1091 has secured worldwide rights Inez & Doug & Kira, the directorial debut feature from Julia Kots. Starring Michael Chernus, Tawny Cypress, and Talia Thiesfield, the film will be released across all digital platforms this fall. The indie, which premiered at the 2019 Woodstock Film Festival, centers around the unexpected suicide of Inez, who leaves behind no clues as to why she takes her own life. Her twin sister, Kira, and Kira’s fiancé, Doug—both of whom shared their own complicated relationship with Inez—embark on a quest to solve the mystery behind their loved one’s death. The rights deal was handled by producers Caitlin Gold of Tanbark Pictures and Márcia Mayer of Tenacious Productions, with Carly Reicho on behalf of 1091.
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Cleopatra Entertainment has picked up U.S. rights to the Marc Collin’-directed electronic music drama, Le...
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Cleopatra Entertainment has picked up U.S. rights to the Marc Collin’-directed electronic music drama, Le...
- 7/14/2020
- by Amanda N'Duka
- Deadline Film + TV
Shortly after the Sundance Institute named their January Screenwriter’s Lab roster, it’s another West coast entity that is offering some support to the next gen of producers. The San Francisco Film Society folks have bestowed the Producer Fellowships to Reena Dutt, Kyle Martin (who is know best from producing Lena Dunham’s Tiny Furniture and Lance Edmands’ Bluebird) and Kimberly Parker (who most recently produced Katie Says Goodbye – a title we had pegged for Sundance). Here is the press release.
This round of Sffs Producer Fellowships runs from January to June 2016, kicking off with a 5-day networking trip to the Sundance Film Festival. In addition to this excursion, over the course of the Fellowship each winner will receive:
A $25,000–$40,000 cash grant to be used for living expenses. Individual amounts depend on place of residence and estimated travel costs to participate in Bay Area fellowship components.
Placement in our...
This round of Sffs Producer Fellowships runs from January to June 2016, kicking off with a 5-day networking trip to the Sundance Film Festival. In addition to this excursion, over the course of the Fellowship each winner will receive:
A $25,000–$40,000 cash grant to be used for living expenses. Individual amounts depend on place of residence and estimated travel costs to participate in Bay Area fellowship components.
Placement in our...
- 1/15/2016
- by Eric Lavallee
- IONCINEMA.com
Todd Haynes is in the running for best director and both Cate Blanchett and Rooney Mara are in contention for best female lead alongside Room’s Brie Larson as Carol earned six 2016 Film Independent Spirit Award nominations in Los Angeles on Tuesday.Scroll down for full list of nominations
Close behind were Spotlight and Beasts Of No Nation on five apiece, followed by indie darling Tangerine and Anomalisa on four each.
Not even a glitch that saw the list of nominees temporarily appear on the Film Independent website prior to the official announcement could spoil what turned out by and large to be a recognition of independent film in its myriad forms.
Besides the more predictable contenders like Carol, Spotlight and Room, there was plenty of love for Tangerine, shot on an iPhone, and Beasts Of No Nation from Netflix, whose day-and-date release (and what that portends) infuriated large swathes of the exhibition sector but has clearly...
Close behind were Spotlight and Beasts Of No Nation on five apiece, followed by indie darling Tangerine and Anomalisa on four each.
Not even a glitch that saw the list of nominees temporarily appear on the Film Independent website prior to the official announcement could spoil what turned out by and large to be a recognition of independent film in its myriad forms.
Besides the more predictable contenders like Carol, Spotlight and Room, there was plenty of love for Tangerine, shot on an iPhone, and Beasts Of No Nation from Netflix, whose day-and-date release (and what that portends) infuriated large swathes of the exhibition sector but has clearly...
- 11/24/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Todd Haynes is in the running for best director and both Cate Blanchett and Rooney Mara are in contention for best female lead alongside Room’s Brie Larson as Carol earned six 2016 Film Independent Spirit Award nominations in Los Angeles on Tuesday.
Close behind were Spotlight and Beasts Of No Nation on five apiece, followed by indie darling Tangerine and Anomalisa on four each.
Not even a glitch that saw the list of nominees temporarily appear on the Film Independent website prior to the official announcement could spoil what turned out by and large to be a recognition of independent film in its myriad forms.
Besides the more predictable contenders like Carol, Spotlight and Room, there was plenty of love for Tangerine, shot on an iPhone, and Beasts Of No Nation from Netflix, whose day-and-date release (and what that portends) infuriated large swathes of the exhibition sector but has clearly impressed critics.
Magnolia Pictures earned...
Close behind were Spotlight and Beasts Of No Nation on five apiece, followed by indie darling Tangerine and Anomalisa on four each.
Not even a glitch that saw the list of nominees temporarily appear on the Film Independent website prior to the official announcement could spoil what turned out by and large to be a recognition of independent film in its myriad forms.
Besides the more predictable contenders like Carol, Spotlight and Room, there was plenty of love for Tangerine, shot on an iPhone, and Beasts Of No Nation from Netflix, whose day-and-date release (and what that portends) infuriated large swathes of the exhibition sector but has clearly impressed critics.
Magnolia Pictures earned...
- 11/24/2015
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Film Independent, the nonprofit arts organization that produces the Film Independent Spirit Awards, the La Film Festival and Film Independent at Lacma, announced nominations for the 2016 Spirit Awards this morning. Film Independent President Josh Welsh presided over the press conference held at W Hollywood, with actors John Boyega and Elizabeth Olsen presenting the nominations.
Nominees for Best Feature included Anomalisa, Beasts of No Nation, Carol, Spotlight and Tangerine.
“This year’s nominees are a testament to the strength, vitality and diversity of independent, artist-driven filmmaking,” said Film Independent President Josh Welsh. “It’s an astonishingly strong group of films and performances this year and we look forward to celebrating them all at the Spirit Awards.”
Spotlight was selected to receive the Robert Altman Award, which is bestowed upon one film’s director, casting director and ensemble cast. The Altman Award was created in 2008 in honor of legendary director Robert Altman...
Nominees for Best Feature included Anomalisa, Beasts of No Nation, Carol, Spotlight and Tangerine.
“This year’s nominees are a testament to the strength, vitality and diversity of independent, artist-driven filmmaking,” said Film Independent President Josh Welsh. “It’s an astonishingly strong group of films and performances this year and we look forward to celebrating them all at the Spirit Awards.”
Spotlight was selected to receive the Robert Altman Award, which is bestowed upon one film’s director, casting director and ensemble cast. The Altman Award was created in 2008 in honor of legendary director Robert Altman...
- 11/24/2015
- by Michelle McCue
- WeAreMovieGeeks.com
Premiering in Cartagena Film Festival 2014 and then going to the filmmakers’ hometown, New York City, where " Manos Sucias" ("Dirty Hands") won Tribeca Film Festival’s Best New Narrative Director Award and 2nd place Audience Award, this film has not yet closed Us distribution, but has been acquired internationally by some of the best distributors.
In Cannes, Marina de la Fuentes’ international sales agency, 6 Sales, sold it to Paris-based Pretty Pictures who acquired not only France – its usual home territory – but also Germany, Austria, Benelux and Switzerland. James Velaise of Pretty Pictures screened the film at Tribeca and “immediately fell madly in love with it,” he said.
“It came totally out of the blue, we were mesmerized by the filmmaking. As a first-time film 'Manos Sucias' is outstanding, as good as anything we’ve seen coming out of Latin America in a long time,” said Velaise.
Shot on location in Colombia, using local actors who speak the patois of Buenaventura, "Manos Sucias" reflects years of painstaking research by Josef Wladyka.
“What is fascinating is that the filmmaker spent five years in Buenaventura learning what was going on there and building up the trust of people. The average filmmaker would never take the time to do that. You feel that in the film: There a sense of genuineness which you don’t get in 99% of indie films today,” said Velaise.
At the same time, 'Manos Sucias' is “incredibly tight: On paper, it has some breakout potential to it, because it is a thriller, ” he added.
Pretty Pictures will now seek to sell the film on to distributors in the other four territories, all significant distributors for arthouse films. Velaise reasons that companies exist in these territories that often buy the same films as Pretty Pictures, and share similar tastes. (e.g., "La Jaula de Oro", premiered in Cannes’ Un Certain Regard 2013 and was acquired by Belgium-Fourcorners Distribution, France-Pretty Pictures, Germany-Films Boutique, Hong Kong (China)-Encore Inflight Limited, Hungary-Cirko Film Kft., Italy-Parthenos S.R.L., Mexico-Canibal Networks, Netherlands-Wild Bunch Benelux, Norway-As Fidalgo Film Distribution, Poland-Art House, Puerto Rico-Wiesner Distribution, Switzerland-Xenix Filmdistribution Gmbh, Taiwan-Maison Motion, Inc., U.K.- Peccadillo Pictures or "Love is Strange" by Ira Sachs premiered at Sundance 2014 and was acquired by U.S.-Sony Pictures Classics, Australia-Rialto Distribution (Australia), Canada-Métropole Films Distribution, Canada-Mongrel Media Inc., France-Pretty Pictures, Italy-Koch Media, Mexico-Cinemas Nueva Era, Portugal-Midas Filmes, Spain-Golem Distribución, Switzerland-Xenix Filmdistribution Gmbh, Turkey-Kurmaca Film, U.K.- Altitude Film Sales). These distributors are all likely candidates to acquire rights to "Manos Sucias" as well.
U.S. rights to "Manos Sucias" are handled by Wme Global’s Mark Ankner and Christine D’Souza. Distributors seeking to win over the booming Latino audience, and who have an affinity for gritty, action-packed, arthouse thrillers, or any of Pretty Pictures’ recent acquisitions (see below) owe it to themselves to check out this film.
This pioneering U.S.- Colombia production was the debut feature by writer-director, Josef Kubota Wladyka and co-writer-dp Alan Blanco. It was produced by Elena Greenlee, Márcia Nunes, Mirlanda Torres Zapata and Carolina Caicedo and exec-produced by U.S. Film Director Spike Lee.
"Manos Sucias" follows two estranged brothers, both Afro-Colombian fishermen, who embark on a fishing-boat from Buenaventura, Colombia’s biggest Pacific Coast port and a violent drug trade emporium. Their mission is to tow underwater a “narco-torpedo” packed with 100 kilos of cocaine to Panama. En route, they must circumnavigate marauding paramilitaries and impoverished villagers eager for their cargo.
In Cartagena, I interviewed the director, Dp, and producers. Josef Wladyka is a U.S. citizen who is the son of a Japanese mother and a Polish father. He received the Spike Lee Fellowship while attending the Tisch School of the Arts at Nyu.
Josef:
You could say this is a drug story, but you should know it is much more than that. In a fisherman’s village the Afro Colombians are confronted with drug traffic taking place on their ancestral beaches where they have lived for generations.
Before I started Grad Film School at Nyu, I spent several months backpacking with a close friend in South America. We traveled along the Pacific coast of Ecuador and Colombia, and went through these towns that were under siege by narco-trafficking. The locals would tell us stories about homemade submarines, narco-torpedoes, and different armed groups that would fight to control these areas. I became very interested in the subject and wanted to immerse myself more in the world. With the help of a friend from the region, I went back several times to Buenaventura, Tumaco, and other parts of the Pacific coast of Colombia to continue researching and collecting stories.
I also got permission to go to Malaga Naval Base where I saw confiscated narco-torpedoes and submarines first hand. I always had a camera with me and shot lots of footage during my travels. I used that footage to make a pitch video for raising money from Kickstarter and private equity.
The film is an official Colombian production, recognized by the Ley de Cine (The Cinema Law). It is a 50-50 coproduction with Colombian producers Carolina Caicedo and Mirlanda Zapata. With our U.S. producers, Márcia Nunes and Elena Greenlee, that makes four female producers on this film.
Cine Colombia , Colombia’s largest distributor and theater owner, one of the Cartagena Film Festival sponsors as well, invested in the film, as did Caracol, one of Colombia’s top two broadcasters.
Márcia knew Cine Colombia from her previous life in international sales with Goldcrest. Elena, Alan and I scouted in October 2012, one week in Bogotá and through Proimagenes we met many possible co-producers and visited locations. We chose young producers who were hungry for their first film; they were not rigid.
The U.S. producers wanted to do the film U.S. indie style, not in the usual Colombian style. We shot it in Buenaventura, Colombia’s largest port, which has been hit very hard by narco traffickers and violence.
This was the first feature for everyone. Except for Márcia, who got her Masters of Film Business at Gallatin School of Nyu, the others all got their MFAs from Tisch, though some graduated two years ago and others four years ago.
How we, as foreigners, were able to make this film, opening up delicate, sensitive and violent stories, was based on my having no assumptions. And our own cross-cultural backgrounds helped.
We had a great premiere in Cartagena. The festival permits people to see films for free and we were able to test the Colombian audience’s reaction. The film explores the international issue of drug trafficking and the social-exclusion of the Afro-Colombian community on the coast from the mainstream economy in Colombia. The film is genre bending; it is not too arty and is not fully a genre movie. The audience of 800 to 1,000 Colombians laughed and cried, even danced in their seats. Three of the actors also saw the film for the first time, as did the crew. When the actors came up for the Q & A they received a standing ovation from the crowd. It was a beautiful moment.
We offered free audiovisual workshops for the community before we shot the film, and found many of our actors and crewmembers through that process. We used Kickstarter to raise Us $60,000 to greenlight production and fund our community workshops in Buenaventura.
Film Independent bestowed the Canon Filmmaker Award upon the film’s two producers, who are also Film Independent Producing Fellows. The Canon Filmmaker Award Program is a program for Film Independent Fellows, alumni of the Los Angeles Film Festival and Spirit Awards Nominees and Winners. Producers Elena Greenlee and Márcia Nunes who had participated in the Find Producing Lab with the project were awarded with the loan of a Canon camera package for their production. Further support was granted by the San Francisco Film Society, who, together with the Kenneth Rainin Foundation, awarded the film with two grants, one during the production phase, and one during post-production.
Jennifer Kushner, Director of Artist Development at Film Independent spoke with Elena and Márcia in those early days about Manos Sucias and its upcoming shoot, and here’s what they had to say then:
Manos Sucias, Canon Filmmaker Award Winner Round 2
"The social exclusion of the Pacific coast — home to much of the Afro-Colombian population — is felt throughout the country, echoed in the sentiment that Colombia “doesn’t really have a black population.” While popular culture glamorizes cocaine “cowboys,” and the Us takes a tough stance in the “war on drugs,” few people acknowledge the oppression and resilience of these citizens.
Our goal is for the film to inspire change in our audience, and in the region. We want audiences to realize that people like Jacobo and Delio are not perpetuating the drug trade, they are trapped in it; and to reflect on the impact their personal choices have on the situation.”
“When Josef and Alan brought us the script in early 2012, we immediately fell in love with it. The characters jumped off the page, and we couldn’t stop thinking about it.”
Pretty Pictures roster of films illustrates their exceptional taste in films:
"The Dark Valley" ("Das Finstere Tal") By Andreas Prochaska (Acquired From Films Distribution In Feb 2014)
"Dancing In Jaffa" By Hilla Medalia (Acquired From K5 International In Apr 2013)
"Omar" By Hany Abu-Assad (Acquired From The Match Factory In Feb 2013)
"The Look Of Love" By Winterbottom Michael (Acquired From Studiocanal In Aug 2012)
"Pieta" By Ki-Duk Kim (Acquired From Finecut Co. Ltd. In Aug 2012)
"Wadjda" By Haifa Al-Mansour (Acquired From The Match Factory In May 2012)
"The Hunt" ("Jagten") By Thomas Vinterberg (Acquired From Trust In Apr 2012)
"Marina Abramovic: The Artist Is Present" By Matthew Akers (Acquired From Dogwoof In Feb 2012)...
In Cannes, Marina de la Fuentes’ international sales agency, 6 Sales, sold it to Paris-based Pretty Pictures who acquired not only France – its usual home territory – but also Germany, Austria, Benelux and Switzerland. James Velaise of Pretty Pictures screened the film at Tribeca and “immediately fell madly in love with it,” he said.
“It came totally out of the blue, we were mesmerized by the filmmaking. As a first-time film 'Manos Sucias' is outstanding, as good as anything we’ve seen coming out of Latin America in a long time,” said Velaise.
Shot on location in Colombia, using local actors who speak the patois of Buenaventura, "Manos Sucias" reflects years of painstaking research by Josef Wladyka.
“What is fascinating is that the filmmaker spent five years in Buenaventura learning what was going on there and building up the trust of people. The average filmmaker would never take the time to do that. You feel that in the film: There a sense of genuineness which you don’t get in 99% of indie films today,” said Velaise.
At the same time, 'Manos Sucias' is “incredibly tight: On paper, it has some breakout potential to it, because it is a thriller, ” he added.
Pretty Pictures will now seek to sell the film on to distributors in the other four territories, all significant distributors for arthouse films. Velaise reasons that companies exist in these territories that often buy the same films as Pretty Pictures, and share similar tastes. (e.g., "La Jaula de Oro", premiered in Cannes’ Un Certain Regard 2013 and was acquired by Belgium-Fourcorners Distribution, France-Pretty Pictures, Germany-Films Boutique, Hong Kong (China)-Encore Inflight Limited, Hungary-Cirko Film Kft., Italy-Parthenos S.R.L., Mexico-Canibal Networks, Netherlands-Wild Bunch Benelux, Norway-As Fidalgo Film Distribution, Poland-Art House, Puerto Rico-Wiesner Distribution, Switzerland-Xenix Filmdistribution Gmbh, Taiwan-Maison Motion, Inc., U.K.- Peccadillo Pictures or "Love is Strange" by Ira Sachs premiered at Sundance 2014 and was acquired by U.S.-Sony Pictures Classics, Australia-Rialto Distribution (Australia), Canada-Métropole Films Distribution, Canada-Mongrel Media Inc., France-Pretty Pictures, Italy-Koch Media, Mexico-Cinemas Nueva Era, Portugal-Midas Filmes, Spain-Golem Distribución, Switzerland-Xenix Filmdistribution Gmbh, Turkey-Kurmaca Film, U.K.- Altitude Film Sales). These distributors are all likely candidates to acquire rights to "Manos Sucias" as well.
U.S. rights to "Manos Sucias" are handled by Wme Global’s Mark Ankner and Christine D’Souza. Distributors seeking to win over the booming Latino audience, and who have an affinity for gritty, action-packed, arthouse thrillers, or any of Pretty Pictures’ recent acquisitions (see below) owe it to themselves to check out this film.
This pioneering U.S.- Colombia production was the debut feature by writer-director, Josef Kubota Wladyka and co-writer-dp Alan Blanco. It was produced by Elena Greenlee, Márcia Nunes, Mirlanda Torres Zapata and Carolina Caicedo and exec-produced by U.S. Film Director Spike Lee.
"Manos Sucias" follows two estranged brothers, both Afro-Colombian fishermen, who embark on a fishing-boat from Buenaventura, Colombia’s biggest Pacific Coast port and a violent drug trade emporium. Their mission is to tow underwater a “narco-torpedo” packed with 100 kilos of cocaine to Panama. En route, they must circumnavigate marauding paramilitaries and impoverished villagers eager for their cargo.
In Cartagena, I interviewed the director, Dp, and producers. Josef Wladyka is a U.S. citizen who is the son of a Japanese mother and a Polish father. He received the Spike Lee Fellowship while attending the Tisch School of the Arts at Nyu.
Josef:
You could say this is a drug story, but you should know it is much more than that. In a fisherman’s village the Afro Colombians are confronted with drug traffic taking place on their ancestral beaches where they have lived for generations.
Before I started Grad Film School at Nyu, I spent several months backpacking with a close friend in South America. We traveled along the Pacific coast of Ecuador and Colombia, and went through these towns that were under siege by narco-trafficking. The locals would tell us stories about homemade submarines, narco-torpedoes, and different armed groups that would fight to control these areas. I became very interested in the subject and wanted to immerse myself more in the world. With the help of a friend from the region, I went back several times to Buenaventura, Tumaco, and other parts of the Pacific coast of Colombia to continue researching and collecting stories.
I also got permission to go to Malaga Naval Base where I saw confiscated narco-torpedoes and submarines first hand. I always had a camera with me and shot lots of footage during my travels. I used that footage to make a pitch video for raising money from Kickstarter and private equity.
The film is an official Colombian production, recognized by the Ley de Cine (The Cinema Law). It is a 50-50 coproduction with Colombian producers Carolina Caicedo and Mirlanda Zapata. With our U.S. producers, Márcia Nunes and Elena Greenlee, that makes four female producers on this film.
Cine Colombia , Colombia’s largest distributor and theater owner, one of the Cartagena Film Festival sponsors as well, invested in the film, as did Caracol, one of Colombia’s top two broadcasters.
Márcia knew Cine Colombia from her previous life in international sales with Goldcrest. Elena, Alan and I scouted in October 2012, one week in Bogotá and through Proimagenes we met many possible co-producers and visited locations. We chose young producers who were hungry for their first film; they were not rigid.
The U.S. producers wanted to do the film U.S. indie style, not in the usual Colombian style. We shot it in Buenaventura, Colombia’s largest port, which has been hit very hard by narco traffickers and violence.
This was the first feature for everyone. Except for Márcia, who got her Masters of Film Business at Gallatin School of Nyu, the others all got their MFAs from Tisch, though some graduated two years ago and others four years ago.
How we, as foreigners, were able to make this film, opening up delicate, sensitive and violent stories, was based on my having no assumptions. And our own cross-cultural backgrounds helped.
We had a great premiere in Cartagena. The festival permits people to see films for free and we were able to test the Colombian audience’s reaction. The film explores the international issue of drug trafficking and the social-exclusion of the Afro-Colombian community on the coast from the mainstream economy in Colombia. The film is genre bending; it is not too arty and is not fully a genre movie. The audience of 800 to 1,000 Colombians laughed and cried, even danced in their seats. Three of the actors also saw the film for the first time, as did the crew. When the actors came up for the Q & A they received a standing ovation from the crowd. It was a beautiful moment.
We offered free audiovisual workshops for the community before we shot the film, and found many of our actors and crewmembers through that process. We used Kickstarter to raise Us $60,000 to greenlight production and fund our community workshops in Buenaventura.
Film Independent bestowed the Canon Filmmaker Award upon the film’s two producers, who are also Film Independent Producing Fellows. The Canon Filmmaker Award Program is a program for Film Independent Fellows, alumni of the Los Angeles Film Festival and Spirit Awards Nominees and Winners. Producers Elena Greenlee and Márcia Nunes who had participated in the Find Producing Lab with the project were awarded with the loan of a Canon camera package for their production. Further support was granted by the San Francisco Film Society, who, together with the Kenneth Rainin Foundation, awarded the film with two grants, one during the production phase, and one during post-production.
Jennifer Kushner, Director of Artist Development at Film Independent spoke with Elena and Márcia in those early days about Manos Sucias and its upcoming shoot, and here’s what they had to say then:
Manos Sucias, Canon Filmmaker Award Winner Round 2
"The social exclusion of the Pacific coast — home to much of the Afro-Colombian population — is felt throughout the country, echoed in the sentiment that Colombia “doesn’t really have a black population.” While popular culture glamorizes cocaine “cowboys,” and the Us takes a tough stance in the “war on drugs,” few people acknowledge the oppression and resilience of these citizens.
Our goal is for the film to inspire change in our audience, and in the region. We want audiences to realize that people like Jacobo and Delio are not perpetuating the drug trade, they are trapped in it; and to reflect on the impact their personal choices have on the situation.”
“When Josef and Alan brought us the script in early 2012, we immediately fell in love with it. The characters jumped off the page, and we couldn’t stop thinking about it.”
Pretty Pictures roster of films illustrates their exceptional taste in films:
"The Dark Valley" ("Das Finstere Tal") By Andreas Prochaska (Acquired From Films Distribution In Feb 2014)
"Dancing In Jaffa" By Hilla Medalia (Acquired From K5 International In Apr 2013)
"Omar" By Hany Abu-Assad (Acquired From The Match Factory In Feb 2013)
"The Look Of Love" By Winterbottom Michael (Acquired From Studiocanal In Aug 2012)
"Pieta" By Ki-Duk Kim (Acquired From Finecut Co. Ltd. In Aug 2012)
"Wadjda" By Haifa Al-Mansour (Acquired From The Match Factory In May 2012)
"The Hunt" ("Jagten") By Thomas Vinterberg (Acquired From Trust In Apr 2012)
"Marina Abramovic: The Artist Is Present" By Matthew Akers (Acquired From Dogwoof In Feb 2012)...
- 7/18/2014
- by Sydney Levine
- Sydney's Buzz
The San Francisco Film Society (Sffs) in partnership with the Kenneth Rainin Foundation (Krf) announced nine narrative projects that will receive a total of $425,000 in funding.
The Film Society’s flagship Sffs / Krf Filmmaking Grants are awarded twice annually to filmmakers for narrative feature films that will have significant economic or professional impact on the Bay Area filmmaking community.
The nine film-making teams were granted the funding to help with their next stage of production, from screenwriting to post.
“These will be exceptional films, and we are honored to have a part in bringing them into being,” the jury noted in a statement. “Each of these projects explores a unique and authentic world and presents compelling characters that we want to see on the screen.”
The Film Society has a track record of success with previous recipients of the Sffs / Krf Filmmaking Grants like Ryan Coogler’s Fruitvale Station which won the Grand Jury Prize and Audience...
The Film Society’s flagship Sffs / Krf Filmmaking Grants are awarded twice annually to filmmakers for narrative feature films that will have significant economic or professional impact on the Bay Area filmmaking community.
The nine film-making teams were granted the funding to help with their next stage of production, from screenwriting to post.
“These will be exceptional films, and we are honored to have a part in bringing them into being,” the jury noted in a statement. “Each of these projects explores a unique and authentic world and presents compelling characters that we want to see on the screen.”
The Film Society has a track record of success with previous recipients of the Sffs / Krf Filmmaking Grants like Ryan Coogler’s Fruitvale Station which won the Grand Jury Prize and Audience...
- 10/31/2013
- ScreenDaily
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