For the latest edition of its popular Culinary Cinema sidebar, the Berlin International Film Festival is mixing food, culture and politics. Under the motto “A Taste for Balance,” Berlin's section of food-focused features and documentaries looks to draw links between the culinary business and culture and the society that produces it.
The Heat: A Kitchen (R)evolution, a documentary from Canadian director Maya Gallus, which opens the Culinary Cinema sidebar Feb. 10, looks at a new generation of female chefs who are transforming the high-end cooking industry. Filmmaking farmer John Cester's doc, The Biggest Little Farm, looks at how ...
The Heat: A Kitchen (R)evolution, a documentary from Canadian director Maya Gallus, which opens the Culinary Cinema sidebar Feb. 10, looks at a new generation of female chefs who are transforming the high-end cooking industry. Filmmaking farmer John Cester's doc, The Biggest Little Farm, looks at how ...
- 1/16/2019
- The Hollywood Reporter - Film + TV
For the latest edition of its popular Culinary Cinema sidebar, the Berlin International Film Festival is mixing food, culture and politics. Under the motto “A Taste for Balance,” Berlin's section of food-focused features and documentaries looks to draw links between the culinary business and culture and the society that produces it.
The Heat: A Kitchen (R)evolution, a documentary from Canadian director Maya Gallus, which opens the Culinary Cinema sidebar Feb. 10, looks at a new generation of female chefs who are transforming the high-end cooking industry. Filmmaking farmer John Cester's doc, The Biggest Little Farm, looks at how ...
The Heat: A Kitchen (R)evolution, a documentary from Canadian director Maya Gallus, which opens the Culinary Cinema sidebar Feb. 10, looks at a new generation of female chefs who are transforming the high-end cooking industry. Filmmaking farmer John Cester's doc, The Biggest Little Farm, looks at how ...
- 1/16/2019
- The Hollywood Reporter - Movie News
The Traverse City Film Festival is celebrating its 14th year in 2018 by bringing together some of the year’s best indies and documentaries, plus classics from Jonathan Demme, Hal Ashby, and more. The Michigan-set festival, backed by Michael Moore, is being run in 2018 by directors Susan Fisher and Meg Weichman, who have worked on the festival for nearly a decade and have been at the helm since December.
Tickets for this year’s edition will go on sale to the public on Saturday, July 21 (click here for the official festival website). Friends of the Film Festival will be able to get early access to tickets with advance sales starting Sunday, July 15.
The full lineup for the 2018 Traverse City Film Festival is below.
Opening Night: “Rbg”
Centerpiece: “Hearts Beat Loud”
Closing Night: “Burden”
Open Space
“Stop Making Sense,” Jonathan Demme
“Jumanji: Welcome to the Jungle,” Jake Kasdan
“Coco,” Lee Unkrich
“Black Panther,...
Tickets for this year’s edition will go on sale to the public on Saturday, July 21 (click here for the official festival website). Friends of the Film Festival will be able to get early access to tickets with advance sales starting Sunday, July 15.
The full lineup for the 2018 Traverse City Film Festival is below.
Opening Night: “Rbg”
Centerpiece: “Hearts Beat Loud”
Closing Night: “Burden”
Open Space
“Stop Making Sense,” Jonathan Demme
“Jumanji: Welcome to the Jungle,” Jake Kasdan
“Coco,” Lee Unkrich
“Black Panther,...
- 6/29/2018
- by Zack Sharf
- Indiewire
Chefs are treated like the culinary equivalent of rock stars in today's pop culture. And like rock stars, too many of them are male. Maya Gallus' documentary puts a much-needed spotlight on a gallery of female chefs attempting to rise to the top of an industry that has been dominated by men for far too long. Chronicling the personal and professional struggles faced by these women working under often toxic conditions, The Heat: A Kitchen (R)evolution served as a timely opening night offering of Toronto's Hot Docs festival even if it didn't always live up to its thematic aspirations.
The...
The...
- 5/15/2018
- by Frank Scheck
- The Hollywood Reporter - Movie News
When this year’s Hot Docs festival kicks off later this week in Toronto, the documentary-focused event will open with a historic lineup that speaks to the sea change currently sweeping the industry. For the first time in its 25 year history, the festival has embraced gender parity among its picks, with a gender-balanced lineup of filmmakers across 246 films and 16 interdisciplinary projects. A full 50 percent of this year’s films are directed by women, and that’s not by accident.
“It is something that we’ve been wanting to move towards for quite a while,” director of programming Shane Smith told IndieWire in a recent interview. “This is something that, like curating a diverse and interesting program, is always on our radar. It’s something that we wanted to achieve.” In 2017, the program was 48% women directors. “This year we knew going in if we could make it happen that we would like to do it,...
“It is something that we’ve been wanting to move towards for quite a while,” director of programming Shane Smith told IndieWire in a recent interview. “This is something that, like curating a diverse and interesting program, is always on our radar. It’s something that we wanted to achieve.” In 2017, the program was 48% women directors. “This year we knew going in if we could make it happen that we would like to do it,...
- 4/25/2018
- by Kate Erbland
- Indiewire
Maya Gallus’ documentary looks at women running some of the world’s top restaurants.
MetFilm Sales has acquired world rights excluding Canada to Maya Gallus’ documentary The Heat: A Kitchen (R)evolution, which will have its world premiere on Wednesday as the opening film at Hot Docs Canadian International Documentary Festival.
The feature-length documentary looks at women running some of the world’s top restaurants, and a younger generation unwilling to submit to the brutal, macho conditions that were once the norm.
The film profiles pioneers including Anne Sophie Pic of France’s Maison Pic; Angela Hartnett of Murano in London; and Anita Lo,...
MetFilm Sales has acquired world rights excluding Canada to Maya Gallus’ documentary The Heat: A Kitchen (R)evolution, which will have its world premiere on Wednesday as the opening film at Hot Docs Canadian International Documentary Festival.
The feature-length documentary looks at women running some of the world’s top restaurants, and a younger generation unwilling to submit to the brutal, macho conditions that were once the norm.
The film profiles pioneers including Anne Sophie Pic of France’s Maison Pic; Angela Hartnett of Murano in London; and Anita Lo,...
- 4/24/2018
- by Wendy Mitchell
- ScreenDaily
Toronto's premiere documentary festival, and one one of the largest in the world, dropped its full lineup today, a month ahead of its opening night on April 26. Let it be known that the documentary world is keen and proactive. For its 25th edition, Hot Docs is showcasing 246 documentaries over 11 days from 56 different countries. While we have a more thorough curtain raiser closer to the festivals opening night, their press release offers a number of the highlights, including: The opening night film, Maya Gallus's The Heat, promises a glimpse into the kitchens of the worlds top female chefs. Gallus previously directed 2010's Dish, which looked at the quirkier side of the restaurant industry from nudie restaurants in Montreal to Maid Cafes in Tokyo. Two...
[Read the whole post on screenanarchy.com...]...
[Read the whole post on screenanarchy.com...]...
- 3/21/2018
- Screen Anarchy
The Hot Docs Canadian International Documentary Festival on Tuesday unveiled its full 2018 lineup, with half of this year's film directors being women.
That includes world premieres for Maya Gallus' The Heat: A Kitchen (R)evolution, a look at the kitchens of the world’s top female chefs, which will open the fest; Paula Eiselt's 93Queen, about an all-women ambulance service for New York City's Borough Park Hasidic Jewish community; and Sarah Menzies' Afghan Cycles, which focuses on women in Afghanistan striving for independence, and mobility, as part of a bike racing team.
Hot Docs' 25th edition, which is set to run April...
That includes world premieres for Maya Gallus' The Heat: A Kitchen (R)evolution, a look at the kitchens of the world’s top female chefs, which will open the fest; Paula Eiselt's 93Queen, about an all-women ambulance service for New York City's Borough Park Hasidic Jewish community; and Sarah Menzies' Afghan Cycles, which focuses on women in Afghanistan striving for independence, and mobility, as part of a bike racing team.
Hot Docs' 25th edition, which is set to run April...
- 3/20/2018
- by Etan Vlessing
- The Hollywood Reporter - Movie News
The Sheffield Doc/Fest is one of the world’s premiere non-fiction film festivals, celebrating both the art and business of documentary film. The business part is a key component, as Sheffield’s MeetMarket has unlocked over $53 million of deals for documentarians since its inception in 2006. It’s for this reason that the filmmakers at Sheffield, while in addition to being top-of-their-field artists, are also experts at how to pitch their projects and getting investors onboard.
To tap into some of that knowledge, IndieWire reached out to six of these experienced filmmakers who have had success pitching and are participating in this year’s MeetMarket, to get their advice about what does and does not work when presenting your project to investors.
Read More: How Field Of Vision’s Quick Production Turnaround Is Changing The Way Documentaries Are Made And Seen
What Works
Maya Gallus, “A Female Gaze”: “This is a film about women filmmakers and how their ‘gaze’ reveals itself in the work. The topic is urgent right now as there is much in the news about the paucity of women at the helm in film and television and why we need to correct this gender disparity. It’s really a film about how the stories we tell reveal who we are as a society. So the timing is excellent. Funders are open and ready to listen. And there is no other contemporary film on the subject.”
Al Morrow, “Sour Grapes”:“Humor always helps in a pitch no matter what the subject or overall tone of the film. I always try and bring out the lighter moments in a story.”
Lindsey Dryden, “Canary In A Coal Mine”: “Successful pitches for me and my teams have been the ones where we’re clear about our story and how we’re going to tell it, succinct, and obviously really excited about the film. That enthusiasm is infectious, especially when it comes from a strong, skilled team.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”:Sometimes you get wrapped up in the pitch and forget to read the reaction of the person you are talking to. Having a partner at the table is great because it allows you to take a moment and assess the situation while the other person is talking. At the Ifp Film Week, [co-director] Paul [Lovelace] and I were able to do that. This helped us make the pitch more engaging for the other end of the table.”
Jeanie Finlay, “Luxury Bitches”: “Being accepted to pitch is not the be all and end all and money will not just appear from sky. It’s worth seeing if people have time to meet outside of the official timetable. A pitch is essentially just a meeting. The most important thing is following up with commissioners and financiers afterwards. Lots of people give ‘great meeting’ and you can have a lot of exciting discussions, but if that isn’t followed up afterwards it was just a lovely meeting.”
Read More: Why Documentary Filmmakers Must Take Care of Legal Business Early and Often
What Doesn’t Work
Lindsey Dryden, “Canary In A Coal Mine”: “I think filmmakers often make a couple of key mistakes (and we’re all guilty of them from time to time). The first is pitching too hard: talking endlessly, lecturing whoever they’re meeting until their eyes glaze over, and not listening. Secondly, filmmakers often don’t tell the actual story: they describe their subject or theme or context, but don’t tell you what’s actually going to happen, how the story will unfold, and how they’re going to tell this story in a unique way. These are things documentary filmmakers can’t know for certain – and films like ‘Call Me Kuchu’ and ‘The Overnighters’ are brilliant examples of completely unexpected twists – but we should be damn good at imagining how our stories might play out.”
Sara Stockmann, Producer of Bobbi Jene”: “It is understandable that pitch teams want to give a 360 degree understanding of their project and in doing so they often get lost in too many details and factual information.”
Maya Gallus, “A Female Gaze”: “Too much extraneous talk. Get to the point: what is the story, who is going to be in it, do you have special or unique access, and what will the audience see. Show a clip. Then let them ask questions.”
Read More: The Critical Role Non-Profits Played in Getting This Year’s Tribeca Film Festival Docs Made
Advice To Filmmakers Get Ready To Pitch
Al Morrow, “Sour Grapes”: “The trailer is everything. If you have a strong trailer that works as a three minute experience and shows the potential and scale of the story you’re most of the way there. It needs to look like your film will look. You can’t say, ‘here’s a trailer, but the film will be different/better.'”
Sara Stockmann, “Bobbi Jene”: “Know whom you are talking to. Do your research on the decision makers. It doesn’t make sense to pitch a project to a decision maker who is not open to the kind of story you are presenting. If you have a great project you will find funding, but don’t waste your energy on 50 meetings. Instead select the five top on your list and save your energy for these. Financing is building a dialogue. Try to collect information from the person you are pitching to. It will come in handy on a future project.”
Lindsey Dryden, “Canary In A Coal Mine”: “A pitch doesn’t have to be formal: it’s the opportunity to have a conversation about the amazing thing you want to make, so keep it conversational, know how to describe your film in a few bullet points, let your passion for the story shine through, and remember to listen. The people you’re pitching to are usually interesting and talented folk who want to discover the ways that you’re interesting and talented, so keep it informal and enjoy the exchange.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”: “[T]ake some time to think of questions you think someone might ask about your film, particularly the more challenging aspects. Because they will ask these questions. Being confident in your answers and in the vision of your film, this will help make a successful pitch.”
Maya Gallus, “A Female Gaze”: “Establish why this film needs to be made now, and why you are the one to make it. Emphasize your passion about the story or access to the subjects – anything to differentiate yourself from the pack.”
Jeanie Finlay, “Luxury Bitches”: “Lastly, do not attempt to pitch to people after 9pm. I saw a funder being accosted on the dance floor last year at about midnight being given proposals and DVDs by an eager filmmaker. I would put money on it that it didn’t result in a commission. Just go to the parties and have fun and let other people do the same.”
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related storiesHow 'The Witness' Evolved From HBO-Scripted Series To A Doc Revealing the Truth Behind A Shocking MurderHow Field Of Vision's Quick Production Turnaround Is Changing The Way Documentaries Are Made And SeenWatch: The Short About a Changing Williamsburg That Was Inspired by the Once-Lost 'Los Sures'...
To tap into some of that knowledge, IndieWire reached out to six of these experienced filmmakers who have had success pitching and are participating in this year’s MeetMarket, to get their advice about what does and does not work when presenting your project to investors.
Read More: How Field Of Vision’s Quick Production Turnaround Is Changing The Way Documentaries Are Made And Seen
What Works
Maya Gallus, “A Female Gaze”: “This is a film about women filmmakers and how their ‘gaze’ reveals itself in the work. The topic is urgent right now as there is much in the news about the paucity of women at the helm in film and television and why we need to correct this gender disparity. It’s really a film about how the stories we tell reveal who we are as a society. So the timing is excellent. Funders are open and ready to listen. And there is no other contemporary film on the subject.”
Al Morrow, “Sour Grapes”:“Humor always helps in a pitch no matter what the subject or overall tone of the film. I always try and bring out the lighter moments in a story.”
Lindsey Dryden, “Canary In A Coal Mine”: “Successful pitches for me and my teams have been the ones where we’re clear about our story and how we’re going to tell it, succinct, and obviously really excited about the film. That enthusiasm is infectious, especially when it comes from a strong, skilled team.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”:Sometimes you get wrapped up in the pitch and forget to read the reaction of the person you are talking to. Having a partner at the table is great because it allows you to take a moment and assess the situation while the other person is talking. At the Ifp Film Week, [co-director] Paul [Lovelace] and I were able to do that. This helped us make the pitch more engaging for the other end of the table.”
Jeanie Finlay, “Luxury Bitches”: “Being accepted to pitch is not the be all and end all and money will not just appear from sky. It’s worth seeing if people have time to meet outside of the official timetable. A pitch is essentially just a meeting. The most important thing is following up with commissioners and financiers afterwards. Lots of people give ‘great meeting’ and you can have a lot of exciting discussions, but if that isn’t followed up afterwards it was just a lovely meeting.”
Read More: Why Documentary Filmmakers Must Take Care of Legal Business Early and Often
What Doesn’t Work
Lindsey Dryden, “Canary In A Coal Mine”: “I think filmmakers often make a couple of key mistakes (and we’re all guilty of them from time to time). The first is pitching too hard: talking endlessly, lecturing whoever they’re meeting until their eyes glaze over, and not listening. Secondly, filmmakers often don’t tell the actual story: they describe their subject or theme or context, but don’t tell you what’s actually going to happen, how the story will unfold, and how they’re going to tell this story in a unique way. These are things documentary filmmakers can’t know for certain – and films like ‘Call Me Kuchu’ and ‘The Overnighters’ are brilliant examples of completely unexpected twists – but we should be damn good at imagining how our stories might play out.”
Sara Stockmann, Producer of Bobbi Jene”: “It is understandable that pitch teams want to give a 360 degree understanding of their project and in doing so they often get lost in too many details and factual information.”
Maya Gallus, “A Female Gaze”: “Too much extraneous talk. Get to the point: what is the story, who is going to be in it, do you have special or unique access, and what will the audience see. Show a clip. Then let them ask questions.”
Read More: The Critical Role Non-Profits Played in Getting This Year’s Tribeca Film Festival Docs Made
Advice To Filmmakers Get Ready To Pitch
Al Morrow, “Sour Grapes”: “The trailer is everything. If you have a strong trailer that works as a three minute experience and shows the potential and scale of the story you’re most of the way there. It needs to look like your film will look. You can’t say, ‘here’s a trailer, but the film will be different/better.'”
Sara Stockmann, “Bobbi Jene”: “Know whom you are talking to. Do your research on the decision makers. It doesn’t make sense to pitch a project to a decision maker who is not open to the kind of story you are presenting. If you have a great project you will find funding, but don’t waste your energy on 50 meetings. Instead select the five top on your list and save your energy for these. Financing is building a dialogue. Try to collect information from the person you are pitching to. It will come in handy on a future project.”
Lindsey Dryden, “Canary In A Coal Mine”: “A pitch doesn’t have to be formal: it’s the opportunity to have a conversation about the amazing thing you want to make, so keep it conversational, know how to describe your film in a few bullet points, let your passion for the story shine through, and remember to listen. The people you’re pitching to are usually interesting and talented folk who want to discover the ways that you’re interesting and talented, so keep it informal and enjoy the exchange.”
Jessica Wolfson, “Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary”: “[T]ake some time to think of questions you think someone might ask about your film, particularly the more challenging aspects. Because they will ask these questions. Being confident in your answers and in the vision of your film, this will help make a successful pitch.”
Maya Gallus, “A Female Gaze”: “Establish why this film needs to be made now, and why you are the one to make it. Emphasize your passion about the story or access to the subjects – anything to differentiate yourself from the pack.”
Jeanie Finlay, “Luxury Bitches”: “Lastly, do not attempt to pitch to people after 9pm. I saw a funder being accosted on the dance floor last year at about midnight being given proposals and DVDs by an eager filmmaker. I would put money on it that it didn’t result in a commission. Just go to the parties and have fun and let other people do the same.”
Stay on top of the latest in gear and filmmaking news! Sign up for the Indiewire Toolkit newsletter here.
Related storiesHow 'The Witness' Evolved From HBO-Scripted Series To A Doc Revealing the Truth Behind A Shocking MurderHow Field Of Vision's Quick Production Turnaround Is Changing The Way Documentaries Are Made And SeenWatch: The Short About a Changing Williamsburg That Was Inspired by the Once-Lost 'Los Sures'...
- 6/14/2016
- by Chris O'Falt
- Indiewire
Eight women directors from across Canada have been selected to attend the 20th annual session of Women In the Director’s Chair (Widc), which includes the pilot program, Widc Story & Leadership. Over the coming months this top-notch group of content creators will develop their feature films and web series, working with an ensemble of hand-picked professional actors, technicians and other industry experts. A major component of the program takes the form of an Industry Immersion at the 15th anniversary Whistler Film Festival (December 2-6), and culminates with a three-month mentorship tailored to advance each director’s project.
Mounting their sophomore feature films are East coast favorites, Mary Walsh ("A Christmas Fury," based on the characters from the riotously-funny TV series "Hatching, Matching and Dispatching"), Anita Reilly McGee ("Black Mammy"), and Widc Feature Film Award-winner, Jordan Canning ("Suck It Up"). Weaving fiction into their prolific body of documentary works from Ontario are, Maya Gallus ("Nights in the Underground"), and Frances-Anne Solomon ("Hero"). Also from Ontario is Nicole Dorsey , developing a debut feature "Black Conflux," along with BC-based actress Ana De Lara ("The Virgin Mary Had a Little Lamb"). Multiple award-winner Marie Clements is developing a new interactive web series "Crooked Bones," based on the true story of First Nations artist, Connie Watts.
"Widc understands that being committed to bringing women’s voices to the screen means investing in the storyteller. Not simply as a “one off” but as a continued partnership between stakeholders who recognize that the development of skill, process, and creation has lasting and profound value,” states Metis actor/ writer/director, Marie Clements. “I am honored to be in this year’s Story & Leadership Program with some of Canada’s most talented and innovative filmmakers."
Award-winning director Rachel Talalay ("Dr. Who," "Tank Girl") will be one of this year’s key mentors focusing on directing action. This year’s line up also includes peer mentors, award-winning Widc alumnae, writer/directors Siobhan Devine ("The Birdwatcher," which premieres at the Whistler Film Festival), and web series creator Karen Lam ("Mythos"), along with popular Widc instructors, writer and Jungian expert, Dr. Carolyn Mamchur , and screen-writer / story consultant Linda Coffey ("These Arms of Mine"). Industry guests include, John Galway (Harold Greenberg Fund), Maureen Levitt , (Super Channel), independent producer, Lael McCall , (Principia Productions), and Telefilm Canada’s Lauren Davis .
“Taking part in this Widc workshop makes me excited about the possibility of someday having television and film represent the perspectives of women, “ states Mary Walsh, a recipient of the Order of Canada and the Governor General’s Lifetime Achievement Award in the Performing Arts. “Although women make up 51% of the Canadian population, they comprise less than 20% of the directors and screenwriters working in Canadian Film.”
The Women In the Director’s Chair (Widc) program has earned an international reputation for propelling over two hundred Canadian women directors’ skills, stories and careers to the next level of excellence. Creative Women Workshops Association, The Banff Centre and Actra (Alliance of Canadian Cinema, Television and Radio Artists) have been Widc collaborators, and Telefilm Canada has been a major sponsor since the program’s 1997 inception. Widc and the Whistler Film Festival collaborate again through the Widc Wff Industry Immersion.
The Festival’s online box office is now open for Industry Passes, Festival Passes and Ticket Packages allowing you to select your films in advance and share them with friends and family.
New for 2015 , Wff has introduced a Festival Credential that provides access to the Music Café, ShortWork Showdown and Festival Lodge, and is included in select ticket packages if purchased by October 31.
Air travel and ground transportation deals as well as best accommodation rates starting from $89 per night are now available. The Westin Whistler Resort and Spa is Wff’s official host hotel. Wff has 20 accommodation partners to choose from that offer special rates to Whistler Film Festival attendees. Book your accommodation early to ensure your perfect match and price. For information, go to whistlerfilmfestival.com.
Mounting their sophomore feature films are East coast favorites, Mary Walsh ("A Christmas Fury," based on the characters from the riotously-funny TV series "Hatching, Matching and Dispatching"), Anita Reilly McGee ("Black Mammy"), and Widc Feature Film Award-winner, Jordan Canning ("Suck It Up"). Weaving fiction into their prolific body of documentary works from Ontario are, Maya Gallus ("Nights in the Underground"), and Frances-Anne Solomon ("Hero"). Also from Ontario is Nicole Dorsey , developing a debut feature "Black Conflux," along with BC-based actress Ana De Lara ("The Virgin Mary Had a Little Lamb"). Multiple award-winner Marie Clements is developing a new interactive web series "Crooked Bones," based on the true story of First Nations artist, Connie Watts.
"Widc understands that being committed to bringing women’s voices to the screen means investing in the storyteller. Not simply as a “one off” but as a continued partnership between stakeholders who recognize that the development of skill, process, and creation has lasting and profound value,” states Metis actor/ writer/director, Marie Clements. “I am honored to be in this year’s Story & Leadership Program with some of Canada’s most talented and innovative filmmakers."
Award-winning director Rachel Talalay ("Dr. Who," "Tank Girl") will be one of this year’s key mentors focusing on directing action. This year’s line up also includes peer mentors, award-winning Widc alumnae, writer/directors Siobhan Devine ("The Birdwatcher," which premieres at the Whistler Film Festival), and web series creator Karen Lam ("Mythos"), along with popular Widc instructors, writer and Jungian expert, Dr. Carolyn Mamchur , and screen-writer / story consultant Linda Coffey ("These Arms of Mine"). Industry guests include, John Galway (Harold Greenberg Fund), Maureen Levitt , (Super Channel), independent producer, Lael McCall , (Principia Productions), and Telefilm Canada’s Lauren Davis .
“Taking part in this Widc workshop makes me excited about the possibility of someday having television and film represent the perspectives of women, “ states Mary Walsh, a recipient of the Order of Canada and the Governor General’s Lifetime Achievement Award in the Performing Arts. “Although women make up 51% of the Canadian population, they comprise less than 20% of the directors and screenwriters working in Canadian Film.”
The Women In the Director’s Chair (Widc) program has earned an international reputation for propelling over two hundred Canadian women directors’ skills, stories and careers to the next level of excellence. Creative Women Workshops Association, The Banff Centre and Actra (Alliance of Canadian Cinema, Television and Radio Artists) have been Widc collaborators, and Telefilm Canada has been a major sponsor since the program’s 1997 inception. Widc and the Whistler Film Festival collaborate again through the Widc Wff Industry Immersion.
The Festival’s online box office is now open for Industry Passes, Festival Passes and Ticket Packages allowing you to select your films in advance and share them with friends and family.
New for 2015 , Wff has introduced a Festival Credential that provides access to the Music Café, ShortWork Showdown and Festival Lodge, and is included in select ticket packages if purchased by October 31.
Air travel and ground transportation deals as well as best accommodation rates starting from $89 per night are now available. The Westin Whistler Resort and Spa is Wff’s official host hotel. Wff has 20 accommodation partners to choose from that offer special rates to Whistler Film Festival attendees. Book your accommodation early to ensure your perfect match and price. For information, go to whistlerfilmfestival.com.
- 10/15/2015
- by Peter Belsito
- Sydney's Buzz
The directors of Derby Crazy Love, a documentary which documents the rising phenomenon of roller derby, discuss their film. Justine Pimlott and Maya Gallus say the contact sport, which is played mainly by women and incorporates elements of punk rock and feminism, is rare in its inclusivity. The film also includes footage from the first-ever roller derby world cup, held in Toronto in 2011 Continue reading...
- 6/10/2014
- by Leah Green and Henry Barnes
- The Guardian - Film News
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