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That’s a Wrap: Young Filmmakers Camp 2017

That’s a Wrap: Young Filmmakers Camp 2017

That’s a Wrap: Young Filmmakers Camp 2017

by Tom Winterbottom, SFFILM Education Program Associate

That’s a Wrap: Young Filmmakers Camp 2017

by Tom Winterbottom, SFFILM Education Program Associate

“Pretend you’ve got a few minutes with a famous face, someone who’ll be swinging in for an interview,” said Jason Wolos, the lead instructor of SFFILM’s Young Filmmakers Camp, which wrapped on August 4. Even if it was just a practice activity, he wanted to give the students the chance to know what’s involved, from how to set up the room and preparing questions to getting sound levels right and adjusting the lights. Quiet on set, roll sound, roll camera, and slate.

The close-knit, impassioned group of teenagers immediately took to it. “I loved being able to work with other kids who are interested in films and filmmaking, and it was awesome to learn about things like lighting and sound, which I hadn’t really paid much attention to before,” one student reflected after camp.

They did one version of the mock interviews and then switched up roles, so that each got a chance to practice. Jason gave some tips: think about how his face is lit up, what’s in the background, how’s the framing. “You see how much goes into it?” he asked, and all the students nodded in recognition. “I never realized that it could take hours for a team to set up an interview, or that you might have to do the same shot over and over to get the right take,” said another camper after a hard day’s filmmaking.

SFFILM’s Young Filmmakers Camp, hosted at the Don Fisher Clubhouse of the Boys and Girls Club in Hayes Valley, was split into two sessions. The “Starter Lab” ran from July 10–21 and the “Advanced Lab” from July 24–August 4. Both sessions drew a dedicated and engaged class of students aged 13–17 that saw instruction, advice, and activities covering the key components of filmmaking from story development to post-production. In both sessions the objective was for students to conceive, produce, and edit final projects to be screened on the last day of camp.

Wolos and his assistant instructor, Mary Guzmán, designed and led the camp for the fourth time, aided by two fabulous interns, Katie Sharkey and Yuanyuan Zhu. The first two weeks, aimed at students with no prior experience, explored the fundamentals of filmmaking with introductory sessions and immersive activities. These included visits from guest teachers. Shane King, who shot and edited recent 2017 SFFILM Festival selection Tania Libre (directed by Lynn Hershman Leeson), came to talk about cinematography and how to shoot. Jason Halprin, a professor of cinema at City College of San Francisco, came to do two workshops on sound. In addition, students learnt about storytelling, lighting, and editing, as well as watching a series of clips and movies to better understand how to watch films. Helping them in that task as a special guest speaker for both labs was local film critic and journalist Michael Fox.

In the “Advanced Lab,” students consolidated and deepened their prior knowledge of filmmaking to take it to the next level. In one project, Nouvel Enfant (available below), the students worked with actors from the Boys and Girls Club to create a short narrative about a young person’s challenges in adjusting to life in a new city. “It was great to work with actors from outside our class,” Mary Guzmán said, “and it helped make the filmmaking feel more real and upped students’ professionalism.”

After it was all over, it was left for students to reflect on camp after their films had been screened to family and friends. “It’s by far my favorite camp I’ve ever been to,” one said, “and it taught me a lot about films and I also made more connections with filmmakers.” After the screening, one parent commented that the camp had “inspired a new contingent of passionate filmmakers.” Let’s hope so: keep your eyes peeled for these emerging storytellers in the future.

Our thanks go to the Boys and Girls Club of San Francisco, who hosted and supported our camp, and to Adobe who provided Creative Cloud licenses free of charge for our camp computers.

By SFFILM on August 15, 2017.

Canonical link

Exported from Medium on March 18, 2023.

Meet the finalists for the 2017 SFFILM Documentary Film Fund Grants

Meet the finalists for the 2017 SFFILM Documentary Film Fund Grants

Meet the finalists for the 2017 SFFILM Documentary Film Fund Grants

Ten exciting new projects are contending for the 2017 Documentary Film Fund grants, which support feature-length docs in the…

Meet the finalists for the 2017 SFFILM Documentary Film Fund Grants

Ten exciting new projects are contending for the 2017 Documentary Film Fund grants, which support feature-length docs in the post-production phase. This year’s fund has increased to an impressive $125,000, which will be distributed to the winning projects in early September.

Find out more about this and other filmmaking grant opportunities at sffilm.org/makers.

The Doc Film Fund has helped several important films finish their edits in recent years, including Peter Nicks’s The Force, which won the 2017 Sundance Film Festival Directing Award for documentary and SFFILM Festival’s Bay Area Documentary Award, and will be released this fall by Kino Lorber; Peter Bratt’s Dolores, which won the 2017 SFFILM Festival Audience Award for Documentary Feature following its Sundance premiere; Jamie Meltzer’s True Conviction, which won a Special Jury Mention for Documentary Feature at the Tribeca Film Festival; and Zachary Heinzerling’s Cutie and the Boxer, which won Sundance’s Directing Award for documentary and was nominated for the 2014 Academy Award® for Best Documentary Feature; among many others.

Since its launch in 2011, the SFFILM Documentary Film Fund has distributed nearly half a million dollars to advance new work by filmmakers nationwide. The 2017 Documentary Film Fund is made possible thanks to an expanded gift from the Jenerosity Foundation.

2017 DOCUMENTARY FILM FUND FINALISTS

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The Feeling of Being Watched
Assia Boundaoui, director/producer; Jessica Devaney, producer

When a filmmaker investigates rumors of surveillance in her Arab-American neighborhood in Chicago, she uncovers one of the largest FBI terrorism probes conducted before 9/11 and reveals its enduring impact on the community.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Hale County, This Morning, This Evening
RaMell Ross, director; Joslyn Barnes and Su Kim, producers

What is the experience of coming-of-age in the Black Belt region of the US? This film presents the lives of two young men in a series of visual movements that replace narrative arc with orchestral form.

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Heaven Through the Back Door
Anna Fitch and Banker White, co-director/producers; Sara Dosa, producer

Heaven Through the Backdoor is a contemplative documentary that tells the story of Yo (Yolanda Shae), a fiercely independent 88-year old woman whose unique brand of individualist feminism impacts how she chooses to live in the final years of her life. (Former SFFILM FilmHouse Resident)

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How to Have an American Baby
Leslie Tai, director/producer; Jillian Schultz, co-producer

There is a city in Southern California that abounds with pregnant women from China. Told through multiple perspectives, How to Have an American Baby is a kaleidoscopic voyage behind the closed doors of the Chinese birth tourism industry. (SFFILM FilmHouse Resident, SFFILM fiscally sponsored filmmaker)

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

The Judge
Erika Cohn, director/producer; Sara Maamouri, co-producer

The Judge provides rare insight into Shari’a law (Islamic law), an often misunderstood legal framework for Muslims, told through the eyes of Kholoud Al-Faqih, the first woman judge to be appointed to the Middle East’s religious courts. (SFFILM fiscally sponsored filmmaker)

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

El Lugar de la Memoria
Juan Pablo González, director; Makena Buchanan, Jamie Gonçalves, and Ilana Coleman, producers

As economic and social conditions become dire, a wave of suicides among young people disrupts life in a small Mexican town. Through daily rituals and ceremonies amongst the people in this community, El Lugar de la Memoria presents a reflection on the reconfiguration of rural life in Mexico.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

A Machine to Live In
Yoni Goldstein and Meredith Zielke, co-directors; Sebastian Alvarez, producer; Andrew Benz, co-producer

Hovering over what remains of Brazil’s modernist future, this film looks at how social control, rational design, and space-age architecture gave rise to a vast landscape of transcendental and mystical utopias.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Midnight Family
Luke Lorentzen, director; Kellen Quinn, producer; Daniela Alatorre,and Elena Fortes, co-producers

In Mexico City, 16-year-old Juan Ochoa struggles to legitimize his family’s unlicensed ambulance business, as corrupt police in the neighborhood begin to target this cutthroat industry.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Pahokee
Ivete Lucas and Patrick Bresnan, co-director/producers; Maida Brankman, producer

Pahokee, Florida (pop. 6,094): one hour by car across Palm Beach County from the presidential opulence of Mar-a-Lago. Against a backdrop of industrial agriculture and economic isolation, high school students from different racial and cultural backgrounds forge a sense of meaning and community via elaborate and colorful rites of passage.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Pigeon Kings
Milena Pastreich, director/producer; Michael Sherman and Matthew Perniciaro, producers

Keith London, the godfather of Birmingham Rollers, and his mentee, Choo Choo, survive life in South Central LA through their dedication to somersaulting pigeons.

By SFFILM on August 10, 2017.

Canonical link

Exported from Medium on March 18, 2023.

Meet our new SFFILM / Sloan Science in Cinema Filmmaking Fellows

Meet our new SFFILM / Sloan Science in Cinema Filmmaking Fellows

Meet our new SFFILM / Sloan Science in Cinema Filmmaking Fellows

We’re excited to announce that two new filmmaking teams have joined our FilmHouse community to start their Sloan Science in Cinema…

Meet our new SFFILM / Sloan Science in Cinema Filmmaking Fellows

We’re excited to announce that two new filmmaking teams have joined our FilmHouse community to start their Sloan Science in Cinema Filmmaker Fellowships! Sloan Fellows are selected from an open call for screenwriters working on feature scripts exploring scientific or technological themes and characters. Each recipient gets a $35,000 cash grant and a two-month residency at FilmHouse, our bustling collaborative artist space, to write their screenplays.

Sloan Science in Cinema Filmmaking Fellowships are funded by the Alfred P. Sloan Foundation, and are given twice annually. The program kicked off earlier this year with Michael Almereyda (Experimenter, Marjorie Prime) as our inaugural Sloan Fellow, to develop his upcoming screenplay about Nikola Telsa.

For more information, visit sffilm.org/makers.

Here are the details on our newest Fellows and their projects:

BELL
Darcy Brislin and Dyana Winkler, co-writers

Darcy Brislin and Dyana Winkler

After years of lawsuits surrounding the invention of the telephone, Alexander Graham Bell is anxious to refocus on his true passion: the deaf. Relocating to Washington D.C. with his deaf wife Mabel, Bell begins to teach speech at the prestigious deaf college, Gallaudet. Sign language is quickly growing in popularity, but Bell develops a deep hatred for its existence, fearing deaf integration will be impossible. On the other hand, Mabel’s eyes are opened to a world she never knew existed, where deafness is a culture, not a handicap, and signing is a language, not an animalistic gesture. When Mabel discovers Bell’s ultimate plan — to eradicate deafness through eugenics — she is forced to choose between her marriage and the community she loves.

Currently based in Los Angeles, Darcy Brislin is a freelance writer and producer. She is the recipient of a number of fellowships, including the 2016 Sundance / Sloan Commissioning Grant, the 2017 Sundance Screenwriting Lab, the Kenyon Playwrights Conference, and the 20/20/20 Killer Films Residency lead by Christine Vachon and Pamela Koffler. Her feature screenplay Crown Chasers is in development at UTA, with Maria Bello attached to produce. She is currently assisting director Ondi Timoner on the production of Mapplethorpe, a biopic about the acclaimed photographer, starring Matt Smith and John Benjamin Hickey.

Dyana Winkler is a freelance filmmaker who produces, directs, shoots, edits, and writes for hire in Brooklyn, NY. Clients include JP Morgan Chase, Under Armour, the US Open, Outside Television, TV on the Radio, and more. Her most recent fiction screenplay, Bell, was awarded the 2016 Sundance / Sloan Commissioning grant and participated in the 2017 Sundance Screenwriter’s Lab. Her first feature length documentary, United Skates, is currently in postproduction and has received awards from the Sundance Institute, IFP, Chicken & Egg Pictures, Film Independent, The Fledgling Fund, New York State Council on the Arts, and California Humanities.

— — — — — — — — — — — — — — — — — — — — — — — — — — — — — —

DARK WEB
Mark Eaton and Ron Najor, co-writers

Mark Eaton and Ron Najor

When Maggie Hamilton takes third place in a coding competition at a hacker competition, her talent attracts the attention of a recruiter for a non-profit specializing in exposing corrupt companies. She joins their team, and works long hours in disguise on public computers, attempting to take down large conglomerates that are trying to take advantage of common citizens. After one job makes headlines and Maggie learns that the FBI is investigating, she decides to go “off the grid,” but not before she learns disturbing information about her employer and decides to do something about it.

Mark Eaton is a writer and director who got his start creating imaginative Super 8mm short films. He has written and directed commercials and music videos for a number of artists and brands including Blink-182, Tom DeLonge, Angels & Airwaves, Against Me, Good Old War, Macbeth Footwear, and James Coffee Co., bringing a careful balance of spirit and design to their collaborations. Eaton’s passion for visual narratives continued, directing the feature documentary Start the Machine and producing the independent sci-fi feature film Love. His feature script Dark Web was selected to be part of the Film Independent Screenwriting Labs in 2016.

Ron Najor’s first production was the feature film I Am Not a Hipster, which was an official selection of the Sundance Film Festival in 2012. He next produced the film Short Term 12, which won both the Grand Jury Prize and the Audience Award at SXSW in 2013. The film appeared on over 30 top-ten lists in 2013 and garnered a Gotham Award for Best Actress for Brie Larson and a Film Independent Spirit Award for Best Editing. Najor feature script Dark Web was selected to be part of the Film Independent Screenwriting Labs in 2016.

By SFFILM on August 7, 2017.

Canonical link

Exported from Medium on March 18, 2023.

Announcing the Winners of the Spring 2017 SFFILM / Rainin Filmmaking Grant

Announcing the Winners of the Spring 2017 SFFILM / Rainin Filmmaking Grant

Announcing the Winners of the Spring 2017 SFFILM / Rainin Filmmaking Grant

We are thrilled to announce the eight winning projects contending in the Spring 2017 round of SFFILM / Rainin Filmmaking Grants! SFFILM /…

Announcing the Winners of the Spring 2017 SFFILM / Rainin Filmmaking Grant

We are thrilled to announce the eight winning projects contending in the Spring 2017 round of SFFILM / Rainin Filmmaking Grants! SFFILM / Rainin Filmmaking Grants are awarded twice annually to narrative features that will have significant economic or professional impact on the Bay Area filmmaking community; in this round, a total of $300,000 has been distributed to narrative feature film projects at various stages, from screenwriting to post-production. More than $4 million has been awarded since the launch of SFFILM’s flagship grant program in 2009.

Applications are currently being accepted for the Fall 2017 round of SFFILM / Rainin Filmmaking Grants; the deadline to apply is July 28. Find out more at sffilm.org/makers

The jury, which included Noah Cowan, SFFILM Executive Director; Patrick House, culture and science writer for Slate and The New Yorker; Caroline von Kühn, SFFILM Director of Artist Development; Shelley Trott, Director of Arts Strategy and Ventures at the Kenneth Rainin Foundation; and Tristen Tuckfield, film finance executive, noted “This group of finalists was exceptionally strong, and we are thrilled to support these eight bold and deeply human films, which collectively represent such a wide range of tones, styles, voices, and artistic visions. These filmmakers showcase the ever-growing talent coming out of San Francisco, and their work will contribute to the growing strength, diversity, and richness of the Bay Area filmmaking community.”

SPRING 2017 SFFILM / RAININ FILMMAKING GRANT WINNERS

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

The Continental
Aron Kantor, writer/director; K.M. Soehnlein, cowriter — screenwriting

A young gay Latino immigrant working at New York’s legendary Continental Baths gets swept up in the burgeoning gay rights movement and the early disco scene while navigating an affair with his married boss.

Aron Kantor and K.M. Soehnlein

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Jinn
Nijla Mu’min, writer/director; Avril Speaks, producer — post-production

Summer is a carefree, Black teenage Instagram celebrity whose world is turned upside down when her mother abruptly converts to Islam and becomes a different person. At first resistant to the faith, she begins to reevaluate her identity after becoming attracted to a Muslim classmate, crossing the thin line between physical desire and piety.

Nijla Mu’min and Avril Speaks

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Josephine
Beth de Araújo, writer/director — screenwriting

An obedient eight-year-old girl unintentionally witnesses a rape in Golden Gate Park. Unraveling with fear and paranoia, her subsequent violent outbursts put her family and classmates in jeopardy.

Beth de Araújo

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Music Moves Us
Cyrus Tabar, writer/director — screenwriting

In the near future where music is outlawed in an authoritarian state, a passionate woman and her friends in Oakland, California, throw illegal techno dance parties and broadcast on a bootleg pirate radio station to bring people together.

Cyrus Tabar

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Refuge
Mohammad Gorjestani, writer/director; Malcolm Pullinger, producer — screenwriting

Set in 2025, a brewing cyberwar between the US and Iran puts Sonia, a young Iranian refugee and activist, at risk of deportation or internment. Her only escape may come at a greater price than she’s willing to pay.

Mohammad Gorjestani and Malcolm Pullinger

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A Rooster on the Fire Escape
Guetty Felin, writer/director/producer; Danielle Dreis, producer — packaging

Upon coming to America, the Celestin family was hoping to leave behind the traumas of the brutal dictatorship of their tropical native land, but the sacrifices they made for their freedom create a dark spiral from which they might not recover.

Guetty Felin

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Sorry to Bother You
Boots Riley, writer/director; Jonathan Duffy, George Rush and Kelly Williams, producers — production

Sorry To Bother You tells the story of Cassius Green, a black telemarketer who discovers a magical key to telemarketing success, propelling him into a macabre universe where he is selected to lead a species of genetically manipulated horse-people.

Boots Riley, Jonathan Duffy, George Rush, and Kelly Williams

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We the Animals
Jeremiah Zagar, writer/director; Jeremy Yaches and Christina King, producers — post-production

Based on the bestselling novel by Justin Torres, We the Animals explores the beautiful and savage nature of family and the viscerally charged landscape of youth through the eyes of Jonah, the youngest son of a mixed-race working-class couple as he discovers his artistic identity.

Jeremiah Zagar, Jeremy Yache,s and Christina King

By SFFILM on July 10, 2017.

Canonical link

Exported from Medium on March 18, 2023.

Meet the finalists for the Spring 2017 SFFILM / Rainin Filmmaking Grants

Meet the finalists for the Spring 2017 SFFILM / Rainin Filmmaking Grants

Meet the finalists for the Spring 2017 SFFILM / Rainin Filmmaking Grants

We are very excited to announce the 14 finalist projects contending for the latest round of SFFILM / Rainin Filmmaking Grants! SFFILM /…

Meet the finalists for the Spring 2017 SFFILM / Rainin Filmmaking Grants

We are very excited to announce the 14 finalist projects contending for the latest round of SFFILM / Rainin Filmmaking Grants! SFFILM / Rainin Filmmaking Grants are awarded twice annually to narrative features that will have significant economic or professional impact on the Bay Area filmmaking community; in this round, more than $250,000 will be distributed to narrative feature film projects at various stages of production. More than $4 million has been awarded since the launch of SFFILM’s flagship grant program in 2009. Stay tuned for the announcement of the winners in June!

Find out more at sffilm.org/makers

SPRING 2017 SFFILM / RAININ FILMMAKING GRANT FINALISTS

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

The Continental
Aron Kantor, writer/director; K.M. Soehnlein, cowriter — screenwriting

A young gay Latino immigrant working at New York’s legendary Continental Baths gets swept up in the burgeoning gay rights movement and the early disco scene while navigating an affair with his married boss.

Aron Kantor and K.M. Soehnlein

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

87 Fleer
Alex Tse, writer/director; Matt Parker, Carly Hugo and Kelly McCormick producers — pre-production

In 1990s working-class San Francisco, Tony makes the jump from junior high to high school. His diverse group of friends is splintered by a whole new world of peer pressure and cliques. Alienated and angry, a series of choices send Tony down a dark path in the search for respect.

Alex Tse, Matt Parker, Carly Hugo, and Kelly McCormick

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Freeland
Kate McLean and Mario Furloni, co-writer/directors; Laura Heberton, producer — production

In the last season of black-market marijuana growing on a remote, failed commune, a mother and a daughter must reconcile their differences in order to survive in an increasingly inhospitable world.

Kate McLean, Mario Furloni, and Laura Heberton

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Jinn
Nijla Mu’min, writer/director; Avril Speaks, producer — post-production

Summer is a carefree, Black teenage Instagram celebrity whose world is turned upside down when her mother abruptly converts to Islam and becomes a different person. At first resistant to the faith, she begins to reevaluate her identity after becoming attracted to a Muslim classmate, crossing the thin line between physical desire and piety.

Nijla Mu’min and Avril Speaks

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Josephine
Beth de Araújo, writer/director — screenwriting

An obedient eight-year-old girl unintentionally witnesses a rape in Golden Gate Park. Unraveling with fear and paranoia, her subsequent violent outbursts put her family and classmates in jeopardy.

Beth de Araújo

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

The Last Black Man in San Francisco
Joe Talbot, writer/director; Khaliah Neal and Carlton Evans, producers — production

Jimmie Fails dreams of buying back the Victorian home his grandfather built in the heart of San Francisco. Now living in the city’s last, dwindling Black neighborhood with his oddball best friend Prentice, the two misfits search for belonging in the rapidly changing city that seems to have left them behind.

Joe Talbot, Khaliah Neal, and Carlton Evans

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Little Woods
Nia DaCosta, writer/director; Rachael Fung and Gabrielle Nadig, producers — post-production

For years, Ollie has illicitly helped the struggling fellow residents of her North Dakota oil boomtown access Canadian health care and medication. When the authorities catch on, she plans to abandon her crusade, only to be dragged in even deeper after a desperate plea for help from her sister, Deb.

Nia DaCosta, Rachael Fung, and Gabrielle Nadig

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

The Lusty
Silas Howard, writer/director; Antonia Crane, cowriter; L.A. Teodosio, producer — packaging

In the late ’90s in San Francisco, due to unsavory work conditions, a dynamic group of irreverent, punk, artist, feminist strippers decide to resist sex-worker stigma and confront the exploitative labor practices at The Lusty Lady Peepshow, resulting in the first successful exotic dancer’s union in the world.

Silas Howard, Antonia Crane, and L.A. Teodosio

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Music Moves Us
Cyrus Tabar, writer/director — screenwriting

In the near future where music is outlawed in an authoritarian state, a passionate woman and her friends in Oakland, California, throw illegal techno dance parties and broadcast on a bootleg pirate radio station to bring people together.

Cyrus Tabar

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Raja
Deepak Rauniyar, writer/director — screenwriting

Raja is a socially rooted police procedural and a race-against-time thriller, as well as a portrait of Nepal, a complex society on the edge of a new future.

Deepak Rauniyar

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Refuge
Mohammad Gorjestani, writer/director; Malcolm Pullinger, producer — screenwriting

Set in 2025, a brewing cyberwar between the US and Iran puts Sonia, a young Iranian refugee and activist, at risk of deportation or internment. Her only escape may come at a greater price than she’s willing to pay.

Mohammad Gorjestani and Malcolm Pullinger

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

A Rooster on the Fire Escape
Guetty Felin, writer/director/producer; Danielle Dreis, producer — packaging

Upon coming to America, the Celestin family was hopping to leave behind the traumas of the brutal dictatorship of their tropical native land, but the sacrifices they made for their freedom create dark spiral from which they might not recover.

Guetty Felin

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

Sorry to Bother You
Boots Riley, writer/director; Jonathan Duffy, George Rush and Kelly Williams, producers — production

Sorry To Bother You tells the story of Cassius Green, a black telemarketer who discovers a magical key to telemarketing success, propelling him into a macabre universe where he is selected to lead a species of genetically manipulated horse-people.

Boots Riley, Jonathan Duffy, George Rush, and Kelly Williams

— — — — — — — — — — — — — — — — — — — — — — — — — — — — —

We the Animals
Jeremiah Zagar, writer/director; Jeremy Yaches and Christina King, producers — post-production

Based on the bestselling novel by Justin Torres, We the Animals explores the beautiful and savage nature of family and the viscerally charged landscape of youth through the eyes of Jonah, the youngest son of a mixed-race working-class couple as he discovers his artistic identity.

Jeremiah Zagar, Jeremy Yache,s and Christina King

By SFFILM on May 18, 2017.

Canonical link

Exported from Medium on March 18, 2023.

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