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Berk Boyraz
Apple is sponsoring a 24-hour film festival for high school and college filmmakers. If you fall into this demographic, absolutely do it. You get 24 hours to write, produce, edit, score and deliver a 3-minute short film incorporating specific elements they only announce on the day.
Festival Description:
Insomnia International Animation Film Festival is the first Russian noncommercial open-air animation festival. Annually, on summer we find a meadow, build screens, meet guests and show the best animation within a couple of nights.
Festival Statement:
Another tragedy has been added to this terrible countdown. Russia's main opposition leader, Alexei Navalny, died in mid-February. But there are still real citizens and people in Russia who are not willing to remain silent. Hundreds of thousands of flowers at Alexei Navalny's grave in Moscow were a vivid testimony to this.
Navalny's main motto was the phrase he left to his supporters: "Never give up!" In the face of endless shocks, we do not give up, because we continue to believe that culture and the art of animation can build bridges between different countries, societies and subcultures, stop violence and wars, and contribute to the development of humanism. I remain convinced that modern animation does not entertain, but teaches viewers to see the complexity and diversity of the world around them/
In all 12 years of its development, the Insomnia Festival has remained an independent and non-governmental event. We will continue this policy now. If we are not directly banned, we will tell the audience about the complexity and beauty of the world around us. And we believe in the triumph of the arts. We would be honored to consider your films for this year's selection - Pavel Shvedov, program director
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Little Red Pocketbook (14 minutes)
Director: Holly Holder
This film chronicles the actions of the students of Adkin High School in Kinston, North Carolina, who staged one of the first walkouts of the Civil Rights movement and helped to shape the course of history in Kinston.
The Meredith College Documentary Film Festival is presented by the Meredith College Department of English with cooperation from Carlyle Campbell Library. For Meredith students, the film festival qualifies as an Academic and Cultural Event in General Education.
The Insomniac is a 2013 American whodunit psychological thriller written by Eddy Salazar and Peter Kenneth Jones, and directed by Monty Miranda. The feature film stars Salazar in the title role, Clare Grant, Keith Szarabajka, John Heard, and Danny Trejo. The Insomniac centers around John Figg (Salazar), a financial adviser who develops a severe case of self-induced insomnia after the house he recently inherited from his deceased father gets brutally ransacked and robbed. While the movie's most noticeable source of inspiration came from Alfred Hitchcock's Rear Window, there are a number of references to other past insomnia-themed movies, such as The Machinist, and Insomnia.[1] A strong recurring theme throughout the film is the attachment one gets for material possessions.
After the sudden loss of his father, John Figg (Salazar) moves back into his childhood home in Glendale, California. There, he begins his life anew with his trusty dog Timber, his soon-to-be fiance Martha (Grant), and his new job promotion from his quirky boss Paul Epstein (Heard).
Two days after moving in, however, his dad's classic car is stolen. The day after that, after a successful meeting with his biggest client, Jairo Torres (Trejo), he goes home to find his house completely ransacked and robbed, his dog missing, and his father's ashes scattered on the ground. Convinced a robbery will happen again, John chooses to stay awake until he catches the culprit responsible for the break in. As days go by without sleep, John's angst develops into paranoia, his paranoia develops into obsession, and his obsession into madness.
After thirteen full days without any sleep, John is pushed to the edge. Disregarding the help from his friends and loved ones, John goes to any length - even murder - to figure out who committed the heinous crime.
The Insomniac is the second feature film directed by Monty Miranda. His first film, Skills Like This (which stars Spencer Berger, who plays Andrew Booker in The Insomniac), won the award for Best Narrative Feature at the South by Southwest film festival.[2]Salazar came up with the idea for the script when he caught someone breaking into his house after a scheduled meeting was canceled. Although nothing happened to him or his house, Salazar didn't sleep at all, thinking about what could've happened if he went to the meeting. On a radio interview, Salazar revealed that he couldn't sleep profoundly for two weeks due to the ambient sounds outside his house, fearing that someone was trying to break in again. This led to the writing of the script.
The first trailer was released on The Insomniac Official Website on 2012.[1] It premiered in the Dances With Films Festival on Thursday, June 6, 2013 at the TCL Chinese Theatre.[3] The film has since won awards at the Action On Film International Film Festival, Breckenridge Festival of Film, Great Lakes Film Festival, Indie Fest USA and Fort. Lauderdale International Film Festival. The film was nominated for an award in virtually every festival it screened at and won Best Dialogue at Action on Film, Best Screenplay at Breckenridge, and Best Feature Film at Indie Fest USA.[4] The film was released in the United States and Canada on January 21, 2014 through Grand Entertainment Group.[5]
The Insomniac has received generally favorable or mixed reviews from critics. Dances with Films stated, "this well-directed crime thriller has exceptional production value and intense scenes that take us down the road to paranoia-villa."[6]
Inkoo Kang of The Village Voice stated, "For most of its run, the film is a tribute to unimaginative competence, confidently venturing where so many movies have ventured before. But in the last few scenes, the script offers a solid twist and a cynical social critique, the latter coming out of nowhere but still somehow managing to work." Regarding Salazar's performance, Kang writes, "the actor brings a shiny-eyed intensity to the manic scenes."[9]
Taking place over one year, a young woman who yearns to finish her writing projects, simply eeks out a life alongside her best friend and roommate. She goes from gig to gig, date to date, interaction to interaction, with a lack of interest and an immense level of stress and feigned politeness. Wine helps, and whining comes soon after.
The excellence of In the Meantime lies in its performances in front of and behind the camera, most impressively in the editing room. Cuts occur quickly, sometimes back and forth in time, but hold a rhythm that catches on and stays in your mind long after the film ends. These cuts punctuate punchlines and anxieties, drinks and dancing, realizations, and depressive episodes. For a bi-polar woman at the center, In the Meantime concentrates its technical abilities on replicating her emotional and thoughtful processes.
Actor Olivia Clari Nice is the sole character that we stick with, and does she ever have hurdles to jump. From little to no lines to read, occasional miming, and reliance on body language and gestures, Nice plays her lucid dreaming and nightmare-walking woman as if she is possessed to conquer insomnia and fear by way of past trauma and suggestive scenarios. Menacing figures in clown masks make up the beings that haunt her subconscious, as she walks up and down the stairs of a melting and ever-closing house. This is beyond anything on Elm Street. This has texture and is grounded with all too vivid imagery.
However compelling the drawn-together etchings of these deep periods of sleep are, Nyctophobia is nothing more than its dramatic but esoteric storytelling. The story is held too close to the filmmakers, never letting anyone at all in on the illusions and the stakes that may or may not be around. The logic is of the natural occurrence of dreaming, not as a concept but as an understood source of potential pleasure and possible pain. Of a journey that makes sense to the dreamer on a deeply sensory level, and not in a structural one. For this, the movie rocks.
This time, I\u2019ve been invited to give some thoughts on some of the films from this year\u2019s SF (San Francisco) Independent Film Festival, running virtually and in-person from February 8th to 18th.
Are lecture video production companies a thing? In a competitive content creation marketplace, it probably is. Sorry, We\u2019re Dead shows such a business as a place of limbo for ex and present film students, where talent and wannabe skills are used to cover the silliness of misfit professors, speaking before bored audiences, doing mic drops in far too expected sequence. This is the busy life of one Lana Jing, who desperately tries to finish a long-labored screenplay.
Played with Daria-like conviction by Sarah Lee, Lana\u2019s interactions with other people - the kind that annoys her constantly and without end - are filled with aggressive exhaustion, extreme sarcasm, and fourth-wall-breaking moments of film school lessons.
Sorry, We\u2019re Dead, in its meta interests in filmmaking aesthetic and its great appreciation for cinema in general, reminds me of the difficult-to-find late 90s/early 2000s movie Enchanted and the Woody Allen-obsessed Burning Annie, both of which involve college students trying to navigate their potential futures.
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