Thursday, November 10, 2016

United Kingdom
May 5 to 7, 2017

The 2nd Annual Oxford International Film Festival (OXIFF) haswelcomed to the festival circuit by Oxford's growing community of independent filmmakers in 2016. OXIFF will take place over a three day weekend from the 5th to the 7th of May 2017 at the celebrated Phoenix Picture- House, which is situated at the heart of beautiful and historic Oxford. The city's historical culture is a worthy backdrop for an ambitious festival that is striving to become a world renowned event on the festival calendar.

The official selection is programmed entirely from submissions and includes world and UK premieres. Attendees also enjoy vibrant after parties, insightful workshops, filmmaker Q&A's, and a closing awards ceremony to honor the best in competition. Director Matt Butler Hart (Two Down ) shares his experience at last year's fest, "This was the first year that the festival ran but you would never know it. It was brilliantly organized and curated with great films, lovely people, and an amazing buzz around the place. And the Picturehouse cinema really made us feel at home. It was a great platform for our film as there had been a lot of hard work put into getting audiences in and press coverage before and during the festival. Definitely worth the money!"

Independent Filmmakers seeking a new and innovative venue to be discovered at are welcome to enjoy OXIFF's intimate second year. The festival presents a boutique feel with personal touches such as connecting filmmakers to industry representatives and have a festival experience that will launch their film. Filmmakers will enjoy complimentary festival passes that include access to screenings, workshops, VIP parties and awards ceremony. Participating filmmakers have a great opportunity to be part of OXIFF's early history.

View Listing   Submit Now

November 30, 2016 - Regular Deadline

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OXIFF's mantra of 'Craft-Style-Story' lays down the architectural foundation of a festival and city that is setting out to blend its Saxon heritage with its new found modern exuberance and deliver a showcase for exciting film making talent that exhibits solid vintage craft with contemporary flair.

The Oxford International Film Festival is presented in partnership with Phoenix Picturehouse, a historic cinema venue dedicated to the screening of global independent film. The cinema first opened as the North Oxford Kinema in 1913, celebrating over 100 years of exhibiting the very best films from around the world this prestigious building has seen many changes. The Phoenix has now evolved into a contemporary venue with the feel and ambiance of independence and integrity; a perfect fit for an international film festival with ambition, honesty and a quest to discover new and exciting films for the people of Oxford and beyond.

Narrative, Documentary, Experimental, Student, Music Videos, Uncomissioned Screenplays and Animated films are now being considered.

Submit your project today!

Wednesday, November 9, 2016

Las Cruces, New Mexico - USAThe
The 2nd Annual Las Cruces International Film Festival (formerly White Sands Int'l Film Fest) is an excellent opportunity to discover New Mexico's unique and influential community that is dedicated to the rise of emerging artists of all genres and techniques. Along with Feature and Short films, the festival also invites student projects.

After a spectacular inaugural year, Las Cruces is thrilled to host filmmakers of all genres to screen at a world-class screening venue with audiences from all over Southern New Mexico and the greater Southwest. All festival guests will experience the picturesque town of Las Cruces and the friendly people that love film. The 2017 festival is slated to build upon the fest's spectacular inaugural event and will honor Johnny Galecki, The Big Bang Theory; Don Foster, writer/producer, The Big Bang Theory and Two and a Half Men; Jon Heder, Napoleon Dynamite; Karen David, Galavant; Danny Pudi, Community; and more to be announced!

The thrill of the Festival is accented with complimentary lodging at the beautiful Hotel Encanto de Las Cruces for all accepted filmmakers.

Furthermore, talented independent storytellers will have access to multiple red carpet events, after-parties, and networking events throughout the run of the festival to helping to propel careers and films to new heights.
View Listing   Submit Now
November 15, 2016 - Regular Deadline

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Las Cruces International Film Festival's mission is to celebrate the best of the best of independent film. Located in the enchanting, Las Cruces, New Mexico, LCIFF prides itself on being a place where film makers can exhibit their films and also build meaningful relationships with other artists from around the world.

Veteran filmmakers are invited to submit with no submission fee. Any narrative fiction or documentary film directed, produced, or written by a Veteran are welcome to submit to the Veteran Films category. Veteran Films may have been screened at any number of festivals or other public theatrical exhibitions anywhere in the world, broadcast or streamed on television or the Internet, and/or released via any home video or other public distribution platform - simply put, there are no premiere requirements for this category.

Screen your film in picturesque Las Cruces, New Mexico

Submit your best work today!

"A Death in the Gunj" Official Opening Night Premiere @ 2016 SAIFF!!!

Monday, November 7, 2016

Deepa Mehta’s film on Dec 16 rapists’ lives raises many disturbing questions

Deepa Mehta's latest film, 'Anatomy of Violence' had its World Premiere at the 2016 Toronto International Festival held in September and its Asian premiere at the  recently Jio MAMI Film Festival held in Mumbai which ended on October 27.

The article below originally appeared in the 

Hindustan Times e-paper  written by Madhu Trehan
                Updated: Nov 03, 2016 22:40 IST

Janki Bisht as Janki in Deepa Mehta’s 'Anatomy Of Violence'

Brutal moments. Personal moments. There is no person who has not suffered those, in different degrees. Some of us bury them. Until, yes until, a trigger reminds you of it and then a spiral of agony scorches through you. This is what I felt when I watched Deepa Mehta’s film An Anatomy of Violence. In Patrick Mullen’s review of the film, he wrote, “Is it true crime, mockumentary, hybrid film, or docu-drama? Anatomy of Violence is all of these forms and none. Let’s call it Mehta-fiction”.
Producers Trudie Styler and Celine Rattray spoke to Mehta about making a film about Jyoti Singh’s rape on December 16, 2012. Mehta, not wanting to dwell on the act itself, chose to make a film about the rapists. In an interview to The Globe and Mail, Mehta explained, “It was too convenient for them just to be ‘evil’, because we don’t become who we are in isolation. I really believe in that, looking at where they come from, to find some root cause. Maybe just get a glimpse of what it might be, because somehow I feel that we’re complicit in it.”
Mehta used the re-enactment technique in an acting workshop in Chandigarh as research for a feature film. During the workshop, she took a decision to not make the feature film but use the workshop footage as the film. Adult actors played the imagined childhood of the rapists. This includes poverty, sodomy, rape, abject loneliness and violence. There were threads from an imagined past which were woven into resent moments. These actors were not slum kids brought up in poverty. Can there be any verifiability of this imagined life of the rapists? Do their horrific imagined histories then mean that they had no existential choice but to become brutes?
Jyoti Singh’s barbaric rape has become a brutal, personal moment for Indians. I feel I own it. It is my personal pain. In that, no one should touch it. Leave it alone. Enough. But the film triggers all that you don’t want triggered. It devastates you. It questions that in our furious anger, we let slip the layers that led to such a merciless act. Predictably, we will respond with — “the film practically blames Jyoti’s rape on the grinding poverty and cruel society the rapists grew up in and lightens their guilt”. At the core, for some of us, it is impossible to be understanding and forgiving. We are all the father whose four-year-old has been raped; who in his rage wants to kill the rapist. I’ll admit to similar thoughts after Jyoti’s rape and death, thinking somebody might just do it. The anger in my core reduced me momentarily to a revenge-seeking rabid fiend.
But we need to look at the larger picture, howsoever distasteful it is to us. There is a presumption in the imagined lives of the rapists that they must have been poverty-stricken, sexually violated and repressed. Can we accept the authenticity of this presumption and projection? Why did these men become rapists when millions in similar circumstances did not? The book on Phoolan Devi by the late Mala Sen and Shekhar Kapur’s film Bandit Queen showed the bone chilling rapes Phoolan Devi suffered and the ruthless revenge she took. Phoolan Devi was considered a heroine by some feminists for killing her rapists. Others pointed out, not every woman who is raped becomes a serial killer.
There have been similar rapes of young girls, some as horrific as what Jyoti Singh suffered and we did not give them the same attention or vent the same fury. The Justice Verma Committee did change many crucial aspects of the law. Has it stopped women from being raped? We will never know how many potential rapists it stopped. We can never get the statistics of how many more women are likely to report rape than they did before. And, we will never know how many still go unreported.
In anthropologist Jean Rouch’s experimental film The Human Pyramid he had students in a racially mixed school in the Ivory Coast act out their own lives. In Rithy Panh’s The Missing Picture, he uses clay figures and archival footage to recreate the atrocities of his experiences in Khmer Rouge labour camps. Their stories are not imagined.
The fusion of non-fiction and fiction is difficult and will create debate, which seems to be Mehta’s intention. It forces us to look at our lack of engagement with the discrepancies, economic divide and injustice that surround us. It surely raises the question: How responsible are we for the kind of human beings we have become? When an anthropologist studies a tribe, the premise is that those observed are exotic and different, almost alien, from the observer. When Anatomy of Violence is shown in international festivals, we will feel judged. I predict there will be resentment. How dare she tell our story her way? Yet, we learn from how others view us.
Madhu Trehan is editor-in-chief,
The views expressed are personal