Veteran British director Ken Loach won his second Palme d’Or at the Cannes Film Festival Sunday for I, Daniel Blake — a stark portrayal of a disabled man’s struggle with the crushing benefits system in northern England.
The 79-year-old was presented the festival’s top prize by actor Mel Gibson at a ceremony on the French Riviera. Accepting the award, the silver-haired Loach punched his fists in the air in victory and said that he hoped his gritty, social realist movie would hold a mirror up to the impact of Europe’s policies of austerity on the poorest in society.
Director Ken Loach, centre, actor Mel Gibson, left and President of the Jury George Miller react after Roach is awarded the Palme d’or for the film I, Daniel Blake, during the awards ceremony at the 69th international film festival, Cannes, southern France, Sunday, May 22, 2016. (AP Photo/Thibault Camus)
“We must give a message of hope, we must say another world is possible,” he said.
I, Daniel Blake chronicles a middle-aged widower from Newcastle who, after a heart attack, can neither work nor get government aid. It follows the sometimes comic, frequently painful frustrations as he winds his way through an archaic system that seems designed to bring him down.
Like many of Loach’s films, social politics is at the heart of I, Daniel Blake — which many critics have predicted could be his last.
“There is a conscious cruelty in the way that we are organizing our lives now, where the most vulnerable people are told that their poverty is their own fault,” Loach told reporters. “If you have no work it’s your fault you haven’t got a job. Never mind in Britain, there is mass unemployment throughout Europe.”
Loach has long brought his distinct portrayals of the British working class to Cannes — and is more a regular at Cannes than almost any filmmaker. He has had 12 films in competition at the festival over the years, including his Palme d’Or-winning The Wind That Shakes the Barley.
Canadian director Xavier Dolan picked up the runner-up Grand Prize, which has been seen by some critics as a vindication for him personally after his film, It’s Only The End Of The World, garnered lukewarm reviews and triggered a spat between him and certain film critics. The 27-year-old won the jury prize in 2014 for Mommy.
Director Xavier Dolan poses for photographers with his Grand Prix prize for the film, Juste La Fin du Monde (It’s Only The End OF the World), during the photo call following the awards ceremony at the 69th international film festival, Cannes, southern France, Sunday, May 22, 2016. (AP Photo/Joel Ryan)
The jury of the 69th Cannes Film Festival was headed by Australian director George Miller who described the jury’s selection as “two words: rigorous and happy.”
The Cannes jury’s decisions are famously unpredictable, and take place behind doors closed to the press for the duration of the May 11-22 festival.
Despite mixed reviews, director Asghar Farhadi’s film, The Salesman, picked up several awards including best screenplay and best actor for Shahab Hosseini.
Romanian director Cristian Mungui, who was a favorite to win the Palme d’Or for Graduation, won the best director award, which he shared with French director Olivier Assayas for his paranormal thriller, Personal Shopper, starring former Twilight star Kristen Stewart.
Director Olivier Assayas poses for photographers after receiving the Best Director award for the film Personal Shopper, during the photo call following the awards ceremony at the 69th international film festival, Cannes, southern France, Sunday, May 22, 2016. (AP Photo/Lionel Cironneau)
What is art and how does it relate to society? Is its value determined by its popularity or originality? Is the goal profit or expressing one’s personal vision? These are some of the questions raised as we follow fiercely independent New York artist Robert Cenedella in his artistic journey through decades of struggling for creative expression.
A student, protégé and friend of German artist George Grosz, Cenedella is now passing on the legacy of Grosz’s approach to art, in the very same room where Grosz taught. In portraying Cenedella’s determination to buck the system of what’s popular while critiquing that popularity in his attempt to turn the art world upside down, ART BASTARD is a funny, touching, and insightful look inside the maverick mind of a true original.– Written by Art Bastard
Soon to be released CAVU Pictures’ new documentary ART BASTARD starring Robert Cenedella! The film will open in New York on June 3 at the Angelika Film Center and Lincoln Plaza Cinemas, in Los Angeles on June 17 at the Laemmle Monica Film Center in Santa Monica and in Orange County on June 24 at the Edwards University Town Center 6 in Irvine, followed by a national release.
I will be analyzing the three films, Rashomon (1950), Seven Samurai (1957), and Ran (1985), in relation to how these Akira Kurosawa films represent men and their relationship to social structures, and to violence in reference to historical truth and to socio-economic realities. In Rashomon, Kurosawa breaks the traditional narrative mold of his earlier films with Arthouse Cinema depicting a murder of a samurai and the rape of his Lady by a bandit. The samurai is depicted as a clean cut, upright guardian as he walks carrying the reigns of the horse that his properly attired Japanese Lady rides upon in traditional ruling class attire complete with hat and facial netting protecting her delicate, porcelain-like skin from the harmful rays of the sun. The bandit, on the other hand, is dressed with tattered garb, no shirt, unshaven and a general unkempt appearance and he is frequently swatting and defending himself from the attention of big flies evidenced by his scratching and swatting at the loud buzzing of the flies. As the samurai and the Lady make their way through the woods, the bandit slowly watches like a snake watching his prey. Eventually, the bandit confronts the samurai in broad-action, sword dueling scenes and in hand to hand combats as daggers are brandished and eventually the bandit subdues the samurai and forcefully takes the Lady’s honor. (People: Akira Kurasawa)
The men this film is focusing on are men that take care of the weaker sexed women and use violence to get what they want and need. (Prince) The use of violence to protect the weak and to get what is wanted will be seen again and again in Seven Samurai, in Ran, as well as in the remainder of Rashomon, as four varying versions of the same crime are presented with one version containing a hidden secret. In my opinion, this film is a reflection of Japanese society in 1950. The Japanese samurai has been killed as democratization is the driving force behind the new society and that the new culture is at risk of becoming a society of thieves and bandits. (People: Akira Kurasawa)
Americanization has been taking place with a new constitution being implemented. Furthermore, the Japanese “sword,” the army, has been removed. It is my belief the four versions represent varying perspectives on WWII. Yet, by the end of Rashomon, an acceptance of the past has taken place and hope for the future is being put forth symbolized by the wood cutter’s willingness to trade the valuable, pearl-handled dagger he kept for himself, in return for the safety and well-being of the newborn. (Prince, The Warrior’s Camera: The cinema of Akira Kurosawa) This, in my opinion, is Kurosawa showing through the woodcutter’s action that there is there is hope for the future of Japan without the weapons of the samurai and the army.
With the 1955 film Seven Samurai, ten years have passed since the end of WWII. Japan is struggling to find it’s own identity. For the most part, Japanese society has all but turned its back on the samurai way and is leaning heavily toward a full embrace of Western ideals and economics. Kurosawa sees the ideals of the samurai as a way for Japan to embrace the past taking the strong, good ideals of the legendary samurai and reinventing the samurai as a present day, or contemporary figure as he fears Japan is losing its identity. (People: Akira Kurasawa) The film opens with the bandits coming to rob the peasant farmers of their grain and barley. The peasants can’t defend themselves and fear for their survival. They decide to hire a samurai to protect and help defend them from the marauding bandits. Interestingly, Kurosawa depicts the first samurai as out of work true to a struggling contemporary Japanese economy. The samurai prepares himself as a priest and rescues a baby from a crazed kidnapper. The kidnapper is impaled by a sword and stumbling from the hut and in slow-motion drops dead to the ground. The samurai emerges and holds the baby aloft. The samurai uses violence to protect and safeguard the baby. I believe Kurosawa uses the baby again here in Seven Samurai, as he did in Rashomon, to foreshadow a hopeful future for Japan.
The men in Seven Samurai, are distinctly drawn into two classes, the upper class samurai and the peasant farmers and bandits. Kurosawa depicts the samurai living almost exclusively by a code of loyalty, duty responsibility and honor. He embodies these men as transcending selfishness and individualism, sacrificing themselves to protect the peasants. In addition, he includes a peasant who was not born into the samurai class as the possibility of social mobility in post WWII Japanese society and through the samurai and the hard work, sense of duty and fighting loyalty of the peasants victory is possible. Kurosawa uses violence as abstract realism. The fight scenes are very physical, very kinetic. His use of the long lens and camera angles draws the viewer’s eye in and creates a very contemporary feel. (Giddens) Furthermore, in the final scenes, Kurosawa is linking the ideals of the samurai at the film’s end with the buried samurai on the hillside with the future of Japan. As Japan is struggling to find its identity Kurosawa is showing them a way through the abyss- the dirty, muddy fight scenes – through the surviving samurai tradition of loyalty, self-sacrifice and sense of duty. In the closing moments of Seven Samurai, the surviving samurai agree that they survived and that the peasant farmer’s are the ones who have won. Kurosawa is saying that the Japanese can have a better future if they are willing to reach for it and work for it.
With his final epic film, the Shakespearean Japanese interpretive, Ran, based on “King Lear,” Kurosawa has pulled away from such overt optimism of Seven Samurai, and the darker themes from his earlier Shakespearean Japanese interpretive, Throne of Blood, based on Shakespeare’s “Macbeth,” have taken hold. Kurosawa sees his government taking sides with huge corporations at the expense of the Japanese people. A truly authentic Japanese identity post WWII is becoming very difficult. Kurosawa has for all intents and purposes lost faith in the Japanese government and it’s chance at a more hopeful, authentic Japan based on the ideals of the samurai society. Kurosawa has seen the Japanese samurai ideals subverted almost entirely into the corporation. (Nolletti) His film Ran, (1965) is a white flag to the winds of fate – the lost hope of an independent, authentic Japan. (IMDB: Akira Kurosawa) The sons of Lord Hidetora are, in my opinion, representative of the sons of Japan after WWII. Not to be content with their individual kingdoms, each is driven to conquer, capture and unify the people by a woman, Lady Kaede who is hell bent on revenging her family’s demise at the hand of Lord Hidetora years earlier. A case can be made Japan had come full circle from the civil warring era that Kurosawa sets these films, with serfdoms battling one another and samurais waging the battles for the lord of the serfdom, much like the warriors that served the three castles and the Lord of each castle to the economic juggernaut that Japan became in the 1970’s and early 1980’s following WWII. (Prince, “Remaking Kurosawa: Translations and Permutations in Global Cinema”)
Seemingly, Kurosawa has thrown his hands up in the air with Ran, and has reached the conclusion that Japan is fated and his efforts to see his native country return to, or even evolve into, a strong, masculine state again will not be fulfilled. Japanese suffering is just the way the world works. Kurosawa conveys this with the image of a castle burning with horsemen rushing in and killing is everywhere. Moreover, the ending of Ran, depicts Taramaru on the top of his family’s burned out castle ruins. A drastic cut pull out gives appearance Taramaru is part of the ruin and poses the adage that Justice is blind. Seemingly, Kurosawa feels modern Japan, like, the Japan depicted in Ran, is being decided on the whims of a feminized bureaucracy attempting to avenge a humiliating defeat through the economic windfalls of hue corporations. Kurosawa’s films after this period moved into dreamlike states and fantasia.
The messages Kurosawa sets forth in these masterpieces are relevant today. Economically, Japan is struggling due to a global recession, a major earthquake and a resultant three-story tsunami (possibly fate) along with a nuclear release of radioactive material occurring at the Fukushima nuclear power plants. Notwithstanding, Japan as a culture, has succeeded in maintaining aspects of the samurai culture in its work ethic and in its value of loyalty. Nevertheless, as a nation, Japan did not invite the international community to participate in assessing and containing the nuclear spillage nor in rectifying the leakage from the Fukushima Daiichi reactor. As Kurosawa elegantly, and eloquently shows, the Japanese people are a people steeped in a strong, rich and powerful tradition. One can only hope that when they need to, they ask for help in overcoming an adversary to ensure the health and survival of its people despite class differences. In closing, I believe Japan still looks to the West before it charts its course for the future – much like Kurosawa’s western genre influence in these films. And despite the great film director’s dismay, the Japanese people and the strong ideals of the samurai remain vibrant, alive as they work, struggle and fight for a better future.
Works Cited
Prince, Stephen. The Warrior’s Camera: The cinema of Akira Kurosawa. Princeton University Press, 1999.
Giddens, Gary. Kurosawa in Action. 22 July 2015 .
Nolletti, Arthur. “”Perspectives on Kurosawa”.” Film Quarterly Summer 1996: 52-54.
Prince, Stephen. “”Remaking Kurosawa: Translations and Permutations in Global Cinema”.” The Journal of Japanese Studies 37.1 (2011): 229-233.
People: Akira Kurasawa. 19 July 2015 .
IMDB: Akira Kurosawa. 18 July 2015 .
From June 22–26, the 14th edition of AFI DOCS showcases 94 films representing 30 countries. Screenings will take place in Washington, DC, at the Newseum and the Landmark E Street Cinema, and in Silver Spring, MD, at the AFI Silver Theatre and Cultural Center.
Newly announced films from notable documentarians include COMMAND AND CONTROL (DIR Robert Kenner), the world premiere of DOC & DARRYL (DIRS Judd Apatow, Michael Bonfiglio) and MISS SHARON JONES! (DIR Barbara Kopple) — and many more titles.
As previously announced, the Newseum will host the Opening Night Gala and North American premiere of ZERO DAYS (DIR Alex Gibney) and the Closing Night Gala screening of NORMAN LEAR: JUST ANOTHER VERSION OF YOU (DIRS Heidi Ewing, Rachel Grady). Also previously announced, AFI will recognize Werner Herzog at AFI DOCS as the Charles Guggenheim Symposium honoree on June 24. The Symposium will include a conversation, moderated by Ramin Bahrani, followed by the East Coast premiere of Herzog’s latest film LO AND BEHOLD, REVERIES OF THE CONNECTED WORLD.
AFI DOCS will offer additional programs for festival filmmakers as a way to connect with film industry and policy leaders. The festival will also include a Filmmaker Forum open to the documentary filmmaking community.
Tickets to AFI DOCS 2016, including Galas and Spotlight Screenings, will be available to AFI members exclusively from May 9–17, and to the public on May 18. Passes for AFI DOCS 2016 are now on sale.
Take a five day trip to Asia by seeing eleven brand new Asian films including the recently announced Collective Invention, The Chronicles of Evil, and The Accidental Detective!
Collective Invention
Written & Directed by Oh-Kwang Kwon, Starring: Cheon-hee Lee, Kwang Soo Lee, Bo-yeong Park, from South Korea with a running time of 92 minutes.
“It all starts when idealistic aspiring journalist Sang-won (Lee Chun-hee) accepts an on-spec assignment to investigate what is surely an urban legend: the rumour of a man who turned into a fish after participating in clinical trials for a major pharmaceutical company. It’s only upon interviewing the irreverent Ju-jin (Park Bo-young) that Sang-won discovers the legend is all too real: Ju-jin’s boyfriend Gu (Lee Kwang-soo) is a bona fide fish-man, complete with webbed fingers and a giant fish head. Gu rapidly becomes a media sensation, and an enterprising young human-rights lawyer endeavours to nail the scientists who rendered him a monster — though there are others who feel they deserve the Nobel Prize. It’s only upon reaching the height of his fame that Gu is caught doing something that reminds his fans that, for all his outward weirdness, he is all too human and perhaps not as perfect a role model as the world wants him to be.
Hero or con man? Victim or poseur? The more his renown grows, the more Gu comes to represent whatever is projected upon him.
Riddled with witty twists and goofy detours, Collective Invention examines how popular culture operates by its own capricious logic, and proposes that our best option is to flee the hype and simply get on with life — no matter how wacky that life becomes. – Giovanna Fulvi, tiff
The Chronicles of Evil
Written & Directed by Baek Woon-hak
Starring: Son Hayun-Joo, Daniel Choi, Park Seo-Joon, Ma Dong-Seok
Country: South Korea
Runtime: 102 min
Highly decorated homicide detective Choi Chang-sik has an enviable record and the respect of his peers. Days before a promotion, he dozes off on his way home after a celebratory drink with his colleagues. He wakes up to find that his taxi driver has taken him to a remote mountain trail and has pulled a knife on him. The two struggle, and Choi manages to kill the taxi driver in self-defense. Afraid that the incident would negatively impact his career, he covers up the crime scene and flees. The next day, the taxi driver’s dead body has been strung up on a crane in front of the police station, and Choi is assigned to the case amidst widespread media attention. Realizing that he is caught in a trap, he must now untangle past mistakes to figure out why he was targeted in the first place.
The Accidental Detective
Written & Directed by Kim Jung-Hoon
Starring: Kwon Sang-Woo, Sung Dong-Il, Seo Young-Hee, Park Hae-Joon
Country: South Korea
Runtime: 120 min
Kang Dae-man is a popular blogger who writes about cold cases, and head of a profiling online forum. But in real life, he runs a comic book shop, is always scolded by his wife and assumes the role of a glorified babysitter. His Sherlock Holmes-level deduction skills are of no use in his daily life. His only joy is hanging around at a local police station and interfering with ongoing police investigations. Nicknamed ‘the White Shark’, homicide veteran detective Noh Tae-su was a legend in his heyday but was demoted many years ago and is now forced to work under his junior. One day, a horrific murder takes place and Dae-man’s friend and Det. Noh’s partner, Joon-su, is framed for the murder. Time of death is clearly given away by the broken wristwatch of the victim, and the murder weapon was discovered wrapped in Joon-su’s clothing. Not wanting to see Joon-su rot in prison for 30 years, Dae-man and Det. Noh have no choice but to partner up and uncover the plot behind the murder. As more bodies surface without any solid connection between them, the two men know that they are running out of time…
Stay tuned for more film announcements!
Patron Pass ~ $250
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– Tuesday May 10 – 5:30pm – 7:30pm
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Cinephile Pass ~ $80
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The 2016 Newport Beach Film Festival opened for its 17th edition with the quasi-family drama, After The Reality, to a six-screen, sold-out crowd at the Edwards Big Six in Newport Beach California. Movie-goers anxiously waited in a line that extended out onto the sidewalk of Newport Center Drive.
Stella Artois Official Newport Beach Film Festival Sponsors, Mark and Ann Danner, outside the Regal Entertainment Group’s Edwards Big Six & RPX movie cineplex in Newport Beach, Calif., at the 17th Annual Newport Beach film Festival’s Opening Night, April 21, 2016. (Photo credit: Larry Gleeson/HollywoodGlee)
At approximately 7:47 P.M. the cinephiles in Theater Six were welcomed to the festival by Newport Beach Film Festival Founder and Executive Director Greg Schwenk. Schwenk reminisced about the last seventeen years before giving way to Newport Beach Mayor, Diane Dixon. Dixon, decked out in a striking red outfit stressed the vital role the festival has come to play in the airy Newport Beach community and predicted it will continue to grow in stature as a major lifestyle film festival with its already present world-class appeal. While not downplaying the opening film, Dixon confessed she was already looking forward to seeing Dirty Old Wedge, a popular Newport surfing area with a storied history.
Without any more adieu, the 17th edition of the Newport Beach Film Festival was underway.
Take a five day trip to Asia by seeing eleven brand new Asian films including the recently announced Mr. Six and Sweet Bean!
Mr. Six
This thrilling new film from gifted auteur Guan Hu (Cow) immerses us in the crime-riddled labyrinth of Beijing’s rapidly changing underworld. Based on actual events, Mr. Six is the story of a fascinating man whose life reflects the history of a nation.
In a welcome return to acting, great Beijing writer-director Feng Xiaogang stars as the mysterious Mr. Six. Many years ago Mr. Six was a notorious gangster. That was back when there was still such a thing as honour among thieves, when criminals earned respect and maintained principles. These days Mr. Six is all but forgotten, a living relic residing in a hutong, or narrow alley.
Feng Xaiogang as Mr. Six (Credit: China Lion Film)
One day Six’s son, Xiaobo (Li Yifeng), is abducted by some spoiled punks after scratching their precious Ferrari. Mr. Six, who has been diagnosed with a serious heart condition, realizes that he must do whatever it takes to get his son back and forge a meaningful bond with him while there is still time — even if that means returning to the life he thought he had left behind. Beijing’s new generation of thugs are all flash and no ethics, but Mr. Six, calling on a few friends from his past for assistance, finds that the old ways can still be used to get a difficult job done.
With Guan’s impeccable narrative power behind the camera and Feng’s subtle character-making magic in front of it, Mr. Six sees a panoply of diverse talents come together to tell a gripping story that bridges Chinas old and new. – Giovanna Fulvi, tiff
Sweet Bean
Adapted from the novel by Durian Sukegawa, the new film by Naomi Kawase is a graceful ode to the invisible essences of existence — to the beauty and joy we can discover once we learn to listen to nature and feel the life that is coursing through and all around us.
“Sweet Bean” is a delicious red bean paste, the sweet heart of the dorayaki pancakes that Sentaro (Masatoshi Nagase) sells from his little bakery to a small but loyal clientele. Absorbed in sad memories and distant thoughts, Sentaro cooks with skill but without enthusiasm. When seventy-six-year-old Tokue (Kirin Kiki) responds to his ad for an assistant and cheerfully offers to work for a ridiculously low wage, Sentaro is skeptical about the eccentric old lady’s ability to endure the long hours. But when she shows up early one morning and reveals to him the secret to the perfect an — listening to the stories of wind, sun and rain that the beans have to tell — Sentaro agrees to take her on, trusting her strange ability to connect with nature. With Tokue’s new home-cooked an recipe, Sentaro’s business begins to flourish — but along with her smiles and culinary skill, Tokue is afflicted with an illness that, once revealed, drives her into isolation once again.
Credit – NYTimes.com
Using cookery to explore her perennial theme of communion with nature, in An Kawase also poignantly addresses the discrimination that condemns many like Tokue to live their lives segregated from the rest of society. Beautifully shot and quietly moving, An is a humble masterpiece from a singularly accomplished filmmaker. – Giovanna Fulvi, tiff
Carl Weathers will present Sylvester Stallone with the prestigious Montecito Award at the Santa Barbara International Film Festival, reuniting the two stars from the Oscar-winning Rocky.
Stallone is receiving the award for his award-winning performance in Ryan Coogler’s hit film Creed.
Given to a person in the entertainment industry who has made a great contribution to film, the award will be presented to Stallone at a ceremony on Tuesday, February 9, at the historic Arlington Theater.
Weathers famously portrayed Heavyweight Champion Apollo Creed in the original Rocky films, first squaring off with the Italian Stallion in Rocky and Rocky II, and returning in Rocky III and Rocky IV as Rocky’s close friend and trainer. The new film, Creed, centers on Apollo’s son, Adonis Creed (played by Michael B. Jordan), who never knew his famous father. But with boxing in his blood, Adonis turns to Rocky Balboa to train him for the ring.
Park City, UT — Sundance Institute tonight announced the prizes in feature filmmaking at the 2016 Sundance Film Festival, with top awards going to Between Sea and Land, The Birth of a Nation, First Girl I Loved, Jim: The James Foley Story, Sand Storm, Sonita and Weiner. The Birth of a Nation and Sonita won both the Grand Jury Prize and Audience Award for their respective sections.
(Credit: Elliot Davis)
(Credit: Rokhsareh Ghaem Maghami)
(L-R) The Birth of a Nation, Credit:Eliot Davis; Sonita, Credit:Rokhsareh Ghaem Maghami
Full video of the ceremony, hosted by director Taika Waititi in Park City, Utah:
The ceremony is the culmination of the 2016 Festival, which presented 123 feature-length and 72 short films – selected from 12,793 submissions – to independent film-loving audiences in Park City, Salt Lake City, Ogden and Sundance, Utah.
Jury prizes were awarded by six groups of film and culture leaders, who screened all films in their respective sections and jointly decided which standout artistic and story elements to recognize. This year’s jurors were: Simon Kilmurry, Jill Lepore, Shola Lynch, Louie Psihoyos, Amy Ziering, Mark Adams, Lena Dunham, Jon Hamm, Avy Kaufman, Franklin Leonard, Randall Poster, Fernanda Solórzano, Apichatpong Weerasethakul, Mila Aung-Thwin, Tine Fischer and Asif Kapadia. In addition, Festival audiences voted for their favorite films to receive five Audience Awards in each of the U.S. and World Competitions and NEXT.
Feature film award winners in previous years include: Whiplash, Fruitvale Station, Beasts of the Southern Wild, Twenty Feet from Stardom, Searching for Sugarman, The Square, Me and Earl and the Dying Girl, Cartel Land, The Wolf Pack, The Diary of a Teenage Girl, Dope, Dear White People, The Cove and Man on Wire.
2016 SUNDANCE FILM FESTIVAL FEATURE FILM AWARDS:
The U.S. Grand Jury Prize: Documentary was presented by Louis Psihoyos to: Weiner / U.S.A. (Directors: Josh Kriegman, Elyse Steinberg) — With unrestricted access to Anthony Weiner’s New York City mayoral campaign, this film reveals the human story behind the scenes of a high-profile political scandal as it unfolds, and offers an unfiltered look at how much today’s politics is driven by an appetite for spectacle.
The U.S. Grand Jury Prize: Dramatic was presented by Franklin Leonard to: The Birth of a Nation / U.S.A. (Director and screenwriter: Nate Parker) — Set against the antebellum South, this story follows Nat Turner, a literate slave and preacher whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom. Cast: Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, Mark Boone Jr.
The World Cinema Grand Jury Prize: Documentary was presented by Asif Kapadia to: Sonita / Germany, Iran, Switzerland (Director: Rokhsareh Ghaem Maghami) — If 18-year-old Sonita had a say, Michael Jackson and Rihanna would be her parents and she’d be a rapper who tells the story of Afghan women and their fate as child brides. She finds out that her family plans to sell her to an unknown husband for $9,000.
The World Cinema Grand Jury Prize: Dramatic was presented by Apichatpong Weerasethakul to: Sand Storm / Israel (Director and screenwriter: Elite Zexer) — When their entire lives are shattered, two Bedouin women struggle to change the unchangeable rules, each in her own individual way. Cast: Lamis Ammar, Ruba Blal-Asfour, Hitham Omari, Khadija Alakel, Jalal Masrwa.
The Audience Award: U.S. Documentary, Presented by Acura was presented by Matt Ross to: Jim: The James Foley Story / U.S.A. (Director: Brian Oakes) — The public execution of American conflict journalist James Foley captured the world’s attention, but he was more than just a man in an orange jumpsuit. Seen through the lens of his close childhood friend, Jim: The James Foley Story moves from adrenaline-fueled front lines and devastated neighborhoods of Syria into the hands of ISIS.
The Audience Award: U.S. Dramatic, Presented by Acura was presented by Matt Ross to: The Birth of a Nation / U.S.A. (Director and screenwriter: Nate Parker) — Set against the antebellum South, this story follows Nat Turner, a literate slave and preacher whose financially strained owner, Samuel Turner, accepts an offer to use Nat’s preaching to subdue unruly slaves. After witnessing countless atrocities against fellow slaves, Nat devises a plan to lead his people to freedom. Cast: Nate Parker, Armie Hammer, Aja Naomi King, Jackie Earle Haley, Gabrielle Union, Mark Boone Jr.
The Audience Award: World Cinema Documentary was presented by Rose McGowan to: Sonita / Germany, Iran, Switzerland (Director: Rokhsareh Ghaem Maghami) — If 18-year-old Sonita had a say, Michael Jackson and Rihanna would be her parents and she’d be a rapper who tells the story of Afghan women and their fate as child brides. She finds out that her family plans to sell her to an unknown husband for $9,000.
The Audience Award: World Cinema Dramatic was presented by Rose McGowan to: Between Sea and Land / Colombia (Director: Carlos del Castillo, Screenwriter: Manolo Cruz) — Alberto, who suffers from an illness that binds him into a body that doesn’t obey him, lives with his loving mom, who dedicates her life to him. His sickness impedes him from achieving his greatest dream of knowing the sea, despite one being located just across the street. Cast: Manolo Cruz, Vicky Hernandéz, Viviana Serna, Jorge Cao, Mile Vergara, Javier Sáenz.
The Audience Award: NEXT, Presented by Adobe was presented by Taika Waititi to: First Girl I Loved / U.S.A. (Director and screenwriter: Kerem Sanga) — Seventeen-year-old Anne just fell in love with Sasha, the most popular girl at her L.A. public high school. But when Anne tells her best friend, Clifton—who has always harbored a secret crush on her—he does his best to get in the way. Cast: Dylan Gelula, Brianna Hildebrand, Mateo Arias, Jennifer Prediger, Tim Heidecker, Pamela Adlon.
The Directing Award: U.S. Documentary was presented by Amy Ziering to: Roger Ross Williams for his film Life, Animated / U.S.A. (Director: Roger Ross Williams) — Owen Suskind, an autistic boy who could not speak for years, slowly emerged from his isolation by immersing himself in Disney animated movies. Using these films as a roadmap, he reconnects with his loving family and the wider world in this emotional coming-of-age story.
The Directing Award: U.S. Dramatic was presented by Mark Adams to: Daniel Scheinert and Daniel Kwan for their film Swiss Army Man / U.S.A. (Directors and screenwriters: Daniel Scheinert, Daniel Kwan) — Hank, a hopeless man stranded in the wild, discovers a mysterious dead body. Together the two embark on an epic journey to get home. As Hank realizes the body is the key to his survival, this once-suicidal man is forced to convince a dead body that life is worth living. Cast: Paul Dano, Daniel Radcliffe, Mary Elizabeth Winstead.
The Directing Award: World Cinema Documentary was presented by Mila Aung Thwain to: Michal Marczak for his filmAll These Sleepless Nights / Poland (Director: Michal Marczak) — What does it mean to be awake in a world that seems satisfied to be asleep? Kris and Michal push their experiences of life and love to a breaking point as they restlessly roam the city streets in search of answers, adrift in the euphoria and uncertainty of youth.
The Directing Award: World Cinema Dramatic was presented by Randall Poster to: Belgica / Belgium, France, Netherlands (Director: Felix van Groeningen, Screenwriters: Felix van Groeningen, Arne Sierens) — In the midst of Belgium’s nightlife scene, two brothers start a bar and get swept up in its success. Cast: Stef Aerts, Tom Vermeir, Charlotte Vandermeersch, Hélène De Vos.
The Waldo Salt Screenwriting Award: U.S. Dramatic was presented by Lena Dunham to: Chad Hartigan forMorris from America / U.S.A., Germany (Director and screenwriter: Chad Hartigan) — Thirteen-year-old Morris, a hip-hop loving American, moves to Heidelberg, Germany, with his father. In this completely foreign land, he falls in love with a local girl, befriends his German tutor-turned-confidant, and attempts to navigate the unique trials and tribulations of adolescence. Cast: Markees Christmas, Craig Robinson, Carla Juri, Lina Keller, Jakub Gierszał, Levin Henning.
A U.S. Documentary Special Jury Award for Editing was presented by Jill Lepore to: Penny Lane and Thom Stylinski for NUTS! / U.S.A. (Director: Penny Lane) — The mostly true story of Dr. John Romulus Brinkley, an eccentric genius who built an empire with his goat-testicle impotence cure and a million-watt radio station. Animated reenactments, interviews, archival footage, and one seriously unreliable narrator trace his rise from poverty to celebrity and influence in 1920s America.
A U.S. Documentary Special Jury Award for For Social Impact Filmmaking was presented by Simon Kilmurry to: Trapped / U.S.A. (Director: Dawn Porter) — American abortion clinics are in a fight for survival. Targeted Regulation of Abortion Providers (TRAP) laws are increasingly being passed by states that maintain they ensure women’s safety and health, but as clinics continue to shut their doors, opponents believe the real purpose of these laws is to outlaw abortion.
A U.S. Documentary Special Jury Award for Writing was presented by Shola Lynch to: Kate Plays Christine / U.S.A. (Director: Robert Greene) — This psychological thriller follows actor Kate Lyn Sheil as she prepares to play the role of Christine Chubbuck, a Florida television host who committed suicide on air in 1974. Christine’s tragic death was the inspiration for Network, and the mysteries surrounding her final act haunt Kate and the production.
A U.S. Documentary Special Jury Award for Vérité Filmmaking was presented by Shola Lynch to: The Bad Kids / U.S.A. (Directors: Keith Fulton, Lou Pepe) — At a remote Mojave Desert high school, extraordinary educators believe that empathy and life skills, more than academics, give at-risk students command of their own futures. This coming-of-age story watches education combat the crippling effects of poverty in the lives of these so-called “bad kids.”
A U.S. Dramatic Special Jury Award was presented by Lena Dunham to: As You Are / U.S.A. (Director: Miles Joris-Peyrafitte, Screenwriters: Miles Joris-Peyrafitte, Madison Harrison) — As You Are is the telling and retelling of a relationship between three teenagers as it traces the course of their friendship through a construction of disparate memories prompted by a police investigation. Cast: Owen Campbell, Charlie Heaton, Amandla Stenberg, John Scurti, Scott Cohen, Mary Stuart Masterson.
A U.S. Dramatic Special Jury Award for Breakthrough Performance was presented by Avy Kaufman to: Joe Seo for Spa Night / U.S.A. (Director and screenwriter: Andrew Ahn) — Los Angeles’s Korean spas serve not only as meeting places but also as a bridge between past and future for generations of immigrant families. Spa Night explores one Korean American family’s dreams and realities as each member struggles with the overlap of personal desire, disillusionment, and sense of tradition. Cast: Joe Seo, Haerry Kim, Youn Ho Cho, Tae Song, Ho Young Chung, Linda Han.
A U.S. Dramatic Special Jury Award for Individual Performance was presented by Jon Hamm to: Melanie Lynskey in The Intervention / U.S.A. (Director and screenwriter: Clea DuVall) — A weekend getaway for four couples takes a sharp turn when one of the couples discovers the entire trip was orchestrated to host an intervention on their marriage. Cast: Melanie Lynskey, Cobie Smulders, Alia Shawkat, Clea DuVall, Natasha Lyonne, Ben Schwartz.
A U.S. Dramatic Special Jury Award for Individual Performance was presented by Jon Hamm to: Craig Robinson in Morris from America / U.S.A., Germany (Director and screenwriter: Chad Hartigan) — Thirteen-year-old Morris, a hip-hop loving American, moves to Heidelberg, Germany, with his father. In this completely foreign land, he falls in love with a local girl, befriends his German tutor-turned-confidant, and attempts to navigate the unique trials and tribulations of adolescence. Cast: Markees Christmas, Craig Robinson, Carla Juri, Lina Keller, Jakub Gierszał, Levin Henning.
A World Cinema Documentary Special Jury Award for Debut Feature was presented by Asif Kapadia to: Heidi Brandenburg and Mathew Orzel for their film When Two Worlds Collide / Peru (Directors: Heidi Brandenburg, Mathew Orzel) — An indigenous leader resists the environmental ruin of Amazonian lands by big business. As he is forced into exile and faces 20 years in prison, his quest reveals conflicting visions that shape the fate of the Amazon and the climate future of our world.
A World Cinema Documentary Special Jury Award for Cinematography was presented by Mila Aung Thwain to: Director and cinematographer Pieter-Jan De Pue for his film The Land of the Enlightened / Belgium (Director: Pieter-Jan De Pue) — A group of Kuchi children in Afghanistan dig out old Soviet mines and sell the explosives to child workers in a lapis lazuli mine. When not dreaming of an Afghanistan after the American withdrawal, Gholam Nasir and his gang control the mountains where caravans are smuggling the blue gemstones.
A World Cinema Documentary Special Jury Award for Editing was presented by Asif Kapadia to: Mako Kamitsuna and John Maringouin for We Are X / United Kingdom, U.S.A., Japan (Director: Stephen Kijak) — As glam rock’s most flamboyant survivors, X Japan ignited a musical revolution in Japan during the late ’80s with their melodic metal. Twenty years after their tragic dissolution, X Japan’s leader, Yoshiki, battles with physical and spiritual demons alongside prejudices of the West to bring their music to the world.
A World Cinema Dramatic Special Jury Award for Acting was presented by Fernanda Solórzano to: Vicky Hernandéz and Manolo Cruz in Between Sea and Land / Colombia (Director: Carlos del Castillo, Screenwriter: Manolo Cruz) — Alberto, who suffers from an illness that binds him into a body that doesn’t obey him, lives with his loving mom, who dedicates her life to him. His sickness impedes him from achieving his greatest dream of knowing the sea, despite one being located just across the street. Cast: Manolo Cruz, Vicky Hernandéz, Viviana Serna, Jorge Cao, Mile Vergara, Javier Sáenz.
A World Cinema Dramatic Special Jury Award for Screenwriting was presented by Randall Poster to: Ana Katz and Inés Bortagaray in Mi Amiga del Parque / Argentina, Uruguay (Director: Ana Katz, Screenwriters: Ana Katz, Inés Bortagaray) — Running away from a bar without paying the bill is just the first adventure for Liz (mother to newborn Nicanor) and Rosa (supposed mother to newborn Clarisa). This budding friendship between nursing mothers starts with the promise of liberation but soon ends up being a dangerous business. Cast: Julieta Zylberberg, Ana Katz, Maricel Álvarez, Mirella Pascual, Malena Figó, Daniel Hendler.
A World Cinema Dramatic Special Jury Award for Unique Vision and Design was presented by Fernanda Solórzano to: Agnieszka Smoczyńska for The Lure / Poland (Director: Agnieszka Smoczynska, Screenwriter: Robert Bolesto) — Two mermaid sisters, who end up performing at a nightclub, face cruel and bloody choices when one of them falls in love with a beautiful young man. Cast: Marta Mazurek, Michalina Olszanska, Jakub Gierszal, Kinga Preis, Andrzej Konopka, Zygmunt Malanowicz.
The following awards were presented at separate ceremonies at the Festival:
SHORT FILM AWARDS:
Jury prizes and honorable mentions in short filmmaking were presented at a ceremony in Park City, Utah on January 27. The Short Film Grand Jury Prize was awarded to:Thunder Road / U.S.A. (Director and screenwriter: Jim Cummings). The Short Film Jury Award: U.S. Fiction was presented to: The Procedure / U.S.A. (Director and screenwriter: Calvin Lee Reeder). The Short Film Jury Award: International Fiction was presented to: Maman(s) / France (Director and screenwriter: Maïmouna Doucouré ). The Short Film Jury Award: Non-fiction was presented to: Bacon & God’s Wrath / Canada (Director: Sol Friedman). The Short Film Jury Award: Animation was presented to: Edmond / United Kingdom (Director and screenwriter: Nina Gantz). A Short Film Special Jury Award for Outstanding Performance was presented to: Grace Glowicki for her performance in Her Friend Adam. A Short Film Special Jury Award for Best Direction was presented to: Peacock / Czech Republic (Director: Ondřej Hudeček, Screenwriters: Jan Smutny, Ondřej Hudeček).
The Short Film jurors were star and co-creator of Comedy Central’s Key & Peele, Keegan-Michael Key; development executive at Amazon Studios, Gina Kwon; and chief film critic for MTV, Amy Nicholson. The Short Film program is presented by YouTube.
GLOBAL FILMMAKING AWARDS:
The winning directors and projects of the 2016 Sundance Institute Global Filmmaking Awards in recognition and support of emerging independent filmmakers from around the world, are:
August (Cuba) / Writer-Director: Armando Capo
In August 1994, Carlos comes of age during the Cuban Raft Exodus. He loses his first love, his friends leave the country, he discovers sex, and for the first time feels afraid about his future.
Insha’ Allah (India) / Writer-Director: Geetu Mohandas
11 year old Mullakoya, tired of living in the shadow of the colorful, magical-realist folklore that surrounds his missing older brother, sets off on a treacherous journey from the Lakshadweep Islands in the Arabian Sea to the Indian mainland to search for him.
Sicilian Ghost Story (Italy) / Writer-Directors: Antonio Piazza, Fabio Grassadonia
When a local Mafia don’s son is kidnapped, a young Sicilian girl refuses to accept the sudden disappearance of the boy she loves. Based on real life events at the height of the Mafia’s reign in Palermo, Sicilian Ghost Story is a striking and unique look at the power that love has to survive in the darkest of worlds.
The Treasure (Morocco) / Writer-Director: Abdellah Taia
Janine, a French woman born in Morocco, accompanied by her building manager, Mohamed, set out on an adventure in search of a hidden treasure in the mountains of Atlas. The journey into her past becomes an exploration of post-colonial identity in Morocco.
SLOAN SCIENCE IN FILM AWARDS:
The 2016 Alfred P. Sloan Feature Film Prize, presented to an outstanding feature film about science or technology, was presented to Embrace of the Serpent directed by Ciro Guerra. The film received a $20,000 cash award from the Alfred P. Sloan Foundation.
SUNDANCE INSTITUTE | AMAZON STUDIOS PRODUCERS AWARDS:
The recipients of the the 2016 Sundance Institute | Amazon Studios Producers Awards are Sara Murphy and Adele Romanski, producers of Morris From America and Julie Goldman, executive producer of Weiner and Life, Animated. Through the Sundance Institute Feature Film Program and Documentary Film Program, the awards grant money to emerging producers of films at the Sundance Film Festival. The award recognizes bold vision and a commitment to continuing work as a creative producer in the independent space.
Above, Barbara Boros, left, of Barbara Boros Art and Design, stands next to Santa Barbara International Film Festival’s Executive Director, Roger Durling, as they unveil the 31st edition’s banner during a press conference at the Hotel Santa Barbara in Santa Barbara, California, January 12, 2016. (Photo Credit: Larry Gleeson)
The Santa Barbara International Film Festival (SBIFF), presented by UGG, has released its highly-anticipated line-up for its 31st edition running from February 3rd through February 13th.
The festival will offer an array of films representing 60+ countries, 52 world premieres and 53 US premieres, including tributes with the year’s top talent, panel discussions, and free community education and outreach.
SBIFF 2016 will kick off on Wednesday, February 3rd, at the historic Arlington Theatre with the US Premiere of THE LITTLE PRINCE, directed by Mark Osborne and featuring the voices of Jeff Bridges, Rachel McAdams, Paul Rudd, Ricky Gervais, James Franco, Mackenzie Foy and Benicio Del Toro. THE LITTLE PRINCE is based on the classic tale of the same name by Antoine de Saint-Exupéry.
On Sunday, February 7th, Terrance Malick’s experiential KNIGHT OF CUPS will have its US Premiere at the Arlington Theatre as the festival’s Centerpiece Film. The highly anticipated film stars Christian Bale, Natalie Portman, Cate Blanchett, Frieda Pinto, Isabel Lucas, Imogen Poots, Wes Bentley, Brian Dennehy and Teresa Palmer, among others. Xavier Giannoli’s funny and emotional drama MARGUERITE will close out the festival on Saturday, February 13th. 1921, the beginning of the Golden Twenties. Not far from Paris. For information on tickets, passes and packages click here.
THE TRIBUTES
SBIFF has become an important showcase for Academy-Award® front-runners, many of whom have arrived as nominees and gone on to win the Oscar. The 31st Santa Barbara International Film Festival proudly celebrates some of the year’s finest work in film.
The complete list of 2016 Honorees (in date order) is as follows:
Scott Cooper will present Johnny Depp with the esteemed MaltinModern Master Award sponsored by UGG, moderated by longtime friend and film historian Leonard Maltin on Thursday, February 4th.
Michael Keaton, Mark Ruffalo and Rachel McAdams will receive the American Riviera Award sponsored by Engel & Völkers on Friday, February 5th.
The 2016 Virtuosos Award sponsored by Travel + Leisure will be presented to Elizabeth Banks (LOVE & MERCY), Joel Edgerton (BLACK MASS), Paul Dano (LOVE & MERCY, YOUTH), Jacob Tremblay (ROOM), Alicia Vikander (THE DANISH GIRL, EX MACHINA), O’Shea Jackson Jr. (STRAIGHT OUTTA COMPTON) and Géza Röhrig (SON OF SAUL) in recognition of the year’s emerging film artists. The evening will be moderated by Dave Karger, Chief Correspondent and host of “The Frontrunners” on Fandango on Saturday, February 6th.
Brie Larson and Saoirse Ronan will receive the Outstanding Performers of the Year Award, moderated by Pete Hammond, on Monday, February 8th.
The Montecito Award will be Tuesday, February 9th and is sponsored by Hennessy. Honoree to be announced.
The Variety Artisans Awards will take place on Wednesday, February 10th and will be moderated by Variety’s Sr. VP Awards Editor, Tim Gray. Honorees to be announced.
The Outstanding Director of the Year Award sponsored by The Hollywood reporter will be Thursday, February 11th and will be moderated by THR’s Scott Feinberg. Honorees to be announced.
Rooney Mara will receive the Cinema Vanguard Award, presented to her by Cate Blanchett, on Saturday, February 12th.
All tributes take place at the historic Arlington Theatre, located at 1317 State Street, Santa Barbara, California (except the Variety Artisans Award which will be at the Lobero Theatre).
A general view of atmosphere at the premiere screening of ‘McFarland, USA’ at the 30th Santa Barbara International Film Festival at Arlington Theatre on February 7, 2015 in Santa Barbara, California. (Photo by Mark Davis/Getty Images for The Santa Barbara International Film Festival)
THE PANELS
SBIFF has become renowned for creating smart, insightful panels that feature a who’s who in the world of filmmaking, including many Oscar® contenders.
The panel series begins on Saturday, February 6thwith the “Movers and Shakers,” (Producers Panel), bringing together the industry’s most prolific producers to talk about current projects, hopes for the future of filmmaking, and insights into the creative process. Moderated by Los Angeles Times film writer Glenn Whipp.
That same day proceeds with “It Starts With the Script” (Screenwriters Panel), bringing together top writers to discuss their craft. The panel will be moderated by indieWIRE’s Anne Thompson.
On Saturday February 13, with Creative Forces: Women in the Business (Women’s Panel), moderated by Madelyn Hammond, President, Madelyn Hammond & Assoc., and Former Chief Marketing Officer for Variety. The Women’s Panel is sponsored by Brooks Institute.
All panels take place at the Lobero Theatre, located at 33 E Canon Perdido St., in Santa Barbara.
HIGHLIGHTS & LOCAL OFFERINGS
Student Film Studies Program – Returning for its second year, the student film studies program will bring undergraduate film students from across the country for a three day symposium with a focus on film appreciation, criticism, and analysis. Students will have the opportunity to learn from notable industry professionals and get a behind-the-scenes look at the Santa Barbara International Film Festival through a unique mix of guided and self-guided opportunities, allowing students to customize the experience and benefit from all the Festival has to offer. Students will have access to screenings, panels, Q&A sessions, celebrity tribute events, and private sessions with filmmakers and media professionals in a classroom setting. Due to the generosity of Lynda Weinman and Bruce Heavin, the amount of students allowed has doubled and the program will be completely FREE including travel and lodging.
Free Public Screenings – Sponsored by Cox Business, SBIFF will again offer critically acclaimed films FREE to the public at the Lobero Theatre everyday throughout the Festival..
Seminars – SBIFF will again present educational seminars that will be FREE to the public and will take place in the Visit Santa Ynez Valley Lounge at the Engel & Völkers Pavilion throughout the Festival at 11:00am.
The Jury – Films in several of the Festival’s film categories are in competition. These categories are viewed by a hand selected group of industry professionals including: Sean Baker, James Morrison, Johannes Kuhnke, Neil Konigsberg, Margaret Lazarus, Geoffrey Cowper, Alan Marshall, Anthony Zerbe, Perry Lange, Mimi deGruy, and Phyllis de Picciotto. On the last day of the Festival, the award winning films will be announced at the annual SBIFF awards breakfast.
SBIFF Acquisitions Program – SBIFF presents the 5th Annual Acquisitions Program on the first weekend of the festival, February 5 – February 7. Since it began five years ago, this weekend long event has grown significantly with a number of films from last year’s program going on to receive distribution. The program was created to allow the acquisitions community easy, industry-friendly access to films at SBIFF.
Super Silent Sunday – On Sunday February 7th, SBIFF will present a classic silent film at the Arlington Theatre completely FREE to the public. Live accompaniment will be provided by Adam Aceto on the theatre’s Wonder Morton pipe organ, which is one of only five in existence, and is a unique opportunity to connect with the rich history of cinema.
Mike’s Field Trip to the Movies – More than a decade ago, SBIFF first introduced “Field Trip to the Movies,” the brainchild of renowned nature cinematographer Mike deGruy, whose passion for exploring and sharing those adventures with audiences through filmmaking was the inspiration for this fascinating and thought-provoking program. Now renamed “Mike’s Field Trip to the Movies,” the goal of the program, which is offered to 4,000 5th and 6th grade students from throughout Santa Barbara County, is to use filmmaking to stimulate creative, confident and culturally aware thinkers and empower students and teachers with a novel approach to education.
AppleBox Family Films – FREE family films on the weekends of the Festival. This year, SBIFF will screen Animated Feature front-runners Inside Out (10:00am Feb. 6), Minions (1:00pm Feb. 6), The Peanut Movie (10:00am Feb. 7), and The Good Dinosaur (10:00am Feb. 13) Sponsored by Cox, KPMR Univision, Metropolitan Theatres, MOXI, and Rincon Broadcasting.
Santa Barbara Filmmakers – The Santa Barbara filmmaking community provides a diverse, thought-provoking series of features and shorts. Their programs underscore the emerging talent of up-and-coming filmmakers as well as seasoned veterans, and will be part of the juried competition this year for the first time.
10-10-10Student Screenwriting and Filmmaking Competition sponsored by Montecito Bank & Trust, Final Draft, and The Riordan Foundation. The Competition is comprised of 20 high school and college students chosen from 120 submissions. The filmmakers and screenwriters are then paired and they will then produce a 10-minute film during the 10 days of the Festival. On Tuesday, February 2 the 10-10-10 Press Conference will introduce the screenwriting and filmmaking finalists. On Saturday, February 13 at the Arlington Theatre, all ten completed films will be screened and the winners will be announced.
The Stand Up Award sponsored by the Anti-Defamation League – The Santa Barbara Tri-Counties Region of the Anti-Defamation League will be sponsoring and presenting the new ‘ADL Stand Up Award‘ to a dramatic film in the festival that represents an important addition to the efforts of the ADL “to secure justice and fair treatment for all.” ADL has a one hundred year history of standing up to bigotry, hatred, and discrimination. The purpose of this award is to recognize and celebrate the impact that story telling can have in fostering mutual understanding and respect.
Irish Animated Short Films – Santa Barbara’s Irish sister city of Dingle will make a presentation of Ireland’s top animators at the Santa Barbara International Film Festival. From The West Coast of Ireland, sitting along The Wild Atlantic Way, Dingle International Film Festival will bring its showcase of Irish Animation to The West Coast of America in California. The selection of animation films by Maurice Galway, Director Dingle IFF, includes some of the top names in animation here in Ireland today whilst also giving a nod to up-and-coming talent.
Santa Barbara Local Heroes: Documentary Shorts – Directed by Phyllis de Picciotto and Stan Roden, these sixteen short documentaries are inspired, guided and determined by the Santa Barbara Independent’s 30-year tradition of honoring Local Heroes. The 2015 Santa Barbara Local Heroes are: Diana Basehart, Dr. Joe Blum, Don Bushnell, Rodney Chow, Frank Goss, David Hopkins, Jimmy Jennings, Santa Barbara High School Don’s Net Cafe (Lee Ann Knodle), Irene Macias, Marcel Meier, Lady Leslie Ridley-Tree, Suzanne Riordan, Santa Barbara Conservancy, Santa Barbara Harbor Patrol (Jan Martinez and Anthony Lombardi), Josette Tkacik, Friends of the Carpinteria Library (April Ueoka and Susan Williams). These short documentary portraits will screen periodically throughout the festival before the Santa Barbara Features/Shorts.
Youth CineMedia – SBIFF presents a documentary film series produced entirely by teens involved in the Youth CineMedia program. Striving to help children transition away from gang life, drugs and alcohol and into college and careers in music, photography and video production, the organization offers creative tools, training and support for underprivileged and at-risk teens. Free to the public with Q&A following.
3RD Weekend – SBIFF will once again present “3RD Weekend,” which will feature the highlights of the 31st Festival for Santa Barbara residents. The films will be screened throughout the weekend of February 19-21 at the Riviera Theatre. Screenings are FREE and seating is available on a first come, first served basis. Screening times will be posted sbiff.org in the days following Closing Night.
FILM CATEGORIES AND SIDEBARS
SBIFF features exciting, culturally enlightening, and entertaining programming and sidebars. 207+ films from around the world will be brought together to form an incredibly unique and diverse festival experience.
ABOVE AND BEYOND: A selection of exhilarating documentaries that capture the challenges of endurance sports as well as the adventure, beauty and thrills of the outdoors.
APPLEBOX: A series of free award-winning animated films for families.
CINEMATIC OVERTURES: A selection of films that showcase the world of performance including, music, theater and dance.
DOCUMENTARY: A selection of US and International documentaries.
GLOBAL HOLLYWOOD: A selection of documentaries that explore key figures from Hollywood history as well as the global dimensions of Hollywood.
INDEPENDENT: A selection of Independent feature films.
INTERNATIONAL: A selection of International feature films.
KOLNOA: A selection of feature films and documentaries that examine Israel from a variety of diverse historical, cultural and political perspectives.
NOIR: An international selection of neo-noirs filled with gritty underworlds, hard-boiled criminals, femme fatales and moral nihilists.
NORDIC: A selection of contemporary cinema from Denmark, Finland, Iceland, Norway, and Sweden.
REEL NATURE: A selection of natural history documentaries that highlight key issues facing the environment and wildlife.
SANTA BARBARA FEATURES: A selection of films from Santa Barbara filmmakers.
SCREEN CUISINE: An international selection of feature films and documentaries that examine the cultural layers of cuisine and craft spirits.
SOCIAL JUSTICE: A selection of international documentaries that address critical social justice issues, including activism, environmentalism, equality, freedom of speech and human rights.
SPANISH/LATIN AMERICA: A selection of Spanish language films from Spain and Latin America.
SPECIAL PRESENTATIONS: A selection of international award winning feature films and documentaries.
For the complete list of films, along with their descriptions and a preliminary screening schedule, visit www.sbiff.org. Please note that this is subject to change.
If air travel is required for your attendance, Alaska Airlines, the official airline for the 31st Santa Barbara International Film Festival, is offering 10% discounts on airfare between Santa Barbara, Los Angeles or Burbank, California and any of Alaska Airlines departure cities (excluding Hawaii, Mexico, Costa Rica and Prudhoe Bay) from February 2nd through February 16th, 2016. Book by February 16, 2016. Click here. Discounts are automatically applied. Restrictions apply. See site for details.
