#Slamdance Film Festival

[tscnews]

Migrant Sea Doc - African Migrants' Journey to Europe by Stephane Grasso

“Migrant Sea  is an interactive web documentary that sheds light on the often-overlooked voices, stories, and realities of Sub-Saharan migrants who have survived brutal journeys across Africa and the Mediterranean to reach Europe. Video documentaries, immersive VR, photo documentaries, audio documentaries, articles, essays – and more – interconnect so that audiences can explore stories at their own pace, choosing their paths through a complex web of narratives, creating a truly engaging and personalized experience. Most importantly, it features the personal stories of migrants living in Italy as told in their own voices, providing a rich, intimate experience rarely seen before.

[jonathanmoya1955]

Slamdance: Darla in space: Scoby Dooby Doo

Movie info via Slamdance: Darla runs a business called Kitty Kasket, LLC which makes custom burial receptacles for recently deceased loved ones (of the pet variety). It is an up-and-coming business, so Darla is stunned to learn that she owes $349,00.22 in taxes, due in one month! While filling in for her mom Leona cleaning a warehouse, Darla meets a recently sentient kombucha scoby named Mother…

[hauntjaunts]

3 Movies to Watch for from the Slamdance 2023 Festival

Stills from 3 Slamdance 2023 movies: Underbug, Where is the Lie?, and The Girl Who Was Cursed. | Slamdance Film Festival Five movies from the Slamdance 2023 Film Festival especially caught my eye. I didn’t watch them all, but I did watch three: The Girl Who Was Cursed, The Underbug, and Where is the Lie?.  How were they? I’ll get into each specifically. But generally, I’ll say that they were all…

[picsinhead-blog]

Quick Sundance/Slamdance Recap

Quick Sundance/Slamdance Recap

I went to Park City, UT for Sundance and Slamdance* last week, only my second time in person (the first was 2010). My primary purpose was to meet with filmmakers and to promote filmmaking in the Rochester/Finger Lakes region; I did, however, make some time to see some films. When I’m participating in a festival or event for work, I choose the films I see based on a set of criteria – it’s not about what Tim WANTS to see, it’s about seeing the work of filmmakers I’ve connected with or hope to connect with. The nice thing about this is that I usually don’t even read a synopsis of the film before I see it, so I get to experience the film without preconceptions – which means surprises.**

This is a rundown of last week in Sundance/Slamdance screenings, in the order I saw them, with brief reactions. Each and every one of these films is worthy of a lengthy review and discussion, and I’m more than happy to chat about them – but this is a document of my week in movies in Park City, not really about the films themselves.

Mutt (Sundance, Eccles Theater, Monday, 1/23 2:55 PM – PREMIERE) 24 hours in the life of a young trans man in NYC, during which individuals from various parts of his past enter his life, each challenging and illuminating aspects of his identity. I got to the theater by the skin of my teeth – the Sundance pre-roll had already begun. There was some confusion about the buses – I met a couple of filmmakers from LA, and we followed the advice of a very friendly person who seemed to know what she was talking about, but almost certainly added ten minutes to our ride to the theater. The lower level of the Eccles theater was packed, so I was up in the balcony. The screening was open captioned, I’m sure because several of the characters are bilingual, but also perhaps because of a push for accessibility at Sundance screenings.

Love Dump/Mahogany Drive (Slamdance, Treasure Mountain Inn Ballroom, Monday, 1/23 8:00 PM) Mahogany Drive is a wild short about three Black men who discover their Air BnB is killing white women. Love Dump is a parody of Hallmark romances about a couple finding each other among the trash in Chicago. My first Slamdance screening! The ballroom is small, with risers and individual chairs for perhaps 60 people. I met the filmmakers (director, writers/stars, and DP) in the hallway as they were encouraging people to see the film (it hadn’t sold out). I also met a young guy from New Hampshire who was attending film festivals in lieu of film school, and chatted with him about (relatively) obscure Cronenberg films.

Fremont (Sundance, Virtual, Tuesday 1/24) Fremont is the story of a young woman who served as a translator for the US Armed Forces in Afghanistan, and is now working at a fortune cookie factory. Wry and understated, Fremont is a delightful film.

Fuzzy Head/Write a Song About Heartache (Slamdance, Treasure Mountain Inn Ballroom, Tuesday 1/24 3:15 PM) Write a Song About Heartache is a clever short about a country singer and his unusual songwriting partner (you have to see it!). Fuzzy Head is a trip through the cluttered and unreliable recollections of a young woman whose mother has died of a gunshot wound – and the question of who pulled the trigger. Back to the ballroom at the Treasure Mountain Inn! Wendy McColm, Writer/Director/Star of Fuzzy Head had left printed sheets with ornate poetry and metal keys on strings with QR codes taped to them by hand. The QR codes led to her website (https://www.wendyfilms.com/). I found this personal touch, this engagement with the audience, to be very moving, and emblematic of the attitude of Slamdance filmmakers. I took one of the keys for my four year old niece, who I hope will use it as inspiration as she develops her creativity. I spoke with the Fuzzy Head team (Wendy herself, and her producers, cast, and art director) – they’re passionate filmmakers and lovely people.

Onyx the Fortuitous and the Talisman of Souls (Sundance, Virtual, Tuesday 1/24) With echoes of Ernest P. Worrell, online character Onyx the Fortuitous makes his feature debut in a story involving a devil worship cult, a haunted mansion, and some precious action figures. What’s remarkable to me about this film, which is described as a “throwback,” is how it melds internet culture with tried and true genre filmmaking – to me, it seems less of a throwback and more of a bellwether. Frustratingly, I was fighting sleep for the last part of the film, so I’m very much looking forward to revisiting it.

The Accidental Getaway Driver (Sundance, Virtual, Wednesday 1/25) An elderly rideshare driver picks up three prison escapees; they kidnap the driver and over the course of their time together, unexpected bonds develop, existing bonds are tested, and the four men’s pasts are uncovered as their futures become increasingly certain. It’s an intense, involving film that melds thriller elements with character study.

MiND MY GOOFiNESS: the Self Portrait (Slamdance, Virtual, Wednesday 1/25) Shot in portrait mode, this is a day in the life of one guy in LA who bounces from encounter to encounter – with friends, relatives, and strangers – with each encounter revealing at least some of how he sees himself. Quirky, engaging, and offbeat – a bit of a riff on Slacker.

Space Happy: Phil Thomas Katt and the Uncharted Zone (Slamdance, Virtual, Wednesday 1/25) A straightforward, pleasant, engaging documentary about Pensacola, FL local celebrity and late night television personality Phil Thomas Katt, whose lo-fi music videos for an eclectic group of would be local stars took YouTube by storm in the late aughts. There are moments in this doc that moved me more than anything else I saw during the week.

Past Lives (Sundance, Ray Theater, Thursday 1/26 8:15 AM) After emigrating from Korea as a child, a woman reconnects with a childhood friend years later at very different points in their lives. This was an early morning screening and it was fun to start the day with an excited audience.

Free LSD (Slamdance, Treasure Mountain Inn Ballroom, Thursday 1/26 5:00 PM – PREMIERE) Free LSD is a nearly indescribable sci-fi/horror/fantasy head trip starring the members of punk supergroup OFF! as parallel versions of themselves who have to save the world through their music. And drugs. The closing night film of Slamdance 2023, this was a super cool experience – an excited crowd, filmmakers who were seeing their film, a true labor of love, with an audience for the first time, and a film festival putting the closing exclamation on an exuberant year of programming. The best thing for me: the guy I’d met at the Love Dump screening sat with me, and after the film looked at me and asked, “Have you ever seen anything like that?” And – I mean, yeah, I have, sorta, but I’m twice his age, and it was so exciting to be there for someone having a singular, eye-opening filmgoing experience.

Jamojaya (Sundance, Virtual, Friday 1/27) A young Indonesian rapper is in Hawaii to record his major label debut and to shoot the accompanying video, when his father (and former manager) shows up unexpectedly, creating unforeseen complications. It’s a simple setup for a complex, ornate, stylish film that examines complex relationships across cultural boundaries.

The Persian Version (Sundance, Ray Theater, Friday 1/27 2:15 PM) A young writer explores her history and that of her family, from her parents marriage in Iran in the 1960s through her childhood in the 1980s and 1990s spent between Iran and the US. (Honestly, I don’t know how to describe this film in one sentence – I think I kind of did it, but I know I didn’t sell it. It’s a magical film that dances (sometimes literally) among tones, among generations, and through the lives of its characters. See it!) I bought my ticket to this screening about an hour before the Sundance awards were announced – this one won both the audience award and the Waldo Salt Screenwriting Award in the U.S. dramatic competition. I was even more excited to see it, and the theater filled up with people making last minute decisions to see the film. It was wonderful to laugh and cry (not me, but the rest of them) with an audience through an utterly unpredictable film. I sat next to a young Sundance Industry volunteer from LA who had a loud and infectious laugh.

A Perfect Day for Caribou (Slamdance, Virtual, Saturday 1/28) An old man reconnects with his adult son and seven year old grandson in a cemetery on the day he plans to commit suicide. Offbeat, droll, often very funny, and gorgeously shot in black and white, A Perfect Day for Caribou explores generational rifts and the complexities of relationships defined largely by shaky memories and secondhand recollections.

Young. Wild. Free. (Sundance, Virtual, Saturday 1/28) In a weird mashup of Bonnie and Clyde, Something Wild, and Menace II Society, a Black high schooler meets a free spirited foster kid who pushes and pulls him through new experiences that range from mischievous to dangerous to exciting and ultimately to tragic. This is the only Sundance film I saw (out of eight – nine if you count Infinity Pool, see below) that did not fully work for me. Avoiding spoilers, I will just say that the narrative problems created by the ending are not justified by any dramatic contributions it makes to the film as a whole.

Unicorn Boy (Slamdance, Virtual, Saturday 1/28) A young animator in Los Angeles becomes entangled in the affairs of a parallel world filled with unicorns and rainbows and fantastic creatures, while trying to come to terms with personal crises in their real life. Okay – the only possible negative about this film is that I think it’s overlong, but it’s a wildly creative and very moving independent animated feature. It’s great.

Waiting for the Light to Change (Slamdance, Virtual, Saturday 1/28) A group of friends spend a week at a lake house belonging to one of their relatives; during the time, relationships are grown, tested, altered and redefined. Sort of a lo-fi, modern take on The Big Chill, the film is quiet and restrained, chilly, sincere, and honest.

*For those who may be unaware: the Slamdance Film Festival runs concurrently with Sundance in Park City, and is a festival with a very different vibe and energy – punkier, scrappier, smaller, but just as devoted to filmmakers and film lovers.

**For instance – most of the films I sought out were American productions, but I was surprised when nearly every one from Sundance heavily featured non-English dialogue – Spanish in Mutt, Dari and Cantonese in Fremont, Vietnamese in The Accidental Getaway Driver, Bahasa Indonesian in Jamojaya, Korean in Past Lives, Persian in The Persian Version.

[haute-lifestyle-com]

Slamdance, the artist-led "by filmmakers for filmmakers" organization, announced that its annual film festival will move to Los Angeles, starting in February 2025. The festival will run February 20-26, at venues around Hollywood, including the DGA Theater

[floorman3]

One Bullet Review Slamdance 2024- One Woman's Journey To Find The Truth About A Tragedy

“The Film Was Shot Between 2005 and 2021 in Afghanistan for the Duration of America’s Longest War, but this is not a war movie.” I’ve seen a lot of documentaries but none quite like One Bullet.  Carol Dysinger has documented her journey to Afghanistan from 2005-2021. She is part of the subject matter but not totally the subject matter. She ends up getting drawn into her own film whether she…

[denimbex1986]

'After years of blockbuster production driven by prefabricated superhero fandom, the summer of Barbenheimer is an unexpected delight. “Barbie” and “Oppenheimer” show the potential for festival-anointed auteurs to worm their way into popular culture with smart and innovative projects. With “Barbie” already crossing half a billion dollars at the global box office and “Oppenheimer” at a formidable $300 million, the joint success of these very different movies seems to be telling Hollywood… something.

OK, let’s assume most studio bosses grasp this fundamental point. There’s more to it that. These films speak to a broader set of values and opportunities for studios to consider as they develop more movies that fickle audiences will consider worth their time.

As the business takes a forced pause, perhaps there’s just enough time to incubate some good ideas for how to proceed once the strikes get sorted.

1. Treat film festival curation as foundation for discovery.

The directors of “Barbie” and “Oppenheimer” both benefited from the festival circuit early in their careers, but today the film festival model is more unstable than ever. It shouldn’t be: Studios need it just as much as others on the sidelines.

Nolan’s 1998 “Following” was a hidden gem at Slamdance that displayes his precise brand of enigmatic storytelling, while Gerwig was the toast of SXSW after her 2007 breakout performance in “Hannah Takes the Stairs��� and her co-directing debut “Nights and Weekends” the following year.

Anyone who saw these early projects could discern these directors’ singular perspectives, but — especially in Gerwig’s case — it took years for the studios to support their visions. Executives at the highest levels of Hollywood must take a closer look at how a well-programmed festival lineup can provide them with a sense of the directors worth their time. Don’t wait for the agents to figure it out for you.

2. Support visionary filmmakers early.

Nolan went from “Following” to “Memento” before his first studio gig, “Insomnia.” By the time he was figuring out how to make Batman work with his aesthetic, he knew how to approach the commercial demands of the system with his own creative impulses.

Ditto for “Barbie”: Gerwig graduated from the midsized arena of A24 production “Lady Bird” to the Paramount-produced “Little Women” adaptation before juggling the ginormous demands of “Barbie.”

That’s not a combination that studios can do on autopilot. It requires filmmakers who grasp the particular demands of creating work on this scale and the sooner studios invest in that talent, the sooner they can learn the ropes.

3. Ideas first, brands second.

“Barbie” is brand marketing on a massive scale and a shrewd takedown of the patriarchy. “Oppenheimer” is a gripping look at the constant threat of nuclear war. Both are driven by big ideas, but neither treat IP as an end unto itself. Audiences want to engage their brains; even escapist fantasies need an intellectual foundation to hold viewers’ interest.

4. Lean into the density of the market.

Barbenheimer might seem like a singular phenomena, but it doesn’t have to be. Audiences are not a monolithic concept. Although a number of moviegoers who couldn’t get into sold-out “Barbie” screenings saw “Oppenheimer,” these movies succeeded because not all moviegoers think alike. Another Barbenheimer could be hiding in plain sight.

Studios often steer clear of competition, but it might make more sense to consider what real competition looks like. If audiences have only one major option opening on any given weekend and it doesn’t square with their needs, they’re more inclined to stay home. Lean into the density of the market and take more risks by opening at busy times.

5. Don’t try duplicate success.

Mattel has plans for “Barbie” sequels as well as “Barney” and “Polly Pocket.” At this rate, I wouldn’t be surprised if “UNO: The Movie” comes next.

We’ve been down this dicey route before with the Marvel Cinematic Universe. The constant sequels and world-building paid off in a major way early on, but Disney now has to deal with fatigue of its own making. The constant churn alienated the same viewers initially excited by the earlier work. Rather than attempting to replicate a formula, studios should consider why that formula can’t be replicated. (Because… Original filmmakers fostered by the festival circuit learned to navigate the system on their own terms.)

Figure out what they want to make and let them make it well. Nolan has been the rare director with this luxury for years; now, Gerwig will join him. Let’s hope they get even more company. The business will only thrive when the artists do, too.'

[loudlylovingreview]

Video: Fleshwork

At a butcher shop in Jeromesville, Ohio, four meat processors situate their labor within their own minds and bodies. Directed by Lydia Cornett Music composed and performed by Lydia Cornett Slamdance Film Festival 2023Ann Arbor Film Festival 2023(Winner of the Tom Berman Award for Most Promising Filmmaker) Running time: 7 minutes ~~~~ When the film premiered in January 2023 at Slamdance,…

[jeffcross5000]

Did you like Top Gun, Slow Horses or Animal House? Experience them all at once with my book Fugitive Cougar, the screenplay adaptation of which won Best Action Adventure Screenplay at the 2021 Hollywood Boulevard Film Festival and which the Slamdance Film Festival described as "Veep with even more sexual innuendo in every line." You can read it either at jeffcross5000.wordpress.com/category/novels/fugitive-cougar/ or at https://www.wattpad.com/story/376656780-fugitive-cougar. New chapters drop every Friday at 7 AM.

[aristocratslog]

PLANTARIUM - animated short (2020) from EGoFILM on Vimeo.

Plantarium – animated short (2020)

In a subterranean world, a gardener faces a surreal challenge: pruning the razor-sharp nails of a boy who has sprouted from a pot, while the boundaries of plant and human life blur in an unsettling and accelerating space.

CREDITS: Script & Directing: Tomek Ducki Animation: Tomek Ducki, Weronika Banasińska Editing: Paweł Kamykowski, Tomek Ducki, Katarzyna Zolich Storyboard: Joanna Wójcik Sound: Péter Benjámin Lukács Music: Jean-Marc Petsas Production: EGoFILM Ewelina Gordziejuk Production Management: Małgorzata Badowiec Asystent of Production Manager: Marta Trzmiel Production Cooperation: Justyna Han, Eugeniusz Gordziejuk Co-producers: Łukasz Hendzel, Gábor Osváth–Boddah Riotfilm

FESTIVALS: Animation Grand Prix, Long Story Short Film Festival, Poland, 2022 Golden Unicorn, Alpinale, Austria, 2021 Student Jury Award, KAFF, Hungary, 2021

********

Krakow Film Festival 2020 – international competition Animator IAFF Poznan 2020 – international competition Warsaw Film Festival 2020 Animateka IAFF Ljubljana 2020 – international competition BOGOSHORTS, Columbia, 2020 – international competition Etiuda & Anima, Krakow, 2020 - international competition Zubroffka 2020 – national competition Anima Brussels 2021 – international competition KABOOM, The Netherlands, 2021 – international competition Animatricks, Finland, 2021 – international competition Friss Hús, Budapest, Hungary, 2021 – international competition KAFF Hungary 2021 – national competition Framed AF, The Netherlands, 2021 – international competition Alpinale Kurzfilmfestival, Austria, 2021 – international competition Encounters, UK, 2021 – international competition Stop Trik IFF, Poland, Slovenia – international competition Manchester Animation Festival 2021, United Kingdom, 2021 – international competition Slamdance Film Festival 2022, USA, 2022 – international competition IFF Febiofest Bratislava 2022, Slovakia, 2022 – international competition Cinemagic ‘On The Pulse’ Short Film Festival, UK, 2022 – international competition Primanima , Hungary, 2022 – international competition

[surferjoe]

The Year of Staring at Noses from Matt Eastman on Vimeo.

A film by Knox & Eastie.

Official selection at Slamdance, Atlanta Film Festival, Calgary Underground Film Festival (Winner - Audience Choice Award, Best Short), and Mammoth Lakes Film Festival. (Watched by the ex-boyfriend of the lead programmer at Cannes.)

[tscnews]

Our interview with the cast of Bliss (2024) as featured at the Slamdance film festival!

[hauntjaunts]

Slamdance Film Festival 2023: 5 Freaky Features to Watch

Strange quests, an eerie presence, and a catfishing sociopath are among the horror, mystery, and thriller features premiering at the Slamdance Film Festival this year. Not to be confused with Sundance, which is happening around the same time and in the same place (Park City, Utah). While both are film festivals that seek to elevate independent filmmakers, Slamdance also seeks to “showcase the…

[x----tine]

PURCHASE TICKETS TO GOODNIGHT SWEET THING HERE.

𝑫𝒊𝒓𝒆𝒄𝒕𝒆𝒅 𝒂𝒏𝒅 𝒂𝒅𝒂𝒑𝒕𝒆𝒅 𝒃𝒚 𝑪𝒓𝒊𝒔𝒕𝒊𝒏𝒆 𝑩𝒓𝒂𝒄𝒉𝒆 𝒂𝒏𝒅 𝑺𝒊𝒈𝒓𝒊𝒅 𝑳𝒂𝒖𝒓𝒆𝒏, this performance art piece—oddly billed as a theater adaptation of Brache's book of poems—is an exploration of power dynamics, mortality, and the female psyche. Starring Emily Allan, Betsey Brown, and Joshua Weidenmiller with a live score by Ryan Woodhall, the 30-minute live performance will captivate and challenge its audience long after the final curtain falls.

✩✩✩𝘎𝘰𝘰𝘥𝘯𝘪𝘨𝘩𝘵 𝘚𝘸𝘦𝘦𝘵 𝘛𝘩𝘪𝘯𝘨✩✩

✩𝑫𝒊𝒓𝒆𝒄𝒕𝒆𝒅 & 𝒂𝒅𝒂𝒑𝒕𝒆𝒅 𝒃𝒚 Cristine Brache & Sigrid Lauren

✩𝑺𝒕𝒂𝒓𝒓𝒊𝒏𝒈 Emily Allan, Betsey Brown & Joshua Weidenmiller

✩𝑷𝒓𝒐𝒅𝒖𝒄𝒆𝒅 𝒃𝒚 Olivia West Lloyd & Metalabel

✩𝑴𝒂𝒅𝒆 𝒊𝒏 𝒑𝒂𝒓𝒕𝒏𝒆𝒓𝒔𝒉𝒊𝒑 𝒘𝒊𝒕𝒉 anonymous gallery & Blade Study

✩𝑺𝒐𝒖𝒏𝒅 𝒅𝒆𝒔𝒊𝒈𝒏 & 𝒍𝒊𝒗𝒆 𝒔𝒄𝒐𝒓𝒆 𝒃𝒚 Ryan Woodhall

✩𝑭𝒂𝒔𝒉𝒊𝒐𝒏 𝒅𝒊𝒓𝒆𝒄𝒕𝒊𝒐𝒏 & 𝒎𝒂𝒌𝒆𝒖𝒑 𝒃𝒚 Bunny Lampert

✩𝑪𝒐𝒔𝒕𝒖𝒎𝒆 𝒅𝒆𝒔𝒊𝒈𝒏 𝒃𝒚 Bunny Lampert & Destroyer of Worlds

✩𝑯𝒂𝒊𝒓 𝒃𝒚 Atinka Anderson

✩✩✩✩✩✩✩✩✩✩✩✩✩✩✩✩✩✩

𝑫𝑨𝑻𝑬 → May 11, 2024 𝑻𝑰𝑴𝑬 → 8:00PM 𝑳𝑶𝑪𝑨𝑻𝑰𝑶𝑵 → 42n, 120 E Broadway, NY, NY 10002 𝑰𝑵𝑸𝑼𝑰𝑹𝑰𝑬𝑺 → goodnightsweetthing@gmail.com

𝑫𝑰𝑹𝑬𝑪𝑻𝑶𝑹𝑺

𝑪𝒓𝒊𝒔𝒕𝒊𝒏𝒆 𝑩𝒓𝒂𝒄𝒉𝒆 is a multidisciplinary artist, writer, and filmmaker based in New York City. Her work, which spans encaustic painting, sculpture, and film, often explores constructs of the female body and psyche, mortality, nostalgia, and solitude. Select solo exhibitions include those held at anonymous gallery (New York); Locust Projects (Miami); and Anat Ebgi (Los Angeles). She has exhibited internationally at galleries and institutions like Berlinische Galerie, Perez Art Museum Miami, and ICA Miami. Her films have screened in festivals like the Miami Film Festival (Miami); and Slamdance (Park City). Her work has been critically reviewed in places like Artforum, The New York Times, and The New Yorker.

𝑺𝒊𝒈𝒓𝒊𝒅 𝑳𝒂𝒖𝒓𝒆𝒏 is a New York-based performance artist whose work has been presented at renowned institutions and events worldwide. She is known for her exploration of control, consumerism, and societal conditioning through live performance and collaborative workshops. Her performance works have been presented at places like The Broad Museum, Guggenheim, Andrea Rosen Gallery, SIGNAL, Performa, Queens Museum, Miami Art Basel, and Frieze NYC. Her movement direction & choreography have expanded into collaborations with Mugler, Peter Do, CFGNY, SOPHIE, Drew McDowell amongst others. She is one half of performance art duo FlucT with Monica Mirabile. Sigrid hosts a monthly workshop in NYC entitled, how to throw a body away.

𝑷𝑬𝑹𝑭𝑶𝑹𝑴𝑬𝑹𝑺

𝑬𝒎𝒊𝒍𝒚 𝑨𝒍𝒍𝒂𝒏 is a writer and performer from the Lower East Side of Manhattan. Her two woman show 𝘚𝘓𝘈𝘚𝘏, written and performed with Leah Hennessey, was a hit at The Edinburgh Fringe Festival and called “quite possibly the end of civilization” (LB y The Guardian). They have also collaborated on the site specific play 𝘚𝘛𝘈𝘙 𝘖𝘋𝘠𝘚𝘚𝘌𝘠 at MoMa Ps1, and the film 𝘉𝘠𝘙𝘖𝘕 𝘈𝘕𝘋 𝘚𝘏𝘌𝘓𝘓𝘌𝘠: 𝘐𝘓𝘓𝘜𝘔𝘐𝘕𝘈𝘛𝘐 𝘋𝘌𝘛𝘌𝘊𝘛𝘐𝘝𝘌𝘚, for the Biennale de l'image en mouvement 2021 at the Centre d’Art Contemporain Genève. Most recently they co-directed 𝘑𝘖𝘏𝘕 𝘌𝘈𝘙𝘓𝘠: 𝘕𝘖𝘞 𝘔𝘖𝘙𝘌 𝘛𝘏𝘈𝘕 𝘌𝘝𝘌𝘙 for HBO. Emily’s album 𝘊𝘓𝘈𝘕𝘎𝘐𝘕𝘎 will be released on all platforms in 2024.

𝑩𝒆𝒕𝒔𝒆𝒚 𝑩𝒓𝒐𝒘𝒏 is an actor/filmmaker born, raised, and based in Manhattan. She stars in 𝘛𝘏𝘌 𝘚𝘊𝘈𝘙𝘠 𝘖𝘍 61𝘚𝘛 (dir. Dasha Nekrasova) which won the GWFF Best First Feature Award at Berlinale. She also stars in 𝘈𝘚𝘚𝘏𝘖𝘓𝘌𝘚 (dir. Peter Vack) which won the inaugural Adam Yauch Hornblower Award at SXSW, and plays the title role in Vack’s upcoming sophomore feature, 𝘞𝘞𝘞.𝘙𝘈𝘊𝘏𝘌𝘓𝘖𝘙𝘔𝘖𝘕𝘛.𝘊𝘖𝘔 (http://www.rachelormont.com/). She's been on television shows such as 𝘛𝘩𝘦 𝘊𝘢𝘳𝘳𝘪𝘦 𝘋𝘪𝘢𝘳𝘪𝘦𝘴 (THE CW), and 𝘍𝘰𝘳𝘦𝘷𝘦𝘳 (ABC). She also stars in Lilliya Scarlett Reid’s short film debut, 𝘉𝘐𝘛𝘚, which premiered at SXSW this year. Her debut short film as a writer/director/actor, 𝘚𝘏𝘌𝘎𝘌𝘛𝘚𝘌𝘠 𝘉𝘌𝘛𝘚𝘌𝘠 won the Audience Award for Best Experimental Short at the New Orleans Film Festival. Her feature directorial debut, 𝘈𝘊𝘛𝘖𝘙𝘚, won the audience award at Fantastic Film Festival Australia, and played to sold out audiences in movie theaters internationally. It is available to stream at http://actors.movie

𝑱𝒐𝒔𝒉𝒖𝒂 𝑾𝒆𝒊𝒅𝒆𝒏𝒎𝒊𝒍𝒍𝒆𝒓 has traveled the world performing in musicals, on cruise ships and with internationally celebrated recording artists. Since moving to NYC he has worked with Mabou Mines, Ryan McNamara, CHERYL art collective and was part of comedic dance group Varsity Interpretive Dance Squad. Most recently he performed the role Blue in Ryan McNamara’s 𝘒𝘐𝘕𝘌𝘛𝘐𝘊 𝘎𝘙𝘈𝘊𝘌 at the Guggenheim through their Works and Process program. This summer he will be on tour in the UK with recording artist Bright Light Bright Light.

𝑷𝑹𝑶𝑫𝑼𝑪𝑬𝑹𝑺

𝑶𝒍𝒊𝒗𝒊𝒂 𝑾𝒆𝒔𝒕 𝑳𝒍𝒐𝒚𝒅 is a filmmaker based in New York. Her debut feature film 𝘚𝘖𝘔𝘌𝘞𝘏𝘌𝘙𝘌 𝘘𝘜𝘐𝘌𝘛, premiered in competition at Tribeca Film Festival 2023 and was acquired by Vertical. Her short film, 𝘋𝘌𝘈𝘋 𝘔𝘈𝘓𝘓, screened at festivals internationally and before being released online by Alter. In addition to her work as a writer and director, Olivia works as an independent producer and production manager. Her production credits include 𝘚𝘏𝘐𝘙𝘓𝘌𝘠 (Sundance), and 𝘔𝘈𝘋𝘌𝘓𝘐𝘕𝘌’𝘚 𝘔𝘈𝘋𝘌𝘓𝘐𝘕𝘌 (Sundance/Berlin). Olivia graduated with highest honors from Princeton University with a degree in Art History and Creative Writing.

𝑴𝒆𝒕𝒂𝒍𝒂𝒃𝒆𝒍 is a new space for releasing, selling, and exhibiting creative work. A platform where people can release digital work, physical work, music, art, videos, publications, podcasts, performances, and combinations of all of the above. Metalabel is supported by a small, egalitarian team spread around the world.
We’re brought together by a shared purpose to build a new model for creative work.

𝑪𝑶𝑴𝑷𝑶𝑺𝑬𝑹

𝑹𝒚𝒂𝒏 𝑾𝒐𝒐𝒅𝒉𝒂𝒍𝒍 is a New York City based sound designer working across music, film, performance, and podcasts. His compositions incorporate a mix of custom audio software, handmade controllers, and digital synthesis to create immersive & emotive sonic environments. For over a decade Ryan has worked on a diverse array of content for clients including Supreme, Nike, ADIDAS, and Red Bull. He makes music as SPARQL, is a member of the band Yellow Tears, and is a founder of the Red Light District venue in Far Rockaway, NY.

𝑭𝑨𝑺𝑯𝑰𝑶𝑵 𝑫𝑰𝑹𝑬𝑪𝑻𝑰𝑶𝑵

𝑩𝒖𝒏𝒏𝒚 𝑳𝒂𝒎𝒑𝒆𝒓𝒕 is a New York-based artist and filmmaker with a BFA in Photography and Media from Cal Arts. She has worked in the New York fashion industry as a wardrobe stylist with a strong sense of personal style and continues to collaborate closely with artists including Susan Cianciolo, Avena Gallagher, and Jessi Reaves. She directed the short film, 𝘈𝘕 𝘐𝘕𝘝𝘐𝘛𝘈𝘛𝘐𝘖𝘕.

𝑷𝑨𝑹𝑻𝑵𝑬𝑹𝑺

𝒂𝒏𝒐𝒏𝒚𝒎𝒐𝒖𝒔 is a platform for contemporary art, public art, and community involvement. The gallery is committed to presenting ambitious projects featuring international emerging, mid-career, and historically significant artists.

The gallery operates between New York City and Mexico City with the goal of developing alternative networks for creative discourse between Latin America, the United States, and the international community. The gallery is devoted to artists experimenting in a variety of media, poetry and performance, and will continue a mission of giving voice to those marginalized; showcasing a variety of artists from different generations, genres and backgrounds.

𝑩𝒍𝒂𝒅𝒆 𝑺𝒕𝒖𝒅𝒚 is a contemporary art gallery in New York's Lower East Side, founded in 2020 by Brooke Nicholas and Ian Glover.

𝑽𝑬𝑵𝑼𝑬

𝟒𝟐𝒏 is a studio and creative space in Chinatown, NYC. It aims to be a nexus for artists of all kinds to meet, grow, learn, conduct business, and more. Founded in 2021, it is already home to a diverse group of multidisciplinary artists who collaborate on both commercial and personal projects.

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Sparky ／ 小 灵 子 from Dian Liang on Vimeo.

Sparky likes to gaze out of the window, to see every possible or impossible thing.

* Awards: **BEST U.S. FILM** - GLAS Animation Festival / 2019 **BEST EXPERIMENTAL FILM** - Animation Block Party / 2018

* Official Selections : *OFFICIAL SELECTION - 15th Animation Block Party / 2018 / Brooklyn, United States *OFFICIAL SELECTION - Les Femmes Underground Film Festival / 2018 / Phoenix, United States *OFFICIAL SELECTION - San Diego Underground Film Festival / 2018 / San Diego, United States *OFFICIAL SELECTION - Kolkata Shorts International Film Festival / 2018 / Kolkata, India *OFFICIAL SELECTION - KLIK Amsterdam Animation Festival / 2018 / Amsterdam, Netherlands *OFFICIAL SELECTION - Ann Arbor Film Festival / 2019 / Los Angeles, United States *OFFICIAL SELECTION - Slamdance Film Festival / 2019 / Utah, United States *OFFICIAL SELECTION - GLAS Animation Festival / 2019 / Berkley, United States

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Chaperone Review Slamdance 2024-A Movie That Asks Tough Questions, but Doesn't Give Many Answers

Every once in a while there will come a film where someone in said film has an identity crisis. They are treading water because they don’t know what to do in life. The movie The Worst Person In the World from a couple of years ago comes to mind. Now there is a new film with a similar premise although a bit different narratively called Chaperone. A young 29-year-old woman named Misha (Mitzi…