Director: Giulia Oriani.
The tenants of a building meet to defend their “normality” since they feel it threatened by the presence of a new tenant “strange and a foreigner”
In a frantic and superstitious autosuggestion, they feel entitled to use any means to defend themselves and what they achieved.
The story is about the paradox and the madness behind the racism.
Director: Ulf Kristiansen. Based on 2 poems by William Blake, animation by Ulf Kristiansen.
Blake is building on the conventional idea that nature, like a work of art, must in some way contain a reflection of its creator. The tiger is strikingly beautiful yet also horrific in its capacity for violence. What kind of a God, then, could or would design such a terrifying beast as the tiger? In more general terms, what does the undeniable existence of evil and violence in the world tell us about the nature of God, and what does it mean to live in a world where a being can at once contain both beauty and horror? The open awe of "The Tyger" contrasts with the easy confidence, in "The Lamb," of a child's innocent faith in a benevolent universe.
By letting the tiger recite "the Lamb" , the tiger appears somewhat mephistotelian even though the lamb is not letting herself be seduced. The tiger is also less than impressed by the lamb’s poetry reading and seems to be planning his next meal.
NYC FILMS FESTIVAL
August 12th to 19th, 2010
Submissions open November 2nd 2009
GENERAL
The mission of the NYC Films Festival is to help new talented filmmakers to reach the best possible audience for their work. Since submission of a film constitutes acceptance of these Entry Rules & Regulations (by filmmakers and their agents), please review this document carefully.
CATEGORIES:
◦ Narrative Feature Films
◦ Narrative Short Films
◦ Documentary Films
DEADLINES & ENTRY FEES
NOVEMBER 2, 2009 Submissions open
Earlybird deadline November 3 to January 4, 2010 = Features 60 minutes up $ 25
Earlybird deadline November 3 to January 4, 2010 = Shorts up to 30 minutes $ 15
OFFICIAL ENTRY DEADLINE
January 4th to April 30th 2010 Features 60 minutes up $ 30
January 4th to April 30th 2010 Shorts up to 30 minutes $ 20
LATE DEADLINE
May 1st to June 30th, 2010 Features 60 minutes up $ 50
May 1st to June 30th 2010 Shorts up to 30 minutes $ 30
**ENTRY FEES ARE IN US DOLLARS, PER FILM AND NON-REFUNDABLE.
NOTIFICATION DATE:
Filmmaker will be notified by email, phone or fax approximately July 10th 2010
OPENING GALA
August 12 closing August 19th 2010
COMPLETION DATE
No Requirement for completed by date
PLACE OF ORIGIN
Projects may originate from anywhere in the world
NON-ENGLISH LANGUAGE FILMS
Must have English subtitles
PREMIERE STATUS
No premier requirement
DISTRIBUTION STATUS
Projects may have distribution
HOW TO ENTER
Apply online at http://www.NYCFilms.com or via http://www.fest21.com and mail all required entry materials (see below)
ENTRY MATERIALS
1) Entry form copy
2) Copy of payment by credit card.
3) 1DVD of the film, formatted for Multi-zone or for Zone 1 (North America) labeled with the work's Title, Running Time, Director(s) name(s) Please do not put adhesive labels on the disc unless it is a professional output job (if burning yourself, use a permanent marker to write all the information.
** ENTRY MATERIAL WILL NOT BE RETURNED **
MULTIPLE ENTRIES
Each entered work must be accompanied by its own entry form and by a separate DVD
IF YOUR WORK IS SELECTED
You must fulfill the following requirements by the date(s) designated by the Festival upon invitation:
(1) You will be required to execute a release and agreement wherein you (i) accept responsibility for obtaining any and all clearances necessary to exhibit your film at the NYC Films Festival, warrant that you have the rights necessary to exhibit your film at NYC Films Festival indemnify and hold harmless NYC Films, LLC at its affiliates against any claim arising out of exhibition of your film at NYC films Festival.
(2) You will be responsible for delivery of the exhibition copy of the invited work in one of the Exhibition Formats specified below to the address designated by the Festival. The Festival will arrange and cover the cost of the return shipping of your print or video after the conclusion of the Festival. We recommend shipment via courier in order to permit the tracking of your entry once it leaves your hands.
• We exhibit in 35mm, 16mm and HDCAM.
• Due to our limited capacity to project 16mm, the Festival reserves the right to request that work originally in that format be supplied to us in HDCAM.
• Films in competition will be required to provide a second exhibition copy to accommodate juror screenings.
• The Festival may request additional exhibition copies to allow for multiple screenings at more than one venue.
(3) You will provide a properly completed and signed official NYC FILMS “Film Information Form” including all press and publication assets as specified in the “Materials Checklist”
(4) You will provide at least one DVD copy of the finalized and completed film for Festival archives.
FESTIVAL SECTIONS
Films invited to participate in the NYC FILMS FESTIVAL will be shown in the section Festival programmers determine most appropriate in their sole discretion.
In Competition:
World Narrative Features
*Open to works from all regions.
*Eligible for: Best Narrative Feature, Best New Documentary Filmmaker, Best Director, Best Actor, Best Actress.
World Documentary Features
• Open to works from all regions.
• Eligible for: Best Documentary Feature, Best Director.
Shorts (narrative and documentary - under 30 minutes)
• Eligible for: Best Narrative Short, Best Documentary Short, and Student Visionary Award.
• Student short films must be produced through an accredited educational institution.
• Shorts will play either in a shorts program or before a feature film.
AWARDS
• Unless otherwise agreed to by Festival programmers in writing, awards will be given to the winning film director (as identified in the Film Information Form).
• Award eligibility is subject to any restrictions or conditions imposed by applicable laws and regulations (international, federal, state or otherwise), and the award recipient is responsible for all applicable taxes, customs, tariffs, insurance and similar charges or costs (if any).
• All new feature-length works are eligible for the “Audience Award” regardless of section.
• All feature-length shot in NYC are eligible for the “Best New York Narrative” and “Best New York Documentary” awards. (Must be at least a NY premiere.)
• 2010 Awards listed in the above Festival sections are subject to change.
SHIPPING ADDRESS
All submissions must be sent prepaid (including any applicable customs fees) to:
NYC FILMS
c/o
Roberto Rizzo
Attn: ENTRIES – “Film Title” – SHORT or FEATURE (Label appropriate category on outside of package)
1 UNIVERSITY PLACE 9C
New York, NY 10003
USA
Director: Jan Nanne.
The night after a party in a disused sprawling office block one sister trapped in a room has to guide her sibling through a maze of rooms that are now inhabited by a number of haunting creatures and corridors with only a phone.
Time was when Indian film was synonymous with a single name --Satyajit Ray. The famous Bengali director, generally recognized as a major world class cinema auteur, made 28 films between 1955 (Pather Panchali) and 1991, most of which were religiously shown in the west, primarily for the benefit of a tiny coterie of esoterically inclined foreign language film buffs, while the works of numerous other Indian directors, some far more interesting than Ray, were studiously ignored. This lamentable dis...
Director: Christopher Allen Haskell.
A fun-filled adventure comedy about two sisters who are seperated at a young age. The older sister goes on to become the infamous "BC The Biker chick" who is well known to the biker community of Tucson! The younger sister grows up to be more of a goodie too-sho who is going to the University of Arizona, when she decides to go on a quest to find her "Big bad biker chick" Sister known as BC! She meets a total geek "Eugene" who helps her to locate her sister! They go on an adverture through the city of Tucson and the deserts of Arizona looking for BC, but they are soon to find trouble! Filmed with hundreds of real bikers and in many famous locations!
We speak to the director of Bunny and the Bull.
Fans of The Mighty Boosh rejoiced at the news that series director Paul King was turning his gaze to the big screen. Featuring predictably great comic turns from Noel Fielding, Julian Barratt and Richard Ayoade, Bunny and the Bull is sure to please the legions of Boosh obsessives out there. But King is by no means playing it safe in his transition to feature directing, as he explained when we met this week.
Did you always imagine ...
We speak to the director of Bunny and the Bull.Fans of The Mighty Boosh rejoiced at the news that series director Paul King was turning his gaze to the big screen. Featuring predictably great comic turns from Noel Fielding, Julian Barratt and Richard Ayoade, Bunny and the Bull is sure to please the legions of Boosh obsessives out there. But King is by no means playing it safe in his transition to feature directing, as he explained when we met this week.Did you always imagine yourself as a film d...
Director: MARYAM ORANG.
A girl among all those who are waiting for a man with red travel suit makes her mind to go after him. The contradiction of keeping waiting and moving ahead.
Director: Robert Siegal.
Paul (Patton Oswalt), a 35-year-old parking garage attendant from Staten Island, is the self-described "world's biggest New York Giants fan." He spends his off hours calling in to local sports radio station 760 The Zone, where he rants in support of his beloved team, often against his mysterious on-air rival, Eagles fan Philadelphia Phil (Michael Rapaport). His family berates him for doing nothing with his life, but they don't understand the depth of his love of the Giants. One night, Paul and his best friend Sal (Kevin Corrigan) spot a Giants star linebacker (Jonathan Hamm) and decide to approach him—but things do not go as planned. The fallout of this chance encounter brings Paul's world crashing down around him as his family, the team, the media and the authorities engage in a tug of war over Paul, testing his allegiances and calling into question everything he believes in. Following up his first filmed screenplay (The Wrestler), writer/director Robert Siegel once again demonstrates a unique and potent vision of the human experience, in all of it its harsh truths and hopeful humanity.
Director: David Moolten.
Once a child laborer who trekked from Mexico to the fields of California to pick strawberries, Jose Hernandez recently traveled into space as an astronaut on the Discovery space shuttle. His story honors both the desperate struggle of immigrants and the greatness of which they are capable. This film and spoken word performance are a tribute.
Director: Nestore Buonafede.
A night journey, Edgar, the poet, in company with Psyche, his soul, through spectral and shadowy landscapes. The two characters, after stopping at a forest, peopled with archetypal figures and horrific, and then, with a mysterious lake, come near a stately avenue, flanked by monumental cypress trees, which pass through. When, at dawn, come the end of the avenue, a distant star flooded them with a light arcane and mysterious, attracting to itself Edgar, as the sirens did with Ulysses. That magical star, intoxicating and wonderful, retain, however, in itself, a terrible trap, from which, Psyche try in vain to save him, trying desperately to dissuade him to continue the journey, and begged him to come back until I still time. Edgar, though, as if hypnotized, and that irresistible attraction, pushes inexorably forward, dragging with it the recalcitrant Psyche.
But in a short time, that light, warm and welcoming, changes color, becoming cold and distant. That light, almost greenish, awakens in him doubts and uncertainties, making him shiver.
Shortly thereafter, a tomb bar their way, and knowledge, so long lovingly hidden, emerges in the light of consciousness, making it more conscious, but at the same time more fragile.
That monumental tomb, located on the edge of his mind, it holds a terrible secret, knowledge of which destroy him.
The past, buried in the deepest recesses of his soul, returned slowly to the surface; Psyche, distraught, tells him who is buried in there: Ulalume, his beloved, lost Ulalume.
Ulalume is not, however, she believed that he, his adored young bride, but she who gave him life, and has fed and bred among the miasma of illness and death, until, at only 2 years, has seen her die in agony. Ulalume is his mother Elizabeth, who died of tuberculosis after repeated hemoptysis, as well as Virginia died of tuberculosis his beloved wife.
The memory, then, stands out vividly in front of him, and death, that silently and secretly, had accompanied him throughout his life, he shows, finally, in all its horror, and spreads her black cloak inside him.
Psyche, the vital soul, which so long supported him, is no longer necessary, and, weeping, leaves him, alone and desolate, in the arms of the woman, who soon he will claim the body also.
Director: Mariano Aiello and Kristina Hille.
Awka Liwen is the story of the massacres against Native Peoples in Argentina (nineteenth century) for the theft of their lands and the current discrimination against them and their descendants.
Those who funded the genocide against Indigenous Peoples they always opposed to paying higher taxes and reacted with extreme violence when they felt threatened in their class interests: deaths of rural workers during the strikes of 1921 in Patagonia and extermination of 30000 Argentines during the dictatorship.
The racism against the native argentine was not accidental: it was the alibi to justify the robbery of lands to Indian and the Gaucho by the descendants of Europeans.
The current rebellion of agribusiness leaders seeking "European" price and costs "Argentinian" to food embodies a profound contempt for the majority.
The division of the Argentines, the eternal "trench" can be closed. A government attempt to do so through a more equitable redistribution of wealth.
But again the landowners are opposed to losing their class privileges.
They want a coup.
The people said, NOT MORE!
Director: Valeria Fonseca.
Based on Gandhi's quote "An eye for an eye will quickly leave the whole World blind" The film highlights the futility of the war on terror by taking a glimpse into a timeline of events that have unfolded since the 9/11 terrorist attacks in NewYork City and, explores the conflict between the West and Islam from a satirical point of view.
Director: Tony Olmetti Schweikle.
The program is about “Saracen Pirates,” from countries around the Mediterranean Sea, and their attacks on the coastal cities of southern Italy to capture men, women and children for the slave markets of North Africa.
Also filmed in vivid detail are some of the thousands of Watchtowers that were built along the shores of the Ionian, Tyrrhenian and Adriatic Seas. Hundreds have withstood the assault of man and nature and can be visited today. The history of these towers and the people who manned them has never been told.
All re-enactments were filmed at the sites of theses pirate attacks. Most of the extras are descended from survivors of these attacks. The time period of Pirate attacks takes place in the 1500’s. Other portions of the program cover 1,000 years of Mediterranean history, beginning with the first Watchtowers built on the island of Sardegna, circa 1500BC
The program ends with the attack on the village of Ispani in 1532 by Pasha Heyreddin, (Barbarossa.) Heyreddin was an Admiral in the Ottoman Empire who attacked many cities in Italy, including Capri, where there is today a castle built by him.
The video portion of the program was filmed in Italy with HD P2 cameras. All re-enactment scenes were filmed by the production company.
Director: Nestore Buonafede.
Film is from the homonymous tale of Edgar Allan Poe, adapted to Appennino Toscoemiliano, in the same period of the Author, so like in the tale. Two men, a rider and his servant, escaped from an ambush, arrive to a deserted castle. The servant takes care of his sir offended, as he can, and so the night passes. The sir, lying on the bad, look at numerous paintings appended on the walls and reads their characteristics on a catalogue there founded. Among them, an Oval Portrait, represents a young and nice woman, of whom the rider peruses her sad history: she is the painter’s wife, who, portraying her, for a long time of pain, grabs slowling and unconsciously, her vitality, removing her life and her soul into his lofty portrait.
Director: James Shilton.
Cites with Eyes,
No steps untraced,
Safety or Surveillance.
Is the use of CCTV within the public realm, for our safety or control by the state?
The 60 people used to produce the film were asked to count to a minute in their heads while sitting in front of the camera.
This worked as an experiment on peoples perception of time.
The morphing effect was used to notion towards the need for people to protect their identity.
“The Hungarian
Film Festival is without a doubt the best ethnic film festival in Los Angeles.
It is well programmed and well
produced. I can not think of a better
way in which to promote Hungarian cinema in Hollywood.”
GREGORY LAMMLE
...Lammle Theaters
“The opportunity for film enthusiasts to see Hungarian
films, exchange ideas and generate relationships in the entertainment
community are just the beginning of the positive benefits that stem from
the Hungarian Film Festival. This festival
provides an opportunity for
Hungarian filmmakers to voice their passion for storytelling through the beauty
of film. “An American
Rhapsody”, a film by Hungarian Eva Gardos, was
the International Grand Prize winner of the Hartley-Merrill Screenwriting
Competition, but it was the Hungarian Film Festival that allowed Eva to
share her voice with the rest of the world.”
DEBBIE VANDERMULLEN…
Hartley-Merrill
“The festival has made it possible to meet and converse
with Hungarian directors, writers and actors and be
exposed to films we would
ordinarily not see. Hollywood can be quite insular. We need the Hungarian
Film
Festival to enrich our cultural scene.”
IRVIN KERSHNER … Film
Director/Producer
In loving memory
“Congratulations Bela on your
Fourth Annual Hungarian Film Festival in Los Angeles. You’re the best
Hungarian
Ambassador for introducing Hungarian Film-makers & their films
to Hollywood. All the best.
IKA PANAJOTOVIC … Film Producer
“The
Hungarian Film Festival in Los Angeles has been a very important event. I’m
thanking Bela Bunyik (Bunyik Entertainment)
for there excellent
presentation and to
keep reminding the public that the Hungarians are still
among the Best Movie makers in the world!”
MICKY HARGITAY……Actor
“The
Hungarian Film Festival never fails to delight. I look forward to seeing old
friends and new emerging talent. The quality of
Hungarian film
making
is of the highest order.”
CHARLES COHEN...Film Producer
“The
Hungarian Film Festival presents to the Los Angeles community new and rare
Hungarian films. I have been especially
enriched by meeting director
colleagues, Karoly Makk and Janos Szasz. My praise to Bonnie and Bela Bunyik for
their tireless
and wonderful work bringing the festival to us.
DAISY
GERBER…. Film Director
Director: Teun van der Zalm.
This symbolic surrealistic short film has been inspired by the fact that nowadays parents separate more often and with less consideration. A little boy is suffering from the upcoming divorce of his parents.
Director: Jano Rosebiani.
Five years following the infamous chemical and biological bombing of Halabja, Diyari, a Kurdish/ American good Samaritan, returns to his homeland to build an orphanage in what is left of Halabja. He meets Jiyan, a ten-year old orphan and a survivor of the chemical attack, doomed to live with a burn scar covering most of her right cheek.. A strong bond between the two ensues and later he names his orphanage after her. During the course of his stay in Halabja, Diyari meets a colorful bunch of townsfolk, many of whom remain physically and/or psychologically marked with the effects of the chemical agents. Among them is Jiyan's only living relative, Shérco, a twelve-year old who has also lost his family to the poison gas. While Shérco dreams of marrying her one day, Jiyan dreams of seeing flowers, a picture of which she finds on the back of a magazine. In addition to building the orphanage, Diyari brings a spark of hope and happiness to Shérco's and Jiyan's lives. However, this affair is short lived. As he leaves, the two orphans turn back to their lonely shells with very little light to look forward to - a familiar state of mind echoing throughout Halabja. Diyari departs with a promise to return, but now leaving a tearful Jiyan at the place where he first meet her - on a swing under a lonely tree on a small lonely hill.
