Here are a few deadlines to take note of in the next few weeks. Feel free to contact Amy Halpin or myself about this or any other grant opportunities you come across. October 31: The Frameline Completion Fund - grants to emerging and established filmmakers making projects about lesbian, gay, bisexual and transgender people and their communities. New!: The Bertha BRITDOC Documentary Journalism Fund is an international film fund dedicated to supporting long form feature documentaries of a journalistic nature. Rolling deadline. November 5: Tribeca Film Institute Grants (TFI) - Latin America Media
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A train flies across the screen. A broom sweeps debris from a pavement. A boy jumps into bed and huddles under the covers. Trains are often the opening credits "logo" for Jay Rosenblatt's Locomotive Films, but they and the other images recur in his films almost as signatures, hinting at returns to an obsession or a half-remembered dream. The train speeds us to new places but also to death, in an ordinary life of commuting or the final journey to a death camp. A broom erases traces of nature, incineration and destruction. A frightened adolescent seeks refuge in his bed, land of sleep and
Paula Apsell began her career with PBS in 1975 as a production assistant on a small science series called NOVA. Back then, men would typically be brought in as associate producer and women of comparable experience, as production assistants. Apsell started as a production assistant, although, at 30, she was older than many of the associate producers and already had experience as a producer in public radio. She consequently jumped to associate producer rather quickly, and when, on a fluke, she was given a chance to produce, she did so with acuity and success. Still, after finishing the project,
On CinemaNet Europe, a new digital cinema initiative.
The Sundance Film Festival is known for exposing audiences to films they otherwise might not have a chance to see. It is also a launching pad for many films that go on to have robust theatrical and broadcast lives. More and more people are familiar with American documentaries that got their start at Sundance--in fact Super Size Me and this year's Oscar winner, Born into Brothels, were both favorites at the 2004 Sundance Film Festival. But with fewer opportunities to see docs from abroad, Sundance audiences are far less familiar with world documentaries. That changed this year when the festival
DocuWeeks alumns 'Kings Point,' 'Open Heart' and 'The Perfect Fit' among the titles.
'Love Free or Die' airs October 29 on PBS' 'Independent Lens.'
'Photographic Memory' opens October 12 in New York City through First Run Features.
After ten days of the Toronto International Film Festival (TIFF), the world takes on a somewhat surreal hue. It is a sensory overload, a state of constant motion, shuttling between the Scotiabank and Bell Light Box theaters, the media lounge, slivers of fresh outside air in between. It is exhausting and exhilarating. TIFF's 2012 documentary film lineup was eagerly anticipated. Hip-hop luminaries, A-list actors and superstar intellectuals were in town to promote films to which they were attached. From Sarah Polley's buzzed-about, secretive Stories We Tell to Peter Mettler's profound and
Honey Boo Boo holds sway; Kirby Dick holds court.