'birth/rebirth' is a psychological horror film about motherhood and creation, inspired by Mary Shelley's Frankenstein. The film is centered around a single mother and a childless morgue technician who are bound together by their relationship to a re-animated little girl.
Read MoreIn early November of 2011, tubas were stolen from a high school in Los Angeles. About a week later, tubas were stolen from a different high school. A month passed and tubas were stolen from yet another high school. This continued: twelve schools in Southern California had their tubas stolen between 2011 and 2013. When reporters told the story, they focused on the thieves and asked the same questions: Who is doing this? Why? What is happening to the tubas? They did not seem curious about what a marching band sounds like without the lowest sound. They did not wonder what the tuba players were now doing in class. No one asked what happens when sound is stolen or lost, owned or delegated.
The Tuba Thieves starts from these questions. It is a film about listening, but it is not tethered to the ear. It is a film about Deaf gain, hearing loss and the perception of sound in Los Angeles - by animals, plants and humans. The human protagonist of the film is Nyke Prince, a Deaf woman whose story runs parallel to Geovanny Marroquin's. Geovanny was the drum major at Centennial HS when their tubas were stolen. Their stories are connected by the omnipresence of noise pollution - helicopters, airplanes, leafblowers, and car traffic. The audience is the third protagonist - their experience making sense of the film is the film.
In The Tuba Thieves, Los Angeles life during the time of the tuba thefts is interrupted by unconventional reenactments of historic concerts: an irritated man leaves John Cage’s 1952 premiere of 4’33” (where a pianist sat at a piano for 4 minutes and 33 seconds without playing a note), punks and Deafies intermingle at the 1979 final punk show at an infamous Deaf Club in San Francisco, and students tell how they organized a 1984 surprise Prince concert at the Deaf University Gallaudet. All of the above elements combine and build an exploration of sound, music and an affection for miscommunication.
Read MoreA Mother's Love is a Blessing.
Read MoreStruggling to connect with her grieving family after the sudden death of her stepfather, a teenager sneaks off to shoot guns in rural Florida with her best friend.
Read MoreAn audacious candy-colored dramedy that follows a quartet of down-on-their-luck Drag Queens who end up stuck at the same therapy retreat. Together they face their respective plights with rapid-fire wit and a dash of the divine to discover common ground.
Read MoreWhen members of Falun Gong hack China's state TV to expose repression, lives are changed forever. Filmmaker Jason Loftus and celebrated comic artist Daxiong tell the resilient story of those fighting for religious freedom in this vivid and stirring hybrid documentary.
Read MoreOne city bus, three passengers and a back seat scenario they fail to address.
Read MorePeo loves spotting cars. It gives his everyday life a little twist. It’s also a hobby that is about to ruin the most important thing he has. The Car spotter is a film about the small choices in life that have big consequences.
Read MoreIn the film we follow 15-year-old Ruby. During her period, she doesn’t dare to ask her mother for tampons or sanitary pads because she knows that money is tight. She tries to fix it herself. With the film we tackle the theme of period poverty.
Interview with Writer/Director Emma Branderhorst
Congratulations! Why did you make your film?
During my research for the taboo on menstruation, I found an article about period poverty. It is a double taboo, first of all on menstruation and second, the poverty. That’s why people don’t talk about it. In the research I found out that it’s way more nuanced, it’s not only about having no money for period products, but it’s about consideration.
Imagine when you have 2 daughters, and you all have the period on the same time. But you also need to buy laundry detergent to pay for the school trip. For people with a weekly budget of 50-70 euros it's a lot. It’s so hard to imagine how it is to experience period poverty and that’s what we tried to do with Spotless. Besides this I think you read a lot about period poverty, but for me it was very hard to imagine how people actually feel experience it. I want to give them a face, show how their life is like. That’s what we tried to do.
Imagine I’m a member of the audience. Why should I watch this film?
To experience having the problems of period poverty. In my opinion sanitary products should be covered by the government. Or at least you can get money back from the health insurance. That we still need to pay it our selfs its crazy, even in Holland sanitary products are seen as a luxury product, there is 21% btw on the products. There are big companies making a lot of money on it, while its just a necessities of life.
It's a subject you don't think a lot, so with the film we wanted to create the awareness.
Spotless
How do personal and universal themes work in your film?
Mostly I start with a research traject that's close to a personal fascination. Like for instance I wanted to make a film about periods and the taboo on your period. But during the research I found that article about period poverty. I think it's very interesting to tell universal themes (or problems) but stay very close to the main characters. In this way you feel connected to them, but you can tell their story and also the stories of many other people in the same situation. I think that's the power of my work.
How have the script and film evolved over the course of their development?
I think a script always develops during the process. But of course it changed also with our process. At the first moment we just created the situation and the characters. But after we got the funding we did a lot of field research. I worked at the food bank for several works and really tried to understand the world we created. So we deleted some scenes also. On the set I'm quite free, so I love to improvise. Some of those scenes are also in the film, I think that helps with the realistic character.
Spotless
What type of feedback have you received so far?
I think with our film we started to create awareness about period poverty. What I mostly hear from people who saw the film is that they had no clue this was such a big issue. After the premiere at the Berlinale (feb 2022) a woman came up to me. She told me she was a teacher at a high school and said to me, ’Your film really showed me that this subject is very hard to see, and that they’re more girls than you think experience period poverty. From now on I will put sanitary napkins on every toilet and I will tell other people to do it as well’. For me this moment was a break through. The film inspires people to take action their self, and I think that’s the biggest compliment.
So a lot of positive words. I had no idea that people would love the film so much... But that means a lot to me of course. And people are really shocked by the way this is such a big problem (even in The Netherlands). When people see the film they get want to help! I think that's a Wonderfull reaction.
Has the feedback surprised or challenged your point of view?
Yes it totally surprise me. In the beginning I thought people we're not really waiting for a film about period poverty. I thought it was too much of a niche film, only for women. But the film has been seen by many people, young / old, men /women. I think that's amazing. We won a lot of prizes worldwide, so its a theme that touched many people. That's the biggest compliment for me as a filmmaker, but it also shows why it's such an important story to tell.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I hope the film will be seen by MANY more people. It's a story we need to expand, so the girls who experience period poverty will be heard!!!
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 love to have an Executive Producer (a famous one, who's fighting for woman rights) on our film... For the Oscars it would be amazing to get some more leverage, so people know our film and hopefully they will vote!
What type of impact and/or reception would you like this film to have?
I think we are already making a difference now, because we opened the conversation about period poverty. I don’t really believe in like an end goal, but I think we already make proces because of all the interviews and that there’s finally some attention for. But of course like I said before, I would love to solve this problem and make the products available for everybody who needs it. But small steps are also steps!
What’s a key question that will help spark a debate or begin a conversation about this film?
Do you think sanitary napkins need to be subsidized by the government? And would this be the end of period poverty?
Spotless
Would you like to add anything else?
At the moment I am in the post production of my new short film 'Ma Mere, Et Moi'. It is a road movie about a symbiotic mother and a daughter, in which the daughter is going to follow a language course in Marseille. A film about saying goodbye and letting go. I am also working on a feature film about parents who drink too much, told from a child's perspective.
Interview: December 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
Spotless
Length:
15:36
Writer
Milou Rohde & Emma Branderhorst
Director
Emma Branderhorst
Producer
Marc Bary, Nicky Onstenk, and Julie Jansse
Facebook:
Director Emma Branderhorst:
https://www.facebook.com/emma.branderhost
Producer IJswater Films:
https://www.facebook.com/IJswaterFilms
Instagram:
https://www.instagram.com/spotlessthefilm/
Director Emma Branderhorst:
https://www.instagram.com/emmabranderhorst/
Production Company IJswater Films:
https://www.instagram.com/ijswaterfilms/
More info:
https://www.ijswater.nl/en/producties/spotless/
Film Fesstival:
New Filmmakers Los Angeles
Like lava from a volcano, the impulse manifests itself in the human body in movements that can be clearer than words. El Impulso is a meditation on the choreographic aspects of Havana-based physical company Impulso's work.
Interview with Editor/Director Orsolya Szantho
Congratulations! Why did you make your film?
This short is one of the first projects where I truly felt like I was beginning to find my voice as a filmmaker. It was filmed while I was living in Cuba back in 2017, which coincided with the time I was starting to develop an interest in theater as an additional field for my practice. I was particularly interested in meeting theatermakers working in community and physical theater, and Impulso Teatro’s work was simply captivating. There was something unique about the way they work with physicality and the body in devising and composition that felt mesmerizing even for a wider audience.
Imagine I’m a member of the audience. Why should I watch this film?
Even if you are not a theatermaker, or maybe especially if you are not one, this film can offer a short contemplative break from the business and alienation of day-to-day life. The world today often makes it impossible for most of us to find grounding in our bodies and physical reality -we often have to either work our bodies to exhaustion or get completely disconnected through all the technology that surrounds us. Watching these actors move with such immense focus in silence and listening to Alexis’ thoughts always reminds me of the power of being physically present in the here and now, and seeing where we can go from there.
El Impulso
How do personal and universal themes work in your film?
The film is quite meditative, so it is not immediately obvious how it would be relatable on a personal level. Universal questions around human creativity, and the role of the body in that process, certainly dominate. Still, I think there is something deeply personal in the quietest moments, in the actors' movements as they reenact abstracted versions of mundane moments in life. One of the most striking sections to me has always been the sequence of four actors piling upon each other while recreating the emotional landscape of a nightmare. The story they tell might not be easily recognizable, but the range of movements and the emotions they communicate can deeply resonate with people. Perhaps because I was also living in an environment where I had to rely on one of my weaker secondary languages, this aspect of the depth of communication that is possible purely through physical cues has always been a profoundly meaningful side of this film for me.
How have the script and film evolved over the course of their development?
In the initial phases of the film’s development, I was considering working with multiple companies that create physical work and approach the project as more of a collage of the different choreographies and movements present in the contemporary performance scene in Havana, but that shifted as soon as I got introduced to Impulso. From that moment on, I almost immediately had a strong vision for what I wanted the film to be. I knew that the focal point had to be on Alexis’ ideas and the actors’ physical work rather than a more character-driven narrative. In a way, the story of the film is the body itself, and its power to “create something from nothingness” as Alexis says. The only real challenge with this format was narrowing down the narrative to a size that did not feel too much for the slower, contemplative tone.
El Impulso
What type of feedback have you received so far?
One of the most touching comments I received was from a fellow filmmaker about how the editing in the film really supports the pace and tone of the narration and leaves room for the physical moments to be fully taken in, which meant a lot to me as an editor. People have also expressed their appreciation for the balanced, non-rushed pace itself, and the greatest joy has been that viewers who are otherwise not particularly interested in theater have also often found something engaging in the short, too.
Has the feedback surprised or challenged your point of view?
I don’t think any feedback I have received has really challenged my views on the film or what I have been trying to share by creating it. Usually, I would find this disappointing or almost alarming, but in this case, it’s a short piece and easy on the viewer, and there is ample room for interpretation. At the very least, there has not been resistance because it’s too short to suck- as one of my mentors would always say. (Which sounds silly but is actually terrific advice when making anything.)
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
The film has only really been shown at small local screenings so far, so I hope the platform can help share it with more people, even if it has been a couple of years since it was created. The themes in the film have continued to feel relevant to me, almost even more since we have had to start coping with the effects of the pandemic, so I hope it can serve as a reminder of the significance of physical presence in this strange time. I have also recently learned about Alexis’ passing, which came as quite a shock to me, and hope more people can get to know his beautiful way of thinking and continue building on his work.
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 love for festival directors and other film community or screening organizers to consider sharing the film in live, physical settings with their audiences, which I feel like the work presented in the film really deserves.
El Impulso
What type of impact and/or reception would you like this film to have?
More than anything else, I really hope the film can bring people closer to their own physical selves. Even if you are not in an inherently artistic field, I hope the film can help you think about how you can use your body, in whatever way that is accessible to you, to solve problems or create something new.
What’s a key question that will help spark a debate or begin a conversation about this film?
In a way, the most controversial question around the film for me is not so much about its content but maybe the format itself. Can a film exist even without a classic story at its core? Is only character-driven work worth making? Is a theoretical or conceptual approach inherently boring? These are all questions that have come up for me in the development process, and I think they’re all conversations and debates worth having, especially if you are a filmmaker yourself.
As for the film’s content, though, I think the most provocative question for me is the central message at the same time. What can the body achieve that words cannot
What other projects are the key creatives developing or working on now?
I have been working with three fellow artists on an international arts company, GLITCH, where we create multidisciplinary work across theater, film, and more novel, interactive and digital media. Our core team consists of three Chilean artists and me, and we are all from different arts backgrounds and often moving around, so collaborations can get both really varied and truly challenging. Over the past couple of years, we have created some shorts, animated music videos, lots of projection and interactive design for live shows, and we currently have a few theatrical plays and film scripts in development. You can check out more of our work on glitchworks.org
Interview: December 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
El Impulso
Length: 6:27
Director: Orsolya Szantho
About the writer, director and producer:
ORSOLYA SZANTHO is a London-based Hungarian multidisciplinary artist who works across filmmaking, live performance, and interactive design. Her work and contributions in film have been recognized and screened internationally at festivals such as Sundance, New Hampshire Film Festival, Imagine Science Film Festival, and more. She has created design work for productions at institutions like The Kennedy Center in DC, The Longacre Theater on Broadway, The Juilliard School, The Hungarian National Gallery, Massachusetts Institute of Technology, Harvard TDM, Gamiotics Studios, and Broadway's Best Shows, among others.
Looking for: film festival directors and distributors
Instagram: @orsolyaszantho
Twitter: @orsolyaszantho
More info: orsolyaszantho.com
Heather Has Four Moms - When Heather decides to lose her virginity for her 15th birthday, Mom’s wife must convince Mom, and Mom’s ex, and Mom’s ex’s partner that it’s time for Heather to have “the talk”. Which mom is ready to help Heather make a big decision? It’s a mother-daughter story. Times four. Length: 14:07 minutes. Writer/Producer Rani Deighe Crowe and Director Jeanette L. Buck.
Haircut: THE MUSICAL! - Before Brian Mills leaves for his first year at Princeton University, he must come to terms with his sexual orientation and be honest with himself after some guidance from his trusted barber. 6.25 minutes. Writer/Director Jason Phillips. Cast and crew photo.
Treacle - When friends Belle and Jessie go away for the weekend and drunkenly hook up; what seems like an awkward slip up to firmly heterosexual Jessie, is, in fact, an incredible betrayal to bisexual Belle. Length: 17:59 minutes. Director Rosie Westhoff.
Miller & Son - A transwoman mechanic lives between running her family’s auto shop during the day and expressing her femininity at night, until an unforeseen event threatens the balance of her compartmentalized life. Length: 21.28 minutes. Writer/Director Asher Jelinsky.
1, 2, 3, All Eyes On Me - When a crisis suddenly engulfs an elementary school campus, Ms. Leena, a determined art teacher, tries everything she can to save her frightened class. Writer/Director/Producer Emil Gallardo.
Tomgirl - A young Filipino boy in Western Sydney gets an enchanting crash-course in his homeland culture when his uncle reveals himself to be a cross-dresser in the 'Bakla' tradition. Length: 10.00 minutes. Writer/Director Vonne Patiag.
