podcasts, short films, zines and exhibitions seek to analyse some aspect of Australian culture, society and identity. Working together as 'ARC UP Australia' since 2012, the pair have presented their work across Melbourne's various public spaces, libraries, galleries, festivals and pubs.

Key cast:

Santo Lolicato; Grace; The Queen of England (all as themselves).

Looking for:

film festival directors

More info:

aussiesarcup.com.au

Where can I watch it now?

July 23rd Melbourne Documentary Film Festival, Shorts Session 2. Cinema Nova 1.10pm

The Black Veil

July 08, 2022 by Carmela Baranowska

Bradley is a gender non-binary person looking for their place in the world. Can a quasi-religious, cross-dressing protest group help Bradley to find it?

Interview with Editor/Director Ling Lee

Congratulations! Why did you make your film?

I became interested in the Order of Perpetual Indulgence after hearing about them through a friend. It was only when I met them that I realised how much of a variety of gender and sexual identities exist within the group. I had not met a gender non-binary person before and so I was particularly curious about them. I felt especially drawn to finding out about Brad’s individual journey which is why they became the focus of the project. I felt it was important to make a film that would contribute positively to the conversations and debates about gender that are often in the media at present.

The Black Veil is an intimate and personal observational documentary that uses creative and expressive scenes to convey Brad’s journey. With this film I would like to invite people to explore different gender possibilities and to recognise that there are people out there who do not identify with the binary form. I would like people to see that there are groups out there offering support to individuals who are questioning their own gender identity.

Imagine I’m a member of the audience. Why should I watch this film?

Anyone who is curious about diversity would watch the film, in particular people who are interested in gender diversity. This film also speaks to people who are exploring their own gender and who want to be inspired by other people's journeys.

How have the script and film evolved over the course of their development?

The COVID-19 pandemic made filming difficult. The actual idea and main thread never changed but we ended up shooting less observational scenes than planned. Thankfully, the archive material (some of it generously given by the original Sisters of Perpetual Indulgence in San Francisco) provided us with another type of material that added an extra layer of depth to the story. The main story of the wedding had to slightly change as weddings couldn't happen during the pandemic. The ending was the main part that changed but overall it didn't change the core message of the film.

What type of feedback have you received so far?

People loved the abstract shots and colours. Also, finding out about The Sisters of Perpetual Indulgence was an eye-opener for a lot, they just loved the joy and the activist work. People also were really moved by the scene with the aunt and many asked me how I managed to film such intimate conversations. I haven't received tons of feedback due to the film being mainly screened online, but all the feedback I have had has been positive.

Has the feedback surprised or challenged your point of view?

It's been interesting to see the different reactions from different groups. For people who are very open minded and/or have been surrounded by the LGBTQ+ community, the film isn't such an eye-opener but for other people it's really helpful and they start looking around them more to see if their colleagues could be gender non-binary, or they have a lot of questions. This reaction made me think that this film is more aimed at people who have yet to learn that gender diversity exists.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I'm hoping that the film will be picked up by more festivals and distributors so that more people around the world can see it. I would like to show Brad's story and encourage a postive conversation about gender non-binary people and gender diversity in general. It's important to me to counterbalance the misleading and polemic discussions and to have positive and proactive conversations amongst all of us.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Distributors, film festival directors, journalists, buyers.

What type of impact and/or reception would you like this film to have?

As I mentioned above, it would be great to create workshops and open conversations that discuss gender diversity. It is important to be inclusive of people who don't know anything about this world and I would like them to be able to voice their questions without being intimidated.

What’s a key question that will help spark a debate or begin a conversation about this film?

Do you think gender can only be binary?

What other projects are the key creatives developing or working on now?

I'm currently working on a creative documentary about the complexities of ethical translation for survivors of gender based violence. This film will be focused on people whose first language isn't English. You can find out more if you follow me on Twitter and Instagram.

Interview: July 2022

The Black Veil

Length:

28.35

Director

LING LEE is an award-winning director and editor whose work focuses on human stories and crossover cultures. As a self-shooter she approaches the subjects in intimate ways and prefers to tell her stories observationally.

After gaining an MA in Documentary Directing at the NFTS she made documentaries in the UK and abroad. LING’s work has been broadcast on Al Jazeera, BBC Scotland, Channel 4, ARTE/ZDF, VPRO, and screened at international film festivals.

Producer

NOE MENDELLE started her film career with Steel Bank Films (1982), a Channel 4 film workshop based in Sheffield. She is an experienced director, producer & exec producer on the international scene, having worked on numerous award-winning documentaries for festival and broadcast.
In 2003, she set up Scottish Documentary Institute based in Edinburgh and runs several schemes to develop creative documentary in Scotland. She acts as executive producer on SDI award-winning features.

Key cast:

Brad, Emma, Brother Bimbo

Looking for:

distributors, film festival directors, buyers

Twitter:

https://twitter.com/lingleefilms

Facebook:

https://www.facebook.com/theblackveilfilm

Instagram:

http://instagram.com/theblackveilfilm

Hashtags used:

#theblackveil