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CNN's Paula Newton reports on what was recovered at the site of the doomed submersible and former Homeland Security official Juliette Kayyem weighs in on what is known about the search's cost.

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A law recently passed by Uganda is having a devastating effect on members of the country's LGBTQ+ community. CNN's Larry Madowo reports.

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Various reports cite intelligence sources about what the Wagner chief's plans were for his confrontation with Kremlin leaders. CNN's Fred Pleitgen reports.

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CNN's Erin Burnett speaks with Ex-US Marine Garrison Foster who shared an exclusive video from the front lines in Ukraine.

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Former CIA operative Bob Baer analyzes what could be next for Russia's president after surviving a short-lived rebellion.

CNN Heroes: Sharing the Spotlight

Critically Acclaimed Feature Docudrama Gender Transformation: The Untold Realities Debuts To Great Success On EpochTV

On the heels of its world theatrical premiere at Manhattan Film Festival, feature docudrama Gender Transformation: The Untold Realities by award-winning director Tobias Elvhage debuted worldwide on EpochTV on June 19.

l-r, Pamela Garfield, Dr. Katherine Welch, Tobias Elvhage, YiYuan Chang, Erin Friday, Roman Balmakov at Manhattan Film Festival

Gender Transformation: The Untold Realities examines the topic of transgenderism and youth, exploring the roles played by the education system, the medical and pharmaceutical industries, the financial interests behind the transgender movement, and the societal and political mechanisms at work. Since its debut, EpochTV original production has garnered over 127,000 views.

Official Trailer: Gender Transformation: The Untold Realities

Additionally, a special panel held after the world premiere at Manhattan Film Festival on the evening of June 16th was streamed live on EpochTV and can be watched now on the channel. The panel, moderated by Facts Matter host Roman Balmakov, featured the film's director Tobias Elvhage and executive producer YiYuan Chang, as well as experts featured in the film, Dr. Katherine Welch, attorney Erin Friday, therapist and licensed clinical social worker Pamela Garfield. Since its initial live airing, the panel discussion has received over 45,000 views.

EpochTV subscribers may view the panel here: 

 https://www.theepochtimes.com/gender-transformation-live-panel-discussion-after-manhattan-film-festival-premiere-tobias-elvhage-yiyuan-chang-dr-katherine-welch-pamela-garfield-an_5332685.html

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The film explores the origin of transgenderism in youth and follows the journeys of several transgender young people and their families. The docudrama will reveal what actually happens to some youth who started the process to change their gender and the implications involved. The film tells the real life stories of several transgender youth and their experiences at various stages of their transition journeys, through live interviews and re-enactments.

 

Other experts interviewed and featured in the film include Dr. Michael Laidlaw, endocrinologist; Dr. Miriam Grossman, author and public speaker; Kali Fontanilla, founder, Exodus Institute/teacher; Christy Lozano, teacher/United States Air Force veteran; author/activist Walt Heyer, founder of Sexchangeregret.com, investigative writer Jennifer Bilek, and others.

 

CEO of Fenix Film, Tobias Elvhage is an award-winning producer and director with a passion for engaging and touching stories. He has studied at Berghs School of Communication and Stockholm Media School. His most recent productions range from the "haute cuisine" docuseries Taste of France, to historical and contemporary documentaries, to docuseries with re-enactments. His film Pure Life was voted Best Short Film at the LA Documentary Film Festival and was named winner at the European Cinematography Awards. The short is an official selection of the upcoming Toronto Beaches Film Festival.

 

For more information about the documentary, visit Gendertransformation.com.

 

 

YiYuan Chang, Tobias Elvhage

About Epoch TV: EpochTV is the streaming platform of The Epoch Times, featuring exclusive programming, which includes investigative news analysis, in-depth interviews, and award-winning documentaries. Please visit EpochTV.com to subscribe.

 

Photos Courtesy of The Epoch Times.

 

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Andriy Zagorodnyuk, former Ukrainian Defense Minister, calls the recent chaos in Russia "surreal," and believes Vladimir Putin still sees Prizgozhin as a threat.

New York: Tribeca Festival 2023

Tribeca Festival 2023 was held from June 7-18, with an extension to July 2 through the Tribeca at Home online platform.  The films presented included 109 feature films from 127 filmmakers and 36 countries, with 93 world premieres, 43 first time directors, and 53 documentaries depicting a broad spectrum of sociopolitical issues, including spotlights on the Ukraine and Iran. Short films were selected from a record number of 8,096 submissions and of them 76 selected shorts were presented in 12 short film programs, produced by 91 filmmakers from 48 countries and included 48 world premieres.

As articulated by Tribeca Festival Director and VP of Programming Cara Cusumano, “We are bringing to New York eye-popping 3D films and rousing music docs, white-knuckle thrillers and knee-slapping comedies, independent edge and old Hollywood glamour.  And as potent as the work is on-screen, we are equally excited to ‘plus up’ the moviegoing experience off-screen with an incredible line up of live experiences in Spotlight+”. The festival has evolved to provide its audience with a comprehensive holistic experience through its story telling approach, immersive lineups, coverage of sociopolitical issues, all genres of film making, an embrace of the entertainment function of films, incorporation of the old while introducing new audio-visual technologies, and emphasizing live experiences. Tribeca 2023 continues keeping the visual door open to a larger audience through the Tribeca post festival screening platform.

The 2023 edition of the Tribeca Festival, now in its 22^nd year, was presented by OKX, a crypto currency exchange, with support from numerous partners including but not restricted to AT&T, CHANEL, City National Bank, Novartis, The Wall Street Journal, Variety, and public agencies.

BETWEEN THE RAINS, Kenya 2022, a documentary co-directed by Andrew H. Brown and Moses Thuranira had its world premiere at the Tribeca Festival 2023 and received awards for Best Documentary Feature and Best Cinematography. Filmed over a period of four years in Northern Kenya alongside the Turkana-Ngaremara community, during a period in which it has suffered from a drastic decline of rainfall, this outstanding production provides superb visual insights into the real impacts of climate change.

BETWEEN THE RAINS reveals how a years-long draught threatens the survival of the tribal community, destroying the socio-economic basis of the herding economy and traditional culture. Enmeshed in the community, the directors and producers of the documentary present community perspectives and refrain from the kind of editorializing frequently found in documentaries about environmental issues. A Shaman inspects intestines to intuit the future and advises that harmony with nature and rain will be restored if traditions are retained. Some members of the community think that the soil has died, that the tribe’s life will end, and that customs have become obsolete.  The absence of rain overpowers the reality of the tribe, but most understand the calamity through the context of traditions. As articulated by Kolei, who is at the center of the documentary, “Nature is the only power that can destroy us”.  Kolei also insists, though questioning their future, when speaking to his younger brother Patrick, that herding is their only way of life and that becoming a warrior is Patrick’s fate. Over the long periods the documentary covers, the Turkana-Ngaremara community, and the family of Kolei and Patrick, face constant conflicts. Their herds are thinned out by the absence of water and rustling of their stock by a hostile tribe from across the river. The apparently well-armed members of the Yukana tribe cannot offer an effective defense nor can the rarely present soldiers protect them. The audience experiences many traditional rituals of the village and its members, from dance, music, animal sacrifices for the gods, and celebrations which seem to be as important to them as the concern with the threat of the drought.  Grazing of the herds in the lands of a hostile tribe across the river would result in more violent armed tribal conflicts. The Shaman suggests that defeat of the enemy may restore harmony with nature and bring rain back.

BETWEEN THE RAINS is an important documentary. The close collaboration with the village ensured that the filmmakers portrayed a fully grounded vision of the Turkana-Ngaremara community despite the climate crisis confronting them. During the first production year, there was no filming because all members of the crew spent considerable time with the 172 members of the village. Except for Brown, producers and directors came from the same Turkana tribe with an identity shaped by that background. Co-director Moises Thuranisa was a trained journalist and community organizer, and his collaborator the American Andrew Brown lived and worked for a decade in sub–Saharan Africa and spent several years in Kenya. Outstanding cinematography, frequent handheld filming in close ups or wide range shots, night and daytime filming, and the incorporation of many unscripted sequences and events transformed BETWEEN THE RAINS into a rare, exquisite example of a model documentary. The documentary is devoted to the over 34 million pastoralists living in East Africa.  

THE GULLSPANG MIRACLE, Maria Fredriksson, feature documentary, Norway Sweden, 2022 is an extraordinary documentary world premier unraveling the secrets of an extended family based in Norway and Sweden. Two women from Norway, Kari and May, avowed sisters, purchase an apartment in Sweden and discover that the owner of the apartment, Olaug, is apparently identical with their older sister Astrid who killed herself many years ago. Kari states that Olaug is her diseased sister sitting in front of her, a miracle. Olaug, the seller was also known as Lita, the nickname of Astrid. Kari and May see divine touches. They then hire Maria Fredriksson to direct a film about their family. What was supposed to be a harmonious exploration of a family history develops into an exploration of mutually sustained deceptions, forged documents, and DNA analysis of all members of the family.  Much of the film’s persuasive power comes from Fredriksson innovative use of the records of the principles of the film from infancy to old age, including photos, home videos, and relevant objects. They are included throughout the film, permitting audiences to track and possibly identify the characters. This is not an easy task since the story has surprising mutation and the apparent fixed identities of the characters in the beginning of the film are not what they seem to be. THE GULLSPANG MIRACLE does not have an easy storyline an audience can predict nor does not follow linear logic or suggest a solution to the mysteries uncovered. Virtually all active principles are females and most of the few males filmed are passive.

Meeting her large family after an absence of many years from the farm, Kari finds out that she was part of a set of identical female twins born in 1941. Some old members claim that one was stillborn, but Kari learns from others that she was smuggled out that night and eventually adopted by another family growing up in a healthy setting. She had to be separated from her sister and family because the Germans occupying Norway were looking for twins. Thus, her birth records were fake. When Kari suspects that the stone walling of her hyper religious family hides other mysteries, she starts an investigation and focuses on the alleged suicide of her twin sister who stopped living with the family. As a highly educated individual with a military background, she does not accept the prevailing silence and examines thirty year old police records, interviews Lita’s son Roger, and identifies a witness who was at the place of the alleged drug induced suicide. It turns out that the police investigation found no traces of drugs at the location if the alleged suicide or in her blood, and that no evidence of a heart attack as claimed by the family. A question mark was entered next the police record “cause of death”. Lita’s son Roger recalls that his mother had a fallout with her family and that she was incapable of suicide. Lastly the only witness still alive told Kari that Lita had been sitting in a car and that some other person was present. Being rigorous, Kari had DNA tests made of her and her family which showed no genetic connections between her and the family. Other evidence Kari collected suggested that Lita was murdered though that option is not discussed. The audience must wait for another director to cover that link. Fredriksson’s mystery documentation is a stunning addition to the Tribeca 2023 program and was recognized with the award for Best Editing of a documentary feature.

IT’S BASIC, USA,  2023, by Marc Levin, is a feature documentary, world premiering at Tribeca which explores Guaranteed Basic Income. Providing a small amount of Guaranteed Basic Income (GBI) has become an objective for a growing number of city and county politicians in the United States. In a period of economic instability and rising poverty, the concept of GBI has been embraced and implemented on small scales that exceed promises never enacted before. President Lyndon Johnson declared in his 1964 State of the Union, “I shall propose to help more Americans with income too small to even meet their basic needs…to do this we must help the pool, with a war on poverty”. Martin Luther King Jr. equated the struggle for Civil Rights with a fight for higher income and the racial wealth gap is as wide today as it was in 1968. In the time since, conservative Presidents like Nixon and supposedly liberal ones like Clinton have enacted policies reducing support for low or no-income groups in the United Stets. The dramatic reduction of discretionary funds and remedial initiatives was engineered by Republicans and cooperating Democratics through an unparalleled reduction of corporate and high-income personal income taxes and remains a goal for most Republicans. The tax breaks for the wealthy now amount to an estimated $630 billion. IT’S BASIC provides other data accounting for the contemporary rise of the small GBI movement.  The US is the largest economy in the world but more than 60% of all working Americans live from paycheck to paycheck and do not have the stability of reserve funds if losing their jobs or struck by a major illness.  The cost of living rose more rapidly in 2022 than any time in the past 40 years. Since 1985, rent has increased four times faster than the income of American workers.

IT’S BASIC provides a case study of more than 100 cities and counties which have established pilot community centric GBI programs. The movement was started in 2017 by Michael D. Tubbs, the mayor of Stockton in California who also set up the Mayors for Guaranteed Income association.  It  has grown to 100 funded pilot programs throughout the USA to meet the exploding demand for a time restricted small GBI as of the end of 2022.  There are variations, but most pilot programs offer a monthly payment of $500 for a year. Research reveals that the payments are used for survival items like rent support, food, medicine, and caregiving (and close to nothing for liquor and cigarettes). IT’S BASIC includes case histories of individuals from five cities who joined the program from all walks of life, both single or in partnerships, as well from different age and ethnic groups. They are using the funds for essential survival items, continued education, housing and childcare. 2021 CAMBRIDGE RISE pays $500 for 18 months on a random basis to 130 families. Cambridge also set aside $22 million for families living under the poverty level. LA LEAP started in January 2022, giving 3,200 residents $1,000 a month for one year.  Los Angeles County had recorded 70,000 homeless people in the same year. St. Paul City developed the first basic pay program for refugees. After its establishment in Illinois Cook County near Chicago, 233,000 people applied to enter its GBI program. Gainesville, Florida set up the JUST INCOME project for former incarcerated residents with a budget of $1,000 for the first month and $600 a month for the next eleven.  Individuals leaving prison there just received a $50 debit card.

When the support ends there is a difficult adjustment period, but the GBI programs provided their recipients an essential survival bridge to a more manageable future. It certainly does not solve American economic disparity and low-income/no-income problem. The Basic Income Initiatives help but cannot compensate for a dormant war on poverty.

 

Claus Mueller

New York, New York

filmexchange@gmail.com

 

 

 

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Satyaprem Ki Katha: Tittleation

Satyaprem Ki Katha: Tittleation

A title like this would be an anachronism, had it not been for the surfeit of ‘shudhha’ (pure/chaste) Hindi that can be heard in most places, of late. Be thankful! The film was originally titled Satyanarayan Ki Katha, which is a religious ritual among the majority community. But move a little eastward and you will find a film called Ballabhpurer Rupkotha (ignore the o in kotha, please). So, if they can get away with it, why can’t our guys? To the ignorant, Satyaprem Ki Katha could be a mythological love story or a didactic, moralising tale, till they read the names of the lead cast: Kartik Aaryan and Kiara Advani (remember the blockbuster Bhool Bhulaiyaa 2?). That queers the pitch completely. Wait a minute…Sameer Vidwans, who made the acclaimed, very serious, Marathi film, Anandi Gopal, is the director, and one of the producers is Sajid Nadiadwala’s Nadiadwala Grandson Entertainment banner, known for making mass entertainers. What is Satyaprem Ki Katha all about? They have kept it under wraps so far, and will like it to be so till 29 June, the release date. So much so that even after watching four of its songs and the trailer, you’ll be none the wiser.

Think of it as a whodunit. The songs are lush. The dances are crush. The romance is blush. But the secret is hush. The hero says that he is a virgin and has saved himself for his bride. In a philosophical scene, she says that he speaks his mind without thinking. He says that if you are saying the truth, what is the need to think? She replies, “There are things that, if said, would hurt the other person, and there are other things that, when said, would hurt yourself.” A character actor yells that he managed two conceptions in one ….! Is this comedy? Or is he revealing something calamitous. Why bring the ‘virgin’ bit in, unless it is a major twist in the tale. All the picture-postcard locales, motor-cycle rides, the dances as set-pieces, the bursting passion…It has got to give, somewhere. They have very cleverly shown us only the fluff, seeing if we can call their bluff. What are they doing with the Gujarati language? Flaunting a tattoo that says Gujju Pataka, the hero does a whole song. Only, in Gujarati, fire-crackers are called Fataakdaa, not Pataka. But give them the benefit of doubt. Maybe they have a reason, in the film, and may not be using it as fire-cracker. He is Satya (truth) and she is Katha (story). Together they make it a SatyaKatha, True Story. Pssst…they have leaked out one picture which shows a gun. So who is going to pull the trigger and who is going to bite the bullet?

Present on the occasion at Cinepolis, Andheri Mumbai, were Kartik, Kiara, Vidwans and the two lady producers. The show began very late, and Kartik blamed Kiara for it. She admitted her guilt. However, she pointed out that during shooting, it was he who often came late. Preceded by a dance troupe performance on stage and along the aisles, the couple did a few steps, before compere Salil (right?) started his volley of questions. He seemed to be a keen movie buff who had done his home-work. There were boisterous declarations of love, for both Kartik and Kiara, from a group of fans. Vidwans couldn’t thank his two ‘premees’ enough. “Not once did they say then want to go early. If I wanted four more hours, I got four more hours.” Asked if there were tiffs, with the lead pair or the producers, he responded with, “Never. Because we would always argue our hearts out before we were satisfied with a scene.” Kiara confessed that this was a new Kartik she was working with. “I could never guess which way would he do a particular scene.” The background was a huge, white heart, symbolising the purity in the love of Satya and Katha.

The blockbuster jodi (pair) of Kartik Aaryan and Kiara Advani has spread their magic once again with their latest track Sun Sajni, a garba beat, which was launched today. This was the first time where we saw Kartik and Kiara performing garba (traditional Gujarati group dance). Sun Sajni is sung by Meet Bros., Parampara Tandon, and Piyush Mehroliyaa. Music is composed by Meet Bros, and the lyrics of the song are penned by Kumaar.

Moreover, having given two soulful melodies, Naseeb Se and Aaj Ke Baad, and an upbeat dance number, Gujju Pataka, 'Sun Sajni' is another addition to the album of Satyaprem Ki Katha.

Media was not given the opportunity to put questions. They had to be content with the titillation in the title and in Kiara’s costume. Note that both Kartik and Kiara bare justabout the same amount of chest in the picture above. Gender equality in its pristine form!

Sun Sajni: http://bit.ly/3NFKSaf

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Cyndi Lauper Celebrates "Let The Canary Sing" at Tribeca

Music Icon Cyndi Lauper celebrated her Tribeca Film Festival documentary "Let The Canary Sing" At Tribeca Cinema Center held at Serafina Upper West on 77th Street on Wednesday, June 14th following the screening at Beacon Theatre.

Joined by personal family, friends, industry filmmakers and cinephiles, and her Sony Music family, Cyndi celebrated at the uptown Italian eatery, toasting with attendees at the intimate bash and making a speech filled with true Lauper pizazz.

Guests sipped on a selection of wines from Sommsation wine experience experts, along with Peroni Nastro Azzurro, both their premium Italian lager and 0.0% non-alcoholic lager. Following an abundance of delicious Serafina Italian cuisine favorites, attendees enjoyed delectable premium Magnum ice cream bars. Cocktails were also served featuring Milagro Tequila, Hendrick’s Gin, Reyka Vodka, and Hudson Whisky.

Leading Hollywood Event Producer Roxstar Entertainment, hosted the events for these highlighted Tribeca films all week, via their newest hospitality platform, the Cinema Center. Events took place all week across multiple premiere New York City restaurant and nightlife destinations including Bar Feroce at The Moxy Chelsea, Serafina at Upper West 77th Street, and Common Ground NYC in Meatpacking District for a selection of the top films in competition at the annual Festival.

Photos: Photagonist.ca

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Tiku Weds Sheru: A Senior artiste weds a Junior artiste

Tiku Weds Sheru: A ‘Senior’ artiste weds a ‘Junior artiste’

By all accounts, Nawazuddin Siddiqui is a senior artiste. He ranks on the high rung and is 49 years old. That he started as a junior artiste is now stuff that legends are made of. Avneet Kaur is said to be 21, though I find that hard to believe (17-18 is more like it), did a couple of film roles and a couple of cameos. By comparison, in terms of age and experience, she is a ‘junior’ artiste. In the Kangana Ranaut produced film, releasing on Amazon Prime Video on 23 June, one of them is called Tiku and the other Sheru, and the film itself goes by the rather unoriginal title of Tiku Weds Sheru, the trailer of which was released at Rang Mandir, Bandra, yesterday.

Almost as soon as you begin to wonder whether a 49-year-old lead actor will make a nice couple with a 17-18-19-20-21 year-old lass, Kangana Ranaut takes the mike and tells you that this film was to be made some ten years ago, and the she was to star in it, opposite late Irrfan Khan. Several things went wrong, including Irrfan’s illness and subsequent passing away, and the idea was dropped. The original title was Divine Lovers. A news item, dated 11 May, 2016, reads, “Actress Zareen Khan has been roped in for director Sai Kabir’s upcoming film Divine Lovers starring internationally acclaimed Indian actor Irrfan Khan (a silent tear rolls down my eyes whenever I read or see or hear about him). The film was initially offered to Kangana Ranaut.” Kangana confessed that 19 years after she came to pursue her film career, she would not fit the role of the heroine anymore, so she was looking for a young girl. Somebody sent her an Instagram post of Avneet Kaur, they met, and very soon, she became the lead actress in Kangana’s own production, a role she was to essay herself. In passing, does it sound a bit strange when Divine Lovers is retitled Tiku Weds Sheru? From the sublime to the conjugal? Who knows? The script might have undergone major changes.

It might sound like blowing my own trumpet, but read on…Just two weeks ago, I saw a film called Chidiakhana, at a press preview. While working on the review, I dug out the name of this 12-13 year-old who was cast as Mili, and said about her, in the review, “Avneet Kaur as Mili is a delight to watch. Far from camera conscious, she seems to be enjoying every pose.” The film was undistinguished and was probably completed just before the Covid 19 Coronavirus. And a mere two weeks later, she was the cynosure of all eyes, with praise being showered on her left, right and center.

Nawazuddin revealed suddenly remembered his early struggle days, when he was a junior artiste. “In one such scene, the director wanted the junior artistes with make-up. In a most demeaning manner, the make-up assistant sprinkled some talcum powder on his palm and blew it towards the faces of the junior artistes. He also averred that he likes quirky characters, and in this film too, he has played a quirky personality. Well, almost all actors like quirky characters, for it adds an extra dimension. Avneet was in tears as the trailer was played. It was a dream come true, being mentored by two personalities who are great in their own right. Kangana said that coaching her for the light, bubbly scenes, seemed easy, but she was a bit worried whether Avneet would pull off the emotionally charged sequences. But all her fears were unfounded. Avneet did even those scenes just right.

Digging back into her past, Kangana recalled that she went from audition to audition, till Mahesh Bhatt and Anurag Basu called her as a replacement for Chitrangada Singh in Gangster: A Love Story. “I definitely know what one has to go through to get a break, and I shared my experiences with the unit. Produced by Kangana Ranaut’s Manikarnika Films, the film is directed by Sai Kabir Srivastav and co-written by Srivastav and Amit Tiwari.

Tiku Weds Sheru follows the journey of two eccentric and starry-eyed characters - a dreamer Tiku (Avneet) and a hustler Sheru (Nawazuddin). The trailer showcases the ups and downs in the lives of this unconventional couple, a junior artiste and an aspiring actor, who begin their mad-cap journey as they hustle together to achieve their ambitions in the city of dreams, Mumbai. What started as the coming together of an unusual jodi, becomes the marriage of two souls.

“While I have dabbled in a few (few?) TV shows (many of them being dance shows) and explored the digital space, Tiku Weds Sheru is a pivotal milestone in my career. Not only is it my first Hindi feature film as a lead actor, I also got the opportunity to work with industry stalwarts like Kangana Ma’am and Nawazuddin Sir. Also, the film will premiere globally on Prime Video, reaching a wider audience. What more can an actor ask for!” shared Avneet Kaur. “Working alongside Nawazuddin sir has been an enriching experience as an actor, I learned a lot from him. Although our pairing is unconventional, the audience will see a very beautiful relationship between Tiku and Sheru. They have a shared dream that brings them together; and the film is an exploration of their love and aspirations which audiences will enjoy watching.”

The film introduces the never-seen-before Jodi of Nawazuddin Siddiqui and Avneet Kaur who are hustling to achieve their Bollywood dream. Prime members in India and across 240 countries and territories worldwide can stream the comedy-drama from June 23, across 240 countries and territories.

A film called Tanu Weds Manu, starring Kangana Ranaut, set the film industry abuzz 12 years ago. Maybe the similar nomenclature will prove auspicious in 2023 for Tiku Weds Sheru. Besides, the man at the helm of affairs, the director, of Tiku Weds Sheru, is Sai Kabir Srivastav, who gave Kangana the hit, Revolver Rani, in 2014, and has co-written films like Kismat Konnection and The Shaukeens. The supporting cast, culled from the public domain, comprises: The ever-dependable Zakir Hussain, Rahoul, Mukesh S. Bhatt, Suresh Vishwakarma, Ghanshyam Garg, Khushi Bharadwaj, Vipin Sharma, Sanjay Mishra, Zarina Wahab, Shubhankar Das, Hemant Kumar, Nikki Tamboli, Murari Kumar, Sanju Kumar Gautam, Aseem Dubey and Mahaakshay Chakraborty (Mimoh? Son of Mithun Chakraborty?).

As usual, MC Rohini, compered fluently, with energy levels belying her age,

Trailer: https://youtu.be/0mvglHtAGC8

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Feature Docudrama 'Gender Transformation: The Untold Realities' To Have World Premiere at Manhattan Film Festival on June 16

Feature docudrama Gender Transformation:The Untold Realities by directors Tobias Elvhage and Liza Morberg will debut to worldwide audiences on EpochTV on June 19. The film will also have its theatrical premiere at the Manhattan Film Festival in New York City at 7 p.m. (EST) on June 16th.

 

 

Gender Transformation: The Untold Realities examines the topic of transgenderism and youth, exploring the roles played by the education system, the medical and pharmaceutical industries, the financial interests behind the transgender movement, and the societal and political mechanisms at work.

 

Official Trailer:

  

According to Merriam-Webster dictionary: A transgender person is someone "relating to, or being a person whose gender identity is opposite the sex the person had or was identified as having at birth."

 

The film explores the origin of transgenderism in youth and follows the journeys of several transgender young people and their families. The docudrama will reveal what actually happens to some youth who started the process to change their gender and the implications involved.

 

The film tells the real life stories of several transgender youth and their experiences at various stages of their transition journeys, through live interviews and re-enactments. Experts interviewed and featured in the film include Dr. Michael Laidlaw, endocrinologist; Dr. Katherine Welch, physician; Dr. Miriam Grossman, author and public speaker; therapist and social worker Pamela Garfield; attorney Erin Friday; Kali Fontanilla, founder, Exodus Institute/teacher; Christy Lozano, teacher/United States Air Force veteran; author/activist Walt Heyer, founder of Sexchangeregret.com, investigative writer Jennifer Bilek, and others.

 

Director/producer Tobias Elvhage comments, “I chose to direct and produce this film after watching a shorter investigative documentary made by Swedish Television called The Trans Children. Through this program I got to understand how badly puberty blockers and cross hormones can affect children. The more I investigated, the more I saw that this had become a sensitive and even political subject, and I wanted to understand the mechanisms behind.”

 

CEO of Fenix Film, Elvhage is an award-winning producer and director with a passion for engaging and touching stories. He has studied at Berghs School of Communication and Stockholm Media School. His most recent productions range from the "haute cuisine" docuseries Taste of France, to historical and contemporary documentaries, to docuseries with re-enactments. His film Pure Life was voted Best Short Film at the LA Documentary Film Festival and was named winner at the European Cinematography Awards. The short is an official selection of the upcoming Toronto Beaches Film Festival.

 

For more information about the documentary, visit Gendertransformation.com.

 

About EpochTV: EpochTV is the streaming platform of The Epoch Times, featuring exclusive programming, which includes investigative news analysis, in-depth interviews, and award-winning documentaries. Please visit EpochTV.com to subscribe.

 

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The 29th annual Palm Springs International ShortFest announces 2023 line-up

 

2023 PALM SPRINGS INTERNATIONAL SHORTFEST ANNOUNCES LINE-UP  

  

Palm Springs, CA (June 1, 2023) – The 29th annual Palm Springs International ShortFest returns to the Camelot Theatres (Palm Springs Cultural Center) from June 20-26. The festival will screen 50 curated programs showcasing 299 films including 53 World Premieres, 10 International Premieres, 33 North American Premieres and 18 U.S. Premieres. Repeat screenings of the winners will be shown closing night and on June 26th. Additionally, a virtual Best of the Festival will run from July 7-13, featuring a collection of ShortFest's juried award winners available to stream at a packaged price online. More than 6,000 short films from 129 countries were submitted. The complete line-up and schedule will be available on June 1st at www.psfilmfest.org and a list of films are included at the end of the release.   

  

“We are so thrilled to be bringing such incredible talent to Palm Springs to celebrate film and the craft of short filmmaking” said Artistic Director Lili Rodriguez. “We are honored to be sharing their work with our loyal Palm Spring audience and the world. We are looking forward to helping create the kind of experience only a film festival can provide.” 

 

“With such a large, high quality submission pool, the programming team had to make some difficult decisions but we think these films represent the vibrancy and immense creativity in short films from around the world.” said ShortFest Director of Programming Sudeep Sharma. “We can't wait to host the films and filmmakers at Palm Springs and are honored to be part of their journey.”

 

Short films featuring celebrated film and TV actors include Ana Fabrega in Gold and Mud; Bobby Lee and Matt Jones in Death & Ramen; Catherine Curtin in Galapagos; Dana Delany and Dylan Baker in Troy; Edward Norton and John Turturro in High Noon on the Waterfront; Greta Lee in The Breakthrough; Hugo Weaving in Teacups; Jamie-Lynn Sigler in I’m On Fire; Judith Light as a producer on Aikāne; Ken Marino and Kate Flannery in Help Me Understand produced by Paul Feig; Margaret Cho in Gianna; Lio Mehiel in Smoking Kills; Michael Ironside in The Family Circus; Princess Nokia in Daughter of the Sea; Rachel Bloom and Pam Murphy in Heritage Day; Shannon Dang in Fanatic directed by Taran Killam; Tom Holland in Last Call; Wendi McLendon-Covey in Beautiful, FL; Wes Studi in The Roof; and Whoopi Goldberg in Three Trees.

  

Each year ShortFest reflects the evolving film industry and the world at large. As reported by the filmmakers themselves, 125 out of 299 films (nearly 42%) feature women Directors, and 139 films (47%) have filmmakers who identify as non-white. Further to its mandate to showcase film excellence worldwide, this year’s slate includes more than half of the lineup from foreign countries – Canada (26), China (7), France (30), India (7) and the United Kingdom (20) – along with films from Afghanistan, Argentina, Australia, Austria, Belgium, Brazil, Chile, Colombia, Croatia, the Democratic Republic of Congo, Denmark, Ecuador, Estonia, Finland, Georgia, Germany, Greece, Greenland, Hungary, Iceland, Indonesia, Iran, Ireland, Israel, Japan, Jordan, Laos, Latvia, Lebanon, Lithuania, Malaysia, Mexico, Mongolia, Morocco, Netherlands, Nigeria, Norway, Palestine, Peru, Poland, Portugal, Qatar, Saudi Arabia, Scotland, Serbia, Singapore, South Africa, South Korea, Spain, Sweden, Switzerland, Syria, Turkey, Ukraine,Uruguay and Vietnam. 

 

Palm Springs International ShortFest is a bellwether for awards recognition, over the course of 29 years, the festival has presented over 100 films that have gone on to receive Academy Award® nominations. Juried award winners will be announced on Sunday, June 25 from the official selection presenting them with awards and cash prizes worth $25,000 including five Academy Award® qualifying awards. Best of the Fest shorts will screen on the final day, Monday, June 26. This year’s categories, which will have their own group of jury members, include: 

  

Oscar®Qualifying Awards: Best of the Festival Award, Best Animated Short, Best Documentary Short, Best Live-Action Short Over 15 Minutes and Best Live-Action Short 15 Minutes and Under 

  

Student Short Awards: Best Student Animated Short, Best Student Documentary Short, Best Student International Short, Best Student U.S. Short 

  

Special Jury Awards: Best International Short, Best U.S. Short, Best Comedy Short, Best LGBTQ+ Short, Best Midnight Short, Local Jury Award, Young Cineastes Award, Kids’ Choice Award, MOZAIK Bridging the Borders Award

  

The ShortFest Forum will also take place from June 23-25, with in-person panels, roundtables, and interactive events featuring industry representatives, filmmakers and additional guests. ShortFest Jury members and Forum programs and participants will be announced on June 5. 

  

The 2023 Palm Springs ShortFest will screen the following films: 

 

Animation

• Aikāne (USA), Directed by Daniel Sousa, Dean Hamer & Joe Wilson 
• Ashkasha (Spain/Argentina), Directed by Lara Maltz 
• Boat People (Canada), Directed by Thao Lam & Kjell Boersma 
• Canary (Canada), Directed by Pierre-Hugues Dallaire & Benoit Therriault
• ChaCha (China/France), Directed by Chenghua Yang & Shang Zhang 
• Christopher at Sea (France/USA/United Kingdom), Directed by Tom CJ Brown 
• ‘Delta Airline Saftey Video (USA/France), Directed by Jordan Michael Blake 
• Discussion animée entre entendeurs de voix (France), directed by Tristan Thil
• Eeva (Croatia/Estonia), Directed by Lucija Mrzljak & Morten Tšinakov 
• Epicenter (South Korea), Directed by HAHM Hee-yoon
• The Flying Sailor (Canada), Directed by Wendy Tilby & Amanda Forbis 
• fur (USA), Directed by Zhen Li 
• ​​Ice Merchants (Portugal/France/United Kingdom), Directed by João Gonzalez 
• La Pursé (Brazil), Directed by Gabriel Nóbrega & Lucas René
• Luce and the Rock (Belgium/France/Netherlands), Directed by Britt Raes
• Make or Break (Germany), Directed by Mike Plitt & Falk Schuster
• Menagerie (USA), Directed by Jack Gray
• Misaligned (Poland/Latvia), Directed by Marta Magnuska
• Movement (Switzerland), Directed by Valentine Moser
• Mushka (USA), Directed by Andreas Deja
• Pipes (Switzerland), Directed by Jessica Meier, Kilian Feusi & Sujanth Ravichandran
• Pond (Switzerland), Directed by Lena von Döhren & Eva Rust
• The Rainbow Dung Beetle (USA), Directed by Ellen Mowat & Cole Dupzyk
• Red Rabbit (Ireland), Directed by Rory Kerr
• The Sea on the Day When the Magic Returns (South Korea), Directed by Hang Luong Jiwon
• Shadow of the Butterflies (France/Portugal/Qatar), Directed by Sofia El Khyari
• Slow Light (Poland/Portugal), Directed by Katarzyna Kijek & Przemysław Adamski
• The Social Chameleon (USA/India/United Kingdom/Hungary), Directed by Alex Ross 
• Spring Roll Dream (United Kingdom), Directed by Mai Vu
• Sprout (USA), Directed by Zora Kovac
• Stranding (USA), Directed by Ben Kadie
• Sub Terra (Canada), Directed by Jeffrey Zablotny
• Swing to the Moon (France), Directed by Marie Bordessoule, Adriana Bouissie, Nadine De Boer, Elisa Drique, Chloé Lauzu, Vincent Levrero & Solenne Moreau
• Teacups (Australia/Ireland), Directed by Alec Green & Finbar Watson
• Things that Disappear (South Korea), Directed by Kim Changsoo
• Think Something Nice (Switzerland), Directed by Claudius Gentinetta
• Three Trees (Canada), Directed by M.R. Horhager & Aaron Hong
• Tomato Kitchen (China/USA), Directed by Junyi Xiao
• Way Better (Lithuania), Directed by Skirmanta Jakaitė
• Well Wishes My Love, Your Love (Sweden/Malaysia), Directed by Gabriel Gabriel Garble
• Zeb's Spider (Canada), Directed by Alicia Eisen & Sophie Jarvis

 

Documentary

• 45th Parallel (United Kingdom), Directed by Lawrence Abu Hamdan
• Alpha Kings (USA), Directed by Enrique Pedraza Botero & Faye Tsakas  
• Amara and Ry'Shauna (USA), Directed by Kate Cohen & A.D. Freese
• Away (Hungary/Belgium/Portugal), Directed by Ruslan Fedotov 
• Birdsong (United Kingdom/Laos), Directed by Omi Zola Gupta & Sparsh Ahuja 
• Black Strings (USA), Directed by Marquise Mays 
• Border Conversations (Germany), Directed by Jonathan Brunner 
• Breaking Silence (USA), Directed by Amy Bench & Annie Silverstein 
• Call Me Mommy (Ireland), Directed by Tara Isidora O'Callaghan 
• CANS Can’t Stand (USA), Directed by Matt Nadel & Megan Plotka 
• Chicken Stories (USA), Directed by Jonathan Pickett 
• Clean (Scotland/United Kingdom), Directed by Miranda Stern 
• Daron, Daron Colbert (USA), Directed by Kevin Steen
• Dicks That I Like (Germany), Directed by Johanna Gustin  
• Echo (USA), Directed by Benjamin Wolin & Michael Minahan 
• Eco-Hack! (USA), Directed by Josh Izenberg & Brett Marty 
• Fata Morgana (Germany/Syria), Directed by Daood Alabdulaa 
• Heart of an Astronaut (Sweden), Directed by Jennifer Rainsford 
• High Noon on the Waterfront (USA), Directed by Billy Shebar & David Roberts 
• How We Get Free (USA), Directed by Geeta Gandbhir & Samantha Knowles 
• I Never Had Dreams of My Son (Ukraine/USA), Directed by Jason Blevins
• Kaamoksen Valossa (Finland), Directed by Niko Väistö
• Little to Big (Sweden), Directed by Ellinor Hallin & Ellen Fiske
• Liturgy of Anti-Tank Obstacles (USA/Ukraine), Directed by Dmytro Sukholytkyy-Sobchuk
• Nǎi Nai & Wài Pó (Grandma & Grandma) (USA), Directed by Sean Wang
• Oasis (Canada), Directed by Justine Martin
• Parker (USA), Directed by Sharon Liese & Catherine Hoffman
• Powernapper's Paradise (Sweden), Directed by Samir Arabzadeh
• Ptitsa (Poland/Ukraine), Directed by Alina Maksimenko
• Puffling (United Kingdom/Iceland), Directed by Jessica Bishopp
• Sanctuary (USA), Directed by John Haley & Julia Szromba
• Shirampari: Legacies of the River (Peru/Spain/USA), Directed by Lucia Florez
• Still Waters (USA), Directed by Aurora Brachman
• Under G-d (USA), Directed by Paula Eiselt
• ur heinous habit (USA), Directed by Eugene Kolb
• Waking Up in Silence (Germany/Ukraine), Directed by Mila Zhluktenko & Daniel Asadi Faezi
• Will You Look At Me (China), Directed by Shuli Huang

 

Live Action

• 100% USDA Certified Organic Homemade Tofu (USA), Directed by Gbenga Komolafe
• 48 Hours (Iran), Directed by Azadeh Moussavi
• 9-5 (Serbia), Directed by Maša Šarović 
• Aban (Iran/France), Directed by Abbas Taheri & Mahdieh Toosi 
• About Me (Netherlands), Directed by Ali Asgari
• Accidentally Intentional (Indonesia), Directed by Kevin Rahardjo 
• Agustina (Mexico), Directed by Luciana Herrera Caso
• AirHostess-737 (Greece), Directed by Thanasis Neofotistos 
• All Choked Up (USA), Directed by Allison Volk 
• All I Know (Nigeria/USA), Directed by Obinna Onyeri 
• All-inclusive (Colombia/France), Directed by Duván Duque Vargas
• Almost Fall (France), Directed by Margot Pouppeville 
• Animal Transport (Argentina), Directed by Iván Bustinduy 
• Anthony's (USA), Directed by Sabrina Greco 
• Aphonia (Poland), Directed by Marta Z. Nowak 
• Arava (Israel), Directed by Sarah Meital Benjamin 
• Arnasa (Spain), Directed by Raúl Barreras 
• The Arrival of Aliens (China), Directed by Tian Guan & Junjie Lam 
• Astonishing Little Feet (USA), Directed by Maegan Houang 
• At Dusk (Canada), Directed by Miryam Charles 
• August Visitor (USA), Directed by Ifeyinwa Arinze
• An Avocado Pit (Portugal), Directed by Ary Zara
• À La Vie á L'amore (Canada), Directed by Emilie Mannering
• Baba (Canada), Directed by Anya Chirkova & Meran Ismailsoy 
• The Beads (Brazil), Directed by Rafaela Camelo & Emanuel Lavor 
• Beautiful, FL (USA), Directed by Gabriela Ortega 
• A Beautiful Wildflower Meadow (Poland), Directed by Emi Buchwald 
• Before Madrid (Uruguay), Directed by Nicolás Botana & Ilén Juambeltz
• Bergie (South Africa), Directed by Dian Weys 
• Best Friends On A Summer Hike (USA), Directed by ​​Mario Furloni 
• Between Her (Israel), Directed by Bar Cohen
• Big Bang (Brazil/France), Directed by Carlos Segundo 
• Bizarro World (USA), Directed by Jonathan Salmon & Abdi Ibrahim
• Black the Sea (Colombia), Directed by Juan David Mejía Vásquez 
• Blond Night (Canada), Directed by Gabrielle Demers 
• Blue Veil (USA), Directed by Shireen Alihaji 
• The Breakthrough (USA), Directed by Daniel Sinclair 
• Bulldozer (Denmark), Directed by Mads Koudal 
• Burial of Life as a Young Girl (France), Directed by Maïté Sonnet 
• Calcutta 8:40 am (France/India), Directed by Adriano Valerio 
• Call Me Mommy (USA), Directed by Haley Alea Erickson & Taylor Washington 
• Chomp It! (Singapore), Directed by Mark Chua & Lam Li Shuen 
• Claudio's Song (United Kingdom/Ukraine), Directed by Andreas Nilsson 
• Closing Dynasty (USA), Directed by Lloyd Lee Choi 
• Colors of the Jungle (Peru/USA/Ecuador), Directed by Julio César Padilla 
• Confessions (USA), Directed by Stephanie Kaznocha 
• Coral (USA/Poland/France), Directed by Sonia Oleniak  
• Crarylake Boats and Floats (USA), Directed by Spencer Thielmann & Emily Berge 
• Creamy (Hungary), Directed by Bálint Dániel Sós 
• Cry It Out (USA), Directed by Musa Syeed & Kamau Bilal 
• D.O.D. (USA), Directed by Paul Davis 
• Daughter of the Sea (USA/Puerto Rico), Directed by Alexis C. Garcia 
• David Se Va (USA/Mexico), Directed by Joel Villegas Saldaña 
• A Day In February (United Kingdom), Directed by Klaas Diersmann 
• Dead Enders (USA), Directed by Fidel Ruiz-Healy & Tyler Walker 
• A Dead Marriage (Poland), Directed by ​​Michał Toczek 
• Death & Ramen (USA/Hong Kong), Directed by Tiger Ji 
• Death Snot (USA), Directed by Charlie Schwan 
• Death to the Bikini! (Canada), Directed by Justine Gauthier 
• Diaspora (Canada), Directed by Tyler Mckenzie Evans
• Donkey (USA), Directed by Matt Kazman 
• Drifting (Switzerland), Directed by Marion Reymond 
• Dún Laoghaire (USA/Ireland), Directed by William Lancaster
• Ecstatic Thing (France), Directed by Benjamin Nuel 
• Endless Sea (USA), Directed by Sam Shainberg  
• Euridice, Euridice (Switzerland/France), Directed by Lora Mure-Ravaud 
• The Fading (Canada), Directed by Rafaël Beauchamp 
• The Family Circus (USA), Directed by Andrew Fitzgerald 
• Fanatic (USA), Directed by Taran Killam 
• File (Iran), Directed by Sonia K. Hadad 
• First Chair (USA), Directed by Ethan Montgomery & Luke Montgomery 
• Flail (USA), Directed by Ben Gauthier 
• For Those Who Don't Know How (USA), Directed by Brian Chamberlayne
• Four Nights and a Fire (USA), Directed by Alex Nystrom  
• Galapagos (USA), Directed by Kyle Sims 
• Gertrude and Yvan Party Hard (France), Directed by Louise Groult 
• Gianna (USA), Directed by Kait Schuster 
• The Glasses (USA), Directed by Sarah Smith & Frances Chewning 
• Gold and Mud (USA), Directed by Conor Dooley 
• Good Girls Club: A Virginity Odyssey (Greece), Directed by Dimitris Tsakaleas & Lida Vartzioti
• Goose Egg (USA), Directed by Madeline Leshner & Zach Stone  
• Green Space (United Kingdom), Directed by Jamie Fraser 
• Grown (USA), Directed by Jamila Meloche 
• Guilty Pleasures (USA), Directed by George Oliver 
• Halmoni's Pot (Grandma's Pot) (USA), Directed by A. Lauren Lee 
• Happy Rakhi (USA), Directed by Ragini Bhasin 
• Help Me Understand (USA), Directed by Aemilia Scott 
• Heritage Day (USA), Directed by Lara Everly 
• Hills and Mountains (Afghanistan/Canada), Directed by Salar Pashtoonyar 
• Home (India), Directed by Aditi Sharma 
• Honolulu (USA), Directed by Maya Tanaka 
• Hot Rod (France), Directed by Juliette Gilot 
• Idiot Fish (France), Directed by Hakim Mao 
• I Have No Legs, and I Must Run (China), Directed by Yue Li 
• I Have No Tears, and I Must Cry (USA), Directed by Luis Fernando Puente 
• I'm Here (South Korea), Directed by Jeong Eun-uk
• Immaculate (United Kingdom), Directed by Villo Krisztics 
• I'm On Fire (USA/Australia), Directed by Michael Spiccia 
• Incognito (India), Directed by Ravi Muppa 
• Infantry (Brazil), Directed by Laís Santos Araújo 
• Insta Gay (Canada), Directed by Simon Paluck 
• In The Garden of Tulips (USA), Directed by Julia Elihu 
• Invasive Species (USA), Directed by Annie Ning 
• I Probably Shouldn't Be Telling You This (USA), Directed by Emma Weinswig 
• I See Them Bloom (Germany), Directed by Nikita Gibalenko
• It Happened One Night at Melody Lanes (USA/Canada), Directed by Alex Fofonoff 
• It's A Date (Ukraine/United Kingdom), Directed by Nadia Parfan 
• It Turns Blue (Iran/Greece), Directed by Shadi Karamroudi 
• Ivalu (Greenland/Denmark), Directed by Anders Walter & Pipaluk K Jørgensen
• Jammed (Netherlands), Directed by Isis Mihrimah Cabolet 
• Junglefowl (Canada/India), Directed by Kalainithan Kalaichelvan 
• The Key (Belgium/Palestine/Qatar/France), Directed by Rakan Mayasi 
• The Kidnapping of the Bride (Germany), Directed by Sophia Mocorrea 
• Killing Bagheera (Germany/Syria), Directed by Muschirf Shekh Zeyn
• Klette (Belgium), Directed by Michael Abay
• Last Call (United Kingdom), Directed by Harry Holland
• The Launch (USA), Directed by KK Apple
• Lay Me by the Shore (Canada), Directed by David Findlay
• Leonetty (USA), Directed by Logan Jackson
• Lot's Wife (Israel), Directed by Ori Birger
• Matapang (France/Belgium), Directed by Léa-Jade Horlier
• Meantime (France), Directed by Guillaume Scaillet
• Me & Aydarous (Saudi Arabia/USA), Directed by Sara Balghonaim
• The Melting Creatures (Chile/France), Directed by Diego Céspedes
• Merv (USA), Directed by Sam Roebling
• Mirage (Iran), Directed by Atefeh Salehi
• More Than Friends (Israel), Directed by Omri Laron
• Mouthpiece (USA), Directed by Graham Goldstein
• Mucho, Mucho Amor (USA), Directed by Mariano Dongo
• Mulika (Democratic Republic of the Congo), Directed by Maisha Maene
• Municipal Relaxation Module (Canada), Directed by Matthew Rankin
• Mysore Magic (USA), Directed by Abijeet Achar
• Mystic Tiger (Spain), Directed by Marc Martínez Jordán
• Nanitic (Canada), Directed by Carol Nguyen
• The Newt Congress (Switzerland/Germany), Directed by Matthias Sahli & Immanuel Esser
• Nian (USA), Directed by Michelle Krusiec
• No Bedroom (Canada), Directed by Ryan Leedu
• Nocturnal Burger (USA/India), Directed by Reema Maya
• Noodles Forever (USA), Directed by McKinley Carlin
• Nude (Canada), Directed by Olivier Labonté LeMoyne
• The Old Young Crow (Japan/USA), Directed by Liam LoPinto
• On My Father's Grave (France/Morocco), Directed by Jawahine Zentary
• On Purpose (Lithuania), Directed by Adas Burkšaitis
• Our Males and Females (Jordan), Directed by Ahmad Alyaseer
• Out of Water (USA), Directed by Madi Stine
• The Pass (USA), Directed by Pepi Ginsberg
• Pennies from Heaven (USA), Directed by Sandy Honig
• The Phone Booth (Germany), Directed by Lukas März & Kilian Bohnensack
• Piece by Piece (Austria), Directed by Reza Rasouli
• Please Hold the Line (Malaysia), Directed by Tan Ce Ding
• Poolside Inn (USA), Directed by Remington Butler
• Porter (Norway), Directed by Lisa Enes
• Power Signal (USA), Directed by Oscar Boyson
• Presto (Iran), Directed by Keyvan Ahmadi
• Prom Car '91 (USA), Directed by Brian Otting
• Pruning (USA), Directed by Lola Blanc
• Queen of Pain (France), Directed by Cyril Carbonne
• Rabobesto - Or How I Saved a Monster (Finland), Directed by Mari Mantela
• Re-record (Ukraine), Directed by Kyrylo Zemlyanyi
• Rest Stop (USA), Directed by Crystal Kayiza
• Ricky (USA), Directed by Rashad Frett
• Romance Package For Two (USA), Directed by Carlen May-Mann
• The Roof (USA), Directed by Alexander Bocchieri
• Room For One More (Australia), Directed by Jesse Vogelaar
• Science Around Us (Netherlands/Indonesia), Directed by Arif Abdillah
• SCRED TBM (France), Directed by Kevin Le Dortz
• Sèt Lam (France), Directed by Vincent Fontano
• She Always Wins (United Kingdom/USA), Directed by Hazel McKibbin
• Shoes Off (USA), Directed by Joel Jay Blacker
• Sibling (Belgium), Directed by Laura Van Passel
• Side Hustle (USA), Directed by Abby Harri
• The Silent Whistle (China), Directed by Yingtong Li
• Simo (Canada), Directed by Aziz Zoromba
• Simone (USA), Directed by Aisha Amin
• The Singles Retreat (USA), Directed by Jo Firestone
• Sisters of the Rotation (Lebanon), Directed by Michel Zarazir & Gaby Zarazir
• Smoking Kills (USA), Directed by Dulcinee DeGuere
• Snail (Iran), Directed by Aminreza Alimohammadi
• Snow in September (Mongolia), Directed by Lkhagvadulam Purev-Ochir
• Snow White (Croatia), Directed by Lana Barić
• Soleil de nuit (Canada), Directed by Fernando Lopez Escriva & Maria Camila Arias
• Soon-to-Be a Zombie (Japan), Directed by Yuki Saito
• Sorry I Am Late I Was Masturbating (Germany), Directed by Alena Shevchenko
• So They Say (Chile/USA), Directed by Natalia Luque
• (spin) (United Kingdom), Directed by Precious Wura Alabi
• Split Ends (Iran), Directed by Alireza Kazemipour
• Step Into The Mattress (USA), Directed by Erin Vassilopoulos
• The Story of This Life (China/USA), Directed by Alex Jiang
• SULAM (Ladder) (USA), Directed by Noam Argov
• The Summer I Got Tough (USA), Directed by Victoria Shan Wang
• Sunless (USA), Directed by Boris Vesselinov
• Supermarket Affairs (Vietnam/USA), Directed by Hang Luong Nguyen
• Surprise (Sweden), Directed by Laerke Herthoni
• The Swimmer (Denmark), Directed by Máté Boegi
• Take Me Home (USA), Directed by Liz Sargent
• Tall Dark and Handsome (United Kingdom), Directed by Sam Baron
• Things Unheard Of (Turkey), Directed by Ramazan Kilic
• Thirstygirl (USA), Directed by Alexandra Qin
• Ticks (USA), Directed by Sam Max
• Tremor (Germany), Directed by Rudolf Fitzgerald Leonard
• Troy (USA), Directed by Mike Donahue
• Tskaltubo (Canada/Georgia), Directed by Toby Andris
• Underdog (France), Directed by David Arslanian 
• Untitled Floating Mom Short (USA), Directed by Aidan Guynes
• Untitled Movie (USA), Directed by Annie Brennen
• The Vacation (USA), Directed by Jarreau Carrillo
• Vernissage (Sweden), Directed by Arvin Kananian
• VHS Tape Replaced (Saudi Arabia), Directed by Maha Al-Saati
• Vibrator Girl (USA), Directed by Kara Strait
• Wading (USA), Directed by Nada Bedair
• Walk of Shame (USA), Directed by Dane Ray
• Walk Out Nice and Smooth (USA), Directed by Kerry O'Neill
• Wank (United Kingdom), Directed by Yasmin Afifi
• Weapons and Their Names (USA), Directed by Melina Valdez
• We Were Meant To (USA), Directed by Tari Wariebi
• When You Left Me on That Boulevard (USA), Directed by Kayla Abuda Galang
• White Ant (United Kingdom/India), Directed by Shalini Adnani
• Women Visiting a City (Spain/France), Directed by Enrique Buleo
• Yellow (United Kingdom/Afghanistan), Directed by Elham Ehsas
• Yokelan, 66 (USA), Directed by Tang Yi
• You Know Where To Find Me (USA), Directed by Sam Davis 

 

About Palm Springs International ShortFest

Designated by AMPAS, BAFTA, BIFA and Goya Awards as an award-qualifying festival, and accredited by the International Short Film Conference, the Palm Springs International ShortFest & Short Film Market is one of the most acclaimed short film showcases in the world. The event is produced by the Palm Springs International Film Society, whose mission is to nurture and encourage new filmmaking talent, honoring the great masters of world cinema, and expanding audience horizons. Visit www.psfilmfest.org.  

 

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o Catch a Killer, Review: Mass murderer vs FBI veteran and rookie policewoman

To Catch a Killer, Review: Mass murderer vs FBI veteran and rookie policewoman

It’s a tame title, considering the killer puts down 29 individuals in the first round of his carnage. The other title, Misanthrope, is vague. It’s not nail-biting stuff, rather a thinking man’s whodunit, with occasional movements towards the edge of the seat. Mounted on a great scale, it is unable to escape the familiar tropes: Good officer being bullied, taking the rookie under his wing, a couple of false alarms that leave a trail of dead.

Alfred Hitchcock made a thriller way back in 1955, To Catch a Thief, whose premise was it takes a thief to catch a thief. And guess who do they find matching the psyche of the elusive eliminator? The least likely candidate. To Catch a Killer is slickly made, but becomes a captive of trope syndrome. See it, nevertheless.

On New Year’s Eve mass in Baltimore, among the booming festivities, somebody shoots down 29 innocent people, with perfect aim, and does not leave any traces. A policewoman, Eleanor, who was attending to a trivial call in a restaurant, is an eye-witness and asks everybody around to take as many pictures as possible. Who knows, the killer might be among them? Gradually, she gets into the good books of Lammark, the FBI officer-in-charge. Eleanor is a young and talented but troubled officer of the Baltimore Police Department, wrestling with the demons of her past, including drug addiction when she is recruited by Lammark, the FBI's chief investigator, to help profile and track down the super sniper who is committing a series of seemingly-unrelated mass shootings. Given her tortured psyche, Eleanor may be the only person who can understand the mind of the assailant and bring him to justice.

On a gambit, Lammark puts the news on network TV, in the hope that the criminal will phone in. He does, but his call cannot be traced. Forces higher-up zero-in on another suspect, bypassing Lamarrk, one with possible ISIS connections. It runs out that he is not even armed, and, when cornered with gun-toting lawmen, he jumps out of a high-rise window. Lamarrk and Eleanor are back on the job. The search takes them far and wide, and on one occasion, she sifts through tons of garbage to find a shirt the suspect might have worn. Then, and on one occasion Lammark crosses the line. He interrogates somebody without having the authority to do so. He has to pay with his job, but he gets a lead. He rules out racists, ISIS and other terror groups, who are the prime target of the investigation conducted parallel. So, he is sacked. But Eleanor agrees to work with him secretly.

Describing himself as a screenwriter who writes about self-made heroes, fighting injustice with humour, heart and hope, Jonathan Wakeham shares writing credit with the director, Damián Szifron. Szifron is Argentinian, and has directed both the most successful Argentinian film ever and the most successful TV show ever. Impeccable credentials. And now comes the Hollywood. It would be demeaning to say that To Catch a Killer is not likely to be the best ever Hollywood film debut. Yet, the stylisation he brings to the narrative is impressive. Just when you thought it was all bang-bang, there is a scene in a mortuary, to bring you back to earth. Wakeham and Szifron try hard to break the shackles of the tropes of films about mass murders and FBI investigations, but succeed only partly. A nice little scene has Lamarrk asking Eleanor to come for dinner and wine, the complete nonchalance with which she dismisses its possible implications. On the other hand, the epilogue, beautifully penned, gets out of hand. It is over-written.

Whenever death comes, it is instantaneous, and the sense of panic at the scenes of the shootings is palpable. In fact, the two main protagonists hardly get to use their weapons, a rarity in crime/mass murder thrillers. Their pairing is carefully thought out as well: one in his late 50s and another in her mid-late 20s. Dialogue is rattled off at breakneck speed, and mumbled on occasion, and I have to thank the sub-titling for making the film more intelligible.

Co-Producer Shailene Woodley (The Fault in Our Stars, The Mauritanian, The Fallout, The Last Letter from Your Lover) as Eleanor talks a lot, and swims a lot. But she gets into her own at the climax. Ben Mendelsohn as Lammark could have sleepwalked in the role. Good casting. Excellent performances come from Ralph Ineson as Dean, and Rosemary Dunsmore as his mother, Mrs. Possey. Very good support comes from Jovan Adepo, Richard Zeman, Dusan Dukic, Jason Cavalier, Nick Walker and Michael Cram. Cinematography by Javier Juliá takes to some impossible angles, and then some more. Keeping the scissors with himself, Damián Szifron had edited the film himself. While it is largely well-edited, some of the establishing shots and the climax for sure should have been trimmed. Music by Carter Burwell is a plus

To Catch a Killer, does not break completely with killer movies, that would be like sawing off your hand. But the fact that it tries hard to find its idiom has to be commended.

The movie is brought to India by the PVR Group.

Rating: ** ½

Trailer: https://youtu.be/R5nTWZ8zYqQ

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Open letter from the Clermont-Ferrand International Short Film Festival to Laurent Wauquiez, President of the Regional Council

 

An open letter from the Clermont-Ferrand International Short Film Festival to Laurent Wauquiez, President of the Auvergne-Rhône-Alpes Regional Council

« We are delighted to be a regular partner of the Clermont-Ferrand Film Festival, which exactly matches our cultural vision for rigor and accessibility. »

Dear Minister, President of the Auvergne-Rhône-Alpes Regional Council, you pronounced the above words in your editorial for our 2020 catalogue.

This past Friday, 12 May, the standing committee approved reducing by over 50% the subsidies that the Clermont-Ferrand International Film Festival receives. In addition to this reduction, the coming weeks could see a new decision against the organization Sauve qui peut le court métrage concerning the activities of the Auvergne Film Commission. This means that the Auvergne-Rhône-Alpes Region would cease being our foremost public source of funding.

In the short term, this endangers the Festival and its Short Film Market, our activities throughout the year involving all types of audiences, and of course the jobs that are connected to them. The reduction, which represents nearly 8% of the Festival’s total budget, comes after this year’s Festival has already been held. We have no savings to use to offset the financial loss and the costs we’ve incurred. And add in the context of the post-Covid crisis which hit our resources hard even though our organization has always been recognized for its exemplary financial management (60% subsidized, 40% self-financed). You cannot be unaware of our situation given the numerous warnings we’ve given you about this risk.

Mr. President, in your editorial for our most recent catalogue, you wrote that you were “particularly attached to the Festival”, which “is an immense source of pride for our region” and shows that “cinema’s influence does not end at the city of Lyon”. You stated that the Festival is “a huge public gathering, … a splendid means of transmission”. The gap between what you said and what you have done is all too clear.

You also wrote that the Festival is “a powerful asset in making our region economically attractive”. Precisely. Each euro of publicly invested funds generates twenty-two euros for the area. The Region’s reduction in support will impact the area in terms of  cultural, social and tourist activities. Even if we’re only talking about raw numbers, culture has greater direct economic importance than the automotive industry. It represents thousands of jobs; it is at the heart of technological innovations and the area’s influence abroad. But we prefer to talk about ideas: Culture nurtures individual minds, collective thoughts, critical thinking about the world and about future generations of citizens.

More broadly, you may perhaps have noticed from the outpouring of support we’ve received since the announcement of the reductions that the impact of this decision will be felt beyond our region. Every branch of national and international cinema will be affected by this structural event. From film buffs who attend festivals in Paris to renowned filmmakers, from technicians to professional networks, the breadth of support we’ve received and the astonishment they’ve voiced is significant. Our Festival is renowned the world over as the cradle of future filmmaking; it places our region at a major pole on the vast map of every branch of the film industry. The Auvergne-Rhône-Alpes Region claims that it wants to be a major film region, but it is sending  mixed signals.

Mr. President, since you were elected as head of the Region, we’ve had several opportunities to tell you about our work, our activities and the way in which they affect our area and our audiences. We hope that this letter will help you understand how important and unstable our situation is, and that of the larger spectrum of purveyors of culture in France today.

Mr. President, we ask you to retract your decision to reduce subsidies for the Clermont-Ferrand Festival this year and agree to engage in substantive dialogue immediately with everyone involved in our region’s cultural activity.

Éric Roux, President and the entire team atSauve qui peut le court métrage

- - - - - 

Lettre ouverte du festival du court métrage de Clermont-Ferrand à Monsieur le Président de Région Auvergne-Rhône-Alpes Laurent Wauquiez (English translation below)

 

« Nous nous réjouissons ainsi d’être un partenaire fidèle du festival du court métrage de Clermont-Ferrand qui correspond tout à fait à notre vision de la culture que nous souhaitons exigeante et populaire » 

Monsieur le Ministre, Monsieur le Président de la Région Auvergne-Rhône-Alpes, c’est ce que vous déclariez dans le cadre de votre éditorial dans notre catalogue 2020.

Ce vendredi 12 mai, la commission permanente a entériné une baisse de plus de 50% du montant de notre subvention au festival international du court métrage de Clermont-Ferrand 2023. À cette baisse pourrait venir s’ajouter dans les prochaines semaines une nouvelle décision en défaveur de l’association Sauve qui peut le court métrage concernant l’action de la Commission du Film Auvergne. La Région Auvergne-Rhône-Alpes, qui était jusque-là notre premier financeur public en numéraire, ne le serait plus.

Ce désengagement met en péril, à court terme, le festival et son Marché du Film Court, les actions à l’année menées vers tous les publics et bien entendu les emplois qui y sont liés. Cette baisse, qui représente près de 8% du budget total de la manifestation, arrive après la tenue du festival. Nous n’avons aucune marge de manœuvre pour mettre en place des économies à la hauteur de la perte financière et des coûts déjà engagés. Ajoutons à cela un contexte post crise Covid qui avait fortement impacté nos ressources alors même que notre association a toujours été reconnue comme exemplaire dans sa gestion (60% de subventions publiques pour 40% d’autofinancement). Vous ne pouvez pas l’ignorer, suite aux nombreuses alertes de notre association face à ce risque.

Monsieur le Président, vous écriviez, dans votre éditorial dans le catalogue de notre dernière édition, « être particulièrement attaché au festival » qui « constitue une immense fierté pour la Région » et démontre que « le rayonnement du cinéma ne s’arrête pas à la ville de Lyon », s’affirmant comme « une grande manifestation populaire, […] un magnifique vecteur de transmission ». Le décalage entre le propos et les actions est manifeste.

Vous écriviez aussi que le festival est « un puissant atout pour l’attractivité économique de notre territoire auvergnat ». En effet, pour 1 euro d’argent public investi, ce sont 22 euros qui sont générés sur le territoire. Cette baisse du soutien de la Région implique donc un impact pour tout le territoire, que ce soit pour ses acteurs culturels, sociaux et touristiques. S’il ne fallait parler que de chiffres, le poids économique direct de la culture dans notre pays pèse plus lourd que l’industrie automobile. Elle représente des milliers d’emplois, elle est au cœur des innovations technologiques et du rayonnement du pays à l’international. Mais nous préférons parler d’idées : par la culture se nourrissent les esprits individuels, les pensées collectives, les regards critiques sur le monde et les générations de citoyen·ne·s de demain.

Plus largement, vous avez peut-être constaté par les nombreux soutiens reçus par notre association depuis l’annonce de cette baisse que cette décision impacte bien au-delà du territoire régional. C’est un évènement structurant pour toute la filière cinématographique nationale et internationale qui est touché. Des festivalier·e·s cinéphiles de la métropole aux cinéastes reconnu·e·s, des technicien·ne·s aux réseaux professionnels, l’ampleur des soutiens et de la sidération est considérable. Le festival est mondialement reconnu comme le berceau du cinéma de demain, il place notre territoire sur l’immense carte de l’industrie cinématographique comme un pôle majeur pour toute une filière. La Région Auvergne-Rhône-Alpes affiche l’ambition d’être une grande région de cinéma, elle envoie là un signal contradictoire.

Monsieur le Président, depuis votre élection à la tête de la Région, nous n’avons pu échanger avec vous sur notre travail, nos actions et la manière dont elles irriguent nos territoires et touchent nos publics. Nous espérons que ce courrier saura enfin vous faire comprendre l’urgence et la précarité de notre situation, qui est plus largement celle de tous les acteurs culturels aujourd’hui en France.

Monsieur le Président, nous vous demandons de revenir sur la décision de baisser la subvention au festival de Clermont-Ferrand cette année et d’accepter d’engager un réel dialogue dès à présent avec l’ensemble des acteurs de l’action culturelle du territoire régional.

Éric Roux, président et l’équipe de Sauve qui peut le court métrage

 

Ont déjà signé cette lettre ouverte / The following people already signed the open letter:

Cinéastes / directors

Hiam Abbass, Zoel Aeschbacher (Suisse), Bilal Alkhatib (Palestine), Théo Audoire, Mohammad Babakoohi, Olivier Babinet, Arthur Bacry, Sébastien Bailly, Xavier Beauvois, Frédéric Bélier-Garcia, Faouzi Bensaïdi (Maroc), Touria Benzari, Emmanuelle Bercot, Julie Bertuccelli, Sébastien Betbeder, Rémi Bezançon, Nicolas Birkenstock, Benoît Blanc, Léo Blandino, Romane Bohringer, David Bodzak (Pologne), Amélie Bonnin, Claudia Bottino, Riad Bouchoucha, Zoran Boukherma, Victor Boulenger, Joël Brisse, Valentine Cadic, Thomas Cailley, Jorge Camarotti (Canada, Québec), Laurent Cantet, Vincent Maël Cardona, Stéphan Castang, Léo Cernic (Italie), Wissam Charaf (Liban), Hubert Charuel, Mathilde Chavanne, Jean-Sébastien Chauvin, Davy Chou, Denise Cirone, Hélier Cisterne, Jérémy Clapin, Clément Cogitore, Louise Condemi, Éléonore Costes, Gilles Cuvelier, Joséphine Darcy Hopkins, Cécilia De Arce, Noé Debré, Jean Decré, Camille Degeye, Arnaud Des Pallières, Laure Desmazieres, Céline Devaux, Nicolas Deveaux, Caroline Detournay, Leopold Dewolf, Nikita Diakur (Russie, Allemagne), Pedro Díaz López (Espagne), Douwe Dijkstra (Pays-Bas), Alexandre Dostie (Canada, Québec), Elsa Duhamel, Jean-Baptiste Durand, Claude Duty, Duván Duque Vargas (Colombie), Dinah Ekchajzer, Ilias El Faris, Mareike Engelhardt, Alain Escalle, Bertille Estramon, Philippe Faucon, Chryssa Florou, Vincent Fontano, Benoît Forgeard, Saul Freed (Royaume-Uni), Brahim Fritah, Jean-Raymond Garcia, Anne Georget, Marin Gérard, Lisa Giacchero, Julius Gintaras Blum, Antoine Giorgini, Delphine Gleize, Mathias Gokalp, Yann Gonzalez, Tito Gonzalez Garcia (Chili), Marjolaine Grandjean, Eugene Green, Robert Guédiguian, Alain Guiraudie, Rachid Hami, Mo Harawe (Somalie), Marion Harlez Citti, Pang-Chuan Huang (Taïwan), Gérald Hustache-Mathieu, Danielle Jaeggi (Suisse), Martin Jauvat, Ismaël Joffroy Chandoutis, Théo Jollet, Claire Juge, Mathieu Kassovitz, Ramazan Kiliç (Turquie), Garance Kim, Cédric Klapisch, Julia Kowalski, Maxime-Claude L’Écuyer (Canada, Québec), Ariane Labed, Nans Laborde-Jourdàa, William Laboury, Xavier Lacaille, Stéphanie Lansaque, Marie Larrivé, Sébastien Laudenbach, Philippe Le Guay, Christophe Le Masne, Claude Le Pape, Morgane Le Péchon, Vincent Le Port, Dwayne LeBlanc (États-Unis), Blandine Lenoir, Fabián León López (Mexique), Valérie Leroy, Fanny Liatard, Franco Lolli (Colombie), Julie Lopes Curval, Marie Losier, Ivete Lucas (États-Unis), Clémence Madeleine-Perdrillat, Damien Manivel, Foued Mansour, Isabella Margara (Grèce), Vladimir Mavounia-Kouka, Carine May, Jamil McGinnis (États-Unis), Florence Miailhe, Cécile Mille, Dominik Moll, Laetitia de Montalembert, Yolande Moreau, Bill Morrison (États-Unis), Morad Mostafa (Égypte), Azadeh Moussavi (Finlande), Adrian Moyse Dullin, George-Alex Nagle (Australie), Thanasis Neofotistos (Grèce), Lorna Nickson Brown (Royaume-Uni), Bertil Nilsson (Royaume-Uni), Bruno Nuytten, Jamie O’Rourke (Irlande), Aurélie Oliveira Pernet, Gül Önel, Lois Patiño (Espagne), Agnès Patron, Héloïse Pelloquet, Pauline Pénichout, Jean-Gabriel Périot, Camille Pernin, Regina Pessoa (Portugal), Baptiste Petit-Gats, Nicolas Philibert, Yves Piat, Bruno Podalydès, Gilles Porte, Martin Provost, Yassine Qnia, Joanne Rakotoarisoa, Julien Rambaldi, Aude Léa Rapin, Aurélie Reinhorn, Vincent René-Lortie (Canada, Québec), Mathias Rifkiss, François Robic, Marc James Roels (Belgique), Hélène Rosselet-Ruiz, Frédéric Rosset, Christian Rouaud, Victor Saint-Macary, Lyes Salem, Matthieu Salmon, Pierre Salvadori, Laen Sanches, Manuel Schapira, Carlos Segundo (Brésil), Claire Simon, Olivier Smolders (Belgique), Daniel Soares (Portugal), Thomas Soulignac, Gabrielle Stemmer, Manon Tacconi, Abbas Taheri (Iran), Hugo P. Thomas, Arthur Thomas-Pavlowsky, Jérémy Trouilh, Lawrence Valin, Duván Duque vargas (Colombie), Marie Vermillard, Sandrine Veysset, Vladilen Vierny, Denis Villeneuve (Canada, Québec), Pierre Vinour, François Vogel, Onur Yagiz, Mathieu Z’Graggen, Hakim Zouhani.

Comédien·ienne·s / Actors

Lionel Abelanski, Anne-Sophie Bailly, Agathe Bonitzer, Damien Bonnard, Armande Boulanger, Anne Bourgeois, Franc Bruneau, Émilie Cazenave, Clémentine Célarié, Allison Chassagne, Sébastien Chassagne, Jean-Philippe Daguerre, Louis-Do De Lencquesaing, Lucile Delzenne, Quentin Dolmaire, Léa Drucker, Victoire Du Bois, Virginie Efira, Aude Forget, José Garcia, Christine Gautier, Sofia Georgovassili (Grèce), Aude Gogny-Goubert, Alban Guyon, Judith Henry, Pauline Lorillard, François Morel, Lola Naymark, Emmanuel Noblet, Alysson Paradis, Vimala Pons, Sophie Quinton, Isis Ravel, Andrea Romano, Céline Sallette, Patrick Socco, Bruno Solo, Zinedine Soualem, Laetitia Spigarelli, Alexandre Steiger, Anaïs Tellenne, Jean-Benoît Ugeux (Belgique), Adriano Valerio (Italie), Karin Viard.

Producteurs·rices, Distributeurs·trices / Producers, distributors

Olivier Berlemont (Origine Films), Lorenzo Bianchi (Société Acéphale), Mathieu Bompoint (Mezzanine Films), Benjamin Bonnet (Mood Films), Catherine Bozorgan (Manchester Films), Emmanuel Chaumet (Ecce Films), Mathilde Delaunay (Barberousse Films), Arnaud Demuynck (Les Films du Nord), Sarah Derny & Frédéric Dubreuil (Envie de Tempête Productions), Guillaume Dreyfus (Tripode Productions), Ron Dyens (Sacrebleu productions, Bertrand Faivre (Le Bureau), Luce Grosjean & Annabel Sebag (Miyu Distribution),Wouter Jansen (Square Eyes, Autriche), Edwina Liard & Nidia Santiago (Ikki Films), Lionel Massol, Pauline Seigland & Jules Reinartz (Films Grand Huit), Martin Mauvoisin (Dobro Films), Marc Missonnier (Moana Films), Salaud Morrisset, Caroline Nataf (Unité), Sylvie Pialat, Marine Schappely, Nicolas Schmerkin (Autour de Minuit), Hannah Taïeb (Les Quatre Cents Films), David Tuil (Or Films), Ben Vandendaele (Radiator IP Sales, Belgique), Tam Dan Vu & Pierre Brouillette-Hamelin (Travelling, Canada, Québec), Fanny Yvonnet (Trois Brigands Productions), Iliana Zakopoulou (Grèce).

Festivals, groupements et évènements professionnels / Festivals, industry events & networks

L’Agence du court métrage, Carrefour des Festivals, Short Film Conference, le SPI (Syndicat des producteurs et productrices indépendants).

Festival Bogoshorts (Colombie), Clémence Bragard (programmatrice), Jackie Buet (Festival du film de femmes de Créteil), Zita Carvalhosa & Beth Sá Freire (festival international du court métrage de São Paulo (Brésil)), Sébastien De Fonséca (Côté court), Niv Fux (plateforme Tport (Israël)), Ailton Franco Junior (Festival Curta Cinema (Brésil)), Jean Hamel (l'NIS (Canada, Québec)), Anna Henckel-Donnersmarck (Berlinale Shorts (Allemagne)), Saad Hendawy (Égypte), Pascal Hologne (Brussels International Short Film festival (Belgique)), Sanne Jehoul & Matt Lloyd (Glasgow Short Film Festival (Écosse)), Lotte Kircher (programmatrice (Suisse)), Margaux Lacoste (responsable Europe Creative MEDIA), Nicolas Lasnibat (La Fémis), Antoine Leclerc (Festival Itinérances), Anne Luthaud (GREC, groupe de recherches et d’essais cinématographiques), Pablo Maria Diaz (Semana del Audiovisual Contemporaneo (Espagne)), Julie Marnay (European Short Pitch), Sophie Masson (SACD), Emilia Mazik (programmatrice), Christoffer Ode & Sigrid Hadenius-Ebner (festival international du court métrage d’Uppsala (Suède)), Émilie Poirier (festival du Nouveau Cinéma), Marie-Elaine Riou (Bureau du cinéma de Saguenay et ex-directrice du Festival Regard (Canada, Québec)), Ren Scateni  (Encounters Film Festival (Royaume-Uni)), Annette Scholz (Festival Alciné (Espagne)), Toril Simonsen (Novegian Film Institute (Norvège)), Alexander Stein (Interfilm Berlin (Allemagne)), Le Très court festival, Enrico Vannucci (Talent & Short Film Market (Italie)), Sylvain Vaucher (Swiss Films (Suisse)), Laurence Vivarelli (Festival Tous Courts), Sabine Zipci (AFCA, association française du cinéma d'animation).

Diffuseurs / Broadcasters

Arte, CANAL+, France Télévisions, UniversCiné.

Autres personnalités du monde de la culture et des médias / Other industry delegates

Gilles Alonzo (compositeur), Pierre-Emmanuel Barré (humoriste), Deborah Bombard-Golicki (compositrice), Laurence Boyce (journaliste et programmateur), Clémence Bragard (programmatrice), David Cabannes (directeur de la photographie), Amaury Chabauty (compositeur), Bruno Chatelin (filmfestivals.com), Élise Chassaing (journaliste et animatrice), Anna Ciennik (consultante scénario), Simon Didierlaurent (co-délégué SOS Homophobie Auvergne), Jean-Louis Fabiani (sociologue), Pascale Faure (consultante cinéma pour L’Œil en plus), Robin Faury (ingénieur Adobe), Judith Gruber-Stitzer (compositrice (États-Unis)), Benoît Hamon (politicien), Thierry Jousse (critique de cinéma), Christophe Kantcheff (rédacteur en chef de l'hebdomadaire Politis), Jacques Kermabon (ancien rédacteur en chef de Bref), Jocelyn Lermusieaux (journaliste à L’Équipe), Sylvie Lindeperg (historienne), David Lowe (acteur, animateur, chroniqueur (Royaume-Uni)), Matteu Maestracci (journaliste service culture de France Info), Elli Mastorou (journaliste cinéma (Belgique)), John McGrath (scénariste (Irlande)), Gaëlle Nohant (écrivaine), Julia Mingo (cheffe opératrice), Pierre Oberkampf (compositeur), Frédéric D. Oberland (musicien (Oiseaux-Tempête)), Christine Ott (musicienne, compositrice), Tangui Perron (historien), Aymerick Pilarski (directeur de la photographie), Jérôme Prieur (écrivain et cinéaste), Simon Riaux (journaliste et critique de cinéma), Yuko Shimizu (illustratrice (États-Unis)), Christophe Siébert (écrivain), Léo Soesanto (critique de cinéma et programmateur), Teho Teardo (musicien et compositeur (Italie)), François Theurel (vidéaste), Charles Tesson (critique de cinéma), Najat Vallaud-Belkacem (politicienne).

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