A Quiet Passion Delivers Poetry to Screen Faux Pas

A Quiet Passion’s only draw is its protagonist—Emily Dickinson—but as it turns out the film’s not even about her.

a quiet passion

What Paterson hit A Quiet Passion missed

Within four months two poem-to-screen films hit distribution. A Quiet Passion offers a biographical sketch of Emily Dickinson, interpreted by her own poetry. Paterson draws a story—inspired by William Carlos Williams selection of poetry entitled ‘Paterson’. Paterson’s secret ingredient is subtlety. Each scene urges a delightful inspection of the details. In QP, subtlety fades to slumber right around the thirty-minute mark. The QP screenplay is remarkably uneventful. Dickinson’s life may have lacked dramatic intrigue, but the filmmakers mistook drama for event and left us with a lack luster sequence of meaningless scenes.

Dickinson’s ‘greatest hits’ falls flat

The A Quiet Passion screenplay finagled Dickinson’s ‘greatest hits’ to fit its own objectives. The poems are not only forced into the story, but also grossly out of place. Rather than guiding the viewers’ affections and attentions they break the flow of the story, espousing not contemplation, but confusion.
The poems selected for the screenplay seemed to emerge from a high school textbook. Dickinson’s work is dense and broad. In several cases lesser known poems would have illuminated the story, rather than drug it along by a cryptic hitch of vaguely repeated themes.

Historicity and interpretation should be in dialogue

People will always take issue with films about real people. It’s obvious. I mean, history is never just fact. It’s always being interpreted by somebody. Welcoming differing interpretations of reality is the foundation for viewing art, but, there is a fine line between interpretation and manipulation. The use of Dickinson’s poems to understand her life appeared counterproductive. I almost had to squint to see where, writer and director, Terrence Davies wanted me to look. The interpretation seemed oddly disconnected from the actual poetry itself. I expected more from Davies.

Preach it—or don’t

Great films are not venting sessions to shame or correct or advise whomever sits out there in those woolly red seats. It’s as if Davies used the mouths of phony characters as megaphones for personal propositions. I’m not saying that it is wrong for filmmakers to have opinions and tastes and guide the story by them. Forcing a story to fit an abstract proposition to which it, organically, has little to do produces a disingenuous film.

As a generous middle-aged woman, whom I met in the restroom after the show, said “It might have been better as a book.” —emphasis on might.

 *Limited US distribution April 14, 2017

– K. Pastore

Netflix Original Film Asks About the After-life

In The Discovery Robert Redford and Jason Segel pair-up as a father-son duo trying to reconcile their pasts and alter their futures.

the discovery jason segel

Dr. Thomas Harber (Redford), a renowned physicist, discovers brain activity that leaves the body after death. Because of this ‘discovery,’ he has the evidence to prove an after-life. This unimaginable discovery makes breaking news all over the world. The impact is dreadful. The proof that life after death exists results in mass suicides.  Together entire families take their lives in order to start fresh in the next life.

Will (Segel) is scandalized by his father’s negligence. Harber refuses to take blame for the death-toll, yet forms his own boarding house for the suicidal. Will and his new-found companion Isla (Rooney Mara) thrust themselves into Harber’s cultic community. Will seeks to stop his father, but Harber plunges ahead to find out what the after-life actually entails. As they say, “the apple doesn’t fall far from the tree.” That same generational curse of questioning entrances Will—who makes a discovery of his own in the end. . . or perhaps the beginning.

Charlie McDowell and Justin Lader’s film The Discovery  tries to withhold straight answers.

lader mcdowell
Lader and McDowell

It asks a lot of questions. McDowell and Lader’s interesting questions are what drove me to see the film in the first place. During a Q&A writer Justin Lader expressed that this

projected started when he and McDowell began asking, ‘what if somebody proved life-after-death?’ Their answer inspected the underlying guilt and regret that we humans harbor. McDowell and Lader suggest that such a discovery could result in suicidal hysteria, in order to ‘get there,’ that is, to get to a fresh start—a place where people can redeem their past lives.

The first three-fourths of the movie are tantalizing. But, unfortunately the story drops off the deep end when it tries to wrap-up.

Without giving to much away—McDowell and Lader attempt to answer one question, ‘what’s the after-life like?’ and they throw in a twist on top of that. The Inception-ending spin-off is a really unfortunate conclusion to a such a unique story. The final scenes of the film constrict the imaginative freedom that the rest of the film works to create.
Regardless, I consider the film well-worth seeing and certainly worth your time. The Discovery moves into territory of fact/fiction, moral/immoral, certainty/faith. It doesn’t accomplish what it set out to do, asking questions rather than giving answers, but it forges a path into sincere inquisition and story exploration.

The Discovery is available on Netflix, March 31, 2017.

-K. Pastore

“Will movie theaters die?” is the wrong question.

Instead of maintaining equilibrium let’s cannonball into the next possibility.

We should be asking—“What do movie theaters have to give to our morphing cinematic culture?”

Our Cinematic Culture

I’m a big fan of movie theaters. Those nostalgic velvet curtains and thin-framed red seats transport me to the past. My mind swirls about the decades of cinematic history. Even the mouths of crunching popcorn and the slight fear of getting lice from the seat back well-up some sentiment—I’m not alone. Though I’m sitting in a crowd of strangers, for a small blip on life’s timeline it kind-of feels like we’re family. But, the more those ticket prices rocket the less likely I’ll be there. Video-on-demand platforms are offering more options and to tell you the truth I’m getting more into series over feature length.

the crown

My story is not uncommon. A flood of people, probably including yourself, are regularly accessing VOD. And, in the same breath, they are trickling out of theaters. Those at-arms-length films are cheap and abundant. But the cheap and plentiful film selections is not the major reason that viewing has shifted. According to Tim Bevan, Working Title co-chairman, the popular appetite has drifted to long-form narratives, series. Series like The Crown, which Working Title produces, requires budgets close to that of feature-length films. That money’s got to come from somewhere. Overall, it seems that people are more interested in VOD, because they are more interested in long-form narratives.

What About Theaters?

The moment start trying to “keep theaters alive” is the moment we fail as artists. Maintenance isn’t art. . . I mean, it’s not even business.

Music, theater, dance, painting, literature—they all explore. The arts push forward. They look for something new, swoop into unknown territory, ask forgotten questions, and seek untold stories. When we degrade to mere maintenance, we indulge in more singular and conceded sentimentality.

This tension between VOD and theaters has destabilized the filmmaking industry. But, cinema isn’t the first art form to go through massive shifts in funding, production and viewing. It’s just that film is young. This is a major shift, but tension is the place for creativity. It’s the place for collaboration.

patterson
Netflix Original “Paterson” made theater release

We shouldn’t ask if theaters will die, but instead what is their potential. What do theaters have to give? In what way could they partner with  VOD services? How would it work to screen a series? The community, the sound, the giant screen, the night on the town, the experience. I’m convinced movie theaters have a lot to offer long-form narratives and their VOD platforms. Theaters must start collaborating with VODs, and when they do—for better or worse—they’ll transform.

 

 

– k.pastore

5 Ways to Celebrate the Oscars

Enjoy the Oscars. Enjoy film. Enjoy life.

celebrate family excited Oscars

This year, watching the Golden Globes blew my mind! Last month my roommate and I laughed at ourselves. As La La Land won all of their Golden Globe nominations we shouted and cheered and fist-pumped. Our enthusiasm trumped every other ceremony we had watched. We were deeply invested in the films.

Films are seriously thought-provoking, sometimes devastating, and sometimes exhilarating. They tell us stories about how the world works, and even make sense of our own stories. But, there is more than one way to engage with them. Take a break from the normal routine of everyday and celebrate life.

1. See a movie that’s up for best picture.

Go to the theater to see Fences and Lion. If you want to have a night in, Manchester by the Sea and La La Land are both available for purchase.

Fences Oscars

2. Listen to the songs up for best original song.

You can listen to a taste of the nominees here. Did you know that Lin Manuel-Miranda (writer of the hit Broadway musical “Hamilton”) is up for receiving one of these?

3. Consider the story behind the story by tuning into some director interviews.

While you are grocery shopping listen to an interview with playwright Tarell McCraney and filmmaker Barry Jenkins (Moonlight) or Damien Chazelle (La La Land) on NPR’s Fresh Air. During your lunch break scan this LA Times interview with Denis Villeneuve (Arrival).

4. Invest in the actors and actresses.

Watch Stephen Colbert harass Casey Affleck (Manchester by the Sea)—it’s not for this year’s movie, but it’s still pretty funny! Watch Denzel Washington (Fences) read greeting cards with Jimmy Fallon. Relate with Meryl Streep (Florence Foster Jenkins) as she plays heads-up with Ellen Degeneres, or revel in (an oldie-but-a-goodie) Emma Stone’s (La La Land) epic lip sync battle.

5. Host an Oscars Party, complete with a ballot competition and Oscar statues. . .made of chocolate!

Print official ballots here. And, don’t forget to include the kids in the competition. They often have an astounding intuitive sense.Yes, Oscar-shaped chocolates are on the market! Snatch some up for an extra sugar kick to get you through the three-hour ceremony.

The Oscars air on ABC Sunday, February 26 at 7:30 CST

 

– K. Pastore

2 Film Magazines You Should Know About

Where can you find quicker access to new projects, trustworthy reviews, quality gear? Screen International and ICG Magazine.

 Linus Sandgren
Cinematographer Linus Sandgren, La La Land, ICG Magazine

Screen International

  Screen International is a movie-lovers dream. If you are one of those and do not yet have a fetish you can easily retrieve, I’ve got you covered. Screen has got it all from solid reviews and festival spots to special features on casts and crews. Sure, you can wade through IMDb and gather info on the ‘likely’ good films to be released in the coming months. But why would you do that when you could get served up a dish of spectacularly-edited, no-longer-secret cinema treats.
The January 6 issue showcased global upcoming film projects such as: Untitled Paul Thomas Anderson fashion project (UK), The Other Side of Hope (Finland), Our Time Will Come (Hong Kong), and Sheikh Jackson (Egypt). Editors traced the ins and outs of upcoming festivals. You may not get the low-down on Rotterdam’s impressive art installations anywhere else. One of their feature articles took a look at how the well-known comic director Denis Villeneuve made his gutsy move to the sci-fi drama Arrival.
Screen International’s online presence can be found at www.screendaily.com. Screen prides themselves in their “in-depth

Dir. Amr Salama creator of Sheikh Jackson

analysis, company profiles, interviews and expert insight into the global film industry.” If you need a basic or elaborate ‘what’s happening in film’ Screen is for you.

International Cinematographers Guild Magazine

ICG Magazine is one big how-did-they-do that?! If you’re like me, last December you found yourself in a theater ready and set to see Damien Chazelle’s stab at a modern musical. Three minutes into the film you were already near awe-filled tears: “That opening dance number, and oh oh, the music, but most of all, how did they shoot that?!” Enter ICG.
ICG specializes on the how-did-they-do-that. They do interviews with cinematographers, spots on film crews, reviews of equipment and visions for the future of filmmaking. Their December issue included a feature on La La Land where they picked the brain of cinematographer Linus Sandgren. La La Land is filled with innovative technology, and risky cinematic decisions. That issue also included a section of bios on emerging cinematographers. Theses artists, including Eve M. Cohen and Eric Dvorsky, share their personal stories, favorite gear and new projects.
Its combination of technical and street language, alongside industry specific and common interest pieces welcomes a host of readers. Whether you are an accomplished cinematographer or just a newbie, ICG will whet your appetite for more of this visual goodness.

 

-K. Pastore

Documentaries on U.S. Prison System & Syrian Civil War

At Sundance 2017, World and U.S. Documentaries masterfully spotlighted the things we need to know—now.

Kalief Browder

You can always expect innovative, provocative and stunning films at the Sundance Film Festival. Though I am a big fan of dramatic films, this year’s doc selections knocked me out. It was almost like these doc-makers flew on a prophetic wind. We need these stories. Filmmaking takes years. But, so many of the documentaries looked like they had slept, awaiting January 2017.

When it comes to the Syrian civil war and the state of the prison system, I think its safe to say the majority of us are out of the loop. The web of systems, the histories, the facts and claims seem impossible to grasp. “I don’t even know what I need to know about this!”—is a phrase that incessantly ricochets about my psyche. Enter documentaries. Directors Evgeny Afineevsky and Jenner Furst draw from the stories of specific individuals to explicate major world events.

Cries From Syria

HBO’s “Cries From Syria” film subject Kholoud Helmi, producer/director Evgeny Afineevsky and SVP of HBO Documentary Films Nancy Abraham

Cries from Syria guides the audience through the history of Syria’s civil war. It first dashes through the presidency of Hafez

al-Assad, 1971–2000 into the election of Bashar al-Assad. The quick paced scenes hit all of the major events that led to the Arab Spring. The majority of the film covers the brutal conflict in the last five years. Afineevsky presents an insider’s look at Syria through photographs and video that Syrians uploaded on social media. Journalists and activists, including children, guide the film with their personal stories and philosophies. The gruesome events reach beyond heart-breaking. When I looked at these courageous people I saw more than heroes. Cries from Syria premieres March 13 at 9 P.M. CT on HBO.

Time: The Kalief Browder Story

Time: The Kalief Browder Story exploits the bail-system trap and the gang-lorded prison,

Executive Producer Jay Z speaking about Browder at Sundance 2017

Rikers Island. The 16 year-old, Kalief Browder was falsely accused of stealing a backpack. He spent three years at Rikers Island maximum secruity prison. Browder explains that when his family failed to make bail, authorities sent him to Rikers—before he was even convicted of the crime. Scenes flash from Rikers security cameras to Browder to former Rikers correctional officers, bouncing from the personal to institutional.

 

Social injustice tends to get hidden behind the celebrity-idolized, egotistical social media and the hot-item-masquerade often referred to as ‘the news.’ Furst refuses to let us fall blind. The six-part documentary series, Time: The Kalief Browder Story airs on Spike TV March 1.

Afineevsky and Furst not only pieced together massive events into a digestible time-block. They did it for a reason, and they let you know. Neither of these documentaries are for the faint. Come ready to listen, ready to weep and ready to move.

 

– K. Pastore

 

Silence—A Christian’s Contemplative Guide

Silence offers Christians a moment of confession and meditation on faith.

Silence Movie

On a Friday January 6th, I walked out of a lightly filled theater at 12 PM. I thought, “I am in no way fit to write this review.” It was Epiphany, a day on the Christian calendar celebrating God revealing himself. I had just seen Silence. My emotional ties to the story were so great. “How do I critique a film concerning a concept that I am so overwhelmed by?” In time, I suppose, I’ll be able to judge the quality of cinematography, plot-flow and creative strokes toward immaterial concepts. But for now, I’m left to sit in the contemplative experience that the film evoked. This article is intended to act as a contemplative guide—points for viewing and reflecting on Silence.

1. A Moment of Meditation

The 2 hour and 40 minute narrative inhales and exhales at a slow, steady rate. The quiet film shifts from sounds of rolling seas and chirping insects to sustained intervals of silence. Director Martin Scorsese intentionally avoided the use of any music. Film scores subconsciously dictate what the viewer ought to feel about a given person or scene. Silence leaves the interpretation up to the viewers. This directional gap forces the audience into ambiguity. It leaves gray spaces eager for personal interpretation.

2. Considering Faith and Confession

Faith is not the unfaltering ability to overcome temptation or the ability bear up good deeds under trial. Silence suggests that faith is that sincere ability to return. It is belief and commitment amidst shame and failure. Daily, many Christians around the world echo the prayer of confession—through morning and evening prayer. Confession often feels like meditation on failure, but the participation in that prayer is indeed an act of humble faith. This film proposes a unique relationship between faith and confession.

3. The Voice of God

Makoto Fujimura, visual artist and author of Silence and Beauty, stated that “the film is not about the silence of God, but God’s voice in silence.” Joseph Neuner once told Mother Teresa, “…that the feeling of the presence of Jesus is not the only proof of His being there, that her very craving for God was a ‘sure sign’ of his ‘hidden presence’ in her life…”(1)

Scorsese’ dedication to Silence arose from his personal connection and devotion to the narrative. Shasuko Endo’s novel, Silence, moved  both Scorsese and Fujimora at a young age. Scorsese knew that one day he wanted to present the narrative on screen. He and the superb cast, including, Liam Neeson, Andrew Garfield, Adam Driver and Yôsuke Kubozuka—along with the crew—wholly committed to the film. They began shooting before the film was picked up by a production and distribution company. This means the began without the assurance that they would be paid. Their dedication and faith for this project is felt in every scene.

Credits: (1)  David Van Biema, Mother Teresa, Time Magazine 2016. (2) Scorsese interview: http://collider.com/martin-scorsese-silence-video-interview/#images     – k.pastore

La La Land—Dazzling Punch of Imperfection

“I just wanna let life hit me. . . ’til it’s tired.”

Emma Stone Ryan Gossling

A man in the next row caught my attention.

One Saturday night I sat in a jam-packed theater, nestled in the middle of the upper rows. A gray-haired fellow had eased into the seat ahead of me. His wife tucked closely to his side, they partook of a gigantic bag of the ever-famous-butter-smothered-theatrical, popped-corn. The man plucked out a few pieces and sleekly tossed them into his mouth. He proceeded to lick off each finger on his left hand and then swing that hand to the side—resting as if a bird would happily fly down to perch there. He was the perfect person to be seeing La La Land.

La La Land Dance

Musicals show life how it is—not how we see it, or remember it, but how we sense it in the moment. It’s like if we were incredibly lucid to the reality around us. Lucid in the moments that we go to our own La La Land. . . we’d see life like this.

La La Land is operatic. It is outrageous with its extreme expressions and dazzling primary colors. The unique and thrilling single-shot opening song sweeps the audience into the grandeur that is about to befall them. The gray-haired fellow ooo-ed and awed at all the right times.

La La Land has the taste of a dream-like reality, but it does not eclipse the imperfection of life.

The believablity of musicals, especially those adapted for the screen, has declined for some years. We want to see real life! We want to see the world as we know it. La La Land’s dancing-up-into-the-conservatory-air sought to capture the feeling of new love, but ultimately failed. The stream of consciousness imaginary sequences with their silhouettes, staged streets, cut-out landscapes pushed it a little too far. Rather than breathing the air of the story, some scenes smothered my suspension of disbelief and forced me to breathe the air of the theater. Fortunately, alongside these few failures, the film broke into my everyday-life.

La La Land provokes our dry-humor, uses our iPhones, and incorporates our dances. Amidst its whimsical sequences it kind of feels like life: the awkward way one comes to hold someone’s hand, the incessant reality of a barista having coffee spilled on her, the loss of one’s Prius in a California-sea of Priuses, the sadness following a bad audition, and the slow-growing pain of a dwindling love. Finally! A musical that is not nostalgic alone! This is us; we are not perfect.

La La Land

Now, I just expect explicitly romantic movies, especially musicals, to end with: 1) Both give up everything they ever wanted out of life for each other, 2) Boy gets girl—period. La La Land is surprising. Most of the time, things don’t work out the way we expect, neither does La La Land. But, sometimes the unexpected is rather beautiful.

When the lights came up, a 22 year-old boy-man, third row, seat C, shot up from his seat and grabbed his garbage. His friends picked up their purses and coats and stuff. At some point, unbeknownst to me, he spilled one of those gigantic bags of popped-corn all over the floor, to his embarrassment I assure you. He lumbered out of the theater with an I-am-still-pretty-cool swag, and his friends crunched over the popped-corn, following him. In the end, La La Land was the movie for him too.

 

– K. Pastore

Rogue One—Can I trust this woman?

Rogue One says that trust is not just built on exceptional skills or a reputable history.

Women are taking on new roles in the Star Wars universe.

In Rogue One and The Force Awakens, women (specifically three-lettered named, British women) fly, fight and climb their way into a protagonist. Rey came from an ambiguous but largely optimistic background. Not to mention, her impeccable tech skills easily won a place in the heroic community. But Jyn—Jyn is not that kind of woman. Born to an imperialist and raised by a terrorist, Jyn is flat-out untrustworthy. Nor, does she wield an wildly artificial skill set. Jyn only has her passion.

If you are a Stars Wars fan you know:

1) Do not trust any person with high cheekbones and a symmetrical face.

Ben Mendelsohn as Orson Krennic

 2) Symmetrically shot scenes mean … somethin’ bad is ‘bout to go down.

Don’t worry! As you can see, these principles find their place in Rogue One, however… things are not what they seem. Good and evil are not so distinguishable after all. No one can be completely trusted.

But, how can you have courage? How can you chase down hope, if you do not trust?

Trusting someone is quid pro quo—risk equals reward. We’re not on Aladdin’s magic carpet anymore. A Rebel captain, a defected Imperial pilot, a desert-hidden terrorist, and a Death Star engineer—they have no reason to trust each other. Yet, the most risky trust is shared by Cassian (Diego Luna) and Jyn (Felicity Jones).

Jyn
Jyn Erso and Captain Cassian Andor

Most of the time men are portrayed as the dangerous rogue whose entrusted with the fate of the world. Men tend to be written as the wild and unexpected heroes. Not so here! Cassian and K-2SO (Alan Tudyk) do not trust Jyn from the get go. Cassian wavers to and fro, in and out of each scene. In the end he trusts her with his life. But, what made him change his mind? What made him risk? I would have expected a romance to produce this kind of 180 (as per the usual pop-cinema script). Nope, not this time. Cassian’s trust reversal is left, for the most part, unclear. But, his shift does happen after a significant speech that he makes. He makes a case for Jyn to trust him. He forcefully reminds her that she isn’t the only one who is emboldened by a broken past.

Passion—that’s what makes Jyn trustworthy.

She thunders enflamed pep talks. She wells-up at the sight of pure comradery. Generally, to get any respect as a woman you can’t be too emotional, nor can you be too stiff-faced and strong-willed. You ought to flounder some place in between. But Jyn—Jyn is the most emotional and strong-woman hero I’ve seen in a long while. Jyn is a holistic, bona fide hero. Her emotional intensity fuels her passion to do whatever it takes. Her passion powers her courage to put her life on the line. Her zeal unifies the disillusioned and wary Rebels.

Rogue One says trust is not just built on exceptional skills or a reputable history. Trust confides in pure, self-giving passion.

 

 

– Kylee

Film Festival? Here Are 3 Reasons You Should Go Local

Sundance, Tribeca, Toronto, Venice—even the world’s most glamorous film festivals got nothin’ on the local.

Recently, I attended the Three Rivers Film Festival in Pittsburgh, PA. 3RFF is a small scale film fest comprised of a collection of independent films. I saw prize-holders from Toronto as well as Pittsburgh produced shorts. My first night there I walked into a crowded little lobby on the second floor of a film school. A young man shouted over the heads in front of him to greet a fellow film student. Two white-haired women talked excitedly to each other as they scurried toward the will call table. Little did I know, I’d being seeing these faces a lot more. In fact, I would see them in the lobby of every theater I visited. It’s just the nature of small-scale.

trespass-against-us-web-360x240
‘Trespass Against Us’ screened at Three Rivers Film Festival 2016

If you are an aspiring filmmaker or even just a good ol’ film enthusiast like myself, local film festivals are a great idea. Here’s three nuggets to consider the next time your city’s festival pops-up.

1. Learn about film companies and supporting organizations in your region

Are you new to the city? Are you new to filmmaking? Supporting companies and organizations exist in nearly all major cities. Representatives may show up at panel discussions or lobby booths to promote their companies. Getting connected with these can help you with your career. Whether you are an actor, screenwriter or director you can find an organization that can serve you and you can find ones that you can serve. Organizations like Steeltown Entertainment Project (of Pittsburgh) programs tours and seminars. They even pioneer new film and TV ventures. Projects like this offer educational opportunities for multiple age groups. Perhaps, they may be able to get your current film-dream off the ground.

2. Meet people you can collaborate with

It takes a village to raise a… film. These smaller festivals magnetize indie filmmakers. You might meet aspiring directors and writers at Sundance, but going local means you can connect with people—ones with whom you can easily collaborate. At the 3RFF I learned about a ‘crew connect.’ At these events you can meet camera operators, lighting technicians, set designers, etc. that live and work in your region.

The Pittsburgh Entertainment Summit 03
The Pittsburgh Entertainment Summit 03

3. Attend forums that discuss filmmaking in your city

At 3RFF I attended a forum on filmmaking in the Pittsburgh area. The panel comprised of four directors (Mike Gasaway, Christ Preska, Charlotte Glynn and Melissa Martin) took questions from the eager audience members. Might I add—at smaller festivals you are more likely to get your questions answered just do to the sheer number of attendees. Anyways, Glynn talked about how she derives stories from the inspiration of specific Pittsburgh locations. Gasaway and Preska suggested the audience to find cheap/free sites where they can film. They shared some of the sites they had found in the area. Martin helped the audience think about funding. She recommended historical and activist organizations that might be eager to fund certain types of films. Each city has its own problems and perks.You can discover helpful insights at forums. Experienced filmmakers are face-to-face present at local fests.

We all know that film festivals are fun, whether you are a filmmaker or not. There is nothing like laughing and crying and cheering and booing with an audience full of film lovers. Yet, these local fests can also be informative. Look for opportunities to get involved with agencies, organization and crews in your area. And by all means…have a blast!

– Kylee