Francis Ford Coppola En Ouverture
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Deepa Mehta (See More on Page 53)
table of contents TABLE OF CONTENTS Introduction Experimental Cinema: Welcome to the Festival 3 Celluloid 166 The Film Society 14 Pixels 167 Meet the Programmers 44 Beyond the Frame 167 Membership 19 Annual Fund 21 Letters 23 Short Films Ticket and Box Offce Info 26 Childish Shorts 165 Sponsors 29 Shorts Programs 168 Community Partners 32 Music Videos 175 Consulate and Community Support 32 Shorts Before Features 177 MSPFilm Education Credits About 34 Staff 179 Youth Events 35 Advisory Groups and Volunteers 180 Youth Juries 36 Acknowledgements 181 Panel Discussions 38 Film Society Members 182 Off-Screen Indexes Galas, Parties & Events 40 Schedule Grid 5 Ticket Stub Deals 43 Title Index 186 Origin Index 188 Special Programs Voices Index 190 Spotlight on the World: inFLUX 47 Shorts Index 193 Women and Film 49 Venue Maps 194 LGBTQ Currents 51 Tribute 53 Emerging Filmmaker Competition 55 Documentary Competition 57 Minnesota Made Competition 61 Shorts Competition 59 facebook.com/mspflmsociety Film Programs Special Presentations 63 @mspflmsociety Asian Frontiers 72 #MSPIFF Cine Latino 80 Images of Africa 88 Midnight Sun 92 youtube.com/mspflmfestival Documentaries 98 World Cinema 126 New American Visions 152 Dark Out 156 Childish Films 160 2 welcome FILM SOCIETY EXECUTIVE DIRECTOR’S WELCOME Dear Festival-goers… This year, the Minneapolis St. Paul International Film Festival celebrates its 35th anniversary, making it one of the longest-running festivals in the country. On this occasion, we are particularly proud to be able to say that because of your growing interest and support, our Festival, one of this community’s most anticipated annual events and outstanding treasures, continues to gain momentum, develop, expand and thrive… Over 35 years, while retaining a unique flavor and core mission to bring you the best in international independent cinema, our Festival has evolved from a Eurocentric to a global perspective, presenting an ever-broadening spectrum of new and notable film that would not otherwise be seen in the region. -
The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi T Audiovisual Archives
Copyright ©2012 Academy of Motion Picture Arts and Sciences. “Oscar,” “Academy Award,” and the Oscar statuette are registered trademarks, and the Oscar statuette the copyrighted property, of the Academy of Motion Picture Arts and Sciences. The accuracy, completeness, and adequacy of the content herein are not guaranteed, and the Academy of Motion Picture Arts and Sciences expressly disclaims all warranties, including warranties of merchantability, fi tness for a particular purpose and non-infringement. Any legal information contained herein is not legal advice, and is not a substitute for advice of an attorney. All rights reserved under international copyright conventions. No part of this document may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system without permission in writing from the publisher. Published by the Academy of Motion Picture Arts and Sciences Inquiries should be addressed to: Science and Technology Council Academy of Motion Picture Arts and Sciences 1313 Vine Street, Hollywood, CA 90028 (310) 247-3000 http://www.oscars.org Printed in the United States of America Library of Congress Cataloging-in-Publication Data The Digital Dilemma 2 Perspectives from Independent Filmmakers, Documentarians and Nonprofi t Audiovisual Archives 1. Digital preservation – Case Studies. 2. Film Archives – Technological Innovations 3. Independent Filmmakers 4. Documentary Films 5. Audiovisual I. Academy of Motion Picture Arts and -
The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA)
Recordings at Risk Sample Proposal (Fourth Call) Applicant: The Regents of the University of California, Berkeley – UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project: Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Portions of this successful proposal have been provided for the benefit of future Recordings at Risk applicants. Members of CLIR’s independent review panel were particularly impressed by these aspects of the proposal: • The broad scholarly and public appeal of the included filmmakers; • Well-articulated statements of significance and impact; • Strong letters of support from scholars; and, • A plan to interpret rights in a way to maximize access. Please direct any questions to program staff at [email protected] Application: 0000000148 Recordings at Risk Summary ID: 0000000148 Last submitted: Jun 28 2018 05:14 PM (EDT) Application Form Completed - Jun 28 2018 Form for "Application Form" Section 1: Project Summary Applicant Institution (Legal Name) The Regents of the University of California, Berkeley Applicant Institution (Colloquial Name) UC Berkeley Art Museum & Pacific Film Archive (BAMPFA) Project Title (max. 50 words) Saving Film Exhibition History: Digitizing Recordings of Guest Speakers at the Pacific Film Archive, 1976 to 1986 Project Summary (max. 150 words) In conjunction with its world-renowned film exhibition program established in 1971, the UC Berkeley Art Museum and Pacific Film Archive (BAMPFA) began regularly recording guest speakers in its film theater in 1976. The first ten years of these recordings (1976-86) document what has become a hallmark of BAMPFA’s programming: in-person presentations by acclaimed directors, including luminaries of global cinema, groundbreaking independent filmmakers, documentarians, avant-garde artists, and leaders in academic and popular film criticism. -
Bamcinématek Presents Indie 80S, a Comprehensive, 60+ Film Series Highlighting the Decade Between 70S New Hollywood and the 90S Indie Boom, Jul 17—Aug 27
BAMcinématek presents Indie 80s, a comprehensive, 60+ film series highlighting the decade between 70s New Hollywood and the 90s indie boom, Jul 17—Aug 27 Co-presented by Cinema Conservancy The Wall Street Journal is the title sponsor of BAM Rose Cinemas and BAMcinématek. Brooklyn, NY/June 11, 2015—From Friday, July 17 through Thursday, August 27, BAMcinématek and Cinema Conservancy present Indie 80s, a sweeping survey of nearly 70 films from the rough-and-tumble early days of modern American independent cinema. An aesthetic and political rebuke to the greed-is-good culture of bloated blockbusters and the trumped-up monoculture of Reagan-era America, Indie 80s showcases acclaimed works like Jim Jarmusch’s Stranger Than Paradise (1984—Jul 18), David Lynch’s Blue Velvet (1986—Aug 8), and Steven Soderbergh’s sex, lies, and videotape (1989—Aug 14) alongside many lesser- known but equally accomplished works that struggled to find proper distribution in the era before studio classics divisions. Filmmakers including Ross McElwee, William Lustig, Rob Nilsson, and more will appear in person to discuss their work. Like the returning expatriate’s odyssey in Robert Kramer’s four-hour road movie Route One/USA (1989—Aug 16), a sampling of 80s indie cinema comprises an expansive journey through the less-traveled byways of America. From the wintry Twin Cities of the improvised, hilariously profane road trip Patti Rocks (1988—Aug 25) to the psychopath’s stark Chicago hunting grounds in John McNaughton’s Henry: Portrait of a Serial Killer (1986—Jul 29) to the muggy Keys of Florida in filmmaker Victor Nuñez’s eco-thriller A Flash of Green (1984—Aug 12), regional filmmakers’ cameras canvassed an America largely invisible to Hollywood. -
9629 Filmfest Program.Indd
FILM IN SYRACUSE 1 FILM IN SYRACUSE Special Letter From The Artistic Director, Owen Shapiro PEACE AND SOCIAL JUSTICE is the focus of this year’s Syracuse International Film Festival. In 2009 Le Moyne College initiated a festival showcase of films dealing with the theme of Peace and Social Justice, and since that time has sponsored and hosted this showcase. In 2012 this theme takes on even greater significance in light of the death of Bassel Shahade, a Graduate student in Syracuse University’s College of Visual and Performing Arts’ Film Program. Bassel was killed while training citizen journalists in his home country of Syria to document with video what was happening there. Bassel’s love for his people and desire to help them fight for political, social, and economic freedom led to his decision to take a leave from his studies in Syracuse. Bassel’s honesty, personal integrity, and love for peace and opportunity were acutely felt by all who knew him. He was a model fighter for peace and social justice. Peace and Social Justice when seen in terms of the individual’s right to equal opportunity and respect regardless of economic class, race, gender, sexual orientation, nationality or religion also must include a person’s physical and/or mental abilities or disabilities. In this sense, peace and social justice includes another long-standing feature of our festival - Imaging Disability in Film, a program created by the School of Education at Syracuse University. Peace and Social Justice is about equality, fairness, and equal opportunity, basic values of all major religions and of all democratic societies. -
October 6-16, 2016 | Mvff.Com
OCTOBER 6-16, 2016 | MVFF.COM INKS NOTES CHANGES FROM PREVIOUS ROUND MILL VALLEY FILM FESTIVAL Finished size 8.25” square 39 Regular Program Cover contact: JEFF ENSSLEN MVFF_RegularProgramCover_2015-06-09.ai 831 Montgomery St. San Francisco, CA 94133 CMYK tel 415.675.7777 fax 415.675.7778 09 June 2016 APPROVALS SUBSTRATE AE: _____________________________________________________ Date: ________________________ DD:_____________________________________________________ Date: ________________________ LD: _____________________________________________________ Date: ________________________ P1: _____________________________________________________ Date: ________________________ WHITE P2: _____________________________________________________ Date: ________________________ CELEBRATE FILM 24 FRAMES PER SECOND | 365 DAYS A YEAR THE CALIFORNIA FILM INSTITUTE CELEBRATES FILM YEAR-ROUND AT THE NON-PROFIT CHRISTOPHER B. SMITH RAFAEL FILM CENTER, THROUGH CFI EDUCATION, AND DURING THE ANNUAL MILL VALLEY FILM FESTIVAL. WE THANK YOU FOR YOUR SUPPORT THROUGHOUT THE YEAR. CALIFORNIA FILM INSTITUTE CHRISTOPHER B. SMITH RAFAEL FILM CENTER | MILL VALLEY FILM FESTIVAL | CFI EDUCATION The California Film Institute is a 501(c)3 nonprofit organization. TABLE OF CONTENTS Sponsors 2 20% OFF FOR NEW MEMBERS CFI Supporters 4 Opening Night 6 Centerpiece Ensemble Spotlight 7 Closing Night 7 Tributes & Spotlights 8 Star Wars Trilogy Event 10 EXPERIENCE THE ENGAGING Special Premieres & Party 11 POWER OF CINEMA MVFF Music 12 YEAR ROUND Behind the Screens: 14 Panels | Master -
TAMALPAIS HIGH SCHOOL 100Th ANNIVERSARY
MILL VALLEY HISTORICAL SOCIETY THIRTY FIRST ANNUAL WALK INTO HISTORY TAMALPAIS HIGH SCHOOL 100th ANNIVERSARY Guidebook SUNDAY, MAY 25, 2008 Co-hosted by Tamalpais High School TO THE GUIDES: This is the 31st year that the Mill Valley Historical Society has organized a Walk Into History thanks to the efforts of many volunteers working throughout the year as well as on the day of the Walk. Guides are special volunteers with a responsibility to provide a group of walkers with an interesting, informative, enjoyable and safe experience. Several guides have been leading these walks for many years. The fact that they continue to volunteer to be a guide is an indication of their enjoyment and commitment. If this is your first year as a guide, we welcome you and hope you will find as much pleasure in learning and sharing the history of Mill Valley as the old timers do. Walk-Into-History Co-Chairs: John Leonard and Rachel Reidy Guidebook Editor: Chuck Oldenburg Researchers: Barbara Ford, Gene Stocking, Rachel Reidy, Tim Amyx, Chuck Oldenburg TIPS FOR GUIDES Thank you for being a Walk-Into-History guide. Welcome to those who are leading a walk for the first time. We hope you enjoy the experience as much as the returning guides who tell us they look forward to the experience. To be a successful guide requires a commitment of time, energy and preparation. The objective is to provide good leadership and well-presented historical information. It is essential that you have the desire and devotion to offer your group an informative and enjoyable Walk- Into-History. -
SLIFF Program 2013
Originally Brewed to Celebrate the Holidays Named after the Holiday Star, Stella Artois was first brewed as a gift to the people of Leuven, Belgium. A golden lager in contrast to the popular dark ales of the time, its brilliant amber color has illuminated holiday celebrations for generations thereafter. StellaArtois.com Always Enjoy Responsibly. ©2013 Anheuser-Busch InBev S.A., Stella Artois® Beer, Imported by Import Brands Alliance, St. Louis, MO 2 22ND ANNUAL WHITAKER ST. LOUIS INTERNATIONAL FILM FESTIVAL www.cinemastlouis.org TABLE OF CONTENTS STAFF PR Consultant Marla Stoker FESTIVAL ARTISTS Ticket Info 16 Executive Director Cliff Froehlich Festival Transportation Coordinator Program Cover/Poster Carlos Jake Klund Zamora Design & Illustration Artistic Director Chris Clark Venue Info 17 Operations Supervisor Brian Spath Program Book Design/Production Filmmaker Awards Tom Huck/Evil Robert Westerholt/ Prints Tech/Transportation Supervisor Special Events 18 Riverfront Times Kat Touschner FESTIVAL TRAILER Free Events 23 Documentary Programmer Venue Supervisor/Plaza Frontenac FILMMAKERS Brian Woodman Brian Woodman Production Company Coolfi re Film Categories 24 Media Assistant Narrative-Feature Venue Supervisor/Tivoli David Kinder Mia Signorino Films by Subject 27 Programmer Executive Producer David Johnson Assistant Narrative-Short Programmer Venue Supervisor/Webster U. Animation Preston Gibson, Mike Films by Genre 28 Tommy Callahan Ariane Cameron Kuhn, Patrick Vaughan Web Designer/Developer Venue Supervisor/Wildey Original Music/Sound Design Brent Films by Country 28 Brett Smith Lynn Venhouse Johnson Awards 29 Cinema for Students Outreach Interns Maeve Donahue, Victoria Voice-Over Ella Johnson Coordinator Sarah Haas Garayalde, Carolyn Jackson, Sponsors 33 Kathleen Murphy, Courtney Marketing Consultant Schlueter, Katie Smith Cheri Hutchings/Claire de Lune Film Descriptions 37 Productions Features 37 CINEMA ST. -
Why Go to Cannes When You Can Go to Fargo?
Why go to Cannes when you can go to Fargo? M A R C H 3 – 6 , 2 0 0 4 • F A R G O , N O R T H D A K O T A 1 Dear Festival Audiences, On behalf of the Fargo Theatre Board of Directors and staff and the indefatigable film festival volunteer corp, it is my great pleasure to welcome you to Fargo... the Film Festival, Take IV. From a film about men who love to fly to one featuring girls who love to jump high, the 4th Annual Fargo Film Festival is a 60 hour, four day celebration of the Spirit of Independent film and filmmakers. So, ladies and gentlemen, please fasten your seatbelts and start your viewing engines cuz it’s gonna be an unrated, full-throttle ride into the collective “eyes” of cameras held by free-falling, innovative, independent filmmakers. Grab your popcorn and prepare for take off! Margie Bailly FARGO THEATRE Executive Director e e t t i F E S T I VA L C O M M I T T E E C O - C H A I R S : m m o Tony McRae C l a Troy Parkinson v i t s e F 4 0 F E S T I VA L V O L U N T E E R S : 0 2 Ann Hall Anderson Thema Johnson Joel Anderson Martin Jonason Casey Borchert Michelle Kaiser Greg Carlson Annele Nelson-Mondragon Greg Danz Lynn Nichols Jaclynn Davis-Wallette Matt Olien Del Dvoracek Gladys Ray Lynn Fundingsland Tony Tilton Carol Grimm Andrea Warren-Deegan Ludvik Herrera Sarah Weiler Chandice Johnson F E S T I VA L V I E W I N G C O M M I T T E E M E M B E R S : Ann Hall Anderson *Martin Jonason Joel Anderson Michelle Kaiser *Casey Borchert Chris Magnus Greg Danz *Ian McGlocklin g n o *Jaclynn Davis-Wallette *Tony McRae L y d n Stefan -
FFF 2004 Program.Qxd
1 Welcome to the 10th Annual Fargo Film Festival On the eve of the 10th Annual Fargo Film Festival, I am literally assaulted with a kaleidoscope of images from past festivals. The frames flickering through my memory banks are as compelling and evocative as an unexpected encounter with a Northern Lights display in the vast North Dakota night sky. Images that include melting glass, huge balls of twine, Antarctic explorers, one-legged dancers and fighting cholitas. Scenes that are set in drug stores, kitchens, “chaplets,” elevators, subway systems, Hollywood mansions and cottages at the shore. And then there are the hundreds of faces of the very real and extraordinarily dedicated people who have shared this journey with me. Of all of these volunteers, few have made more of a contribution than our 2010 Ted M. Larson Award recipient, Tony McRae. My congratulations and heartfelt thanks to Tony and to all of you who have enriched the Fargo Film Festival with your creative energy and enthusiasm. Margie Bailly Emily Beck A welcome back to my old friend, Rob Nilsson and a festival “high five” to all our new FARGO THEATRE FARGO THEATRE filmmakers! Let the movies begin! Executive Director Film Programmer Margie Bailly EXECUTIVE DIRECTOR • HISTORIC FARGO THEATRE DAN FRANCIS PHOTOGRAPHY FARGO THEATRE STAFF: FARGO THEATRE BOARD FESTIVAL COMMITTEE AND VOLUNTEERS: Margie Bailly, Executive Director Steve Risher, President Anthony Adah Brittney Goodman Raymond Rea Michelle Kaiser, Operations Manager / Nicole Crutchfield, Vice President Krista Andres Janet -
No V / DE C 2 0 13
NOV/DEC 2013 NOV/DEC UC BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE prG O RAM GUIDE YA NG FUDONg BEAUTY REVEALED: QING DYNASTY CHINESE PAINTING LINDA STARk EVAN ZIPORYN aGNÈS VARDA RAINER WERNER FASSBINDER RANDY THOm YOSHI WADa ROB NILSSON new PORTUGUESE CINEMA short list> 1 Agnès Varda’s Point of View Many of you enjoyed Agnès Varda’s poignant documentaries in our summer tribute to her late husband, Jacques Demy, and now we are proud to welcome Varda to BAM/PFA to present a different side of her extraordinary body of work. The pioneering French filmmaker joins us from Paris on November 4 to discuss several of her political, yet highly personal, films, including two made in the Bay Area in the late 1960s, and for a public conversation with UC Berkeley professor Linda Williams after a screening of The Gleaners and I on November 5. We round out the series with two of her important early films:La Pointe Courte (1954), which is considered an important precursor to the French New Wave—in a new 35mm print!—and a digital restoration of Cléo from 5 to 7, the 1961 film that established Varda’s international reputation. The International Federation of Film Archives presented Varda with the FIAF Award earlier this year, citing her ongoing work “to preserve, restore and disseminate her oeuvre as well as that of Jacques Demy.” “The relationship between Agnès Varda and cinematheques is a long love story,” said FIAF president Eric Le Roy. “Cinematheques The New BAM/PFA around the world feel that Agnès Varda has always been on their side, as she has never stopped traveling to present her films in those institutions which preserve, Hard demolition is almost complete, below-grade excavation is restore, and project them.” p. -
1985 Sundance Film Festival Awards Jurors
1985 SUNDANCE FILM FESTIVAL Now under the administration of Sundance Institute, The United States Film Festival presented over 80 feature- length fi lms this year, including: STRANGER THAN PARADISE, THE FALCON AND THE SNOWMAN, MRS. SOFFEL, BEFORE STONEWALL: THE MAKING OF A GAY AND LESBIAN COMMUNITY, THE KILLING FLOOR, BLOOD SIMPLE, THE TIMES OF HARVEY MILK, BROTHER FROM ANOTHER PLANET, THE KILLING FIELDS, and WHERE THE GREEN ANTS DREAM. The Festival also spotlighted the work of Christopher Petit (AN UNSUITABLE JOB FOR A WOMAN, FLIGHT TO BERLIN), Francois Truffaut (THE 400 BLOWS, DAY FOR NIGHT), Ivan Passer (INTIMATE LIGHTING, CUTTER’S WAY) and the students of Roger Corman. There was an emphasis on international fi lm, with screenings of seven new Australian works alone. AWARDS GRAND JURY PRIZE Documentary—SEVENTEEN, directed by Joel DeMott and Jeff Kreines Dramatic—BLOOD SIMPLE, directed by Joel Coen SPECIAL JURY PRIZES Documentary—AMERICA AND LEWIS HINE, directed by Nina Rosenblum; THE TIMES OF HARVEY MILK, directed by Rob Epstein; STREETWISE, directed by Martin Bell; KADDISH, directed by Steve Brand; and IN HEAVEN THERE IS NO BEER, directed by Les Blank Dramatic—THE KILLING FLOOR, directed by William Duke; ALMOST YOU, directed by Adam Brooks; and STRANGER THAN PARADISE, directed by Jim Jarmusch. USFF Staff Group Photo. PHOTO BY SANDRIA MILLER JURORS [Documentary Competition] Frederick Wiseman, D.A. Pennebaker, Barbara Kopple [Dramatic Competition] Robert M. Young, Peter Biskind, Mirra Bank 1985 SUNDANCE FILM FESTIVAL FILMS 400 Blows,