Archive for the ‘News’ Category

NFDC Labs, the Training and Development arm of NFDC (The National Film Development Corporation Ltd), has announced six finalists for the NFDC – Harlequin Romance Screenwriters’ Lab. The first of its kind three-part Lab with romance and women-centric plots as the themes, has Habib Faisal and Bhavani Iyer as mentors. Ashok Banker and Shoma Narayanan will guide the parallely held Harlequin Lab.

Post the Lab, Harlequin will offer book deals to the most promising writers.

The final six scripts / writers are:

1. Anjuna Beats – Thomas Jacob

2. Love in the Time of Moral Policing – Niharika Negi

3. Magic for Maria – Annie Zaidi

4. Vanmala – Abhimanyu Kulkarni

5. A Second Life – Pravina Srivastava

6. The Falcon Hunter – Vineet Gupta

1. Anjuna Beats (English) by Thomas Jacob – A writer / director and having worked on one feature film, one short film, 3D shorts, corporate films and documentaries, Thomas was one of the young filmmakers invited for the prestigious Berlinale Talent Campus 2010 conducted by the Berlin International Film Festival (2010).

2. Love in the Time of Moral Policing (English – Hindi – Marathi) by Niharika Negi – Niharika has an interesting mix of experience in Film and Theatre- India and London, with stints at Shree Ashtavinayak Cine Vision Limited, FutureWorks, Channel [V], Big Boy Productions (London), The Hat Factory Arts Center (London), Poor Box Productions, QTP’s Thespo amongst others.

3. Magic for Maria (Hindi – English) by Annie Zaidi – Annie has been writing across various genres and has directed short films and plays. She has contributed to various newspapers and magazines including Mid-Day, Frontline, Tehelka, Caravan, Mint, Elle, Femina, and DNA (Daily News and Analysis).

4. Vanmala (English) by Abhimanyu Kulkarni – Abhimanyu is a design professional at an MNC and is passionate about writing. His interest in screenplay writing has led him to do a professional course from UCLA followed by two commissioned projects.

5. A Second Life (English) by Pravina Srivastava – A media professional in the past, now based in Pondicherry, Pravina is an aspiring writer with A Second Life as her first attempt in screenplay writing.

6. The Falcon Hunter (English) by Vineet Gupta – Vineet is a Consulting Analyst with a strong academic background. A graduate from Harvard University, Vineet has done his PHD in Mathematics from California Institute of Technology and other programs from leading international universities like Cambridge and Stanford. The Falcon Hunter will be Vineet’s first project as a scriptwriter.

The three part Lab will include 2 residential programs, the schedule being:

First part at a hotel in Pune – 27 – 31 July 2014;

Second part – offline program conducted as per schedule mutually decided between the mentors and the writers;

Third and the final part – 16 – 20 November 2014 at Film Bazaar in Goa.

MFF

- For more details (entry form, rules and regulations), click here.

- Reliance has pulled out of the film festival. MFF is now in final stages of talks with another entertainment group to come on board as principal sponsor for the fest.

Mumbai Mantra, the film and entertainment wing of Mahindras, has launched a new mentorship programme for screenwriters. But this is not the first time that they are trying something like this. They started with Sankalan – a script lab where the idea was to select, develop 6 final scripts after three rounds of filtering and produce the films. They did select the scripts but never bothered to produce a single film out of those selected scripts. Instead they produced some really crappy expensive bollywood films which made no money and they were forced to shut down the production wing. what was the point of the lab?

Later on, they tied up with Sundance Institute to launch the Mahindra-Sundance Scriptlab. They again ran it for three years and the honeymoon seems to be over now. Again scripts selected and mentored. Mumbai Mantra has now launched a new mentorship programme. But it all seems useless unless the scripts developed at the lab gets translated into film. And Mahindra can do it. Not sure what’s lacking.

We do need better scripts and screenwriting programmes. But we need to translate them into films too.

Here’s more details on Cinerise

- Applications to the Mumbai Mantra CineRise Screenwriting Programme will only be accepted in hard copies, not electronically, and must reach by August 20th, 2014 with the following details:


APPLICATION DOCUMENTS:

  • STORY: The complete story on which your script will be based. Should have 6-8 pages with a beginning, middle and an end.
  • WRITER’S STATEMENT:  2-page note outlining what your project is about. Do explain what motivated you to tell this story, and why you believe you are best placed to write it. If you have a view on how the project should be treated (sensibilities, style, etc.), do share in this note.
  • WRITER’S BIO WITH CONTACT DETAILS: Attach your bio-data. You can send the bio-data of other key team members (producer, director, DoP, etc.) if they are already attached to the project.
  • PLEASE REMEMBER: All the above documents MUST be in the English language, even if the film is going to be in any other Indian language. All documents must be print-outs (and not hand-written) and your story must be registered in your name for copyright purposes with a recognized authority, like a writers’ association or the Copyright Office or WGA, etc.
  • DO NOT SEND DVDs of short films or excerpts from other work at this stage. No recommendation letters or references required either and shall be the immediate cause for disqualification.

- Please just put a single staple through all pages. No fancy binders, no paperclips, and no folders please. The whole packet should be around a total of 10-12 pages;one staple should do the trick.


MAILING ADDRESS FOR APPLICATIONS:
 
Mumbai Mantra CineRise Screenwriting Programme
Mumbai Mantra Media Ltd.,
Mahindra Towers, 5th Floor, Worli,
Mumbai – 400018

- To ensure that your application has been received before the deadline, please use a courier service, which will give you a delivery receipt. You can also submit your application in person at our office reception but you shall NOT be able to meet any staff or have queries answered.

 WORKSHOPS:

- Selection team will shortlist a total of 100 stories from among the applications.

- The shortlisted writers will be called for a 2-day screenwriting workshop, which will be held in several different cities across the country.

- Shortlisted applicants can select a Center closest to their homes. They will go through intensive interactions with experienced writers and directors.

- Even if you are not in the final 100, you can still attend the first day of the workshop. This will be open to all aspiring screenwriters for a fee of Rs.2000)

QUERIES

- For more details on rules and regulations, click here.

 

Rome Film Festival-Image 1

ROME FILM FESTIVAL
(FESTIVAL INTERNAZIONALE DEL FILM DI ROMA)

Calls for Entries in all categories for 2014.

DATE : The 9th Rome Film Festival will be held from October 16-25, 2014.

SECTIONS :

Artistic Director, Marco Müller has announced the following sections for the 9th edition of the festival:

1) New International Cinema | Cinema for Today
A selection of a maximum of 14 feature films of young or already successful directors. The Festival will give priority to feature films that are world premieres.

2) Gala
A selection of some of the year’s most important films, for a maximum of 11 titles. Only feature films that are world premieres, international or European premieres will be considered for selection.

3) Mondo Genere
A selection of 7 films belonging to different film genres. Only feature films that are world, international or European premieres will be considered for selection. The Festival will give priority to feature films that are world premieres.

4) Prospettive Italia
This section aims to highlight the new trends in the Italian cinema. It will present a selection of maximum 8 feature films. Only films presented as world premieres will be considered for selection.

AWARDS :

- Each of the sections carries a People’s Choice Award based on the majority of the audience’s preferences, along with 4 Lifetime Achievement Awards assigned by the President and the Board of Directors.

- In addition to this, TAODUE International Jury will assign the TAODUE Award for first or second film, whereas DOC.IT Association will give out the Prospettive Italia Award for the Best Italian Documentary.

- Films will also be offered the possibility to participate in The Business Street (October, 17-21), Rome Film Festival program dedicated to the circulation, acquisition and sale of audiovisual products

ELIGIBILITY CRITERIA :

- Rome Film Festival will only consider feature length films as submissions.

- All submitted films must be recent productions completed not prior to Monday 1st December 2013.

- They must not have been presented in any other format or length, not even as works-in-progress, for submission to previous editions of the Festival.

- With the exception of Out of Competition films, under no circumstances may films that have had prior public screenings, have participated in other international festivals or are available on the Internet, be presented at Rome Film Festival

SUBMISSION

To submit a film to the selection, one has to fill out a pre-selection entry form on the official festival website after which the preview DVDs should be sent to Deepti DCunha, the India Consultant to Artistic Director, Marco Müller.

- The DVDs should reach her before 10th August 2014 as the Artistic Director will be visiting India for selections.

- Filmmakers with films in post-production are requested to contact Deepti.

ADDRESS :

All submissions (duly subtitled in English) should be sent to the contact details given below.

Deepti DCunha, 23 – Gautam Niwas, 7-Bungalows, Andheri West, Mumbai 400 053, India

Contact Number: (+91)9820522468 (SMS only), Email: deepti.dcunha@gmail.com

 

RULES & REGULATIONS

- For complete rules and regulations please visit the Festival website at www.romacinemafest.org

- In 2013, ‘Rangabhoomi’ by Kamal Swaroop had its World Premiere at the 8th Rome Film Festival and Amit Dutta’s ‘The Seventh Walk’ was the closing film of the CinemaXXI Section. There was a Special screening of ‘Om Dar B Dar’ by Kamal Swaroop on the occasion of 100 years of Indian Cinema. Prantik Basu’s ‘Makara’ was in CinemaXXI competition.

 

 

A new Vishal Bhardwaj film is always cause for celebration. Even his weakest films have so much to savour, and in an industry so plagued by intellectual and creative bankruptcy, Bhardwaj is the rare filmmaker who could perhaps truly claim auteur status- he produces, directs, writes, composes- and does all of it with a style so distinctive and quixotic- there’s no mistaking his stamp. We’ve got to admit, we’re fanboys, and unashamedly so.

The much awaited trailer for Mr Bhardwaj’s new film ‘Haider’ has arrived along with a trio of posters. Haider is based on Hamlet and is the final film of his Shakespearean Trilogy (preceded by Maqbool and Omkara) and stars Shahid Kapoor, Tabu, Shraddha Kapoor and Kay Kay Menon among others (including Irrfan Khan in a special appearance).

Notably, Haider has been co-written with Kashmiri author and journalist Basharat Peer and also marks the filmmaker’s first collaboration with cinematographer Pankaj Kumar, who is best known for shooting Anand Gandhi’s Ship Of Theseus. Click here to read an interesting article about Peer’s collaboration with Bhardwaj.

Take a look at the trailer and posters and let us know what you think:

 

 

anurag--300x300Dear All,

When I am not making movies – which is thankfully rarely – my favourite pastime is to get fundamentally quoted without the context. Blame the lack of space in newspapers today with all those advertisements accounting for most of it. It helps to keep our conversation going, you see. And it has happened again. My whole conversation has been reduced to one line that’s being knocked around, “rape is a bad accident says anurag kashyap”

Fun though it is, I think it’s time I speak for myself and not let some out-of-context quote in a paper, or an edited version of a half-an-hour conversation do the talking.

Sitting here in Karlovy Vary I have been inundated with texts and mails about an interview of mine, that has of course, as always, been completely misread.  It does not help that a long conversation has been reduced to a paragraph, but credit to the writer that he does mention that the now-controversial paragraph is the point of view of a woman and not my own.

The reactions on various social platforms do prove that in anger the opinionists also turn blind, and they actually read what they want to, so that they can rage over it, rather than seeing it and arguing healthily over it.

I don’t mean to spoil the rage party, but let me try to bring some context here.

Recently, I was in conversation with a woman, who quoted an old article she had read in The Times of India oped page, years ago.  That article profiled a courageous rape survivor, a European woman living in India, who after being gang raped, actually fought for a fair trial for her rapists and a lighter sentence. She strongly protested any baying for blood or vengeful mindset. She was in fact ridiculed and vilified for standing up for justice for her own rapists. When asked why she did it – she said that she would treat the trauma of her rape the same way she would treat the trauma of being in a terrible car crash. She would try to heal from it, she would want the irresponsible perpetrators punished, but she would not allow the crime to gain greater significance than she felt it was due. Any greater assignment of meaning to her own rape would be to give in to a male view of the female gender. She also believed that her identity and her dignity did not reside between her legs, but between her ears.

The woman friend of mine who told me about this case, also mentioned that this article made her rethink the concepts of honour, izzat,  dignity and personal identity, for years to come.

What was read as my comment or statement in the HINDU were actually “questions” raised by the survivor, which were then subsequently narrated to me by another woman and by me to Sudhish Kamat who writes it like it is but not all of it, which by now is attributed to me as my quote. Those questions stayed with me and bothered me, and made me question things, because I felt that there was a certain truth to them.

I am not so good at articulation without my camera, but let me try and elucidate the point my female friend was making: No woman invites rape, rape is never ever the woman’s fault, and no woman would chose it – if the choice was a viable one. But in a situation where the choice is between life and rape, a woman might just choose the latter. If her choice is ‘life’, why is that very life taken away from her, once she is raped? Why is she called stuff like ‘zindaa laash’ and why does the entire focus shift to ‘honour’ rather than to ‘healing’? To ‘punishment’ rather than to ‘rehabilitation’? When does the male gaze take over, such that even the extent of the victim’s physical and mental bruising is decided for her by others?

Why is she never granted the quiet she so sorely needs? She is frequently dragged out by the social worker to narrate her story again and again, she relives the trauma again and again, she is used to make a point. should that not be a choice. the choice of the survivor.

The woman who told me this story also said that she often puts a very difficult binary choice to her female friends: Such as: burnt alive, or rape? Dismembered, or rape? Acid attack, or rape? Horrible though it sounds, when given a choice like this, many women went quiet. The horror of rape, when pitted against other ghastly horrors, acquired a perspective. Not that of being ‘fine’ or ‘acceptable’ but often, of the lesser evil – if other brutalities or violence was not involved.

Does this mean any of us is trivializing rape here? Far from it. It is a violent, traumatic, battering, violating experience. All I want to say is that let us not add male notions of honour and purity to it. That is like adding insult to the injury.

The point is about not having a choice. When one is raped, there often is no choice. When one has the option of fight or flight one uses it but often neither option is available. It is the same in a bad accident. You do not have a choice but you go through the brutality .

However, what happens afterward is telling. When in a bad accident, the victim goes to the doctor or a hospital, tries to recuperate, allows oneself to heal, the victim is rehabilitated or allowed to rehabilitate.

And the one who causes the accident is punished.

My distress with our social network-ists is that they assume they understand rape simply because they are women. Rape is not that easily understood and it is not a gender’s prerogative to do so.

In this world men are raped too and more so in our society, in this part of the world. I am also a victim of rape and I have healed a lot more than most because the world was not fussing over me.

Suddenly there is a new term being thrown around, VAW (violence against women) well, coming to VAW, VAW is not the same as rape, VAW includes rape but rape has a much broader bracket that includes the other gender too and also the one we most often don’t consider a gender, the transgenders, who are the biggest victims of the said crime..How I look at Violence? You can’t wish it away, laws will not and can’t control it, it has existed since the mankind has existed, violence against animals, violence against humanity, all kinds of violence exists and will continue to as long as people are not equal. as long as two people will have different strengths and ability, there will always be a power struggle and there will be violence. The weak will always be violated by the strong and it is not gender specific. You can police it. regulate it .. there is violence in sport but is regulated. the perpetrator is always shown a yellow card, then a red card and then is barred from the field and if he/she continues, is banned from the game for life. Only physical assault does not constitute violence, emotional blackmail is also violence, mind games are also violations, misusing nirbhaya laws is also violence and rise in that VIOLENCE AGAINST MEN since those laws have been constituted, was even commented on by the Supreme court just last week. Every solution will create a new problem. anyway i am digressing here..its a never-ending discourse.

If I had to discuss or argue about rape, I would much rather do so with the victims and survivors than with a feminist.Why? Because I get a strong feeling that the Indian feminist is very hard to talk to, because he/she doesn’t listen. He/She has a fully formed opinion etched in stone and will give no space to accommodate any other point of view.

Indian feminists start with the agenda already defined, and hence there is no room for any other opinion or position. Feminists are always eager to adopt any woman with a strong voice as their own. We saw our film “Queen” being immediately adopted by them as a feminist film. Let me say here that neither is Vikas Bahl a feminist, nor am I, and we both love and respect women as we do men: as people, as human beings. Isn’t that the way it should be?

Queen was not intended to be a feminist film, it was the love and respect for this human being and her story that came through, the film was not pro woman or anti men. It was a story of a girl finding her own self and how she does it on her terms.

I know a lot of women who the feminists project as their own and these women hate it, they hate it because they don’t see themselves that way but don’t say it out loud because they are mortally afraid of offending the feminists. The fear that the feminists inculcate even in women is especially peculiar.

Next. coming to my short film – well everything we do is not always a statement. The purpose of the film was not to offer a solution but to tell a story. I made a deal where I was obligated to do a short film for the platform it provided to five other young filmmakers around me who I think deserve more and so that they can showcase what they are capable of.  They made their shorts and the time came to do mine, we were running out of time, I was already late by a month. We were to do a short film and I had two days and the script was chosen from a bunch of scripts and purpose of the film was not to offer a solution. Purpose of the film was to tell a story, and this was the best of the lot, it had its issues but we did not have time to iron out the issues and in that story we tried to shoot it in a way , that one feels the harassmentThe ending was meant to be light hearted. We had no idea that it would go viral and that’s our shortcoming probably, we had no idea that it will be taken as my opinion and even after it was, it helped to bring forth so many points of view – and that wouldn’t have happened if that short did not exist.

I responded to and engaged with some sensible points but the angry, short sighted judgemental ones that came from twitter anger we chose to ignore. I refuse to take the responsibility of making a statement on behalf of a half baked -ism of this country through my work. I am not your voice so please stop expecting me to be, I am on my own journey and constructive points of views help me grow and understand things more, I have been taught not to be afraid to sound like an authority before I speak, I have been taught to speak freely because until and unless you don’t do that, there will not be debates and discussion and arguments.

I am my own voice and I speak for myself, and my life is an ongoing process, I have not come to any conclusions about anything in life, about you or me or cinema or rape or women or anything. I react, I think, I over react, I think too much and I think aloud. I am what I do and not what I am expected to do.

I don’t think I am that important in any scheme of things and I write this letter for the sake of the few people I actually care about, who are distressed, and  who urge me to have my say.

- Anurag Kashyap

(ps – To avoid further misunderstanding, let us clarify that he didn’t send us that profile pic of his to go with this post, we just googled and put one. Because just text looks bit drab)

NFDC (National Film Development Corporation Ltd) today announced the six finalists of the Screenwriters’ Lab 2014.

In its eighth edition, the first stage of the Lab this year will be held in Sarajevo Film Festival (15 – 23 August 2014) culminating in the second stage prior to and during Film Bazaar (20- 24 November 2014). The market, like every year, will be held along side IFFI (International Film Festival), in Goa.

 The six scripts / screenwriters selected are:

  1.  The Boyfriend – Vidur Nauriyal and Ashim Ahluwalia
  2. Winter- Aamir Bashir
  3. Char Log Kya Kahenge – Hitesh Bhatia
  4. Flow – Vandana Kohli
  5. All about Her – Ruchi Joshi
  6. The Sunset Club – Karan Tejpal

Details about the scripts/writers

- Vidur Nauriyal and Ashim Ahluwalia – The Boyfriend will be the second feature from the team behind Miss Lovely, directed by Ashim Ahluwalia, which was screened at Un Certain Regard at Cannes Film Festival 2013. Ashim recently received the Hubert Bals Fund for script and project development (a Rotterdam festival initiative) for The Boyfriend. Miss Lovely was one of the five projects at Film Bazaar’s Co-production Market 2008 and Work-In-Progress Lab 2011.

- Aamir Bashir – Winter, is the second feature to follow Harud (Autumn), Aamir’s debut film, which premiered in Toronto Film Festival 2010. As an actor he has also appeared in some of the highlights of the new independent cinema including A Wednesday, Peepli Live and Frozen (TIFF 2007)

- Hitesh Bhatia – Comes to the Lab with a wealth of experience in commercials and directing commercial TV shows and has moved his focus to feature films as he embarks on this new phase in his career with his project Char Log Kya Kahenge

- Vandana Kohli – Has scripted, directed and edited projects for clients including The National Geographic Channel, The History Channel, and India’s national broadcaster Doordarshan. Also a photographer and musician, Flow is Vandana’s first feature film project.

- Ruchi Joshi – Followed her film studies in Melbourne Australia with work in music videos, commercials and independent feature films in Mumbai. All about Her is her second project as a screenwriter.

- Karan Tejpal – Has worked for several years in the film industry making commercials for global brands and working as assistant director on mainstream feature films including the mega-hit 3 Idiots, Lage Raho Munnabhai and Ferrari Ki Sawari. His first feature will be The Sunset Club, adapted from Khushwant Singh’s novel of the same name.

- The mentors of the Lab include noted experts from the industry, namely, Marten Rabarts, Senior Consultant – Training and Development, NFDC Labs; Olivia Stewart, Script Developer; Urmi Juvekar, Script Developer; Bianca Taal, International Industry Advisor.

- NFDC’s Screenwriters’ Lab was introduced in the year 2007 with the Co-production Market in the inception year of Film Bazaar. The Lab gives an opportunity to six independent screenwriters to develop their skill under the guidance of a variety of industry experts from across the globe. Through one-on-one sessions with their mentors, the Screenwriter fellows are advised on tools and techniques required to improve their scripts and methods to pitch the same in the international domain. The previous editions of the Lab were held in Locarno, Venice and Toronto International Film Festivals.

- The Screenwriters’ Lab is specially re-designed to prepare screenwriters with original Indian stories for working with the international filmmaking market.

- The Screenwriters’ Lab 2013 finalists at Film Bazaar included: Rajesh Jala’s Chingari (The Spark), Nikhil Mahajan’s Dainik (Daily), Bela Negi’s Kaalapani (Dark Waters), Varun Grover’s Maa Bhagwatiya IIT Coaching Class (Mother Goddess Coaching Class), Shanker Raman’s My Brother the Salesman and I, and Ashish Aryan’s T Se Taj Mahal (T for Taj Mahal). While Rajesh Jala won the Incredible India award for Chingari and also got Cedomir Kolar’s France based ASAP Films board as the co-producer of the film, Nikhil Mahajan’s Blue Drop boarded Varun Grover’s Maa Bhagwatiya IIT Coaching Class as the producer of the film.

- Please visit http://filmbazaarindia.com/programs/screen-writers-lab/ for more details about the Lab and its mentors.

WHAT

The idea of the Matterden Center For Films And Creations (CFC) is to break the barriers of conventional movie watching, and renewing the experience with Creativity, Computation Clarity and Surprise.

Matterden CFC will try to engage people through a collaborative film viewing, incubating and filmmaking platform, secret screenings, workshops, discussions, and help upcoming filmmakers with technological know-how and support on various films. Not just limited to exhibition of films, it is a place for film creation too.

WHEN

Matterden CFC starts on 11th July 2014. To begin with, one film will be released every week with one evening show every single day at the Matterden FC. ‘A Line of Classics for Mumbai’ is the first collection that will be screened and it will start with De Sica’s Bicycle Thieves, considered one of the most important works in cinema.

LAUNCH

Various important filmmakers, international film studios and friends from the film and tech community have pledged their support for this space and with their support, from September 2014, Matterden CFC will shift gears and Mumbai will see slew of advance screenings of Indian independent films, documentary films and workshops by animators and filmmakers as well as some the most engaging films from across the world.

PEOPLE 

People working for the Enlighten Society were happy running the NGO screening great films when the owners of The Deepak: Lower Parel invited and offered them this newly renovated amazing cinema space. Overwhelmed, and wanting to turn their passion into business, the Enlighten guys started Matterden.

TICKET PRICE

For the collection ‘A Line of Classics for Mumbai’, the introductory price for most of tickets will only be Rs.100.

Also, due to collaboration with the Enlighten Society for films, one can watch a film for free every week if you buy their membership (no strings attached). The Enlighten Society membership would be available for a discounted price of Rs. 3500 (otherwise Rs. 5000).

WHERE

Matterden CFC, The Deepak: Lower Parel, Mumbai

Email: matterden@gmail.com

Twitter: @Matter_den

Website: www.matterden.com (details coming soon)

Phone: +91 22 40150621

VBSundance Institute has announced the 13 projects which have been selected for Screenwriters and Directors Lab. Set at the Sundance Resort in Utah, the Directors Lab will run from May 26 to June 19 and the Screenwriters’ Lab will run from June 21-26. Vasan Bala’s new script Side Hero has been selected for the Screenwriters Lab.

Here’s more on the film (from the official statement) -

Vasan Bala (writer/director) / Side Hero (India): A teenager who lives by the codes of his beloved kung fu movies must find his own way when he discovers that he may never get to be the hero.

Vasan Bala was born and raised in Mumbai. Both his father and grandfather were film buffs whose love of film inspired his own. Bala has collaborated in various capacities with filmmakers including Anurag Kashyap, Michael Winterbottom, and Danis Tanvoic. His debut feature as a writer/director, Peddlers, screened in Critics Week at the 2012 Cannes Film Festival.

The Directors Lab fellows are: Gabriela Amaral Almeida, The Father’s Shadow (Brazil); Jordana Spiro and Angelica Nwandu, Night Comes On (U.S.A.); Sofia Exarchou, Park (Greece); Geremy Jasper, Patti Cake$ (U.S.A.); Oorlagh George, Stranger with a Camera (U.S.A. / Northern Ireland): Daniel Kwan and Daniel Scheinert, Swiss Army Man (U.S.A.); Johnny Ma, Ten Thousand Happiness (U.S.A. / China / Canada); Jeremiah Zagar and Daniel Kitrosser, We the Animals (U.S.A.).

The Screenwriter Lab fellows are: Ana Lily Amirpour, The Bad Batch (U.S.A.); Karrie Crouse and Will Joines, Dust (U.S.A.); Fernando Frias, I’m Already Not Here (U.S.A. / Mexico); Hong Khaou, Monsoon (Vietnam / UK); and Vasan Bala,  Side Hero(India).

Creative Advisors include Robert Redford, Michael Arndt, Miguel Arteta, John August, Walter Bernstein, Kathryn Bigelow, Scott Z. Burns, Joan Darling, Deena Goldstone, Keith Gordon, Catherine Hardwicke, Ed Harris, Azazel Jacobs, Brian Kates, Christine Lahti, Kasi Lemmons, Josh Marston, Pamela Martin, Walter Mosley, Howard Rodman, Ira Sachs, Marjane Satrapi, Susan Shilliday, Peter Sollett, Dana Stevens, Wesley Strick, Chris Terrio, Joan Tewkesbury, Athina Tsangari, Tyger Williams, and Erin Cressida Wilson.

The Oscar-nominated Beasts Of The Southern Wild was a 2011 Screenwriters Lab participant. January 2012 Screenwriters Lab alumni Ryan Coogler saw his Fruitvale Station, which debuted at the 2013 Festival, attract awards and acclaim. (via Deadline)

humaramovie-pvr-short-film-competitionWHAT: HumaraMovie, in association with PVR Cinemas, announces the first ever, Pan India Short Film Festival. The participants will get a chance to showcase their work not only on Humaramovie platforms but also in a PVR theatre.

HOW: 

The highlights of the competition are as follows –

- Open to filmmakers/ creative artists all across India
– Filmmakers will be guided through every step. They will have access to a script consultant,  as well as guides for production and editing
– Participants will have access to acclaimed filmmakers as mentors. The mentors are Vikas Bahl, Vikramaditya Motwane, Anand Gandhi, Imtiaz Ali
– The selected participants will have their films screened in PVR as well as on HumaraMovie platforms

PRIZE MONEY
– The winner will get prize money of Rs. 1,00,000.

SUBMISSION REQUIREMENTS: 

  • Filmmakers should submit an already existing film, along with a short 150 word bio about themselves.
  • On the basis of the bio and the submitted film a preliminary shortlist will be made
  • The shortlisted candidates will be given a topic on which they have to submit screenplays.
  • Based on the screenplays we will further shortlist candidates who will then have to make the feature film.
  • There is no restriction on the genre of the film.
  • The duration of the short film should not exceed 15 minutes inclusive of opening and end credits
  • The contestants will be guided at every stage and will have access to script analysts as well as a mentor
  • The final films that the contestants submit will be screened in PVR (post going through a DCP and censor)
  • The screenings will be open for all and the winners will be decided by audience vote.

 

DEADLINE: 1 May, 2014

DETAILS: To know more about the schedule of the competition, rules and regulations, and how to submit, click here.