#siff14

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Shanghai International Film Festival Opens on June 14

The 17th Shanghai International Film Festival (SIFF) opens on June 14. Over 300 films from all over the world will be showed in this 9-day event.

The pursuit of diversity

In addition to the Competition titles, SIFF also arranges SIFF Highlights, Tribute to Masters, Focus China, Reproduced Classics, Multiple Perspectives, Touch 3D, IMAX Vision, Global Village, MIDA Docu, Films for Children, Short Films Exhibition and Outdoor Films.

In the Tribute to Masters, there will be retrospective screenings featuring films with Marlon Brando; by Roberto Rossellini; by Alain Renais as well as a JIANG Wen retro. A number of WU Tianming retrospective screenings is dedicated to the late master director Wu Tianming, a teacher to the fifth generation directors in China. The Multiple Perspectives section will cover excellent productions from different countries including some Oscar titles, among which THE GRAND BUDAPEST HOTEL, INSIDE LLEWYN DAVIS, BLUE JASMINE, THE CONJURING and THE DALLAS BUYERS CLUB will make their first appearances in Mainland China. Some popular Japanese and Korean films are also in the line-up, such as PHYSIOGNOMY, THE TERROR LIVE and FUNE WO AMU… JAPAN.

In the Reproduced Classics, the famous STAGE SISTERS directed by XIE Jin is undoubtedly the highlight and will be shown on the Opening Ceremony. The 4K-Restored Films section will present 10 classics, including THE GODFATHER: PART2, TAXI DRIVER, THE LADY FROM SHANGHAI and PHILADELPHIA.

  A guide to citizens

SIFF also issues a new version of film guide. First published in 2006, the Film Notebook now is renamed as Citizen Manual with more useful contents. The Citizen Manual gives introductions of candidates for the Golden Goblet Award and the Asian New Talent Award and the films exhibitions. In the Global Village, it details national cinema such as British focus with PHILOMENA and THE SELFISH GIANT, German section with DIE FRAU HINTER DER WAND and STAUDAMM, French quarter with 9 MONTH STRETCH and ZULU, Canadian spectrum with PRIMARY and IT WAS YOU CHARLIE, Thai corner with HASHIMA PROJECT and LOVESICK, Japanese insights with I JUST WANNA HUG YOU, THE LIAR AND HIS LOVER, and Italian scope with IL PRINCIPLE ABUSIVO and L’INTREPIDO. It also involves the Recommended Films, Multiple Perspectives, Opera Films, MIDA Docu, Films for Children, and comments by veteran critics, which can serve as a convenient reference for cine fans with synopsis. One hundred thousand copies will be spread to the public for free.

All the films will be presented in 35 selected cinemas scattered in downtown Shanghai. Audiences can buy tickets from any of these cinemas or through the websites or SIFF’s APP. Apart from some special screenings, most tickets are sold at 40-60 RMB.

  A cities of queuing cine fans

The International Film Exhibition in SIFF has been very popular among the cine fans. This year, there are almost 1000 screenings to meet their rising needs. ￥6 million of tickets are sold on the first day. The tickets for the Japanese Film Week, 4K -Restored Classics, Tribute to Masters are especially popular.

Many people came all the way from other provinces to see films. A filmgoer said he likes watching films, but he can seldom watch foreign films besides Hollywood productions. SIFF offers him a wonderful opportunity to enjoy the film carnival with his girlfriend. Some cine fan has participated each SIFF since its initiation, shows his cherished ticket stubs and posters of SIFF and shares his watching experience.

This SIFF coincides with the World Cup, but people’s enthusiasm for films does not wane accordingly. Mr. Wang, a senior fan has made a plan for the days to come, watching films at daytime and cheering for his favorite football teams at night.

[cfilmart]

Can Chinese Stories Compete with Hollywood?

Chinese filmmakers have been somewhat frustrated by the annual quota of14 additional IMAX or 3D films from Hollywood. In the 17th Shanghai International Film Festival, a discussion named “Chinese Stories VS Hollywood” was launched among film professionals. How do Chinese stories rise to such a challenge? What exactly is the focus of Chinese filmmakers and what are their attitudes towards Hollywood? Is a win-win possible in the long run?

XU Zheng, director of LOST IN THAILAND (with a BO of about $200 million) and the actor of THE GREAT HYPNOTIST, a recent successful thriller, said: “We boast a large film market with an increasing number of audiences, but there are not enough good films to satisfy local taste. We should thus put local viewers’ demand as our priority and only after that could we prepare ourselves for going global. Sometimes, we should not despise a popular film featuring Chinese characteristics merely because it is not widely accepted outside China. We should abandon such a sense of cultural inferiority.”

Besides, Xu Zheng suggested that China should build an integrated and comprehensive industrial chain like that in Hollywood and try different types of genre film-making. Looking ahead, he believed the Chinese filmmakers might as well produce independent films or unique art films, despite the fact that he himself made very successful films. As for how to confront with Hollywood, Director Xu expressed that we should master the conventions of filmmaking and analyze potential audiences’ tastes at first, and more importantly, figure out how to export the oriental values in a proper way. That’s the real challenge when competing with Hollywood.

WANG Haifeng, President of Filmko Holdings and Producer of THE MONKEY KING 3D, a film that is successful both at home and and in other parts of Asia. He said: “Personally, I think we’d better march into Hollywood instead of guarding against it. For example even though they may take the larger part like $300 million while we can only gain $30 million, it is still quite a revenue for us.” Why did Filmko choose to make a film featuring Monkey King? Wang explained when they found there are only three Chinese characters that are known to foreign audiences: Mao, Monkey King and Bruce Lee. He also said that some American producers were interested in China’s ancient stories like GODS OF HONOR (FENG SHENG BANG) and CLASSICS OF MOUNTAINS AND SEAS (SHAN HAI JING).

Tian Xia Bang Chang, a noted writer in China, pointed that:” There is no shortage of impressive stories but the skills to adapt them. Therefore, it is not advisable to confront Hollywood directly. We should make more efforts to re-process a good Chinese story.”

FANG Li, CEO of Laurel Films, argued that: “In fact, we are not antagonistic to Hollywood, but would like to work hand in hand with it to make our stories travel around the world. The industry will see a lot more Hollywood directors and writers collaborate with their Chinese colleagues in the hope of creating more Chinese film tailored to the considerable size of Chinese viewers. We will reshape each other thereafter and reap higher profit which is the ultimate goal of investors. They will help us improve the industry and transmit our culture, and at the same time we will bring substantial returns to the Hollywood studios in China. As the Chinese viewers have a final say for the box office, how to dig the Chinese stories maybe what Hollywood is going to do in the coming years if they want to make more profit.”

He also predicted that the top Hollywood filmmakers would sooner or later find out a way to bridge the two markets. Moreover, with the globalization of film production, we tend to make films in the cost-effective area no matter in China or the U.S. Furthermore, with joint efforts, both sides will win more targeted film viewers.

Anthony Chen, the winning director (ILO ILO) of Taipei Golden Horse Award for Best Picture quoted that: “Yesterday, my agent in American told me nowadays all Hollywood studios want to get access to China. Their concerns are that Chinese filmmakers and companies may know how to shoot Hollywood movies in a few years whereas American directors still will find it difficult to get a clear picture of Chinese culture by then.”

MA Ke, co-founder of Beijing Bu Yi Le Hu Film Company and the producer who maintains a close relation with celebrated director JIANG Wen (LET THE BULLETS FLY), confessed that:” Admittedly, we are a toddler compared with the time-honored Hollywood film industry and our market is far from mature. So, why don’t we film Chinese stories with Hollywood skills and technologies? Second, sincerity and devotion will make a real difference. Before exporting our works, we need to prioritize the quality of story.” In addition, he also called for mutual cooperation as every market has its latent rule.”

A consensus was thus reached to work with Hollywood in this panel: Chinese stories today with Hollywood techniques and technology.

[cfilmart]

China is Building Completion Bond

Producer Luo Yan and Maarten Melchior, Fintage House North America Consultation Officer. Photo credit: SIFF.

The Chinese film industry should adopt the completion bond model, thus spoke the panel at the forum of Completion Bond – Film Financial Products’ Local Application during the 17th Shanghai International Film Festival.

Completion bond has been a common practice in international film productions to control budget and risk. In this forum, some producers signed completion bond agreements with investors to make two films: BEIJING HOLIDAY and TRACE MEMORY, in order to test the waters of completion bond in China.

The Hong Kong director Stanley Tong said many investors are confident in the film industry development and willing to invest, so there is a large number of potential funds, yet they are doubtful about their investments due to a lack of knowledge in film-making. So the bond company can act as a bridge and guide between producers and investors.

As early as in 1998, the filmmaker LUO Yan used completion bond to produce films in Hollywood. She said at that time she was asked to provide the bond first when borrowing money from the bank.

“The completion bond company had a strict standard so I needed to think carefully and operate strategically based on the industrial procedure. It required us to do a rather detailed budget plan. During the filming, we got some problems and two weeks’ shooting turned out useless. But under the company’s supervision, we finally finished the project on time and within the budget,” said Luo.

The bond is a tool to produce films on time and on budget, said Robert Sidor, a London Business Executive of Film Finance Inc, the largest global completion bond company, which also shows the latest software to show how it works to supervise the budget and agenda.

The completion bond is expected to spread in China. Tong said, China has gained much growth in the film industry but its production system still needs to be further regulated. It urgently needs an industry standard in film production while completion bond is a necessary step to achieve this.

On average, out of ten local films that had theatrical release in China, 1 can be a blockbuster, 2 might make even, while 7 will lose money. Investors lose money without knowing the specific reasons. The application of completion bond is supposed to change such a situation.

Sidor said completion bond will be helpful for the Chinese films going global. Moreover, the rapid growth of China’s film industry in recent years has attracted more and more capital but its financial management still needs major improvement, while the bond can promote the industrial standardization and upgrade.

The application of completion bond in China can protect the investors’ money and improve industry transparency. More importantly, it can offer more opportunities to young directors. HE Xiaoqiu, founding partner and Vice President of SOVA Capital, explained that big names like FENG Xiaogang and ZHANG Yimou do not worry about film financing, but younger filmmakers will need completion bond to raise funds.

[sonomafilmfest-blog]

SIFF 2014 Award Winners

Jury Winners

Best American Indie Feature: Brahmin Bulls, directed by Mahesh Pailoor

Best Narrative Short: Door God, directed by Yulin Liu

Best Documentary Short: Happy Hands, directed by Honey Lauren

Best Documentary Feature: The Human Experiment, directed by Donald Hardy, Jr.

Best World Feature: Siddharth, directed by Richie Mehta

Best World Feature Honorable Mention for its courageous approach to narrative storytelling : Everything is Fine Here, directed by Pourya Azarbayjani

Audience Awards

Best Documentary: Taking My Parents to Burning Man, directed by Bryant Boesen and Joel Ashton McCarthy

Best World Feature: Butterfly's Dream, directed by Yilmaz Erdogan

Stolman Audience Award Best American Independent Feature: The Fourth Noble Truth, directed by Gary T. McDonald

[markvogler]

Getting our Fiesta on on the #Sonoma Plaza #siff14 (at Sonoma International Film Festival)

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LGBT Films and the Queens & Cowboys Party

LGBT Films at 2014 Sonoma International Film Festival

Queens & Cowboys: A Straight Year on the Gay Rodeo

A chronicle of a complete season of the International Gay Rodeo Association. Roping and riding across North America for the past 30 years, the IGRA's courageous cowboys and cowgirls brave challenges both in and out of the arena on their quest to qualify for the World Finals at the end of the season. And along the way, they'll bust every stereotype in the book.

Screenings:

Thursday, April 4, 2014 9:30am - 11:27am Vintage House TICKETS

Saturday, April 6, 2014 3:30pm - 5:27pm Sebastiani Theatre TICKETS

Azul y No Tan Rosa (My Straight Son)

Diego, a young and successful photographer living in the glamorous world of fashion, shallowness and excess has his world turned around by a tragic accident: his partner is now in a coma. Unexpectedly, and right at this terrible time, Diego must take care of his son, Armando. Now, both of them have to adapt to each other; Armando to the unknown, homosexual world of his father, and Diego to the closed attitude of his teenage son. Director Miguel Ferrari attending.

Screenings:

Saturday, April 5, 2014 12noon - 1:50pm Burlingame Hall TICKETS

Sunday, April 6, 2014 6:45pm - 9pm La Luz

I'm Obsessed With You (But You've Got To Leave Me Alone)

When a magnetic movie star crashes their party, four collegiate comedians are forced to confront the group's friendship and future. Set on a rural Ivy League college campus, New York City and the beaches of Long Island, the characters grapple with addiction, anxiety disorders, love, and fleeting fame. This quirky, contemplative film asks, can you live life by the rules that govern your art?

Screenings:

Friday, April 4, 2014 11:45am - 1:24pm Vintage House TICKETS

Sunday, April 6, 2014 5:30pm - 7:09pm Burlingame Hall TICKETS

Queens & Cowboys Party!

Saturday, April 5, 2014 7pm-10pm Backlot Tent, Sonoma Plaza

Purchase Tickets HERE

Ticket Price: $30  Available online or in the Box Office

A rodeo inspired dance party where you can eat, drink & dance in true cowboy style alongside Wade Earp (descendant of Wyatt Earp). This party is supported by Out in the Vineyard (promoting positive LGBT lifestyles) and dot429 of San Francisco. Wines by Stein Family Vineyard, makers of Same Sex Marriage wines. Sausage & roasted nut tasting alongside truffled veggie pate presented by Smoke Open Fire Cooking.

Tickets: $30

Cinema Soiree Passholders: $15

Patrons: free

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Sonoma International Film Festival Opening Night!

Opening Night Reception:

Wednesday April 2, 2014 5:30pm - 7:30pm Backlot Tent (Sonoma Plaza)

On its 17th year SIFF is thrilled to start and finish this year's film festival at the Backlot Tent in the middle of the historic Sonoma Plaza. Attending filmmakers, festival sponsors along with Cinema Soiree & Patron Pass-holders will be treated to the epicurean delights of Saddles, the girl & the fig, Café La Haye, the Swiss Hotel, Della Santina and Smoke Open Fire Grill.  Bubbles by Gloria Ferrer and still wine from Envolve & Muscardini Cellars will be filling glasses. 

This reception precedes the Opening Night films Dom Hemmingway and Beside Still Waters.

Dom Hemingway

Wednesday, April 2, 2014 7:45pm - 9:18pm Sebastiani Theatre

Jude Law plays Dom Hemingway, a larger-than-life safecracker with a loose fuse who is funny, profane, and dangerous. Don't miss our opening night film, Dom Hemingway, also starring last year's SIFF tributee, Demian Birchir. 

Beside Still Waters

Wednesday, April 2, 2014 8:15pm - 9:31pm Andrews Hall

This contemporary version of the classic The Big Chill is an ode to the consoling power of deep, abiding friendships. The film cuts between melancholic wistfulness and the sheer delight of living fully in the moment - drinking, dancing, scheming - with those people who know us best.

Opening Night After Party

Wednesday, April 2, 2014 10pm - 12 Midnight at Burgers & Vine

The first after hours party is being held at Sonoma's newest nightspot Burgers & Vine. Enjoy an array of snacks, beer made on-site and music by Sonoma's own Vanguard Jazz Ensemble. This event is for filmmaker & patron pass-holders only.

[sonomafilmfest-blog]

Sonoma Film Fest Children's Program

Saturday, April 5, 2014 Sebastiani Theatre 9:30am-11am

Film director and writer Peter McEvilley will present his charming French short Le Sauvetage (French w/English subtitles) featuring the amazingly talented Olate Dogs who will be live and in person performing! After what promises to be a lively Q&A with Peter & dogs, there will be a live musical performance will follow by members of “Everybody is a Star” under the direction of Nicholas Olate. Everybody Is a Star is a non-profit organization whose goal is to help create musical and artistic experiences and opportunities for children and teens with special needs. 

This unique morning extravaganza will entertain young (6+!) and old. 

Free admission for children/$10 for parents. This show is courtesy of local producer Howard Sapper and Halo, Purely for Pets.