Call for Nominations: Knight International Journalism Awards

Each November, the International Center for Journalists honors outstanding colleagues with the Knight International Journalism Award. International Center for Journalists is seeking nominees who, despite difficult circumstances, produce pioneering news reports or innovations that have great impact. Candidates can be reporters, editors, technologists, media managers, citizen journalists or bloggers. Please send in your nominations by Friday, Feb. 17, 2017.

WFI Podcast Episode 5: Thomas A. Crowell, Author of The Pocket Lawyer for Filmmakers: A Legal Toolkit for Independent Producers. In this episode, Thomas discusses how to protect your film,  how to get a script to a popular Hollywood actor/actress and how a film can benefit financially from state film taxes and product placement LISTEN HERE

NEH Media Projects: Production Grants

Don’t miss out on this funding opportunity for your film, television, and radio projects! NEH Media Projects: Production Grants is accepting applications for consideration. The Media Projects program supports film, television, and radio projects that engage general audiences with humanities ideas in creative and appealing ways. All projects must be grounded in humanities scholarship in disciplines such as history, art history, film studies, literature, drama, religious studies, philosophy, or anthropology. Production grants support the production and distribution of films, television programs, and radio programs that promise to engage a broad public audience. Deadline: January 11, 2017 for Projects Beginning August 2017. More info: https://www.neh.gov/grants/public/media-projects-production-grants

Digital Bolex Grant for Women Cinematographers

unknownThe Digital Bolex Grant for Women Cinematographers offers approximately $10,000 worth of gear and accessories loaned on a rolling basis to any narrative short, music video, or feature film project to be shot by a female cinematographer. Recipients of the grant receive a loaned camera package for up to 21 production days. APPLY HERE

 

Podcast Episode 3: The Art of Securing Funding For Filmmakers

Panavision’s New Filmmaker Program

unknownPanavision believes in helping students and beginning filmmakers achieve their dreams. More than 25 years ago, Panavision launched the New Filmmaker Program, an ongoing grant program that loans camera packages to film schools, training programs, and independent filmmakers – at little or no charge. Panavision’s commitment to the industry’s future provides student and beginning filmmakers the opportunity to work with professional grade equipment early in their careers.

The New Filmmaker Program loans film or digital camera packages (based on availability) to filmmakers for student thesis films, “low-budget” independent features, showcase reels, Public Service Announcements, or any other type of short not-for-profit project. The New Filmmaker Program has served hundreds of aspiring filmmakers, many of them eventually becoming regular Panavision customers. More info: http://www.panavision.com/new-filmmaker-program

19th United Nations Association Film Festival – October 20-30

f_nefertitisdaughtersunaff2016_banner_filmpagesWomen’s Film Institute is proud to partner with the 19th United Nations Association Film Festival (UNAFF), October 20-30, 2016. Founded in 1998 by Stanford educator and film critic Jasmina Bojic, UNAFF uses the power of documentary film to create a community forum for discovery and dialogue about different cultures, issues, and solutions. UNAFF was conceived to celebrate the 50th anniversary of the Universal Declaration of Human Rights. Over the years UNAFF has screened some of the most influential documentaries, including seven that won Academy Awards and 30 were nominated.  WFI is co-presenting these compelling documentaries this year:

Nefertiti’s Daughters – Female graffiti artists in Egypt use their street art to participate in and lead revolution. Nefertiti’s Daughters is a story of women, art and revolution. Told by prominent Egyptian artists, this documentary witnesses the critical role revolutionary street art played during the Egyptian uprisings. Focused on the role of women artists in the struggle for social and political change, Nefertiti’s Daughters spotlights how the iconic graffiti of Queen Nefertiti places her on the front lines in the ongoing fight for women’s rights and freedoms in Egypt today. Directors: Mark Nickolas, Racha Najdi. Date/Time: Sunday, 10/27, 4:40 PM (SESSION 23). Watch Trailer

Where We Stand  – The story of a controversial group of Mormon feminists fighting for women’s rights in The Church of Jesus Christ of Latter-day Saints. Where We Stand follows Abby Hansen, a stay-at-home mom turned vocal advocate for Ordain Women as she navigates the repercussions of her unpopular activism against her church in her predominantly Mormon suburb. Where We Stand is also the coming of age story of Ordain Women as an organization itself—from a humble website to an internationally recognized activist group. The film is not just for Mormons. It is not just for feminists. It is for anyone who has questioned what it means to believe and to belong.  Director/Producer: Kristine Stolakis. Date/time: Saturday, 10/29, 1:00 PM (SESSION 19) Watch Trailer

Children Deported: Farida – Nine-year-old Farida was deported to Afghanistan in February of 2015, after almost four years in Norway. A country she has never been to before, with a language and a culture that is foreign to her. She misses her friends, her school and the safety of the small town Dokka. The short documentary emphasizes the human consequences of the Norwegian asylum policy. Despite strong ties to the country, several children have been deported from Norway over the past few years. In this portrait, Farida gets to tell her story for the first time. We follow her new life in an unknown Kabul, where she talks about her longing for Norway and the future that so abruptly was taken away from her. Director: Ragnhild Sørheim. Date/time: SUNDAY 10/30, 1:00 PM (SESSION 22) Watch Trailer

The Computers  In the United States, women are vastly underrepresented in STEM (Science, Technology, Engineering & Math) fields, holding under 25% of STEM jobs and a disproportionately low share of STEM undergraduate degrees. Contributing to the problem is that we do not teach our history, including that the pioneers of programming included six brilliant young women.This is the inspiring story lost for almost 70 years about the founding of technologies we cannot live without—by six incredible women everyone should know! Directors/Producers: Kathy Kleiman, Jon Palfreman, Kate McMahon.  Date/Time: Sunday, 10/30, 3:10 PM (SESSION 23) Watch Trailer

Feminism Inshallah: A History of Arab Feminism – The struggle for Muslim women’s emancipation is often portrayed stereotypically as a showdown between Western and Islamic values, but Arab feminism has existed for more than a century. This groundbreaking documentary recounts Arab feminism’s largely unknown story, from its taboo-shattering birth in Egypt by feminist pioneers up through viral Internet campaigns by today’s tech-savvy young activists during the Arab Spring. Director: Feriel Ben Mahmoud. Date/Time: Sunday, 10/30, 3:40 PM (SESSION 23) Watch Trailer

Here is the full list here.

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Coming soon to 39th Mill Valley Film Festival (October 6 – 16)

Women’s Film Institute is proud to be a community partner of the 39th Mill Valley Film FestivalOctober 6 – 16, 2016, presented by the California Film Institute. Check out the following films:


Baden Baden 

Writer-director Rachel Lang’s impressive feature film debut, 26-year-old Ana returns home to Strasbourg in a purloined Porsche to hang out with her grandmother, inefficiently reconstruct a shower, possibly find some work, attempt to weave together the loose strings of her love life, and, eventually, find her particular path towards adulthood. For more information CLICK HERE

BADEN BADEN – Trailer from Mill Valley Film Festival on Vimeo.

Zhaleika 
Lora feels constrained by the tedious monotony of life in her small village, and her small acts of defiance are already causing gossip. But when a sudden tragedy provides Lora more personal freedom, her hesitant rebelliousness begins to take a more definite form in this compelling coming-of-age drama. For more information CLICK HERE

Zhaleika Trailer from cinemanda on Vimeo.

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What a kind of projects is Catapult interested in funding?

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Catapult Film Fund looks for powerful stories with central characters that weave a strong narrative. The project should be motivated first by story. If your film is a survey film, it’s likely not right for this fund. Catapult Film Fund provides development funding to documentary filmmakers who have a compelling story to tell, have secured access to their story and are ready to shoot and edit a piece for production fundraising purposes. Our mission is to enable filmmakers to develop their film projects to the next level at a stage where funding is hard to find. Catapult gives early support to propel projects forward that hold the promise of a unique story that should be told in film. We don’t require that films fit within specific issue categories. We support powerful stories and moving storytelling across a broad spectrum of issues and perspectives. As a result, we support of a range of films, from individual portraits to stories with global implications.

CATAPULT grants are up to $20,000 each. They allow filmmakers to take crucial next steps in the development of their films, such as enabling a first shoot and editing pieces for production fundraising. In addition to the initial development grant, recipients have access to an informal mentorship program with Catapult’s co-founders, Bonni Cohen and Lisa Kleiner Chanoff, in areas including story development, production process, fundraising and distribution strategy. APPLY HERE

Sense and Sensuality: Bay Area Feminist Filmmaking of the 1980s // NYC

Ricky-and-Rocky-1-300x171Don’t miss the second installment of Eye on a Director, MAD highlights the collection of the legendary film distributor and archive Canyon Cinema. In the late 1950s, Canyon Cinema brought together independent film artists whose work reflected a remarkable diversity in style and content. Variously called avant-garde, underground and experimental, these artists shared a vision of filmmaking as a form of personal expression, free from the demands and constraints of commercial conventions.

Canyon Cinema began in Bay Area experimental filmmaker Bruce Baillie’s Canyon, California home. Initially an informal gathering for filmmakers to share their work with a 16mm projector and a bed sheet hung in the backyard, Canyon Cinema, Inc. was officially founded in 1967 by Bruce Baillie, Bruce Conner, Robert Nelson, Chick Strand and others as a collective-run distribution company dedicated to educating the public about independent artist-made moving images and providing access to its collection of more than 2500 works to universities and cultural organizations worldwide. In 2012, the group voted to become a nonprofit, and today it is one of the few remaining organizations providing access to works in one of the essential forms of twentieth century art: celluloid film. Canyon Cinema is home to a unique collection of Super 8mm, 16mm and 35mm film prints from 260 artists, a collection that represents the most comprehensive history of the experimental and avant-garde filmmaking movement from 1921 to today.

Working directly with MAD, Canyon’s staff and board of directors served as co-curators for this series, selecting films that reveal the history of an artistic community and its lineage today and focusing on experimental documentaries from Canyon Cinema’s archive that parallel American cinematic movements.

SENSE AND SENSUALITY: BAY AREA FEMINIST FILMMAKING OF THE 1980s
July 21, 2016, 7 pm
$10 general / $5 members and students
Theater at MAD

83 min, 16mm Projection
“Valley Fever” (Stephanie Beroes, 1979, 20 min)
“Maternal Filigree” (Sandra Davis, 1980, 18 min)
“Sincerely” (Lynn Marie Kirby, 1980, 14 min)
“Department of the Interior” (Nina Fonoroff, 1986, 9 min)
“Futility” (Greta Snider, 1989, 9 min)
“Chronicles of a Lying Spirit (by Kelly Gabron)” (Cauleen Smith, 1990, 13 min)

Much critical attention to women’s avant-garde filmmaking of the 1970s and ’80s focused on East Coast and European feminist filmmakers, the critique of visual pleasure, and the notion of the male gaze in cinema. In San Francisco, a new generation of feminist avant-garde filmmakers was emerging with a very different approach to questions of gender and pleasure in cinema. Influenced as much by the work of Gunvor Nelson and Chick Strand as by Laura Mulvey and Yvonne Rainer, these artists emphasized visual pleasure, finding in cinema sensual and lyrical ways to explore the personal and political experience of coming to consciousness as young radicals. Their focus on color, texture, montage, sounds, and text created a deeply sensuous and searching cinema. This largely unheralded body of work housed at Canyon has influenced subsequent feminist filmmaking on the West Coast and beyond.
More info: http://madmuseum.org/events/sense-and-sensuality-bay-area-feminist-filmmaking-1980s

SECESSION: THE DECAY OF PATRIARCHY
August 11, 2016, 7 pm
$10 general / $5 members and students
Theater at MAD

71 min, 16mm Projection
“Take Off” (Gunvor Nelson, 1972, 8 min)
“Lie Back and Enjoy It” (JoAnn Elam, 1982, 8 min)
“Mutiny” (Abigail Child, 1983, 11 min)
“The Colorof Love” (Peggy Ahwesh, 1994, 10 min)
“Menses” (Barbara Hammer, 1974, 4 min)
“Generations” (Gina Carducci & Barbara Hammer, 2011, 30 min)

Highlighting multiple generations of feminist filmmakers across the country, Canyon’s archive is an encompassing survey of radical cinema. With “Take Off,” Gunvor Nelson introduces the viewer to Burlesque legend Ellion Ness, using the camera and editing effects to make a statement about what it means to strip as a woman. JoAnn Elam’s “Lie Back and Enjoy It” is an eight-minute dialogue about rape culture and the representation of women living under patriarchy. It consists of optically printed images set to a structural conversation on the very film the viewer is watching. Abigail Child’s “Mutiny” interprets and interpolates the voices and music of a diverse cast of women. In “The Color of Love,” Peggy Ahwesh uses a variety of chemical reactions to alter and recompose images taken from a pornographic film. In “Menses,” Barbara Hammer elevates the imagery and politics of menstruation with high drama and wry wit. The program closes with “Generations,” a collaborative film by Hammer and Gina Carducci, who uses a Bolex camera to shoot the final days of Astroland amusement park in a downtrodden Coney Island at the turn of the century. Hammer and Carducci edited their own halves of the film and joined the two in the middle. More info: http://www.madmuseum.org/events/secession-decay-patriarchy

Coming soon to Frameline 40: Heartland directed by Maura Anderson

404377lWomen’s Film Institute (WFI) is proud to be a community partner at this year’s Frameline 40: San Francisco International
LGBTQ Film Festival (JUNE 16 – 26, 2016). WFI is co-presenting Heartland directed by Maura Anderson on Thursday, June 23, 7:00 PM
at the Victoria Theatre in SF.

HEARTLAND – Two very different women form an unexpected bond, but when their friendship sparks a reckless romance their worlds are turned upside-down.

Lauren is at sea after the death of her girlfriend. Finding herself jobless and evicted, she retreats to her childhood home in Oklahoma and her well-meaning but less than accepting mother (splendidly portrayed by Beth Grant). Also returning to the nest is Lauren’s brother Justin, bringing his polished, Californian girlfriend, Carrie, with him. Carrie is a fish out of water, always overdressed and underprepared for the social niceties of this small town. Justin and Carrie are driven and business-minded, and the pair’s romantic and business relationships are inextricably linked as they try to launch a local branch of her family’s Napa winery. When a crucial meeting sends Justin out of town, Lauren’s grief and Carrie’s career and commitment anxieties draw the two women together, challenging them to face their fears and rise from the ashes of their former lives.

HEARTLAND TRAILER from Heartland Film on Vimeo.

Having worked extensively behind the scenes in film and digital platforms, Maura Anderson chose to make Heartland her feature directorial debut after she was first approached to produce. Set against the beauty of the plains, Heartland’s story is accompanied by a warm acoustic score. Velinda Godfrey, who plays Lauren, co-wrote the script with Todd Waring after the two met in a workshop led by Jeffrey Tambor. Together, Anderson and Godfrey lead a majority female cast and crew to bring this down-to-earth story to the screen.  — Laura Henneman

Expected to attend: Director Maura Anderson, Executive Producer Grace Kim, Producer Wesley Hamm, Actor/Producer/Writer Velinda Godfrey

For more information and to purchase tickets: https://ticketing.frameline.org/festival/film/detail.aspx?id=3795&FID=53

 

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AbelCine Feature Film Grant

AbelCine_Panasonic_logosThe AbelCine Feature Film Grant Powered by Panasonic is a program for Film Independent Fellows, alumni of the LA Film Festival and Film Independent Spirit Award Nominees. Film Independent will select a qualified filmmaker who will be loaned a film or digital camera package (based on availability) to use for his or her feature film production. (Deadline: June 24, 2016) http://www.filmindependent.org/programs/grants-and-awards/abelcine-feature-film-grant/

Looking for funding and support for your film? Get your FREE Bonus report includes a list of 30+ funding opportunities for filmmaker: Resources for Filmmakers_BONUS_REPORT_5_27_2016

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