Asian film festivals – Monte Carlo Film Festival http://montecarlofilmfestival.com/ Sun, 26 Jun 2022 07:12:00 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://montecarlofilmfestival.com/wp-content/uploads/2021/06/cropped-icon-32x32.png Asian film festivals – Monte Carlo Film Festival http://montecarlofilmfestival.com/ 32 32 Pakistani film “Mulaqat” rewarded at the Vaughan International Film Festival https://montecarlofilmfestival.com/pakistani-film-mulaqat-rewarded-at-the-vaughan-international-film-festival/ Sun, 26 Jun 2022 07:12:00 +0000 https://montecarlofilmfestival.com/pakistani-film-mulaqat-rewarded-at-the-vaughan-international-film-festival/

Sandstorm (Mulaqat), a Pakistani short film released in 2021, recently won awards at the Vaughan International Film Festival.

The director, Seemab Gul won the award for best director. The film also premiered at the Sundance Film Festival, world premiered at La Biennale di Venezia 2021, and was acquired by the New York Magazine Screening Room.

The film scored 6.8 on IMDb. The filmmakers were delighted and proud to represent Pakistani cinema in various international festivals.

Seemab Gul, Pakistani artist and filmmaker, is based in London. Her work represents multiple dimensions and examines societal precariousness. Seemab’s recent short “Sandstorm/Mulaqat” premiered at the 78th Venice International Film Festival.

One of his documentaries “Zahida” also won the audience award at the Tasveer South Asian Film Festival. She holds a Bachelor of Fine Arts and a Masters in Film from London Film School.

The film revolves around a girl named Zara (Parizae Fatima) who enjoys dancing in the privacy of her room and shares it with her virtual boyfriend, Hamza Mushtaq, who then blackmails her. The film is full of social indoctrination on gender inequality, especially in South Asian countries.

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“It’s not exactly a threat,” Gul told www.asianculturevulture.com. “It’s more like a cousin or a brother asking and worrying (about how some people might see such a dance). It’s a very delicate balance between coercion and outright blackmail.

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The Vaughan International Film Festival secures the future of the short film industry by supporting experienced and new filmmakers from around the world.

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Indian Documentaries No Longer a Niche Segment, Get Global Fame | Hindi Movie News https://montecarlofilmfestival.com/indian-documentaries-no-longer-a-niche-segment-get-global-fame-hindi-movie-news/ Sat, 25 Jun 2022 04:08:00 +0000 https://montecarlofilmfestival.com/indian-documentaries-no-longer-a-niche-segment-get-global-fame-hindi-movie-news/ At Cannes 2022, Shaunak Sen’s documentary All That Breathes won Best Documentary. The victory of an Indian documentary for the second consecutive year at Cannes put Indian documentaries in the spotlight. Not only Cannes, but Indian documentaries have won awards at the Sundance Film Festival and have been nominated for Oscars as well. A documentary filmmaker points out that “Indian documentary films have been screened many times in festivals like IDFA, Berlinale, Hot Docs, Cannes, where Indian fiction struggles to get screened in premier film festivals. plan”. The filmmakers say the past year has been a glorious one for Indian documentaries and also point out that OTT platforms are playing a major role in this change. In recent times have seen Indian documentaries – About Love, Kagaz Ki Kashti, Period. End of sentence. – on OTT platforms. We spoke to documentary filmmakers to understand the expanding documentary palate of desi audiences and what led to this global recognition.

“STORIES ARE NOW TOLD IN A SUPERIOR WAY”
Archana Phadke, whose documentary About Love is on an OTT platform, says the superior quality of documentary filmmaking is one of the main reasons for recognition. She adds that now the stories are told in a technically superior way, which appeals to the audience.

Shaunak says, “It was about time Indian documentaries got to such a stage. Clearly, there is worldwide interest in Indian non-fiction. With the kind of critical acclaim and festival successes like – Writing With Fire and A Night Of Knowing – have had at Cannes and Sundance, I think it would be fair to say that there is something unheard of right now.

He adds that the outstanding performance of Indian documentaries can be attributed to a broader cultural and infrastructural change. He adds that platforms like Docedge in Kolkata – an annual international forum for incubating and showcasing documentaries for Indian and Asian filmmakers – help filmmakers. He says: “It was there that a young filmmaker like me, and my first film eight years ago, became familiar with the grammar of documentary. Chandan Samrah, who has been associated with MIFF (Mumbai International Film Festival), says, “Over the years, with Oscar-winning and Cannes-winning documentary filmmakers, this genre has gained more interest among Indian viewers. . Additionally, platforms like MIFF and Films Division provide infrastructure for young filmmakers.

“A NEW GENERATION OF FILMASTERS ARE TELLING INCREDIBLE STORIES”
Vinay Shukla, who co-directed An Insignificant Man (2016) – a newsroom thriller, says: “People in India watch the news all day, so there is an appetite for non-fiction content. Now a new generation of filmmakers has come forward who tell incredible stories with excellent non-fiction skills. Movies like Writing With Fire and Machines And Cinema Travelers have done extremely well globally. These films are inspiring and attract new audiences.

Shaunak, however, also points out that even though this glory has come now, Indian documentary makers have been doing a remarkable job for years. Agreed Utpal Kalal, whose documentary was screened at the IFFI (International Film Festival of India). He says: “Vidhu Vinod Chopra’s 1978 documentary An Encounter With Faces was nominated for an Oscar. Young documentary filmmakers are re-creating history in documentary scripts and they are telling stories that go to the best film festivals. Documentary production has been changing for a long time. The recent worldwide recognition is not so sudden, but it is the result of technical advances and new forms that filmmakers have followed.

Lubdhak Chatterjee, a documentary filmmaker whose film Vaikhari was produced by Public Service Broadcasting Trust India (PSBTI), says the recent success of Rintu, Sushmit and Shaunak will intrigue viewers. He points out, “What is most important is that people are now aware of this successful space in Indian cinema, which has never attracted so much attention before.”

Khushboo Ranka, co-director of An Insignificant Man, says, “The most successful international section of a global OTT platform is not fiction. Whether it’s The Social Dilemma or such documentaries, everyone has heard of them. I feel like it’s definitely

will get a wider audience and recognition.

“OTT PLAYS A MAJOR ROLE IN THE RELEASE OF DOCUMENTARIES IN THE NICHE CATEGORY”
Archana says that when she started watching world cinema, it made her realize that documentary is not just about talking heads. She says that in recent years, it has been OTT platforms that have made viewers aware of what a documentary can be. She credits streaming services for taking the documentaries out of the niche category. She says, “Last year was great in terms of documentaries in India. A lot has happened in terms of documentary in India – high standard of documentary making, not just good stories, but the stories are even told in a technically superior way. There is no casualness in it. The sup-

the port of the public of the filmmakers is much more than before like the success of the documentaries.

She adds, “Before making a documentary, I thought documentaries were boring and preachy. But when I was first exposed to world cinema, I realized that documentaries could be so much more than that. You can do a lot more than in fiction. Certainly, it’s not just for a niche audience anymore. A popular OTT platform broke it with The Last Dance or Wild Wild Life. These are high profile, but with these documentaries, people have suddenly opened their eyes to non-fiction.

Lubdhak points out that OTTs have played a major role in generating interest in documentaries, “OTTs, especially platforms, have brought documentaries to a wider audience. won’t be widespread until we allow more screenings in mainstream spaces. Vinay Shukla agrees and says, “In India, almost all the OTT platforms are commissioning big-budget documentary projects. So we’re in a era of expanding budgets and audiences.

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‘Otherwise it’s not a real city’: Vaughan injects artsy vibe into downtown as music festival peaks https://montecarlofilmfestival.com/otherwise-its-not-a-real-city-vaughan-injects-artsy-vibe-into-downtown-as-music-festival-peaks/ Sun, 19 Jun 2022 10:04:02 +0000 https://montecarlofilmfestival.com/otherwise-its-not-a-real-city-vaughan-injects-artsy-vibe-into-downtown-as-music-festival-peaks/
Canadian vocal group The Tenors and Italian singer Alberto Urso (second from left) end the inaugural Vaughan International Music Festival on a high note. District 4 Com. Sandra Yeung Racco (center) is the mastermind behind the festival.

With a one-of-a-kind music festival causing a stir, the City of Vaughan has launched its action plan to integrate arts and culture into its emerging downtown – at the Vaughan Metropolitan Center (VMC).

The inaugural Vaughan International Music Festival ended on a high note with a superb “Hallelujah” quartet performance by Canadian vocal group The Tenors and their guest, Italian singer Alberto Urso.

The free multicultural festival showcased musical talent ranging from Asia to the Caribbean. The party drew more than 1,000 music lovers to MVC’s transit plaza over the weekend of June 11-12, according to city councilor Sandra Yeung Racco, the mastermind behind the music festival.

“In any city you build, you have to bring arts and culture to it,” said Yeung Racco, an avid musician herself. “Otherwise it’s not a real city.”

The volunteer and company-sponsored music festival also featured Toronto child prodigy Roberta Battaglia of “America’s Got Talent” and Vaughan’s “American Idol” sensation Nicolina Bozzo.

“I’m so happy to be part of this community where everyone is so close,” Bozzo told the Vaughan Citizen right after stepping off stage. “It’s really amazing to play at home where it all started.”

Yeung Racco hopes the music festival will serve as a springboard to help kick-start the transformation of the city’s new downtown.

“It’s going to incentivize more,” the adviser said. “Arts and culture is a vital part of any city’s economy. And I think that’s what we’re doing.

“We want to use music to embrace diversity because we live in such a multicultural community. We want to support our young emerging artists.”

After two years of the pandemic, she said it was even more vital to have such festivals for the public to come together and celebrate.

Vaughan Music Festival

The city is currently in the process of updating the MVC Secondary Plan and citizens are being asked to provide feedback on the area’s priorities. By 2031, according to the city, up to 63,350 residents in nearly 32,000 residential units are expected to move into the trendy downtown area near the VMC station.

In 2017, Vaughan made history when it hosted the GTA’s first subway station outside of Toronto. In 2019, the VMC again made headlines when it became home to the permanent location of Niagara University, the first-ever university to be established in Vaughan and York Region.

Last year, downtown was decorated by artists with 30,000 square foot murals and vibrant graffiti, creating a breathtaking work of art.

More recently, a new state-of-the-art recreation facility and library have also taken up residence at the VMC.

The David Braley Vaughan Metropolitan Center of Community, slated to open June 20, includes the city’s newest recreation venue, a public library branch and a YMCA center.

Located in the heart of the MVC at 200 Apple Mill Road, the community center is just steps from the MVC subway station, making it easily accessible to the entire community.

The Vaughan Studios & Event Space is a new 19,000 square foot entertainment venue with a rooftop terrace. This site will provide top quality recreational programming for the community, including a Dancing Chefs summer camp.

Just a few blocks away, Cineplex Cinemas Vaughan is gearing up for the Vaughan International Film Festival, which is celebrating a special leg of its 10th edition June 20-23.

The tenors

For councilor Yeung Racco, the buzz created by the first music festival brings both confidence and challenge for the future.

“We hope it will be an annual (event) and maybe we will add a dance component next year,” she said. “We will try to continue to remain free, but we need the support of the community and the company, so that everyone can become a friend of our festival.”

With The Tenors setting the bar so high, however, the longtime adviser doesn’t know how to top that. “I will do my best to do better.”


STORY BEHIND THE STORY: Reporter Yoyo Yan attended a music festival in Vaughan and wanted to know what role these events are playing in the process of transforming the city’s burgeoning downtown.

]]> Movies: Pride, Not Prejudice – Hindustan Times https://montecarlofilmfestival.com/movies-pride-not-prejudice-hindustan-times/ Fri, 17 Jun 2022 19:00:27 +0000 https://montecarlofilmfestival.com/movies-pride-not-prejudice-hindustan-times/

When 21-year-old computer engineer Tushar Tyagi left Meerut for New York, even he couldn’t have predicted what the future held for him. He joined the New York Film Academy and today at 32, Tushar Tyagi is a filmmaker with more than ten titles to his credit.

“My maternal grandmother is the reason I’m in movies. When I was very young, she would tell me stories and I would close my eyes and imagine them happening,” says Tushar. “When I was in middle school, I started writing stories to overcome my loneliness. My English teacher happened to read one and she started motivating me to write more.

Growing up, the desire to bring his stories to life led him to choose cinema as a means of expression.

It’s a career choice that Tushar has never regretted. His 2014 film Gulabeethe story of a prostitute battling the demons of her past, won her a Royal Reel Award at the Canadian International Film Festival. Hari (2015), about the trials and tribulations of a young priest, won Best Screenplay at the Dada Saheb Phalke Film Festival and the LA Short Awards in 2016. A broken egg (2017) deals with teenage pregnancy and was part of Cannes Short Film Corner 2017. Her 2018 film Kaashi traces the life of a poor teenage girl and sheds light on the shortage of basic necessities in rural India.

However, the filmmaker avoided commercial Hindi cinema. “I would consider myself a crossover director telling Indian stories from an American lens. I see myself following the example of Mira Nair and Deepa Mehta. Their works as well as that of Zoya Akhtar had a huge influence on me as I grew up.

Policies and Payments

Tushar’s poignant short film Save the Chintu made the festival rounds before getting its OTT release this month. Lasting approximately 25 minutes, the story details the struggle of an American gay couple navigating India’s adoption policy that discriminates against the LGBTQIA+ community. “I was very shocked to learn that in India a same-sex couple cannot adopt a child. I’m not just talking about Indian citizens. Even same-sex couples from countries where same-sex marriages are legal cannot apply! The Indian authorities do not accept their petition,” Tushar points out.

The film was nominated for several awards at several film festivals, with actor Sachin Bhatt winning Best Actor at the DFW South Asian Film Festival in Dallas. “The journey so far has been very humbling,” says Tushar. “We went to nearly 30 film festivals, including the Oscar and BAFTA qualifying film festivals. Before the pandemic hit, the film was shown at physical film festivals. Experiencing the audience reaction in person warmed my heart! »

This image from Saving Chintu show actors Edward Sonnenblick (left) and Sachin Bhatt

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The film’s story evolved from the merging of two distinct real-life experiences. “The creation of the script came from a conversation with my doctor in Los Angeles in 2016. This world-class doctor had been adopted from India by his heterosexual American parents. He suffered from malnutrition and various medical conditions, and his parents, as well as the orphanage, had to produce false documents to be able to get him out of India for the medical treatment he needed. I liked the story, but in 2016 I had given up on the idea because we’ve seen the same premise in several movies before. But the script came to life after I met Jeremy and changed the angle from straight parents to future gay parents, and replaced malnutrition with HIV.

Tushar had met Jeremy at an ashram in Rishikesh. Jeremy had come to India after being diagnosed with HIV in Manhattan. When he learned of the incredible discrimination faced here by thousands of Indian children living with HIV, he decided to move to India and opened a shelter for them.

“Today he cares for around 45 HIV-positive children, most of whom have lost their parents to AIDS. The conversation with Jeremy got me thinking about how it would change the storyline if the HIV angle was introduced,” Tushar reveals. “As a society, we are so stigmatized by the words HIV or AIDS that a large majority of us don’t even know the difference between being HIV positive and AIDS. During the research for this film, I spoke to people from a variety of backgrounds and was quite surprised at how ignorant the so-called Woke Brigade of Millennials and Gen Z were regarding HIV.

The voice of the inaudible

With the making of films telling the stories of the LGBTQIA+ community, Indian cinema is finally coming of age, Tushar believes. “Filmmakers have a huge responsibility to make stories that don’t stereotype the community. We need to understand that writing LGBTQIA+ stories without the knowledge of the community or the issues facing community members could have seriously damaging repercussions. The right way to handle this is to have queer writers in your writers rooms who have lived experiences and can tell the stories authentically.

From HT Brunch, June 18, 2022

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Exclusive: Kannada Film Industry’s First Film About Lesbians Wins Hearts | Kannada Movie News https://montecarlofilmfestival.com/exclusive-kannada-film-industrys-first-film-about-lesbians-wins-hearts-kannada-movie-news/ Wed, 15 Jun 2022 18:30:00 +0000 https://montecarlofilmfestival.com/exclusive-kannada-film-industrys-first-film-about-lesbians-wins-hearts-kannada-movie-news/ Bengaluru-based queer filmmaker Shailaja Padindala’s film Naanu Ladies is making all the right noises. After winning accolades at film festivals across India, it recently won Best Narrative Feature at the Kashish Mumbai International Queer Film Festival.

Considered Kannada’s first lesbian love story, the 2020 film focuses on how a middle class family, their culture and their thought process can affect a queer member and vice versa. It also sheds light on the reproductive rights of gay people and how to use existing reproductive technologies such as IVF. The film deals with parenthood and global culture through a queer story. Earlier last year, the film won Best LGBTQI+ Film at the Tasveer South Asian Film Festival in Seattle.

“The film touched a lot of queer members,” Shailaja says. “Many of those who attended these festivals and saw the film said it was a whole new perspective on the queer way of life and not just a love story. also to understand the classism and the economics structured around queer couples. It touched a lot of people and I’m really happy that I made this film,” says Shailaja, adding that the team plans to release it towards the end of This year.

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Lenny Henry “still surprised” by the lack of black and Asian faces at Glastonbury | Lenny Henry https://montecarlofilmfestival.com/lenny-henry-still-surprised-by-the-lack-of-black-and-asian-faces-at-glastonbury-lenny-henry/ Tue, 14 Jun 2022 06:00:00 +0000 https://montecarlofilmfestival.com/lenny-henry-still-surprised-by-the-lack-of-black-and-asian-faces-at-glastonbury-lenny-henry/

Sir Lenny Henry said he was “still surprised” by the lack of black and brown people at Glastonbury, as he called for better representation of ethnic minorities in all facets of British society.

The actor and artist, whose new BBC documentary exploring identity and belonging is out later this month, said festivals were one area of ​​British life where good integration was still lacking.

“It’s interesting to watch Glastonbury and watch the audience and not see any black people there,” Henry said in an interview with journalist Clive Myrie in the Radio Times.

“I’m always surprised by the lack of black and brown faces at festivals. I think, ‘Wow, that’s still a mainstream culture thing.’ »

Henry’s Caribbean Britain, a two-part documentary, features a host of famous names from the arts world, including Sonia Boyce, David Harewood, Trevor Nelson and Benjamin Zephaniah, sharing their stories and experiences of Caribbean culture in the UK.

Mr Lenny Henry. Photograph: Matthew Joseph/Comic Relief/PA

His comments came as Glastonbury co-host Emily Eavis said Stormzy’s performance in 2019 was “a bit late maybe”.

The grime artist and rapper was the first black British solo headliner in the festival’s history. Speaking in a new BBC Two documentary, celebrating 50 years of the festival at Worthy Farm in Somerset, Eavis said: “He represented the black community at a predominantly white festival and it’s obviously a very important moment. for us, but it’s also a bit late maybe. We probably should have done it earlier.

The documentary’s director and producer, Francis Whately, also said Glastonbury was a good indicator of what was happening in the wider music scene. “So whether it’s with Stormzy or a 50-50 gender split… They’ve always tried to reflect what’s going on in society and in the music industry,” he said.

Henry, who co-founded Comic Relief, was born in Dudley in 1958, a year after his parents arrived in the UK from Jamaica. He recalled how his mother told him as a young boy that he needed to go out and blend in with the local people.

“Because my experience up until then, around the age of nine or ten, was being the victim of occasional racism and fighting all the time in school. Suddenly I had something to compare myself to,” he said.

He also spoke about the cultural power of television and said he would like to see the representation of ethnic minorities, people with disabilities and the LGBTQ+ community in the creative industries continue to improve.

“It’s great to have David Olusoga on TV talking about black British history dating back to Hadrian’s Wall,” he said. “Somewhere the guardians have changed, because now we’re allowed to have you on Mastermind. But how long did it take?

“We always want more representation because we deserve it. We are British citizens, we are settlers. We’ve been in this country, we’ve grown up in this country, we’ve contributed, and a lot of us still think it’s not reciprocated enough. That’s what this documentary is about. »

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Henry is a long-time campaigner for media diversity and helps run the Sir Lenny Henry Center for Media Diversity at Birmingham City University. He also has a role in the film adaptation of Kit de Waal’s My Name Is Leon, which his company Douglas Road is producing.

Speaking at the Hay Festival about My Name Is Leon, Henry criticized the way streaming services commission content, saying they hadn’t nurtured new writers, and especially writers of color, enough.

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CFA Media Mixer brings together visual and sound artists in three new pieces | Chicago Reel https://montecarlofilmfestival.com/cfa-media-mixer-brings-together-visual-and-sound-artists-in-three-new-pieces-chicago-reel/ Sun, 12 Jun 2022 08:04:27 +0000 https://montecarlofilmfestival.com/cfa-media-mixer-brings-together-visual-and-sound-artists-in-three-new-pieces-chicago-reel/

Chicago Film Archive (CFA) celebrates the 10th anniversary of its annual Media Mixer event with the premiere of three new pieces.

The Media Mixer project began in 2012 as a way to open the CFA’s vault of archival footage to artists working in media and to support the creation of new video work by involving visual and sound artists .

The Media Mixer breathes new life into CFA’s archival collections through the creative interpretation of contemporary artists. As a result, three new collaborative videos will be made using footage from the Chicago Film Archives collection.

This year’s event will be moderated by Amy Beste, curator of Conversations at the Edge over at the Gene Siskel Film Center in Chicago, and director of public programs and senior lecturer in the Film, Video, New Media, and Animation department at the School of Art. ‘Art Institute of Chicago.


The Media Mixer 2022 artists are (video and sound):

Sen Morimoto will perform live, and all artists except Daniel Knoxwill appear in person for a chat on stage!

Join us at Constellation on June 30 for the premiere! Tickets are available in advance here.

CFA 2022 Multimedia Mixer
Constellation
3111 N Western Avenue, Chicago, IL
June 30, 2022
8:30 PM (DOORS AT 8 PM)

Admissions: $15 in advance, $20 at the door


Learn more about this year’s artists:

Daniel Knox_photo_by_Patrick_Burke

Daniel Knox is a singer-songwriter. His most recent release was Won’t You Take Me With You (January 2021). Knox’s work has inspired a diverse cast of admirers and collaborators who can be found inside and outside his American alternative realm, such as Jarvis Cocker, Thor Harris (Swans, Freakwater), Ralph Carney (Tom Waits, The B-52′s), Nina Nastasia, David Lynch and The Handsome Family, with performances including Rufus Wainwright, Andrew Bird, Rasputina and Swans. Additionally, Knox provided songs and sheet music for Hubbard Street Dance Company, a Russian production of Annie Baker’s The Aliens, The Chicago Film Society, and Hans Fleischmann’s production of The Glass Menagerie. Until recently, he was a projectionist at the projectionist at the Music Box Theater in Chicago.


profile picture

Kishino Takagishi is a multimedia artist from Evanston, Illinois. She received her BFA from the School of the Art Institute of Chicago in 2020. During her undergraduate studies, she specialized in the creation of documentary works and experimental installations; explore the concepts of memory, dreams and psychological stories. In Kishino’s work, she uses the ambiguous and spooky nature of video to better interpret time and understand truth. Since graduating, Kishino has continued her practice in Chicago while doing performance videography for local artists and organizations such as Asian Improv aRts Midwest. His work has been exhibited by SAIC’s annual Exfest, Zhou B Art Center and Experimental Sound Studio. She has also been a guest artist at universities such as Concordia University in Montreal and SAIC.


TempesttHazel_Headshot_Selfie

Hazelnut of the Storm is a curator, writer, and co-founder of Sixty Inches From Center, a Chicago-based arts publication and archival initiative that has promoted and preserved the practices of Midwestern artists since 2010. She also smiles that she was the 2019 recipient of the J. Franklin Jameson Archival Advocacy Award from the Society of American Archivists. You can read his writings, explore his curatorial projects, and discover his love of archives by visiting his website at tempestthazel.com.


anonymous

Azita Youssefi is a Chicago-based composer and performer whose disparate work over the past three decades has explored a shifting array of styles and approaches, but behind it all lies a sincere desire for expression. From her first work leading the screaming post-punk trio Scissor Girls to her latest solo effort, the critically acclaimed Glen Echo (2020), Azita has continuously pushed the boundaries of either form or tradition in her music, opting for expression – sometimes primal, sometimes eloquent – ​​over formal conventions.


Janelle Vaughn Dowell

Janelle Vaughn Dowell is a Chicago-based artist who uses multiple technologies and media platforms to tell inspiring stories. Each work contributes to a larger narrative – an experimental film, a poetic digital broadcast, a faith-centered publication design or a new media experience. Her work in expanded digital media is rooted in research on historically African-American resort communities of the 20th century. These epicenters followed a simple and effective formula; they provided transformative space for people to just rest.

Dowell served as a civilian director with the Chicago Police Department before channeling her advocacy into arts pursuits. His poetic film, 30 minutes before sunrise, was screened at the Moving Pictures Festival in Antwerp, Belgium, and at Cinefest in Los Angeles. She is an inaugural recipient of the Chicago Digital Media Production Fund and an MFA graduate of Columbia College Chicago with a degree in Interdisciplinary Arts and Media. Dowell works for City Colleges of Chicago as an assistant professor of media and communications design and is the founder of REST Global Media, Inc.


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Sen Morimoto is a Chicago-based multi-instrumentalist producer, composer and songwriter born in Kyoto, Japan. His family moved to Massachusetts when he was a child, and Sen began a lifelong study of jazz saxophone. Picking up any instrument he could get his hands on, a teenaged Morimoto cut his teeth as a songwriter and performer in Western Massachusetts’ DIY hip-hop community. But it was a move to Chicago in 2014 that inspired Sen Morimoto to start his solo project, building on a lifetime of experience as a multi-genre collaborator. Playing on the multidisciplinary scene in his new city led him to produce and collaborate with artists like Joseph Chilliams (Pivot Gang), KAINA, Qari, Akenya, Resavoir, Lala Lala and many more. It also led to a friendship with like-minded polymath NNAMDÏ, who encouraged Morimoto to record an album for his label, Sooper. This outing, Cannonball! (2018), incorporated Morimoto’s many low-key interests, and his unique fusion has led to critical accolades and international festival acclaim. Morimoto soon became a co-owner of Sooper Records, and in addition to working as a solo artist and full-time producer, he now also works as a label head supporting and giving voice to other up-and-coming artists. He released his last full album Sen Morimoto in October 2020.


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Rich’s picks for June 2022 https://montecarlofilmfestival.com/richs-picks-for-june-2022/ Thu, 09 Jun 2022 16:15:33 +0000 https://montecarlofilmfestival.com/richs-picks-for-june-2022/

Welcome to Rich’s Picks on June 9!

June 11-18 is Strawberry Days in historic downtown Pleasant Grove; and did you know that on the 18th, we’re basically having a “hot sauce party” known as the Sauce Lake City Festival at Utah State Fair Park? Well, we do.

Or how about “Savor the Top” on historic Park City Main Street on June 25?

We also have the Asian* and Greek festivals in early July, the first at SLC, the second at Price. And near my `ol alma mater in Cedar City is Summer Beerfest at Policy Kings Brewery!

From food to cinema, the Gateway hosts Movies on the Plaza on Thursday nights, with classics from the 80s and 90s starting at 7:30 p.m.

Millcreek’s “Venture Out” film series takes place in a different area of ​​Millcreek every Friday night. There is also a movie in the park every other Friday in Saint George and Monday in Provo. In fact, the towns of Kearns, Layton, Manti, Sandy and Vernal all feature a different movie in the park every Friday night! And the Sundance Institute’s “Summer Film Series” takes place July 14 and 21 at the Red Butte Garden Amphitheater. So bring your covers to all those events and enjoy a movie under the stars.

Or go see a local theatre! “The Hunchback of Notre Dame” presented by the Kensington Theater (formerly the South Jordan Community Theatre) runs June 10-20.

Kingsbury Hall has “A Night With Nikki Glaser” on June 10.

The Draper Arts Council wraps up its “Hairspray” series on the 10th and 11th, and wraps up Pride Week tonight at Wiseguys SLC is the “Pride Comedy Show!” featuring the best in queer comedy!

Speaking of stand-ups, there are plenty more where that came from at Wiseguys, as they have multiple locations!

Garrett Gunderson is scheduled this weekend at the Jordan Landing site, Tyler Boeh is in Ogden and Chad Daniels is at Wiseguys SLC in addition to the Pride Comedy Show and their usual Open Mic nights every Wednesday!

And don’t forget Dry Bar Comedy in Provo!

So many things to do, so little summer.

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“Everything, Everywhere, All At Once” Costume Designer Shirley Kurata Becomes History https://montecarlofilmfestival.com/everything-everywhere-all-at-once-costume-designer-shirley-kurata-becomes-history/ Tue, 07 Jun 2022 19:00:11 +0000 https://montecarlofilmfestival.com/everything-everywhere-all-at-once-costume-designer-shirley-kurata-becomes-history/

“Shirley is always up to date with new things, so whenever I present her with an idea, she’s able to think quickly and come up with a solution,” Ms Whack wrote in an email. “There are so many looks Shirley and I have pulled off. Recently for my show in New Orleans, I sent Shirley a picture of this outfit that Michael Jackson wore as a kid and, boom, she wore it. did it.

“You know when you’re dreaming and a sound from the real world appears just before you wake up?” said Ms. Solen, who directed Ms. Whack’s fantastic videos for “Link” and “Body of Water,” in collaboration with Ms. Kurata. “It’s almost like seeing into the future for a second. That’s how to work with her. She immediately understands what you want, and it’s also something that could only have come to you in a dream – a little newer, different, more surprising. She’s a visual artist and she could do anything, and she wants to do costumes. She blows my mind the way she dresses Tierra, who is there, but she also works with Rodarte.

Kate and Laura Mulleavy, the founding sisters and designers of Rodarte, have worked with Ms. Kurata, alongside stylist Ashley Furnival, since their first New York show in 2006. Her fall 2022 collection — presented in a look book instead of a Parade – featured a cast of actors, musicians and directors such as Kathleen Hanna, Rachel Brosnahan, Lexi Underwood and the Linda Lindas. Laura Mulleavy talks to Ms. Kurata almost every day on the phone.

“Shirley is very much about visual storytelling,” Ms Mulleavy said. “Creating a character, an intention to show through in clothing, extreme or subdued, she understands theatricality. She understands the history of fashion in a very interesting way.

“The first time we met her was on Zoom and she had her cat on her lap,” Linda Lindas drummer Mila de la Garza, 11, said. (Ms. Kurata has two cats in black and white tuxedos, Fanny and Moondog.) “She was already there petting her cat. And she has her glasses. And we were like, ‘Wow, this girl is cool.’

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How Wayne Wang copes with failure https://montecarlofilmfestival.com/how-wayne-wang-copes-with-failure/ Sun, 05 Jun 2022 10:00:48 +0000 https://montecarlofilmfestival.com/how-wayne-wang-copes-with-failure/

You went to art school around the time the idea of ​​“Asian American” identity was gaining traction.

There were Asian Americans at the California College of Arts and Crafts who introduced me to people in San Francisco who were more radical. I saw how respectful they were of the Black Panthers. They felt like they were protecting and working for their own people and trying to stand up against racism. It was like a whole other level of David Harris, Bob Dylan, the ranch. Now I’m alone, I meet people who were Chinese, who thought they belonged to America. They always said, “I’m as American as John Smith because I was born here.” Bruce Lee was a great hero. And then what my brother went through also helped me to understand more directly what is called discrimination.

Do you think your brother might have felt differently if he had access to all of this? What maybe he felt lost because there was no community to help him process his experiences?

If there was a community that could help him understand what it really meant to be Chinese in America, to understand the background and history of Chinese in America, I think he wouldn’t have been so bad so fast . I was lucky. First of all, I didn’t care. I was more rebellious. If you don’t love me, fine, I’ll go alone. But then I found my community in Oakland and Berkeley.

I started taking film history classes. There was a teacher I respected who taught painting, but he was more of a movie buff. The Pacific Film Archive was opening at UC Berkeley, and I could go there and watch two movies a night. I decided to change specialty for the cinema. I was hoping that since my dad loved movies so much, he might be more sympathetic, but he got mad! [Laughs.]

After your graduate studies, you returned to Hong Kong.

When I went back, it was during the days of the so-called Hong Kong New Wave directors: Ann Hui, Allen Fong, Tsui Hark. I got a job at RTHK, which is like PBS in Hong Kong. I was influenced by French New Wave directors; they took the cameras out into the streets and made almost documentary films, really free-form. I was filled with these ideas, and very quickly I was shut down. At the end of the summer, they didn’t want me anymore because I was too different.

When I came back to the Bay Area, there were two women, Loni Ding and Felicia Lowe. Loni worked with PBS and mainly made documentaries about Chinese America. Felicia started as a presenter for one of the networks, then started doing documentaries for the weekend shows. I could work with Felicia; I could be apprenticed to Loni. Everyone Who Worked On “Chan Is Missing” Actually Worked On “Bean Sprouts” [a Chinese American children’s show Ding made in 1977].

If not, how did you pay the bills?

I got a job teaching English in a Chinese language center, a vocational training program. A colleague of mine, Elmer, was a graduate of the Asian American Studies program at UC Berkeley. We became good friends, and we were also quite radical politically, reading Mao’s Little Red Book as a study group, you know?

We were teaching these immigrants from Hong Kong and talking about how great the Cultural Revolution was. Then one day a student stood up, and he was really angry, and he told us what he had been through during the Cultural Revolution. He ended up swimming to Hong Kong as a refugee. And he told us to our face that we were just naive, stupid, radical idiots. [Laughs.]

That day, everything changed. I realized around the same time that just within my class there were immigrants from Taiwan, different types of immigrants from mainland China. Refugees. People from Hong Kong. There were people from Singapore. I suddenly realized that we were all there, and that we were all different, and yet the same. But America knew nothing of this community. I mean, they just came and ate sweet and sour pork and wonton noodles. We were all seen as the same, and even the Japanese and Koreans were the same. They dumped Korean students in our school because, you know, they thought Koreans were probably similar.

This class looks exactly like the premise of “Chan Is Missing,” where immigrants from Taiwan, Hong Kong, and the mainland argue over whether they really have anything in common, not to mention the movie scenes that take place in community centers and English classes, like the one you describe.

Looking back, all the inspiration came first from my brother and what he went through, then from the Chinese-American friends I had, and then from teaching and working there. It all sort of builds towards “Chan Is Missing”. It didn’t come out of nowhere. He must have come out of very specific experiences.

“Chan Is Missing” features professional actors alongside people from the community playing themselves – it’s a mystery with documentary moments. Did your team and collaborators understand where it was going, since you were all working on it?

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