I saw Bomber last night and haven't yet had time to distill why I liked it. I'm already in a bit of film overload. My brain is like the airport over Christmas break. I'll try to do something more coherent on Bomber later, but meanwhile here are some initial thoughts and much better yet, about ten minutes of Paul Cotter himself answering questions after the showing.
I was hearing good things about Bomber, but wasn't able to get a sneak preview, so Saturday night was it, because it was the only showing.
A British adult ends up taking his parents to Germany, a trip his father wanted to take to a town he bombed in World War II.
This film, made for about $30,000. Yes. four zeroes. At that price a seriously flawed movie could score fairly well on my quality/$ scale. But this is a film that is as good or better than most of the ones I see over a year.
It's a serious, funny movie about parent/child and husband/wife relationships. It's funny because I suspect that most everyone in the audience over 20 could relate to one or more of the roles in the film and because you have to laugh because otherwise it hurts because he's put truths about your own life up on the big screen.
I'd been watching films since 1pm this afternoon and this was a 7:45 pm movie. But it went by pretty quickly. As I said above, I'll try to get something more coherent up. It's clear that doing the videos takes enough time that I rationalize I don't have time to write. But I also need some time to process what I've seen to write something worth more than, it's good or not.
At the animation workshop Saturday afternoon, Francine Lastufka Taylor, who's the founder of the Alaska Moving Image Preservation Association (AMIPA), told me she'd been to a great documentary at 1pm. The movie was Neshoba which will play again
Saturday, Dec. 12, at the Alaska Experience Theater at 5:30 pm.
The movie is about the three civil rights workers who were killed in the 60s, the recent trial of one of the murderers, and the fact that the others are still around but no one is talking. So I asked Francine to tell you herself.
Here's a brief conversation with Devi after the showing of her film "Death in Charge." All the films in the Humoresque program were solid, interesting, well made films. Death in Charge explored the relationship between a young girl and her mom with the help of the grim reaper and some macaroni and cheese.
First to Out North for Humoresque at 1pm. I don't even know what that is, but I want to go to the animation workshop at 3pm, and that way I won't have to drive again. I'll probably stay at Out North for Animation 1 at 5:45pm after the workshop.
Then I'll leave early so I can get to see Bomber at 8pm at the Bear Tooth. I've seen the trailer for Bomber which is one of the films in competition and I think it will be pretty good, and I think it only shows that one time.
I'm not a zombie fan, but since I'll already be at Bear Tooth, I'll probably stay at least for the beginning of Zombies of Mass Destruction at 10pm and we'll see how long I stay.
I got to interview AIFF volunteer coordinator Beth Varner last night after the showing of Hipster. Want to see some films free, but low on funds? Beth tells you how it works.
You can contact her at Three-One-Seven 2001. Or check the volunteer page.
Callum is giving the animation workshop Saturday, December 5at 3pm (Today as I write) along with Anchorage's Peter Dunlap-Shohl. It's at the Out North.
Callum's film Bonefeather is playing as part of the
Program Love and Pain on Friday Dec. 11 at 10pm at the Bear Tooth and
in Animated Treats on Saturday Dec. 12 at 12:15 pm at Loussac's Marston Theater
I wonder how many other films are playing in both the adult only (Love and Pain) and the children's programming (Animated Treats.)
Hipsters on the big screen was great. Here are just a couple of brief comments, but I did find some Russians to give their opinions.
I had a longer discussion, off camera, with some Russian women who were a little older and they too enjoyed the movie. One said that her mother went to the university in those days and people were not all dressed in gray, they could wear what they wanted. But given that it was a musical it was reasonable accurate.
Paxson Woelber grew up in Anchorage and is back here working after college. He has two films in the festival:
Hugo in the Land of Lemonsharks - which was chosen to be in competition
Hugo is part of the Animation 1 program which plays: Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
The Prospector - which has some killer Alaska scenery that he created and a lead player who communicates mainly with his eyes.
Prospector is part of the Animation 2 program which plays: Thursday, December 10 – 5:30pm – Out North
Sunday, December 13 – 12:45pm – Out North
Breathing Room
And since Paxson is an Alaskan film maker, they both play in Snowdance 3 which plays: Saturday, December 5 – 12:30pm – Bear Tooth Tuesday, December 8 – 5:30pm – Out North
And if you can't make it, the links will get you to the YouTube editions of the two short films.
I videod Paxson yesterday in downtown Anchorage. He talks about the two films and also the benefits of having his films up on YouTube. He'll be at the Festival so look for him and say hi.
The Anchorage International Film Festival website is a big step up from last year, but there are still some problems. One is how to figure out what is in each program. Programs are the groups of shorter films that are shown together. They're on the AIFF website, but they are hard to find. This part is easier to do in the newsprint guides that are all over town. So here are the links for animation. I'll get Snowdance, shorts, and supershorts up soon.
Some of these are by Alaskans, so they will also show in the Snowdance programs. The ones I know for sure I've marked Snowdance, but I may have missed some.
The Anchorage International Film Festival website is a big step up from last year, but there are still some problems. One is how to figure out what is in each program. Programs are the groups of shorter films that are shown together. They're on the AIFF website, but they are hard to find. This part is easier to do in the newsprint guides that are all over town. So here are the links for the Snowdance programs.
Snowdance is the category that includes films made in Alaska or made by Alaskans. These films will also be in other categories such as animated, short film, etc. The festival website doesn't necessarily mention on the individual film pages that there will also be these Snowdance showings.
I read some reviews of Hipster online that sounded promising. But people have different tastes. One guy said after he saw it, he ordered the Russian only, no subtitles version, because that was all he could get, but he had to have it. I just got a sneak preview of Hipsters, the opening night movie for the Anchorage International Film Festival. I now understand how he felt. I've only seen a couple of the features, but if there's another feature as fun and interesting as this one, then this is going to be one hell of a festival.
OK, it's not perfect. For one thing it's too long for American attention spans.
But anyone seriously interested in film, and in the 20th Century, not to mention jazz, is going to be fascinated by this film. It's a Russian film about the Russian hipsters in the 1950s who flouted the Soviet system by wearing wild hipster fashion and playing and dancing to American jazz.
This is a movie about being free to be yourself, free to be different. And taking risks to be free.
These three pictures in the lecture hall were like a scene out of Pink Floyd's The Wall. The Hipster Mel is expelled from the Communist Party organization at his school.
The contrast between his grey uniformed, chanting classmates and the hipster styled Mel says it all as the party head rails in song against all the evil that Mel represents.
Look at the power of those shots, especially the middle one.
I wish I had time to show this film to some Russian friends and have them fill in so many missing details of this period. I'm dying to know what they'll think of this film, especially those who were in Moscow in the time of the movie. Until then, I have no clue what this movie means to Russians, whether it has any serious meaning to them or whether they think this is the equivalent of High School Musical.
Did I say this was a musical? It's an American musical in the same way the the Russian hipsters were American hipsters. It's a completely Russian version of an American genre.
Opening night tickets at the Bear Tooth are $25 Friday, December 4, 7pm, but they include the opening Gala party. A reason to get an "All Films and Events" pass. If that's too steep - the money helps pay for the festival - it plays again Saturday, Dec. 12 at the Bear Tooth, at 7:30pm for the regular $7 price.
Work out your schedule to be at one of the showings.
Some people have asked me what my relationship to the festival is. Are they paying me to promote it? I'm blogging independently on my own blog, not theirs. I like the kinds of films a festival brings to Anchorage and I want to see the Festival succeed. They do give me a media pass, and they treat me well, but I'm not a promoter. I'm blogging for my readers, not for the Festival. To let you readers know what's available, and when I get to see something I really like, to let you know. And if I think something is pretty bad, I'll warn you of that too.
Hipsters defies standard categories. I'm currently creating new braincells in an attempt to grasp what it's very existence means about the Soviet Union, about Russia, what I thought I knew, and what I'm going to have to study to fill in lots of gaps. But, be warned, it is long. But the final number (clip above) is absolutely worth staying for. The subtitle - hipster style conquers all fear - is clearly an important theme of the movie; unfortunately you can't hear the music now. You'll have to go to see the movie. And bring you sweetie to this one.
[Update Dec. 22: This is old news (October 22), but I just ran across it from ScreenDaily:
Valery Todorovsky’s Russian entry Hipsters (Stilyagi) won the $100,000 narrative feature Black Pearl award as the Middle East International Film Festival (MEIFF) came to a close at the weekend.]
[UPDATE: To get a link for the DVD with English subtitles, go down to Chris Churchill's January 2013 comment below.]
I'm not sure its cricket to have FAQs if no one has asked any questions so these are UFAQs - Unasked Frequently Asked Questions. This is information people might be or should be asking for. Below are links to posts with general information about the Anchorage International Film Festival.
What do all the categories mean? ("official selection;" "films in competition," etc. ) (This is a post from last year, but still gets the basic information across.)
What films are the best films this year? Films in Competition are the ones chosen to compete for the Golden Oosiker awards. Here are guides to each category - something about each film and when and where they will play.
Films in Competition - Features
Films in Competition - Documentaries
Films in Competition - Shorts
Films in Competition - Animation
Films in Competition - Short Documentaries [Coming Soon - sorry never got this one]
How do I find the what's in the programs of short films playing together? Easiest place is the printed program. It's hard on line. Animation Programs Snowdance Programs (films made in Alaska or by Alaskans)
I'm not interested in the festival, but if there are any films on my favorite place, food, sport, etc., I'd go. Are there any?
Here's an overview of topics and countries in the films - This is intended for people who aren't particularly interested in the festival, but might come to a few showings because a film is about a particular country or in a particular language or about a particular subject. This doesn't cover everything, but as much as I can identify. I'll keep updating. [coming soon - another good intention that never materialized.]
How do I find posts on specific films or film makers? (check the video posts below too)
What workshops are there?
Link goes to a list of the special workshops (scroll down the page) and a bit about the visiting film maker presenters. [Link goes to AIFF page right now. I'll add more stuff soon. Warning - Animation workshop is this Saturday - Dec. 5 - 3pm at Out North. ]
What are your criteria for a good movie? When I made my picks for last year's best films, at the end of the post I outlined my criteria. The link takes you to that post, scroll down to second part.
Should I buy a pass or just buy tickets as I go? Tickets are $7 per film. All films passes are $75. So, if you go to eleven films, the pass is clearly the better deal. But there are other benefits to the pass. You do have to get a ticket (free) for each film and only a certain number of seats are held for passholders, but you do get priority seating with your pass.
And if you have a pass, you'll go see more films because you'll think "I've paid for them. I should go and get my money's worth."
All Films and Events passes are $95. This gets you into Workshops, a few extra events, like the opening night film (which is actually $25 a ticket) and the awards These extra events also have food.
[Update: another option is to volunteer and get a pass to a movie.]
What about family films? [Coming soon]
Saturday, December 12 at Loussac - in the Marston Auditorium. Check the printed program or the website.
Who Are You Anyways? - who's paying you to do this? does your brother have a film in competition? What is your connection to the festival? From an earlier post here's my Disclosure:
Well I blogged the 2007 festival and the AIFF people liked what I did and asked if I would be the official blogger last year. They promised me I could say what I wanted, but I decided it was better to blog on my own and then if I write something that upsets one of the film makers, the Festival isn't responsible. They had a link to the blog last year. They also threw in a free pass for me last year and this year.
I probably won't say anything terrible about a film, but I did rant about one film two years that I thought was exploiting its subject as well as boorishly demeaning a whole country. I mentioned in an earlier post that if I sound a little promotional at times, it's only because I like films and I like the kinds of quirky films that show up at festivals, so I want as many people to know about the festival as possible so the festival will continue. Will I fudge on what I write to get people out? No way. There are plenty of people in Anchorage who like films. They're my main target. To get them out of the house in the dark December chill when inertia tugs heavily if they even think about leaving the house. But if others who normally don't go out to films hear about a movie on a topic they're into, that's good too.
I talked to Tony Sheppard, founder of the Anchorage International Film Festival, and now the Feature Programer, in his office yesterday, a few days before the opening of this year's festival.
(One tiny note. Dear Lemon Lima is pronounced as the bean, not Peru's capital. I wonder if a linguist could explain why everyone I've run into has made this mistake.)
There are TEN animated films in competition. They represent a wide range of styles and topics. There are two programs (groups of shorts in one showing.) My advice is to go see both. Some of the most creative work is done in animation.
Five of the Animated films in competition are in the Program: It’s A Wild, Wild Life (there are 19 films in this program) and seven of the films in competition in this category are in the Program: Should I Stay or Should I Go? Animation 1 (This program has 18 films altogether) Three films - Calypso, The Mouse that Soared, and Topi - managed to get into both programs.
All the showings are at Out North (3800 Debarr at Primrose - one block west of Bragaw) Though the winner will probably be shown again sometime between Dec. 13-17. And if last year is a guide, there will be a slot for a short before many of the feature length films.
These are listed in alphabetically order. With so many, you might get tired and not get to the bottom. That would be a big mistake. Be sure to look at the last ones too.
Director: Adam Comiskey
Program: Should I Stay or Should I Go? Animation 1 Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
When trapped onboard a container ship with nowhere to run, all the band can do is keep playing.
"There is a misconception computers have made the job easier - they have made it cheaper and quicker. But we still need highly skilled artists to sit and press the buttons and do the long hours," explained Adam
Adam says he has not had a day off since May 2008 - only a power cut late the previous evening stopped the team from working into the early hours of the morning. The determination to get to the final result is what keeps them going.
"It is boring, there are long hours and there has to be something wrong with you to want to do it, quite honestly! But we do do it and we do enjoy it, we always keep our mind on the bigger picture. It's not just about that picture you are drawing - again - it's about working in the team and thinking about the final result at the end.
Calypso Australia 9 minutes
Director: Jack Parry
(Calypso managed to get into both Animation Programs)
Program: Should I Stay or Should I Go? Animation 1 Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
Program: It’s A Wild, Wild Life Thursday, December 10 – 5:30pm – Out North Sunday, December 13 – 12:45pm – Out North
Photo above, screenshot to the left, and Director's Statement below from Calypso website:
Music talks to me. Whenever I hear an intriguing melody I start to see stories in my head. First they appear as jumbled insights then slowly it all starts to gel and make sense. The first piece of the story of CALYPSO came to me several years ago listening to music in the car. I had been particularly charmed by one piece of music. I had been listening to it over and over again on the way to work when one day without warning the music took a hold of me and shouted its story out loud. I could see it there as clearly as I see it now as a finished film. I felt an absolute release of emotions and by the end I had tears in my eyes. This is not a recommended activity whilst driving in peak hour traffic. The hardest part for me in this film has been trying to imbue in others the rich and magical feelings I have had contained within me for this whole journey. I hope that now the film is finally finished you can all share its story too.
Jack Parry, June 2009
Dried Up U.S. 6 minutes
Directors: Stuart Bury, Jeremy Casper and Isaiah Powers
Program: It’s A Wild, Wild Life Thursday, December 10 – 5:30pm – Out North Sunday, December 13 – 12:45pm – Out North
The Dried Up website: has a lengthy discussion of how they made this short. Six minutes of film after eight months. Animation is laborious and the section titled Making of Dried Up might help others in the future, or if you're just curious how they did it.
Making Of Dried Up
We learned a lot while making this film and we would like to share those lessons. Hopefully when we catch up on a little more sleep we will be able to piece through the hazy memories and get some stuff updated here.
Like how to build a smooth camera dolly for 30USD. Or why not to use mould making latex for hand construction… or how cardboard and glue can make anything. And how cardboard is free and glue is expensive…
It began:
Dried Up was born out of a stopmotion/building class fall semester of 08. Jeremy and I planed to do a small collaboration project with each other in addition to our final thesis work. For being in an animation program we still grasped hold of that many times elusive naivety of what we could actually accomplish in an 8 month time frame. We now look back and laugh at our selves and our silly ideas.
The video also comes from their website. Warning - this is the whole short, not just a clip. Dried Up from Cecil on Vimeo.
Duck [Heart] Teslacoil U.S. 6 minutes
Director: Tyler Kupferer
Program: It’s A Wild, Wild Life Thursday, December 10 – 5:30pm – Out North Sunday, December 13 – 12:45pm – Out North
A young duck learns how to deal with a bus stop menace through the use of high voltage weaponry.
Photo (SCAD = Savannah College of Art and Design) and text from an interview in Connect Savannah:
What was the genesis of Duck Heart Teslacoil?
Tyler J. Kupferer: It was originally inspired by a piece of vector artwork featuring a monster and a bunny. The instant I saw the flat style, I wondered: “What would that look like animated?” Several months later, while at an ideas pitch session, I thought up the concept of DHT in about five minutes, based on the idea I thought Tesla coils were under–represented in modern cinema. After that, the idea seemed more and more plausible.
In addition to writing, directing and producing the film you also did the animation and provided one of the voices. Between all of those jobs do you have a preference?
Tyler J. Kupferer: Of all the hats I wear when producing my short films, directing is by far my favorite. I think one of the reasons I enjoy directing so much is because I take an interest in all other aspects of production, and directing challenges me to address the unique tasks of each role in a way that must lead to a single cohesive piece. The directing role is what keeps me concentrated on every aspect of storytelling and how it relates to my audience.
Video from digitalheartsawards. Warning: This is the whole film, not just a clip.
Director: Paxson Woelber
Program: Should I Stay or Should I Go? Animation 1 Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
ALSO in: Snowdance 3 Saturday, December 5 – 12:30pm – Bear Tooth Tuesday, December 8 – 5:30pm – Out North
An animation by Paxson Woelber (born in Alaska, currently living in New York). Hugo in the Land of the Lemonsharks is a tale of chivalry, heartache, valor, and, of course, screaming shred guitar.
I would add that the visuals are pretty stunning in this short animation. You can see some of Paxson's other art work and animation at his website: http://www.paxsonwoelber.com/
where I got this full copy of Hugo. Face shot is from Paxson's Facebook page. Warning this is the whole thing, not just the trailer.
Paxson's from Anchorage, so I expect he'll be up here for the festival and he'll probably be available to answer questions after the showing.
See video interview of Paxson in Anchorage. [coming Dec. 4]
I Slept With Cookie Monster U.S. 3 minutes
Director: Kara Nasdor-Jones
Program: Should I Stay or Should I Go? Animation 1 Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
Kara Nasdor-Jones writes on her beautifully designed blog that she's interested in exploring serious issues using animation because it's unexpected.
"My last project, "I Slept With Cookie Monster," was very much a healing process for me since I began the film while fighting to end the abusive relationship I was in. Forcing myself to dive into these extremely sensitive issues and visually work through them helped me to understand many critical issues in the healing process."
The video won the Grand Prize For Best Student Animation at the Ottawa International Animation Festival last year. The video can be seen on her website. Since it is not embedable, I'm not posting it here. It's beautifully done well worth seeing as the Ottawa prize suggests.
Manifestations U.S. 4 minutes
Director: Giles Timms
Program: Should I Stay or Should I Go? Animation 1 Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
Giles Timms is from Wales, and got his MFA this year at the UCLA Animation Workshop in the School of Theater, Film and Television. In an interview with channelfrederator,
CF: . . .“Manifestations” is pretty trippy - how did you develop the concept for the film?
GT: “Manifestations” actually started out as a single scene exercise/experiment I set for myself to learn After Effects. Once I had that initial scene and then Ceri’s wonderful music I started to develop the story outward from those two pieces. It really helped me to have Ceri’s music at the very beginning of the project as I was able to listen to the music and create the scenes and story in my head. The whole process though was rather experimental for me and certainly an aspect of the film is very much me trying to push myself as an animator and filmmaker. My process was also a bit unconventional in that I ended up with about 8 minutes of animation that I edited down to 4 minutes But I learned a lot.
The Mouse That Soared U.S. 6 minutes
Director: Kyle Bell
Program: Should I Stay or Should I Go? Animation 1 Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
A famous flying circus mouse reflects on his humble beginnings in this high-altitude adventure in aerodynamics.
The Mouse's blog says he won Best Animation screened at the Hollywood Roosevelt Hotel in the West Hollywood International Film Festival, where "the ghosts of Montgomery Clift and Marilyn Monroe were rumored to be in attendance." TMTS won 'Best Animation' again at the HollyShorts film Festival and the 'Audience Favorite Animation' award too. And again at the Malibu Film Festival it won 'Best Animation' and 'Audience Choice Animation'. We have to assume that in the center of the beast down there in LA, the audience is pretty picky. So this is one to watch.
You can get a hint from the trailer from Kyle Bell's YouTube page. Bell is described as "a veteran filmmaker" and while the student done films are dazzling in one aspect or another, you can see a more completely filled out film here, just in the trailer. Also check out The Mouse that Soared website.
Skylight Canada 5 minutes
Director: David Baas
Program: It’s A Wild, Wild Life Thursday, December 10 – 5:30pm – Out North Sunday, December 13 – 12:45pm – Out North
There's a lot of posts online about this film, but what I could find were either basic descriptions of what happens and/or spoilers. It's called by some a mock documentary on climate change. Just go see it and enjoy it.
Topi U.S. 6 minutes
Director: Arjun Rihan
Program: It’s A Wild, Wild Life Thursday, December 10 – 5:30pm – Out North Sunday, December 13 – 12:45pm – Out North
Program: Should I Stay or Should I Go? Animation 1 Saturday, December 5 – 5:45pm – Out North Tuesday, December 8 – 7:45pm – Out North
From the AIFF description:
Amidst the turbulent partition of India circa 1947, a young Hindu boy has a chance encounter with a stranger.
The film maker's website is exquisite. The visuals there from the film are . . . I don't want to say exquisite again, how about 'amazing'? Go look at the website and come to see this film. And Arjun will be in the audience with you according to his blog:
Finally, I will be watching the film with an audience for the first time at the Anchorage International Film Festival (Dec 4 - Dec 17) in Alaska (also my first trip to Alaska).
To whet your appetite, here's something he just put up on his blog:
"A video (created for an award application) that shows the step-by-step progress of two shots. Took forever to resurrect those old files, but it's a nice video to have."
I've posted elsewhere about the ethics of getting clips of video for use when blogging about a movie. After all, book reviewers can take excerpts from books to make their points about the writing. They don't rely on a few excerpts that the publisher sends them. The law is murky - well, it's clear that video taping in a movie theater is illegal, but once you have the video, the First Amendment would seem to favor the blogger. All this assumes minimal amounts of video, with no intent to make money, simply to review.
The most persuasive argument to take video down came from a filmmaker a couple of years ago who said that the clauses in many film festivals forbid any movie that is available on the web, no matter how short a clip. I took it down as I would if people ask, and the request is about their material or image, I do immediately. But this year I've noticed several movies in the festival that are available online. I asked Rand (the festival program director) about this and he said he's been to workshops discussing this and that rule is crumbling because of what all is available online these days.
So my dilemma is, what should I do if I find a whole movie online? More precisely, should I post it when I'm putting something up about that movie? Just put a link? Or not mention it at all?
What are the factors that should be considered? The film is already up somewhere online and available, so I'm not responsible for that. If people want to see they can. (I'm assuming that film maker allowed the posting directly or indirectly, if not, I shouldn't post it.) I concluded there is one key issue:
Will it affect attendance at the festival? If so, how?
Arguments that it will lower attendance:
If people can see the films online, they don't need to pay to see them at the festival.
If people see festival films online and don't like them, they won't come to other films.
Fewer audience members might come and there would be less interesting Q&A.
Arguments that it won't lower attendance and may increase attendance:
If people can see some films online, they can go to other events playing at the same time.
All of the films I've found were short and are part of a Program with other films, so people will have to go to see the other films anyway.
If people like a film, they may go on the chance of seeing the filmmaker and asking questions.
People who had no intention of going to the festival will see some and realize that these films aren't your run-of-the-mill Hollywood film and come to see some of the festival showings.
Lots of people like to see a film more than once. If it's online, they can see it again on the big screen (itself another reason to go) and see aspects they missed the first time.
They can tell friends who can't go, how to see a few of the films that they liked that are also online.
People don't have to take my word for anything, they can judge for themselves. They can also judge whether they like and dislike the same things I like and dislike.
I have no empirical evidence to indicate what people will actually do. I have to use my own acumen to tentatively conclude, until it's proven otherwise, that the few films I post are not going to hurt attendance and may well help it. (But, being me, means as soon as I wrote that I started to google to see if there is any evidence. I didn't find anything addressing my question, but I found a lot saying that online is one of the futures of festivals, and that future is already here. See below **)
Also, I'm just one head, and I'm sure I've left out important points, so please jump in and add points I missed in the comments.
Another factor I'd add here. One purpose of this coverage of the Anchorage International Film Festival is to give people in Anchorage (and elsewhere) more information about what's playing and when so that they can save a bit of time going through that long list of movies coming next week. I assume that my readers are adults and can decide for themselves if they want to click the play button or not. I should make things easier for them, but not decide for them.
So far, I've only found a handful of films where the whole film is online (not just a trailer) - but I've only been looking at the films in competition. I won't be able to highlight more than a small percentage of the films. Once the festival starts, I'll see stuff and comment as my interest in any particular film, the serendiptiy of who I bump into, and my time allow.
**I found almost nothing in my short search about festival films being available online. I couldn't figure out the right search terms I guess. I did find this: Anna Feder, Festival Director/Programmer at the Boston Underground Film Festival, interviewed on the blog Film Festival Secrets:
recent trend I have noticed in submissions of which I approve: I love that filmmakers are starting to put all their materials on line. I try to discourage filmmakers from sending me these expensive wasteful glossy paper press kits when my needs are digital files of stills and trailers. We don’t want the filmmaker to bankrupt him or herself submitting to our festival. Submit early, keep the packaging simple (we care about your film – not the well designed art on the cover!), and let your work speak for itself (no lengthy introduction letter needed)!
But that's materials, not the film itself.
It's clear, though, that more and more people are putting films online. The question that remains is what will the relationship between festivals and the online films be in the future? Live festivals offer the excitement of seeing many films in a short period, repeatedly bumping into the same people, getting to talk to the film makers. However, traveling takes time, is expensive, and is environmentally questionable. Most likely online social networkers will create a virtual film festival platform that captures much of the interaction at a real festival. The films would reach a far wider audience. So seeing things online may be the most viewed outlet for all films eventually.
There already seem to be Online Film Festivals. I'm noting a few I found, but I want to make it clear, I haven't researched to see if these are legitimate. I have no reason to suspect they aren't, but given the existence of the questionable Alaska International Film Festival website, I do want people to be cautious.
an online film festival featuring independent feature-films whose content sheds light on issues of representation and the impact of globalization upon the cultures of Asia and the Pacific Islands;
The Tampa Bay Film Online Film Festival was originally built into the initial Tampa Bay Film web site, and launched with Tampa Bay Film on January 11, 2007. It became extremely popular, and was very successful. The original Tampa Bay Film Online Film Festival became the most effective means for filmmakers to market and promote their films in Florida. We’ve learned from what worked, and what didn’t. The stakes are now higher. We’re going to be the best online film festival in the United States.
Much like most other festivals, ours was limited by time in how many films we could screen at the fest. Simply put, if a film is good, it will be accepted and screened without time constraints. Films will not be available for download, but shall be presented in a video on demand system that will allow users to watch the films. The VOD system will be secured and can be viewed from any computer.
Unlike other festivals streaming films online, films in this festival cannot be downloaded, the films HAVE NO EMBEDDING CODE and our HTML code if copied and pasted, the films will not play, therefore they CANNOT be placed on other websites.
The only time and place they can be viewed is in our festival. In short, we have gone to great lengths to set this system up to protect the safety and security of each filmmaker's film always keeping the filmmaker in mind. Basically, it is just as secure as a brick and mortar theater screening, only much better.
We made the decision to screen films exclusively online because of two reasons, first we understand that filmmakers around the world pour not only all of their time and heart into their work but also most of their money. Because of financial and time constraints independent filmmakers most times find it difficult to attend the screenings of their film. Now not only can the filmmaker attend, but all of their friends and family members can as well. In addition, the number of attendees to the festival is literally limitless giving the filmmaker much more exposure for their work.
CologneOFF is a new mobil type of film & video festival acting without a static festival location. It is organised simultaneously online and offline via partner festivals & cooperations. In this way, the festival takes place when a physical partner is hosting CologneOFF and this can take place anywhere anytime –> more
So, I'm going to assume the world is changing and I'll go along with that change and put up whole films if I run across them and there's a reason to be posting about the film. I'm NOT going to try to find all the online films from this festival and post them. So far, I've been trying to post the films in competition in each category and I've found a few that are online and I've posted them with the entry about the particular film.
But if you have compelling reasons why I shouldn't do this, let me know.
"Films in Competition," according to the AIFF website, are "the official selections that are chosen by our prescreening committee to be entered into competition." Documentaries are the film version of "non-fiction."
There are eight Documentary films - 8 hours and 21 minutes of viewing - in competition. Note: The shorter ones (under 30 minutes) are grouped into "Programs." As I write this it isn't easy to find which programs they are in on the AIFF website, but they are clearly identified on page 6 of the free newsprint AIFF guide. I've also identified the programs of the three shorter documentary films in competition. All the documentaries are showing either at Alaska Experience Theater or the Anchorage Museum and most have one showing at each. Additionally, Circus Rosaire director Karen Bliley will do a documentary workshop at Out North Theatre. In addition the award winning films in all categories will get extra showings between Dec. 14 and 17. Those showings will be announced on the AIFF website.
Get to similar posts on films in competition for features and shorts by clicking the links.
A Sea Change Norway/U.S. 85 minutes
Director: Barbara Ettinger
Sun. 12/6 5:30 A Sea Change Alaska Experience Theater
It’s a frightening premise, and it’s happening right now. A Sea Change follows the journey of retired history teacher Sven Huseby on his quest to discover what is happening to the world’s oceans. After reading Elizabeth Kolbert’s “The Darkening Sea,” Sven becomes obsessed with the rising acidity of the oceans and what this “sea change” bodes for mankind. His quest takes him to Alaska, California, Washington, and Norway as he uncovers a worldwide crisis that most people are unaware of. Speaking with oceanographers, marine biologists, climatologists, and artists, Sven discovers that global warming is only half the story of the environmental catastrophe that awaits us. Excess carbon dioxide is dissolving in our oceans, changing sea water chemistry. [From the film's full service website. So's the video below]
If you want to know more, there's a Washington Post reviewer who details what she liked and didn't like about the film:
A Deep Dive Into Troubled Waters
By Ann Hornaday
Washington Post Staff Writer
Thursday, March 12, 2009
The handsome, rigorously researched documentary "A Sea Change," playing Saturday at the Environmental Film Festival, calls for some tough love on the part of even the most sympathetic viewer. [more]
A Time Comes: The Story of the Kingsnorth SixUK 20 minutes (This is part of the Documentary Program Relentless Behavior which includes the films My Toxic Baby and Frequent Flyer. Frequent Flyer is also in competition.)
Director: Nick Broomfield
Sunday, December 6 – 4:00pm – Anchorage Museum
Thursday, December 10 – Alaska Experience Theater
Director Nick Broomfield has made a 20 minute film celebrating the spirit of direct action. This Bright Green Pictures film tells the story of the Kingsnorth Six, a group of Greenpeace volunteers who scaled the 220m chimney at a coal fired power station in Kent in 2007 to protest against government plans to build new coal plants across Britain.
The film features the music of Nick Laird-Clowes performed by David Gilmore of Pink Floyd among others.
Greenpeace wants you to see this, so they have the whole film up at their site and I've embedded it below freeing you up to see something else that night. Or you can wait to see it on the big screen.
Circus Rosaire U.S. 90 min
Director: Robyn Bliley
Saturday, December 5, 2009 - 3:15pm Alaska Experience Theater
Friday, December 11, 2009 - 8:15pm Anchorage Museum
For nine generations, the Rosaire family has entertained audiences all over the world with their legendary animal acts. The circus industry is changing, however, and the Rosaires have fallen on hard times. Their poignant way of dealing with hilarious relationships and tragedy reflects the circus they call life.
The video, from the Dallas AFI 2008, includes clips from the trailer and an interview of
There's more at the Circus Rosaire website including these comments from co-producer and director Robyn Bliley (Sheila Segerson's daughter.)
I’ve known the Rosaire family since I was six years old and have been intrigued by their way of life in the circus and their devoted and loving relationships they have with their animal partners. Having a long and trusting relationship with the Rosaire family has allowed me incredible access to an otherwise very private family. . .
The domestication of wild animals and the use of animals in circuses is a hot button topic for many of us. And although I don’t support or condone all circus animal trainers, I believe the Rosaire family provides us with an incredible and unique example of how people can use animals in entertainment while treating them with respect, dignity and love.
By the way, Robyn is going to lead a workshop on documentary film making at the festival.
Get Real: A Short Course in Documentary Filmmaking Sunday, Dec. 13, 3 PM / Out North Theatre
Robyn Bliley, director of the feature-length documentary, Circus Rosaire.
How does a documentary filmmaker choose subject matter, sketch out the story and stay true to real life? Find out the basics of directing, producing and acting in documentary films and fire away with questions of your own. (Robyn Bliley Photo from Circus Rosaire site.)
Frequent Flyer U.S. 20 minutes (This is part of the Documentary Program Relentless Behavior which includes the films My Toxic Baby and A Time comes. A Time Comes is also in competition.)
Director: Gabriel Leigh
Sunday, December 6 – 4:00pm – Anchorage Museum
Thursday, December 10 – Alaska Experience Theater
"Frequent Flyer" is a 20-minute documentary about frequent flyer miles, the people who collect them, and the world of airports and airplanes that they inhabit. Fittingly, I traveled around 35,000 miles in the making of it, from Osaka, Japan to Punta del Este, Uruguay.
The result is a look at the world of miles and some of its most enthusiastic participants, examining how miles and points have become an important world currency and, in turn, an obsession for those who have figured out ways to earn them in the millions. [Photo and text from Gabriel Leigh's Vimeo Page]
Playground U.S. 87 minutes
Director: Libby Spears Sat. 12/5 3:15Anchorage Museum
Sexual exploitation of children is a problem that we tend to relegate to back-alley brothels in developing countries, the province of a particularly inhuman, and invariably foreign, criminal element. Such is the initial premise of Libby Spears’ sensitive investigation into the topic. But she quickly concludes that very little thrives on this planet without American capital, and the commercial child sex industry is certainly thriving. Spears intelligently traces the epidemic to its disparate, and decidedly domestic, roots—among them the way children are educated about sex, and the problem of raising awareness about a crime that inherently cannot be shown. Her cultural observations are couched in an ongoing mystery story: the search for Michelle, an American girl lost to the underbelly of childhood sexual exploitation who has yet to resurface a decade later.
Executive produced by George Clooney, Grant Heslov, and Steven Soderbergh, and punctuated with poignant animation by Japanese pop artist Yoshitomo Nara, Playground illuminates a sinister industry of unrecognized pervasiveness. Spears has crafted a comprehensive revelation of an unknown epidemic, essential viewing for any parent or engaged citizen. [This continues at the Nest Foundation website, where I also got the Yoshitomo Nara drawing.]
See Shadow Billionaire below and Luksus (in shorts in competiton) for other films touching on this topic from different perspectives.
“Shadow Billionaire” – Documentary Review
By Yuan-Kwan Chan
Alexis Manya Spraic’s debut film looks back at the surreal life of Larry Hillblom, the founder and ‘H’ in shipping company DHL who disappeared in a 1995 plane crash. At the time, the eccentric American was living in tax-free haven Saipan. It was here that the law school graduate’s name became entangled in a legal battle involving paternity tests, his sordid lifestyle and his shoddily written will – with his staggeringly lucrative estate at stake. Buoyed by first-person accounts and historical footage, “Shadow Billionaire” admirably tackles Hillblom’s story but doesn’t quite succeed in its execution. (You can read the rest of this review at meniscuszine.)
There's another interesting review at A Regretable Moment of Sincerity, which also alerts us that this film, along two other films in competition - Luksus (features) and Playground - deals with sexual exploitation of children.
[Update Nov. 26: Alexis emailed to suggest a couple of other reviews readers might want to look at:
'Tapped' is a new documentary featuring the virtually unregulated business of bottled water and its lifecycle, including health, environmental, and human rights issues. Documentary interviews include community members, politicians, scientists, and government agency representatives. I'm grateful to have seen the Tapped documentary and interviewed Director, Stephanie Soechtig. I will share the Trailer and our discussion below including actions we as citizens, community members, consumers, business owners, and governments can take today. [You can read the interview here.]
Tapped's website: http://www.tappedthemovie.com is very slick and very user unfriendly. It has its own scrollbar you have to use and content is not copyable.
Trip to Hell and Back U.S. 29 minutes [In Documentary Short Film Program "Road to Redemption" with Girls on the Wall]
Director: Stu Maddux Tuesday Dec. 8 8pmAlaska Experience Theater Saturday Dec. 12 3:15pmAnchorage Museum
World-renowned horse rider Trip Harting juggles his very public life of horse riding with his secret, crazed life of using and selling huge amounts of methamphetamine. He becomes one of the largest dealers in the Washington DC area.
DEA agents finally bust Harting in an upscale hotel lobby and charge him with crimes that will likely send him to jail for the rest of his life.
Now struggling to keep even more secrets to save his career he begins learning to tell the truth to save his life. The spiritual journey transforms him into a new person.
Two years later a judge asks a changed Harting for any final words before he is sentenced. Those final words will reveal if he has changed enough to deserve a second chance.
Production:
Harting himself was willing to recreate the scenes necessary to put his story on film. “If it can help just one other person, then any backlash is worth it.”
But as “Trip to Hell and Back” had its first screening in August, 2008, Trip suddenly found that everything he had gone through was preparation for an even greater challenge: a terminal illness. He died just three weeks after the film premiered.
Harting remained a profoundly changed person to his last day hoping this documentary would spread his message that ‘”truth is an incredibly powerful thing.”
