“I created CFFL as a response to the ongoing challenges facing the UK film and TV industry—from the impact of COVID and the strikes to the continued lack of representation across the sector,” says Festival Director Anthony Vander. “Our mission is to bridge the gap between emerging and established filmmakers. In five years, I’d love to see our first-time filmmakers establish themselves with new shorts or their first feature, maintaining a strong network and community.”

A project of the Collective Arts Community Trust, a UK-registered charity, CFFL advances arts education for underrepresented young people. Its wider mission includes organising accessible public screenings and workshops, and offering mentorship and skills development to nurture long-term careers.

Festival highlights include the UK premiere of Big Picture Film Club’s environmental dive documentary 50 Hours Underwater, chronicling Maldivian diver Shaff Naeem’s record-setting 50-hour descent to raise awareness of ocean plastic pollution. Alongside screenings, CFFL features hands-on workshops in iPhone filmmaking, budgeting, and scriptwriting, led by industry experts.

With ambitions to become a BAFTA-qualifying festival, CFFL not only showcases exceptional talent but also fosters the networks and skills that can disrupt the industry for the better. Watch the launch video below and secure your tickets to CFFL 2025.

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The festival will showcase over 60 curated films, ranging from fresh voices in cinema to classic works by established auteurs. Notably, the festival will open with the 30th Anniversary 4K restoration of Wong Kar Wai’s iconic film, Chungking Express (1994). This Hong Kong classic, renowned for its vibrant depiction of love, loneliness, and canned pineapple, will kick off the month-long celebration of cinema.

Curated with a focus on cross-cultural understanding, Odyssey 2024 will feature a diverse lineup of films that delve into the universal themes of food and travel. Films like Between Brothers and Secret of Forking Paths from Taiwan offer a nostalgic look at how food ties us to our past, while Fresh Off Markham highlights the immigrant experience in Canada. The festival also touches on more sombre themes, with films like Eggs and Asubha exploring the struggles of displaced communities.

A film festival with a purpose

Odyssey 2024 isn’t just about screening films; it’s about fostering dialogue. The festival includes cutting-edge discussion panels and exclusive Q&A sessions, providing a platform for audiences to engage with filmmakers and delve deeper into the stories being told.

As the festival continues to grow, it remains committed to its mission of celebrating cinema’s power to connect people and create shared experiences. Whether through the taste of familiar food in a foreign land or the journey of characters searching for a better life, Odyssey 2024 invites audiences to explore the rich tapestry of stories that bind us together.

For more information and to book tickets, visit the festival’s online platform at www.odysseychinesecinema.uk

Also Read: Odyssey 2023 Launched at the Battersea Power Station with Hong Kong’s “Finding Bliss: Fire and Ice”

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Which film festivals should I submit to? How do I get someone to distribute my movie? Are they trustworthy? Can I distribute my movie myself? What do I need to do legally to protect myself? I’ve won festival awards, but I don’t know what to do next…? How do I market and publicise my film? 

Sound familiar? We’ve heard these questions and more over the last 10 years working with independent filmmakers on release campaigns and marketing strategies, events and distribution. As Big Picture Film Club, we’ve worked with independent filmmakers, production companies and distributors of all sizes from large distributors such as Paramount Pictures & Dogwoof to independent, boutique distributors. Audience development is a big part of what we do as Big Picture Film Club, and since 2020, we have partnered with Odeon Cinemas (AMC UK) to programme for We Are Diverse Cinema – working on over 20 UK-wide theatrical release campaigns to date. 

But making the film is only half the battle. It will take a completely different set of skills and determination to navigate the ever-changing film industry so you can bring your film to market. Although it’s becoming an increasingly challenging environment for independent filmmakers, we’re here to share some of our expertise and experience to ensure you have practical ways to give your film the best chances for distribution. 

Preparation at pre-production

A lack of preparing all the necessary materials can impact the ultimate goal of distribution. Many of the issues faced by filmmakers are, in part, due to issues not fully addressed at the pre-production stage: having a pitch deck and media pack that best sells your film, an appropriate marketing budget, festival and distribution strategy, how to market yourself within the industry and the market research into the most receptive audiences for your film. If those points haven’t been fully addressed at the pre-production stage, then the sooner they can be addressed post-production the more time, money and resources can be saved for things that will actually help you push forward your project’s release.

The film industry is a business.

No matter how creative, unique, or brilliant your film project is, failing to understand the business side of the industry can adversely impact not only distribution but long-term success. Important elements that make up the business of your film:

• Financial planning.
• Marketing strategy.
• Distribution strategy.
• Value proposition.

Common mistakes can be avoided.

It’s easy to forget the little details, but it’s those details that make all the difference and where you’ll find clarity in how you approach distribution opportunities.

• Poor festival/go-to-market strategy: entering film festivals for vanity’s sake rather than a focused go-to-market strategy
• Having the right assets: planning what assets you’ll need to develop your marketing strategy
• Not understanding your film’s value proposition: validating your creative idea and financial viability

The business side of film can be a lot to navigate through, so we’re here to help. Cinnect combines decade-long experience working in distribution and audience development with the understanding of how the film industry operates to help equip filmmakers with the knowledge, skills, and tools they need to drive their creative vision forward in a way that saves you time, money, and energy.

Find clarity and peace of mind with practical and actionable advice by booking a with us, where we will walk you through:

• how to package your film correctly.
• validate your value proposition.
• develop a distribution strategy specific to your film project.

We’ll provide a summary so you can leave the session with confidence and a better understanding of how to create a plan of action and what next steps you need to take.

Also Read: Rethinking Audience Development In The UK Independent Screen Sector In 2024

This article was originally published at www.cinnect.net

The post I’ve Finished Filming My Movie, What Should I Do Now? appeared first on Big Picture Film Club.

The Muslim International Film Festival champions the narratives of international Muslim
filmmakers and spotlights their compelling stories. They also offer a platform for productions inspired by Muslim culture and faith, embracing filmmakers of all backgrounds, MIFF aims to help emerging filmmakers to access opportunities to further their careers. With a focus on recognising and supporting diverse talent, the festival brings together filmmakers with the movers and shakers in the industry, enabling emerging artists to break into the mainstream

Also Read: The Rise of Pan-African Film Festivals

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Hong Kong has been selected as the “City of Honour” this year and the festival opened with the documentary Finding Bliss: Fire and Ice (The Directors’ Cut) on 26^th May evening at The Cinema in the Battersea Power Station in London. Actress, producer Josie Ho and director Kim Chan both attended the opening in person to engage with the audience.

Surprised to discover that Hong Kong ranks a low 74 on the World Happiness Index, creative powerhouse Josie Ho (Dream Home, Full Strike, Butterfly) decides to do something about it. After interviewing some folks about their personal dissatisfaction, she takes a group of musicians and students to Iceland, officially one of the world’s happiest—and most scenic—countries. There the adventurers relearn how to laugh, connect with, and trust one another, explore natural wonders, and finally, collaborate with Icelandic musicians on a trans-generational musical journey in a dark and disconsolate world.

Josie Ho’s passion for music and documentary-making inspired her to create this thought-provoking documentary. It was entirely filmed in Iceland, the northernmost country on Earth, which also gave birth to the peculiarity of going through near national bankruptcy and simultaneously claiming the top position on the worldwide happiness index. Josie and her team went on a mission to learn some lessons for Hong Kong.

Odyssey 2023 takes place between 26^th May and 30^th June, showcases over 60 films online and offline from or about Greater China. There is also a sizable collection of Hong Kong films in this year’s programme as the “City of Honour”. Odyssey is an annual film festival presented by NGO UK-China Film Collab. The opening reception and film screening is kindly sponsored by the Hong Kong Economic and Trade Office in London.

Also Read: Sustainability Is Never a Boring Topic, See How Chinese Young Filmmaker Hong Ning Perceives ‘Global Sustainability’ Through Images

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This year’s festival takes place between 17th November – 20th November both in Soho London and as an online festival.

Watch the full interview below

Also Read: Lily Howkins Discusses Her Dystopian Sci-Fi Thriller A.R.P.U (Average Revenue Per User)

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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This year we saw film worker Q&As and introductions, and stalls from Arrow Video, Last Shirt on the Left, HotFoodSheffield, and more. Surprisingly we also got to enjoy an event menu in the Showroom Cafe Bar, as well as a Celluloid Screams branded beer, Jim’ll Paint It’s excellent artwork was displayed throughout the cinema and the festival even hosted a live event experience. Giving this year’s festival some nice variety.

But now it’s time to review and rank every movie I saw at Celluloid Screams 2022, from worst to best in 25 words or less. Additionally, like last year, I will give you some short film recommendations at the end.

Reviews

Wolf Manor: Some minor laughs from ridiculing on-set power dynamics don’t prevent the bland performances and poor staging from tearing this werewolf movie apart. (2 / 5)

Matriarchy: This year’s audience award winner is destined to become a so-bad-it’s-good classic. With its hammy acting, gloriously ridiculous writing, and surprisingly great effects. (2 / 5)

Megalomaniac: Realistic handling of abusive power dynamics and Eline Schumacher’s resonant performance, unfortunately, give way to something more conventional that provides little beyond shock value.  (2.5 / 5)

Evil Eye: Ofelia Medina is the reason to see this movie. Her passion and energy are amazing. Shamefully nothing else in the movie matches her.  (2.5 / 5)

The Elderly: Zorion Eguileor and Paula Gallego’s performances, the suspense, and high-scale finale are laudable. Unfortunately, that goodwill fades thanks to baffling decisions making many characters unlikeable. (2.5 / 5)

V/H/S/99: Parts of this movie are boring, leery, and poorly structured. But three-fifths is inventive, ambitious, and well-done storytelling. Just skip stories 1 and 4. (3 / 5)

The Leech: Sometimes The Leech cheaply paints homeless characters as “parasitic”. Overall though it’s a great satire of how destructive extremist Christian views are. Perfect Christmas viewing. (3 / 5)

The Passenger: Paula Gallego’s second great performance this year. Definitely a future star. Despite an unlikable lead and overly familiar setup, it’s a fun b-movie throwback. (3 / 5)

Barbarian: Constantly shifting focus and stakes make Barbarian an exciting ride. Even if by the end it feels rather lacking in impact. (3 / 5)

Holy Sh*t: This portaloo thriller initially feels stagey and narratively frustrating. But an over-the-top second half and Gedeon Burkhard’s deliciously evil performance help salvage it. (3 / 5)

Something in the Dirt: Although Benson and Moorhead’s films (Synchronic aside) never fully satisfy me, it’s good seeing filmmakers exploring complex ideas and creating rich characters over spectacle. (3 / 5)

Bubba Ho-Tep: Some of Bubba Ho-Tep’s writing and editing are juvenile 2000s relics. Conversely, Ossie Davis’ charm and Bruce Campbell’s comedic timing carry it over those hurdles. (3 / 5)

Ghostwatch (Live Experience): It’ll never recapture its broadcast’s shock factor. That said the live experience added lots of atmosphere and Ghostwatch remains a well-photographed, piece of TV history. (3 / 5)

Watcher: Maika Monroe can do no wrong. The forced final coda and the movie’s slow pace don’t keep it from being an effective gaslighting thriller. (3.5 / 5)

The Harbinger: A dark lament for those we lost (and now seemingly have forgotten) during the Pandemic. With one of the year’s most frightening villains. (3.5 / 5)

Huesera: The excellent cast and effective direction anchor this creepy story about societal expectations’ impact on motherhood. My favourite new release from the festival. (3.5 / 5)

Evil Dead 2: 35 years later almost nothing tops Evil Dead 2’s sheer energy, enthusiasm, and imagination.  (4.5 / 5)

Shorts

And what were Celluloid Scream’s short highlights?

Comedy: The pooch slasher Good Boy, werewolf howler The Wilds and the sweet personal favourite Unicorn all provided some much-needed laughs.

Drama: The bitterly depressing Everybody Goes to the Hospital and the gothic Memento Mori animation effectively made us empathise with our fellow human beings.

Historical: Facies (El Semblante) was a horrific look at the torture inflicted during witch trials.

Conclusion

2022 was another great year for Sheffield’s perennial horror festival. Even if the features didn’t hit the highs of last year the new experiences, great shorts, atmosphere and standout moments left me hungry for more. 2023 can’t come soon enough.

Also Read: Screaming Again: Celluloid Screams 2021

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Big Picture Film Club started in 2015 with a straightforward mission: to find films that we wouldn’t usually see in the cinema and create an event where we can watch them with friends. Since starting our first events we’ve had the privilege of working across the film sector: from a U.K-wide screening programme with Odeon Cinemas to producing a wide array of events and interviews with people within the film & TV industry. However, early into our journey, we started to see a disconnect between the great films our audience and ourselves have been exposed to from both emerging and independent filmmakers and the limited options people had to distribute their films, particularly after their film festival run. How could we help filmmakers expand the reach of their films? Why are there limited opportunities for broadcasters and streamers to get the right film & TV content? How can we make the distribution of films simpler? These were some of the questions we were asking ourselves. And from these questions and crowdsourcing opinions from people at every level of the film industry we developed our new platform, known as Cinnect.

Introducing Cinnect

Our vision for Cinnect is to create a platform that allows the owners of film & TV content to directly distribute their content to buyers from all around the world in a way that is easy and transparent. There are many aspects of a filmmaker distributing their film, both within your own country and outside your own national borders, and we wanted to reduce those barriers that prevent great content from reaching new audiences. We’ve built a number of features on our platform to help make the journey of film & TV distribution simpler: such as the ability to securely see or send film & TV screeners, make legal agreements within the platform, video conference with other users, send and receive payments and intuitively submit your content to prospective buyers. Alongside this, we are working strategically with different service providers and film festival partners to deliver a truly unique platform.

The journey so far

With the platform nearing its release, we’ve already had over 100 companies from over a dozen countries sign up. This includes film companies not only from right here in the U.K but as far afield as South Korea, Australia, U.S, Canada, Italy, France and more. We’re continuing to build more partnerships by the day and from the initial response, we’re very excited to see what the future holds for independent films.

If you’re filmmaker or production company and want to distribute your content on Cinnect you can sign up below, alternatively, book a demo call with us to have a walkthrough of the platform and discuss how we can help you.

Also Read: The New Hollywood: Streaming Giants

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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That said, Cannes always feels exciting. Perhaps because it takes place in May, so it kicks off the festival season. Summer for some is marked by white men in superhero capes fighting other white men in superhero capes; for others, it is measured in an international tour of movie appreciation that travels through Colorado, Venice, Berlin, London, and New York – but it all starts in Cannes. Its early date allows Cannes to platform a lot of movies that are untested. There are no preconceived notions, no hype built up over months. Instead, most of the movies at Cannes are playing for the first time, which means it is consistently full of surprises and can be a strange mix. Films like the Oscar-winning Parasite, Ken Loach’s brutal realist I, Daniel Blake, and Todd Haynes’ luscious lesbian romance Carol all premiered at the festival, but so did The Phantom Menace, Shrek, X-Men: The Last Stand, and, most recently, Top Gun: Maverick. This means that, one night, there’s the splashy extravagance of seeing Tom Cruise walk down the red carpet while fighter jets stream across the sky leaving trails of red, white and blue, and then, later, you can see Kristen Stewart on that same red carpet talking about a movie that the LA Times described as being about a “world where physical pain has dramatically decreased, leaving individuals free to cut open their own bodies for pleasure and profit.” 

However, the fact it’s first out the gate isn’t just what makes Cannes fun to follow because Cannes’ audiences love to make their feelings known. The length of a standing ovation is often the topic of discussion at Cannes, as are boos and walkouts. In 2006, Guillermo del Toro’s spooky parable Pan’s Labyrinth received a whopping 22-minute standing ovation. This year, Baz Luhrmann’s bizarre-looking Elvis Presley biopic got 12-minutes’ worth of applause and, I mean, I love Tom Hanks but even I can’t understand what he’s trying to do in that trailer. But that’s the thrill! Nicole Kidman’s wild but ultimately forgotten southern thriller The Paperboy got 12 minutes in 2012. Michael Moore’s haunting school shooting documentary Bowling for Columbine got 13 minutes in 2002. There seems to be no logic, neither rhyme nor reason to it. Alongside the standing ovations, there are the walkouts too. This year, many in the audience walked out of David Cronenberg’s Crimes of the Future, which stars Stewart alongside French-movie royalty Lea Seydoux, and Viggo Mortensen, which isn’t Cronenberg’s first run-in with dissent at Cannes. His 1996 film Crash, adapted from the J.G. Ballard novel of the same name about a group of people who get turned on by violent car crashes, got some major heat too and inspired many walkouts. With Crimes of the Future, Cronenberg takes his place alongside Lars Von Trier whose films Antichrist and The House That Jack Built inspired walkouts, too. 

So, what else happened at the 2022 Cannes Film Festival?  Who walked out of what and which stars had to stand awkwardly for what seems like forever as a camera is forced into their face to capture their reaction while people clap? (Honestly, if you haven’t watched the footage from the 7-minute standing ovation for Quentin Tarantino’s Once Upon a Time in Hollywood then you haven’t lived. It’s essentially performance art.) According to the critic Peter Bradshaw, this year’s festival was particularly divisive. In his round-up, he wrote that he had never “seen a Cannes like this for radical disagreement among critics on almost every single title”. So, where to begin? 

The festival is divided into three sections: ‘In Competition’; ‘Un Certain Regard’, which highlights avant-garde filmmaking; and ‘Out of Completion’, which is essentially your big-budget stuff looking for a boost. The films playing In Competition are vying for the Palme d’Or, an award voted for by a jury made up of people from the industry, that counts amongst its winners Von Trier’s depressing musical Dancer in the Dark, Michael Moore’s Iraq war exposé Fahrenheit 9/11,  Jane Campion’s feminist period drama The Piano, and Scorsese’s career-defining Taxi Driver. Most recently, Julia Ducournau became the second woman to win the top prize, after Campion, with her body-horror-hit Titane at last year’s festival. This year, it went to Ruben Östlund’s Triangle of Sadness. Described by the BBC as “a frontal assault on the super-rich, and on the capitalist system in general” the film “has enough rage and riotous abandon to compensate for its lack of subtlety”. Triangle of Sadness is Östland’s second Palme d’Or win after The Square, a biting satire of art and charity which took the award back in 2017.

Elsewhere, one of the big stories was Clare Denis’ adaptation of Denis Johnson’s 1986 novel, The Stars at Noon, which marks the filmmaker’s second English-language feature after 2018’s High Life. Denis is no stranger to Cannes and is, perhaps, one of France’s most interesting filmmakers. Her previous features have been known for their slow, slight brilliance, and she has attached great French actors such as Isabelle Huppert, who starred in Denis’ 2009 civil war drama White Material, and Juliette Binoche who gave a career-best performance in the sweet and existential Let the Sunshine In. As for The Stars at Noon, its actors are more up-and-coming than established. It sees relative newbie Joe Alwyn stepping into shoes previously meant for Taron Egerton (who had stepped in to replace Robert Pattinson before dropping out himself) and ingenue-of-the-moment Margaret Qualley starring as lovers. The BBC called it “beautifully made” and Indiewire described it as a “sweaty romantic thriller about two white foreigners who fall in love (or at least fuck a lot) against the background of Central American political tensions” with the film ultimately feeling like “a cryptic and carnal search for a way out of purgatory.” Variety praised Qualley’s performance as “tremendous” but others felt the film lacked heat. Though I have sworn off Twitter recently in an attempt to actually enjoy my life, it seemed to cause quite a stir online with one user calling The Stars at Noon a “tragedy” and another claiming it was “laughably un-erotic”. Still, it won the Grand Prix (essentially, second place after the Palme d’Or!).

One thing it seems most people can agree on is Park Chan-wook’s Decision to Leave. The Korean filmmaker’s past works include the revenge thriller Oldboy, the brittle family drama Stoker, and the stylish erotic thriller The Handmaiden which premiered at Cannes in 2016. Decision to Leave is a crime procedural that becomes a romantic drama as a top detective falls for the wife of the man whose murder he is investigating. If it sounds like a corny premise, all accounts suggest that Park does nothing conventional with the material, with Variety calling the film a cool saunter through an “immaculately intricate labyrinth”. Park also took home the Best Director prize and it seems this is one of the few Jury decisions that everyone can get on board with. 

The controversial true-crime thriller Holy Spider took home an award for its leading actress Zar Emir-Ebrahimi who plays an investigative journalist trying to uncover the truth about a serial killer who is hunting sex workers. The film is based on the true story of Saeed Hanaei, known as “The Spider Killer”, who killed sixteen women between 2000 and 2001. Hanaei became a quasi-hero for the religious right in Iran at the time who felt he was “cleansing” the city of Mashad, and he even received help from the police force for doing what was seen by some as God’s work. The film, which is set in Iran, wasn’t able to film there due to the subject and its inclusion of substantial nudity and was filmed in Jordan instead. It has been called, by some, a slick and enticing thriller in the vein of David Fincher’s Zodiac. Others have criticised Holy Spider for “Hollywood-ising” the tragic deaths of these women who, according to The Guardian, don’t receive a huge amount of screen time. The premiere was protested too by a feminist collective who took to the red carpet and set off plumes of black smoke whilst holding up a list of 129 women’s names. The group indicated that these names were a list of the “129 feminicides in France since the last Cannes festival” – ‘feminicide’ being a phrase defined in the late seventies as the intentional killing of women and girls because they are female. 

Last year, Titane walked out of Cannes with huge buzz and so did The Worst Person in the World, both of which went on to receive some major award nominations. This year it seems slightly harder to see those sure-fire successes (outside of Decision to Leave which, if it’s anything like Park’s previous movies, will do well at the arthouse box office). Denis’s movies are often divisive (High Life featured a “fuck box” for Christ’s sake!) and Östland’s Triangle of Sadness will likely have its fans, too (I imagine I will be one of them if just for a shirtless Harris Dickinson alone…). But what does seem clear is that the stage is set to see how these movies fare over the next few months. They’ll all be sure to pop up elsewhere and the discussion around them will grow (and, undoubtedly, become infuriating at points) but that is the thrill of festival season. Not to mention there are still plenty of movies that have yet to enter the ring. There’s Noah Baumbach’s reteaming with Greta Gerwig in White Noise, Sebastian Lelio’s period drama The Wonder which stars Florence Pugh, Joanna Hogg’s as-yet-untitled ghost movie, and two (TWO!) Harry Styles movies, one of which is said to feature a fair amount of sex and nudity. All of which are likely to show up on the festival circuit in the next few months. So, strap in folks! It’s likely to be a bumpy ride. 

Also Read: The History of the Cannes Film Festival

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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Inhale (19 mins) – Iran

What’s it about? Ebrahim’s chronic insomnia has caused tension between him and his wife, Marziyeh.

Why you should watch it? A masterfully created drama. Both the two leads Mehrdad Bakhshi (“Ebrahim”) and Neda Asadi (“Marziyeh”) play wonderfully off each other to build the tension in their relationship. The true pay off for this film comes at the end.

Hatshepsut (25 mins) – U.S.A

What’s it about? To bring Egypt into a Golden Age, Pharaoh Hatshepsut, a woman, publicly appeared, and fought as a man – but loved as a woman. A true tale of love and courage despite everything.

Why you should watch it? Hopefully this gets commissioned for its own series. From set designs and costumes this drama is fully emerses itself in ancient Egypt. The storytelling is magnificent too.

Lumen (5 mins) – France

What’s it about? At the end of the tunnel or beyond the corridor, the promise of light project our shadows and rekindles our hopes. This is what this man tells us: stuck in a black page of his life that brings him to nothing, he desperately seeks the ray of light that will rekindle his flame.

Why you should watch it? The brilliance of the film is how much it can convey with no dialogue. It works perfectly as a short film, and allows audiences to debate different interpretations of how literal or metaphorical the ending is.

Hello Sunshine (13 mins) – U.S.A

What’s it about? Roz Pichardo is more than a domestic violence and gun violence survivor, she’s a warrior. Despite of – or because of – being thrown off a bridge by an abusive ex-boyfriend, the unsolved murder of her brother, and the suicide of her identical twin sister, she’s able to channel her trauma into service by helping the often-forgotten people of North Philadelphia.

From giving comfort to families of murder victims to saving the lives of over 500 men and women in active opioid addiction, Roz knows that her healing and her survival depends upon healing others.

Why you should watch it? Despite Rox Pichardo’s backstory, the documentary does a great job of highlighting Rox’s incredible journey of overcoming rather than a focus on the traumatic events that happened throughout her life. Rox speaks with great honesty and openness about her experience, as a result we are treated to a lovely a heart warming look at someone who has now dedicated her life to helping others.

Sheer Qorma (30 mins) – India

What’s it about? Sheer Qorma is a story of belonging and acceptance, identity and family, and how it comes together under one roof, as resilient, queer Muslim women and non-binary characters of colour, choose to embrace love that exists beyond their personal beliefs and social moralities.

Why you should watch it? The well developed characters and great script writing are really the key highlights of this film. Writer / director, Faraz Arif Ansari has done a great job in the exploring the interpretation of beliefs within a complex family dynamic.

If you liked these films check out the rest of the film selection by clicking the link above and seeing the full programme for the Soho London Independent Film Festival.

Also Read: Five Must-See Documentaries at the 2021 Soho London Independent Film Festival

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Going Flat (12 mins)

What’s it about? In 2017 Katie Clare took a DNA test revealing a gene mutation. The mutation means she has a 50 to 85 per cent chance of developing breast cancer. We learn Katie’s mother died from breast cancer four years after being diagnosed at 39 — Katie’s current age. Shocked that the recommended treatment is to have her breast and ovaries removed, Katie’s initial thought is to do nothing. As the risks Katie faces dawn upon her, she quickly decides to go with the harsh recommended treatment.

Why you should watch it: All of our lives are likely to be touched by cancer, either through our own diagnosis or through knowing a friend or a family member who has had it. Although only 12 minutes, Katie’s openness throughout the documentary is truly remarkable. Her ability to articulate how her experience will surely be of help to many who are going through a similar expeirence.

Paint & Plastic (29 mins)

What’s it about? Paint & Plastic explores the big world of miniature painting and the impact it’s had on the lives of those in it.

Why you should watch it: Paint & Plastic is a fascinating deep look at the passion & skill that goes into bringing to life figurines through miniature painting. The documentary touches on broader questions around what makes something an artform. An easily acessible documentary, yet deeply enjoyable.

Man Up (14 mins)

What’s it about? A short animated documentary that explores five young male university students’ experiences with mental health issues. The young men open up and share their own issues in the hopes to encourage other men to feel safe doing the same.

Why you should watch it: 1 in 4 of us will experience a mental health problem every year, with this impacting Gen Z even further. The documentary finds a great balance between being acessible for all audiences whilst tackling a complex issue; whilst not downplaying its impact. The use of animation is brilliant and serves a a great educational tool to help amplify the perspectives of the students.

Black Creative (57 minutes)

What’s it about? What is it like to be black in the predominantly white UK advertising industry? Several leading Black figures discuss their experience of race, diversity and representation and why the industry needs to change.

Why you should watch it: A key strength of this documentary really is in the range of perspective from black people within the advertising industry, which serves to highlight the central point of creating inclusivity, in all areas of work.

(K)nox: The Rob Knox Story (51 minutes)

What’s it about? 18-year-old Rob is out celebrating his big break in Harry Potter when he learns that his little brother has been threatened at knife point. He and his friends rush to disarm the man but during the struggle, Rob is stabbed several times and is killed. Now his family must try to navigate their grief and anger while under the ever-watchful eye of the invasive British media machine.

Why you should watch it: Despite the nature of the documentary, it has been handled with great care – the direct involvement of the family have helped to shape this documentary into a fitting tale about a young actor taken far too soon. It is also great to see how the family took the tragedy and brought about positive change in Rob’s honor. Check out our full panel discussion with the cast & crew.

If you liked these films check out the rest of the film selection by clicking the link above and seeing the full programme for the Soho London Independent Film Festival.

Also Read: The Soho London Independent Film Festival is back!

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We of course had some nice extras to enjoy as well. Including horror merchandise stalls. And some in-person and online Q&As with filmmaking professionals.

But, how good was this year’s film line-up? Like in 2019 I managed to watch everything. To my delight, there were even some classic horror film screenings. However, this year I was also impressed by several short films. So, today along with reviewing and ranking every programmed feature film (in 30 words or less) I will also recommend 5 shorts to watch. Let’s begin.

Reviews

Tin Can: What could have been a thought-provoking Cronenberg-esque body horror is hampered by hollow characterisation, overdone cinematography, and dire pacing. Unfortunately, this can’s contents are rotten. (1.5 / 5)

The Deep House: This well-shot film with initially great atmosphere becomes unintentionally hilarious once supernatural elements are introduced. When combined with abysmal exposition and performances The Deep House sinks completely. (2 / 5)

The Advent Calendar: Get past the ableist messaging (the protagonist is a wheelchair user whose sole goal is to walk again to have a “normal” life) and the story is competent but repetitive.  (2.5 / 5)

Ultrasound: Full of twists and high aspirations. But the human anchors get lost in the confusing plot. Ultimately, this sound feels like background noise.  (2.5 / 5)

Hellbender: Teen angst and witchcraft is well-trodden ground for coming-of-age stories. Unfortunately, this movie brings little to the table beyond some ok performances. (2.5 / 5)

When I Consume You: This film juggles multiple genres, from supernatural horror to borderline sports movie. Sadly, this mashup lessens the impact of the film’s addiction theme. Which needed a consistent tone. (3 / 5) 

Offseason: Despite some hokey delivery and the unfolding cosmic horror being kneecapped by overexplaining everything the atmospheric sound design and visuals make this Lovecraft/Fulci tribute worthwhile. (3 / 5)

Event Horizon: Event Horizon has much to love. Like the set design, witty dialogue, and good performances. That said it never achieves greatness thanks to the ever-present obnoxious stingers and stock characters. (3 / 5)

We Need To Do Something: A single location film carried by dialogue, the central players, and a few standout set-pieces. Sometimes that’s all you need to do for a good time. (3 / 5)

Lamb: Is this film about humanity’s relationship to nature, or just the struggles of raising a human-lamb hybrid? Either way, the film remains oddly engrossing despite its slow pace. (3 / 5)

Antlers: Clunky exposition, a superfluous child character, and native American mythology appropriation aside, this sharp folk horror shines through its central performances (especially Jeremy T. Thomas), heavy story, and grisly violence. (3.5 / 5)

A Banquet: Using food as a metaphor for rebellion this mothers and daughters tale effectively explores how terrifying it is being a parent and knowing your child won’t always need you. (3.5 / 5)

Titane: Julia Ducournau’s latest is vicious, well-crafted, and perhaps overly daring. But the story is sometimes hard to engage with emotionally. Still, the audience saw it as the festival’s best film (3.5 / 5)

Broadcast Signal Intrusion: An eerie conspiracy thriller. It works more emotionally than logically but it builds a fantastic air of paranoia. And Harry Shum Jr. is impeccable. (3.5 / 5)

Nocturna: Intrusive music notwithstanding this film deals with ageing and dementia in an amazingly unique genre-defying way. And Pepe Soriano gave the festival’s best performance.  (4 / 5)

Mad God: My favourite movie so far this year. An insanely bleak post-apocalypse film that mixes stop-motion and live-action with little dialogue or conventional structure. It’s an incredible trip.  (4 / 5)

Little Shop of Horrors (Director’s Cut): One of the best movie musicals ever. (4.5 / 5)

Shorts

Of the short films screened at Celluloid Screams here are five you must see.

FREYA & Please Hold: Both disturbingly relevant shorts about how the system can use technology to control women’s reproductive rights and oppress the marginalised.

Guts: An over-the-top silly comedy that really runs with its ridiculous premise – a man with his guts on the outside of his stomach. Creating hilarious results.

The Moogai: Undoubtedly the festival’s scariest short. Creating an unrelentingly tense atmosphere through showing very little of the monster and the lead couple give some great performances.

You’re Dead Hélène: This year’s Short Film Jury Award winner is all-around great. It deals with the pain of letting go of love; is scary, funny and heart-warming.

Conclusion

That wraps up 2021 at Celluloid Screams. While some films worked better than others it was simply a pleasure to attend the festival again and hopefully you all found some films to watch. See you next year Celluloid Screams.

Also Read: Online Film Festivals Are Here To Stay

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In the immediate, one would imagine, that might not be the case, and not just because overseas travel and social distancing will be with us for a while. Even before the pandemic, the London Film Festival, also programmed by the BFI, made efforts to extend its reach outside of the capital with a select number of more mainstream festival picks screened in cinemas around the country. In 2020 they moved beyond those safe bets to hotly anticipated films such as Chloe Zhao’s exquisite Nomadland and Francis Lee’s period romance Ammonite. Admittedly, these were not “nationwide” in the classic sense – i.e. available everywhere – but, rather, in 12 cinemas in major cities from Manchester to Edinburgh.

The idea of looking to the future, however, applies not only to the festival format but to the films themselves. For the most part, film festivals act as a springboard, as an open sea of mostly unvetted titles. Sure, quite a few of the more prominent films arrive with an element of prestige already bestowed on them by other festivals (some in this year’s Flare line-up have appeared at Outfest, TIFF, and more) but there is also a chance to uncover something new, something exciting and different. In that way, festivals can indicate what is to come by premiering fresh-faced films looking to establish themselves, and BFI Flare 2021, a festival that began in 1986 and dedicates itself to LGBTQ+ film, indicates that documentary is ramping up significantly. 

Rebel Dykes (June 2021) tells the story of lesbian activists with plenty of anti-nuclear protesting, sexual politics, and anti-Thatcher activism to boot. Directors Harri Shanahan and Sian A. Williams combine archive footage with interviews and animation to create a genuinely punk-feeling documentary that is an excellent antidote to mainstream films’ more assimilationist messaging. What’s also soothing is the trans inclusion within the radical lesbianism, which the documentary makes a point of addressing – this seems pertinent given the current state of trans rights and feminism in the UK. Elsewhere, Cured (TBC), a more typical feature, documents the campaign lead by LGBTQ+ activists to remove homosexuality from the Diagnostic and Statistical Manual of Mental Disorders (DSM). It features hard-to-stomach descriptions of “therapy” thrust upon LGBTQ+ people over time, and interviews with those who fought to remove it. Meanwhile, Mama Gloria(TBC), a far smaller affair than the aforementioned two, follows Gloria Allen, a trans woman and activist in her Chicago home. Throughout the film, she meets up with those she has inspired, her old school friends, and her family to trace her life and legacy, creating a touching portrait of a too-often ignored icon. 

Less impressive, it might seem, is the fiction film on display. This is not to say that most weren’t, at the very least, enjoyable in some way, but for the most part they felt like somewhat derivative versions of things that have come before. By far the most original was The Obituary of Tunde Johnson (TBC), which follows a Nigerian-American teenager who is shot by police officers during a “traffic stop”. This leads Tunde (Steven Silver) to be stuck in a time-loop in which he is forced to live the same day repeatedly, where he is always killed – in differing scenarios – by a police officer, only to wake up back in his bed. The clever weaponizing of a Groundhog Day narrative places a viewer in constant fear and awareness of the police, which works to emulate the state of mind of a young black man, like Tunde, in modern America. Unfortunately, the melodrama surrounding this premise – that Tunde is secretly dating a hot, chiselled jock who has yet to come out – is far less exciting and innovative. 

Outside of this, films like Boy Meets Boy and Sublet both attempt to go for a mash-up of Richard Linklater’s Before trilogy and Andrew Haigh’s Weekend, to varying results. Sublet, the marginally better of the two, struggles to establish what it really wants to say and flounders around in predictable plotlines and stereotypes. Boy Meets Boy trades in Ethan Hawke and Julie Delpy for two young gay men – one British and one German – and swaps out Vienna for Berlin as the two spend 10 hours together before one has to catch their flight back to the UK. The relative simplicity of films like this – that it’s just two people talking for two hours – is far harder to capture than it might appear, and neither can offer up much that is genuinely original. As for Firebird, the flashy and sexy period drama set in Soviet Russia, it feels more like something for a Sunday night on the BBC. It’s as if they want to capitalize on the success of recent romantic dramas like And Then We Danced or God’s Own Country (both of which screened at the festival in 2020 and 2017, respectively) but lack the authenticity to do so, instead offering something that feels lukewarm overall. It desperately wants the emotional weight of Portrait of a Lady on Fire within a military setting like Moffie, but unfortunately, all it does is remind you there are better films out there you could be watching. Speaking of other movies, both The Greenhouse and the semi-autobiographical Jump Darling try their best to bring some zazz but, for the most part, don’t quite stick the landing, even if both feature solid performances. Especially the latter, which brings us acting legend Cloris Leachman’s final performance, which is, of course, nuanced and touching. 

Finally, the most egregious of all might be Cowboys, an American drama starring Steve Zahn and Jillian Bell. It tells the story of a trans child, Joe (Sasha Knight), without really considering the trans perspective. Written and directed by a cisgender woman, Anna Kerrigan, the story revolves around how two thinly drawn parents, Troy and Sally (played by Zahn and Bell, respectively), each navigate the information that their child is trans. Sally refuses to believe it isn’t more than just a phrase and refuses to buy toys that aren’t “meant” for girls, whilst Troy, a temperamental alcoholic, is more accepting but is also facing his own battles. In light of this disagreement, Troy kidnaps Joe (who is constantly put in cheap wigs), and they set off for the Canadian border on horseback. In the end, Cowboys results to nothing more than a sensationalist drama for straight and cisgender folks that shuns the perspective of the queer child who should be at its centre. 

Ultimately, BFI Flare is uniquely positioned as a beacon of queer cinema in the UK and its highlighting of films like Rebel Dykes – which they previewed in 2016 – and their commitment to offering independent queer film a platform. It seems that, for all of us, 2020 has had an effect. Last year’s festival, which was one of the first to move online in mid-March as the UK went into lockdown, offered up the seminal documentary on trans representation in the media, Disclosure, as well as the aforementioned military drama Moffie. Other highlights included Isabel Sandoval’s much-lauded Linga Franca, Hong Khaou’s tender second feature Monsoon, and Oliver Ducastel and Jacques Martineau’s dark and complicated Don’t Look Down. Now, just a year later, there are simply fewer films rearing and ready to go with the future of the distribution and the industry at large in flux. 

It may seem that, from my summations here, a lot of the entries into this year’s Flare festival were a little lacking, especially compared with last year, and that might not be entirely fair. I have to disclose my bias: as a queer person, I’m positioned to want a lot from my LGBTQ+ and Queer Cinema. That means that, when it disappoints, it really disappoints. I feel, when they aren’t perfect, like that famous clip of Tyra Banks: “I was rooting for you, we were all rooting for you!” I’m sure the films I’ve discussed here will find their audience; there are many LGBTQ+ viewers out there desperate for something new who will see a glimpse of themselves within them. All of us are looking to the future; the future of film, festivals, and queer cinema. All of us want the best.  

Also Read: How Film Changed Me: On Kathryn Hahn

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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Today we will explore the positives and negatives of moving online. As well as the impact it could have on film festivals in the future. But first, let’s look at how some festivals took their experience online.

How Film Festivals Went Online

The main consideration when moving online was how the festivals were going to host their selection of films. Major brands found two methods to accomplish this:

Some partnered with major streaming services to help bring their programmes to the internet. For example, South by Southwest 2020 teamed up with Amazon Prime to deliver 39 of their programmed titles.

Meanwhile, others like Sundance have developed their own platforms to provide both film programmes and additional festival branded content such as Q&As, industry talks, and interactive experiences. But what are the positives and negatives of going digital?

The Cons

Of course, there are negatives to this arrangement. Firstly, the experience doesn’t feel the same as seeing movies on a large screen with a big audience. Which will upset cinema purists.

Some also fear it’s a good opportunity for pirating movies meaning the festival, filmmakers, and distributors may not receive as much money in the future. Several festivals have however tried to reduce that risk by watermarking films and geo-blocking their online content.

Lastly, there are worries about how online showings can negatively affect smaller films. Because several major festivals are only showing a limited number of movies, smaller films might not have the opportunity to receive the profile boost that would come with being a part of a big festival. And some argue that giving premiere rights to festivals using streaming services will deter future distributors.

The Pros

But the positives arguably outweigh the cons. Firstly, it offers convenience for viewers by allowing festival selections to be viewed from home. Without needing to spend money on travel and accommodation. Which helps improve the festival’s brand while allowing a larger amount of people to financially contribute to the festival.

This move also helps industry professionals to continue working. Some digital festivals are allowing filmed project pitches to be sent in. As well as this, online industry talks and marketplaces allow film workers to continue to find work, finance, and homes for their projects. Meaning new projects will still be produced thanks to online networking.

Also, despite the worries previously mentioned the move to the internet could greatly help independent films and festivals. It removes the venue barrier as festivals can simply use a website. And it allows their selections to reach a wider audience. Therefore, allowing independent projects greater visibility than before.

Lastly, it further legitimizes the online sphere within an industry continually apprehensive about the internet. Showing with successes like The London Film Festival that digital screenings (in whole or in part) can attract big audiences.

Can Festivals Go Back to Normal?

While many view moving online as temporary, it’s hard to see future festivals going back to being entirely physical after the COVID-19 threat has passed. Because this experiment allows a vaster range of people access to the festival’s materials it would seem silly to shut out this potential audience when things return to normal. It’s probably more likely that as festivals go forward they will try to incorporate online elements alongside the physical experience. As it will allow festivals to take more money and act as a really good tool for attracting those without the finance needed to physically attend.

Conclusion

In summation, despite some downsides, the move online greatly benefits film festivals, fans, and workers across the world. Whether partnering with streaming giants or using their own portals it’s hard to see the festival experience going entirely back to in-person screenings once COVID has been tackled.

Finally, listed below are several upcoming online festivals for you to keep an eye on. Warning, some festival features are geo-blocked:

• Sundance Film Festival
• Glasgow Film Festival
• SXSW Film Festival

If there are any upcoming online film festivals you are looking forward to, let us know.

Also Read: How Film Changed Me: On The Cultural Void

Your contribution to Big Picture Film Club will allow us to continue to produce content. No matter the amount your contributions are greatly appreciated.

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This summer Big Picture attended the New York Asian Film Festival for the premiere of Love And Other Cults.

It was so great to see so many different people come together to enjoy and support the art of film. Exhibiting a variety of films that explored controversial and complex human emotions, the New York Asian Film Festival showcased talent from China, Hong Kong, Japan, South Korea, Taiwan, and across South East Asia.

Unlike any film I’d experienced before, independent Japanese writer-director Eiji Uchida’s “Love and Other Cults” tells the twisted story of marginalised youth in Japan and their quest to define themselves whilst avoiding the obscure pitfalls of drugs, religion, relationships.

The post New York Asian Film Festival 2017 appeared first on Big Picture Film Club.

We all like surprises – who doesn’t? At Big Picture Film Club, part of what makes our job so cool is that we are able to find hidden gems in the expansive film world and do our part in bringing them to the forefront. One such example is the short film, Anchor, by photographer and director, Madeleine Morlet. Although only 9 minutes long, there is not a second wasted in this gripping power play between two lovers, exploring sexual dependency and complex emotions in an increasingly strained relationship.

In Madeleine’s own words, “Anchor is exploring feelings, by coming at it from a place of rigid constraints it was also possible to explore the dullness of extreme feeling. The piece captures a woman as she reaches the full saturation of what she is able to feel, to the point where everything flatlines and nothing but a dull ache remains”. We took the opportunity to have a few words with Madeleine to find out more about what she is up to and to discover more about Anchor…

Big Picture Film Club: What was your motivation in creating “Anchor”?

Madeleine Morlet: The easiest way to answer this question would be to say that Anchor wasn’t motivated by any specific cause, it was motivated by what was then, and continues to be now, a personal objective to make work.

BPFC: The overarching theme of “Anchor” appears to be Power, more specifically the use of sexual power in relationships – would we be correct in thinking this?

MM: I would say that is accurate. Reflecting on my own experience I find that often it is through another person’s eyes that you can really see yourself honestly. I like to think about power and control in relationships. In making Anchor I felt that I could walk in either characters shoes. The dynamic between two people in terms of attraction, desire and sexuality affect this power balance and the needs that drive individuals in relationships can vary greatly.

BPFC: What are you hoping people take from watching this film?

MM: It’s difficult for me to imagine this film having a wide audience, so for those who do see it my greatest hope would be that it produces an emotional response.

BPFC: Your photography work is very captivating, striking and powerful – was it your intention for “Anchor” to have a similar feel to your photography work?

MM: My intention was to make films but a lot of time and resources go into making even a short piece. With this in mind, I found that photography was a way I could actively engage these skills on a regular basis. Anchor was born from my first photography series and each frame was built from one of these original photographs, the images were then used again as a reference for the grade. So yes, it was intentional that the film has a similar feel to my photography work.

BPFC: Is this your first short film? What creative and technical challenges did you face making Anchor?

MM: I consider this to be my first short film. It eventually took 18 months from conception to completion to make Anchor. There were a lot of challenges and setbacks in making the piece, as there often are with zero-budget short films. The script, which was based on real experiences, was too unrealistic, it took six months to cast Delphine in the role of Olivia and with so much emphasis on the sound it was more than half a year to complete the score. Ultimately I approached the entire process with patience and acceptance, this film was made only on my schedule so we didn’t have to hit any deadlines – which meant it had plenty of space to overcome these creative and technical challenges.

BPFC: What is next for you and “Anchor”?

MM: Anchor is being submitted to festivals, which is a learning curve in itself, and my plan is to continue working as I am.

You can follow Madeleine Morlet’s work on Instagram or visit her website: www.madeleinemorlet.com

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