Director Tanya Modini’s Seeing Scout has won a $25,000 grant thanks to advocacy organisation For Film’s Sake and Sydney Film Festival.
It was one of six Australian projects selected for For Film Sake’s Attagirl, the development lab for feature films by female and non-binary creative teams.
Co-written with producer, writer and editor Stephanie Dower, Seeing Scout is billed as ‘a coming-of-age drama on wheels’, and follows a young woman with physical disability who embarks on a sexual relationship with local footy hero.
Along with Canadian director Sam Coyle’s White River, it wins the production prize for the most ‘market ready’ project from the Attagirl initiative.
The prizes are designed to incentivise further investment from public, private and equity financiers with a hope that films and teams will reach production and release faster than they otherwise would.
“We began the lab with an outline of an idea and...
It was one of six Australian projects selected for For Film Sake’s Attagirl, the development lab for feature films by female and non-binary creative teams.
Co-written with producer, writer and editor Stephanie Dower, Seeing Scout is billed as ‘a coming-of-age drama on wheels’, and follows a young woman with physical disability who embarks on a sexual relationship with local footy hero.
Along with Canadian director Sam Coyle’s White River, it wins the production prize for the most ‘market ready’ project from the Attagirl initiative.
The prizes are designed to incentivise further investment from public, private and equity financiers with a hope that films and teams will reach production and release faster than they otherwise would.
“We began the lab with an outline of an idea and...
- 10/7/2021
- by Jackie Keast
- IF.com.au
Entries are now open for the second round of For Film’s Sake’s global feature film development lab, Attagirl, which supports female and non-binary filmmaking teams.
Created by Ffs executive director Sophie Mathisen, the lab is designed to help creatives navigate development of features in the digitally disrupted age.
Course content centres on three major pillars – story, market and audience – with support provided by international screen agencies and leading international film festival.
Among the program’s backers are Screen Australia via its Enterprise program, Telefilm Canada, the British Film Institute and the Swedish Film Institute in conjunction with philanthropic supporters.
Six Australian projects and one from New Zealand were among the 13 from around the world selected to take part in last year’s lab.
Initially designed as a travel-based initiative to market-driven festivals, Attagirl pivoted to digital delivery in 2020 subsequent to the Covid-19 pandemic. In its second year, Attagirl...
Created by Ffs executive director Sophie Mathisen, the lab is designed to help creatives navigate development of features in the digitally disrupted age.
Course content centres on three major pillars – story, market and audience – with support provided by international screen agencies and leading international film festival.
Among the program’s backers are Screen Australia via its Enterprise program, Telefilm Canada, the British Film Institute and the Swedish Film Institute in conjunction with philanthropic supporters.
Six Australian projects and one from New Zealand were among the 13 from around the world selected to take part in last year’s lab.
Initially designed as a travel-based initiative to market-driven festivals, Attagirl pivoted to digital delivery in 2020 subsequent to the Covid-19 pandemic. In its second year, Attagirl...
- 7/20/2021
- by Staff Writer
- IF.com.au
For Film’s Sake (Ffs), the advocacy organisation behind the female-focused film lab Attagirl, has joined with Sydney Film Festival (Sff) to announce two new prizes and an incubator program aimed at supporting filmmakers of diverse backgrounds.
Ffs and Sff today unveiled the Attagirl Production Prize, a $25,000 grant to be awarded to one film from the graduating cohort of the inaugural Attagirl lab.
Jury selected, the prize will support the film deemed most ‘market-ready’ and incentivise additional investment from the film marketplace and community.
Six Australian projects and one from New Zealand were among the 13 from around the world selected to take part in last year’s lab, which aims to support global feature filmmakers to navigate the challenges of development and financing which follow from digital disruption of theatrical exhibition.
Initially imagined as a travel program to international market-driven film festivals, Attagirl was pivoted to digital delivery in light of the Covid-19 pandemic.
Ffs and Sff today unveiled the Attagirl Production Prize, a $25,000 grant to be awarded to one film from the graduating cohort of the inaugural Attagirl lab.
Jury selected, the prize will support the film deemed most ‘market-ready’ and incentivise additional investment from the film marketplace and community.
Six Australian projects and one from New Zealand were among the 13 from around the world selected to take part in last year’s lab, which aims to support global feature filmmakers to navigate the challenges of development and financing which follow from digital disruption of theatrical exhibition.
Initially imagined as a travel program to international market-driven film festivals, Attagirl was pivoted to digital delivery in light of the Covid-19 pandemic.
- 7/9/2021
- by Staff Writer
- IF.com.au
Six documentary and narrative industry mentors join select Siff audience to offer feedback on two projects.
Seattle International Film Festival (Siff) has announced the six industry mentors chosen for the virtual New Works-in-Progress Forum on April 15 and 16.
The 2021 Wip mentors for documentary are: funder-consultant Cecilia Lidin, film consultant Harry Vaughn, and producer Giedré Žickyté.
The 2021 Wip mentors for narrative are: journalist-programmer David Ansen, producer-distributor Sophie Mathisen, and film festival consultant and Screen International contributing editor, Nordic correspondent and former editor Wendy Mitchell.
The six industry mentors will combine with a select Siff audience to watch projects in the final stages of editing and provide feedback.
Seattle International Film Festival (Siff) has announced the six industry mentors chosen for the virtual New Works-in-Progress Forum on April 15 and 16.
The 2021 Wip mentors for documentary are: funder-consultant Cecilia Lidin, film consultant Harry Vaughn, and producer Giedré Žickyté.
The 2021 Wip mentors for narrative are: journalist-programmer David Ansen, producer-distributor Sophie Mathisen, and film festival consultant and Screen International contributing editor, Nordic correspondent and former editor Wendy Mitchell.
The six industry mentors will combine with a select Siff audience to watch projects in the final stages of editing and provide feedback.
- 4/13/2021
- by Jeremy Kay
- ScreenDaily
‘Fads and Miracles’ (Photo credit: Matt Sav.)
Tracey Rigney, Emma Freeman, Tanya Modini, Laura Scrivano, Zoe Pepper, Eve Spence and Amin Palangi are among the directors who will take part in Attagirl, the new lab dedicated to creating production and distribution pathways for feature films by female and non-binary creative teams.
Six Australian projects and one from New Zealand are among 13 from around the world selected for the lab designed and run by For Film’s Sake (Ffs), financially supported by Screen Australia’s Enterprise Business and Ideas funding program and other Australian and international screen agencies.
The first of three workshops consisting of nine days of project development during TIFF’s Industry Conference and digital festival begins tomorrow. The second next January will look at ways to identify and reach the target audience, including digital distribution and the future of exhibition.
The third, affiliated with the Sydney Film Festival in June,...
Tracey Rigney, Emma Freeman, Tanya Modini, Laura Scrivano, Zoe Pepper, Eve Spence and Amin Palangi are among the directors who will take part in Attagirl, the new lab dedicated to creating production and distribution pathways for feature films by female and non-binary creative teams.
Six Australian projects and one from New Zealand are among 13 from around the world selected for the lab designed and run by For Film’s Sake (Ffs), financially supported by Screen Australia’s Enterprise Business and Ideas funding program and other Australian and international screen agencies.
The first of three workshops consisting of nine days of project development during TIFF’s Industry Conference and digital festival begins tomorrow. The second next January will look at ways to identify and reach the target audience, including digital distribution and the future of exhibition.
The third, affiliated with the Sydney Film Festival in June,...
- 9/8/2020
- by The IF Team
- IF.com.au
Deanne Weir.
The 12 successful applicants for Attagurl, the narrative feature film development lab to support female and non-binary filmmakers from around the world, will be announced next week – and Deanne Weir is excited.
Six majority female and/or non-binary creative teams from Australia and six from other territories will participate in the 10-month incubator program (formerly known as Attagirl), created by For Film’s Sake (Ffs) executive director Sophie Mathisen.
“There are very impressive teams from around the world and some great Australian projects,” Ffs chair Weir said on Monday in a webinar with Screen Producers Australia CEO Matt Deaner.
The first of three workshops will be held in Toronto from September 10-19, focusing on story and structure. The second next January will look at ways to identify and reach the target audience, including digital distribution and the future of exhibition.
The third, affiliated with the Sydney Film Festival in June,...
The 12 successful applicants for Attagurl, the narrative feature film development lab to support female and non-binary filmmakers from around the world, will be announced next week – and Deanne Weir is excited.
Six majority female and/or non-binary creative teams from Australia and six from other territories will participate in the 10-month incubator program (formerly known as Attagirl), created by For Film’s Sake (Ffs) executive director Sophie Mathisen.
“There are very impressive teams from around the world and some great Australian projects,” Ffs chair Weir said on Monday in a webinar with Screen Producers Australia CEO Matt Deaner.
The first of three workshops will be held in Toronto from September 10-19, focusing on story and structure. The second next January will look at ways to identify and reach the target audience, including digital distribution and the future of exhibition.
The third, affiliated with the Sydney Film Festival in June,...
- 8/31/2020
- by The IF Team
- IF.com.au
Dan and Luke Riches of Ardiol Media.
Screen Australia has announced $1 million worth of funding via its Enterprise program, including four Enterprise People talent opportunities and 11 Enterprise Business & Ideas projects.
One of the major recipients of Business & Ideas funding, which allows entities to develop businesses proposals, hire placements or access business-building services, is For Film Sakes’ recently announced initiative Attagirl, a narrative feature film lab.
The incubator program will enable majority women, female identifying and non-binary creative teams to learn from industry experts, with a focus on getting their feature slate market ready.
Information + Cultural Exchange (I.C.E) and Diversity Arts Australia have received support towards developing Diversity on Screen, an expansion of the Screen Cultures Program, to improve access to opportunities for underrepresented filmmakers.
Also to receive funding is the Documentary Australia Foundation (Daf), to enhance its digital platform to better connect filmmakers and supporters online; and Frame,...
Screen Australia has announced $1 million worth of funding via its Enterprise program, including four Enterprise People talent opportunities and 11 Enterprise Business & Ideas projects.
One of the major recipients of Business & Ideas funding, which allows entities to develop businesses proposals, hire placements or access business-building services, is For Film Sakes’ recently announced initiative Attagirl, a narrative feature film lab.
The incubator program will enable majority women, female identifying and non-binary creative teams to learn from industry experts, with a focus on getting their feature slate market ready.
Information + Cultural Exchange (I.C.E) and Diversity Arts Australia have received support towards developing Diversity on Screen, an expansion of the Screen Cultures Program, to improve access to opportunities for underrepresented filmmakers.
Also to receive funding is the Documentary Australia Foundation (Daf), to enhance its digital platform to better connect filmmakers and supporters online; and Frame,...
- 7/27/2020
- by jkeast
- IF.com.au
For Film’s Sake executive director Sophie Mathisen.
For Film’s Sake (Ffs) is launching a narrative feature film development lab, Attagirl, designed to support female and non-binary filmmakers from around the world.
Created by Ffs executive director Sophie Mathisen and backed by Screen Australia’s Enterprise program, up to 12 majority female and/or non-binary creative teams will be invited to participate in the 10-month incubator program, centred on three major pillars – story, market and audience.
Selected teams will each be assigned a project mentor who will, over the course of three workshops, engage script, audience and financial consultants to support creation of strategies for progressing films to production and release.
Initially, Attagirl was designed to include travel to three international festivals, but due to the pandemic has pivoted the program to a predominantly digital delivery.
Among the supporters of the program are the Toronto International Film Festival and the Sydney Film Festival,...
For Film’s Sake (Ffs) is launching a narrative feature film development lab, Attagirl, designed to support female and non-binary filmmakers from around the world.
Created by Ffs executive director Sophie Mathisen and backed by Screen Australia’s Enterprise program, up to 12 majority female and/or non-binary creative teams will be invited to participate in the 10-month incubator program, centred on three major pillars – story, market and audience.
Selected teams will each be assigned a project mentor who will, over the course of three workshops, engage script, audience and financial consultants to support creation of strategies for progressing films to production and release.
Initially, Attagirl was designed to include travel to three international festivals, but due to the pandemic has pivoted the program to a predominantly digital delivery.
Among the supporters of the program are the Toronto International Film Festival and the Sydney Film Festival,...
- 7/23/2020
- by jkeast
- IF.com.au
Germany’s Zdf Enterprises, experts in crime and the production and sales outfit behind Nordic Noir original “The Bridge” and Swedish mega-hit crime thriller “Before We Die,” is at it again. This time round, the commercial arm of German public broadcaster Zdf has greenlit “Body of Water,” an eight-part crime drama showrun and written by Brendan Foley. Production is scheduled for 2021.
A Northern Irish writer, Foley has built up Nordic Noir credentials, co-writing Lionsgate and Viaplay series “Cold Courage” and adapting Finnish crime drama “Man Who Died” for Elisa.
Production partners include Nucleus Media Rights, with offices in London, Los Angeles, Milan, Mumbai and Seoul, and Italy’s 3zero2, part of France’s Euro Media Group.
Euro Noir “Body of Water,” which Zdfe will bring onto the market, begins when the bodies of a man and woman are dredged up three years apart from the River Thames and a Venice canal,...
A Northern Irish writer, Foley has built up Nordic Noir credentials, co-writing Lionsgate and Viaplay series “Cold Courage” and adapting Finnish crime drama “Man Who Died” for Elisa.
Production partners include Nucleus Media Rights, with offices in London, Los Angeles, Milan, Mumbai and Seoul, and Italy’s 3zero2, part of France’s Euro Media Group.
Euro Noir “Body of Water,” which Zdfe will bring onto the market, begins when the bodies of a man and woman are dredged up three years apart from the River Thames and a Venice canal,...
- 7/22/2020
- by Jamie Lang
- Variety Film + TV
‘Strange Colours’
Alena Lodkina’s Strange Colours and Jessica Leski’s documentary I Used to be Normal: A Boyband Fangirl Story opened on limited screens last weekend.
Not much store should be placed on ticket sales because both titles have already had a significant impact at Australian and international festivals and both have the upside of ancillary revenues and and foreign sales.
Indeed both have been very effective launching pads for their directors, fulfilling one of Screen Australia’s remits of funding films as a talent escalator, particularly for first-time filmmakers.
“It’s been a life-changing period for me,” Lodkina tells If. “Strange Colours has given me a lot of hope and energy and enabled me to form a lot of relationships during the production and distribution.
Co-written by Lodkina and producer Isaac Wall, who produced with Kate Laurie, the evocative drama follows Kate Cheel as Milena, who travels to...
Alena Lodkina’s Strange Colours and Jessica Leski’s documentary I Used to be Normal: A Boyband Fangirl Story opened on limited screens last weekend.
Not much store should be placed on ticket sales because both titles have already had a significant impact at Australian and international festivals and both have the upside of ancillary revenues and and foreign sales.
Indeed both have been very effective launching pads for their directors, fulfilling one of Screen Australia’s remits of funding films as a talent escalator, particularly for first-time filmmakers.
“It’s been a life-changing period for me,” Lodkina tells If. “Strange Colours has given me a lot of hope and energy and enabled me to form a lot of relationships during the production and distribution.
Co-written by Lodkina and producer Isaac Wall, who produced with Kate Laurie, the evocative drama follows Kate Cheel as Milena, who travels to...
- 11/26/2018
- by The IF Team
- IF.com.au
‘Strange Colours’.
Festival For Film’s Sake (Ffs) has expanded its focus to include the theatrical distribution of films from female filmmakers.
In partnership with Bonsai Films, Ffs will release Alena Lodkina’s Strange Colours in cinemas next week and Gabrielle Brady’s doco Island of the Hungry Ghosts in the first quarter of next year.
Of the decision to move into distribution, Ffs director Sophie Mathisen tells If that many of the films she had worked with through the female-focused festival were made independently and were yet to find a distributor. Often the filmmakers were unsure what to do with their films after their festival run was over. She believed with strategic investment, these films could find broader audiences.
“When you can see that most of the films that are in cinemas are directed and written by men, it creates this cultural vacuum where it makes female filmmakers feel more risky,...
Festival For Film’s Sake (Ffs) has expanded its focus to include the theatrical distribution of films from female filmmakers.
In partnership with Bonsai Films, Ffs will release Alena Lodkina’s Strange Colours in cinemas next week and Gabrielle Brady’s doco Island of the Hungry Ghosts in the first quarter of next year.
Of the decision to move into distribution, Ffs director Sophie Mathisen tells If that many of the films she had worked with through the female-focused festival were made independently and were yet to find a distributor. Often the filmmakers were unsure what to do with their films after their festival run was over. She believed with strategic investment, these films could find broader audiences.
“When you can see that most of the films that are in cinemas are directed and written by men, it creates this cultural vacuum where it makes female filmmakers feel more risky,...
- 11/14/2018
- by jkeast
- IF.com.au
Gold Coast Film Festival Director Lucy Fisher.
This year.s Gold Coast Film Festival screened 38 films from 15 countries, with over 14,000 guests in attendance across the festival.
The festival welcomes submissions from around Australia — this year it hosted local indies such as Girl Asleep, Drama, Crushed and Broke.—.as well as international.
Festival director Lucy Fisher assumed the role in June 2015, after earlier serving as a consultant to the festival.
.We.re growing fairly quickly,. says Fisher. .In terms of the Queensland landscape, we.re in a really strong position as an international film festival...
Originally Queensland-only, the fest has opened up, looking outside the state for films in a bid "to have that element of discovery rather than just being reliant on distribution to find our films," Fisher says.
Despite the expansion, the festival is still regularly speaking to Queensland productions about holding Queensland or Australian premieres at the festival...
This year.s Gold Coast Film Festival screened 38 films from 15 countries, with over 14,000 guests in attendance across the festival.
The festival welcomes submissions from around Australia — this year it hosted local indies such as Girl Asleep, Drama, Crushed and Broke.—.as well as international.
Festival director Lucy Fisher assumed the role in June 2015, after earlier serving as a consultant to the festival.
.We.re growing fairly quickly,. says Fisher. .In terms of the Queensland landscape, we.re in a really strong position as an international film festival...
Originally Queensland-only, the fest has opened up, looking outside the state for films in a bid "to have that element of discovery rather than just being reliant on distribution to find our films," Fisher says.
Despite the expansion, the festival is still regularly speaking to Queensland productions about holding Queensland or Australian premieres at the festival...
- 12/14/2016
- by Harry Windsor
- IF.com.au
Writer-director Sophie Mathisen didn.t tread the usual path in making her first film, Drama.
While studying for her Ma at London.s Royal Central School of Speech and Drama, Sophie was charged with making a short for her thesis..
Having had an idea .kicking around. her brain for years, Sophie pitched a feature instead. She locked herself away over eight days at Christmas to write a script, and enlisted her sister, Dominique, to be her producer.
The result was Drama, a .friendship romantic comedy. about a down-on-her-luck Aussie actor, Anna, living in London — played by Sophie. Still hung up on an ex, Anna travels to Paris to visit her best friend Jean (Jonathan Burtreaux). However the timing isn.t ideal: Jean is having issues with his own partner, Philippe (François Vincentelli).
The team was shooting eight months after the script was finished. The short time frame they had to...
While studying for her Ma at London.s Royal Central School of Speech and Drama, Sophie was charged with making a short for her thesis..
Having had an idea .kicking around. her brain for years, Sophie pitched a feature instead. She locked herself away over eight days at Christmas to write a script, and enlisted her sister, Dominique, to be her producer.
The result was Drama, a .friendship romantic comedy. about a down-on-her-luck Aussie actor, Anna, living in London — played by Sophie. Still hung up on an ex, Anna travels to Paris to visit her best friend Jean (Jonathan Burtreaux). However the timing isn.t ideal: Jean is having issues with his own partner, Philippe (François Vincentelli).
The team was shooting eight months after the script was finished. The short time frame they had to...
- 11/23/2016
- by Jackie Keast
- IF.com.au
Sophie Mathisen.
*Sophie Mathisen is the writer-director of Drama, and Festival Director at Sydney's Wow (World of Women) Film Festival.
I would like to address James Ricketson.s open letter regarding his view of gender equality, beginning first with an anecdote.
Recently I was engaged in a robust discussion with a man at a New Years Eve party, who challenged me when I stated I was disappointed by the recent installment of Star Wars. A sly smirk spread across his face as I told him about my qualms. Knowing I am a director, he asked me who I would have preferred at the helm of the film, rather than J.J. Abrams. I offered a list, to which he replied .No, no, what females do you reckon could have done it?. Of course, my gender guides my tastes, rather than investment in the form. I gave him my recommendations, along with...
*Sophie Mathisen is the writer-director of Drama, and Festival Director at Sydney's Wow (World of Women) Film Festival.
I would like to address James Ricketson.s open letter regarding his view of gender equality, beginning first with an anecdote.
Recently I was engaged in a robust discussion with a man at a New Years Eve party, who challenged me when I stated I was disappointed by the recent installment of Star Wars. A sly smirk spread across his face as I told him about my qualms. Knowing I am a director, he asked me who I would have preferred at the helm of the film, rather than J.J. Abrams. I offered a list, to which he replied .No, no, what females do you reckon could have done it?. Of course, my gender guides my tastes, rather than investment in the form. I gave him my recommendations, along with...
- 2/23/2016
- by Sophie Mathisen
- IF.com.au
Sophie Mathisen and Jonathan Burtreaux in Drama.
First-time writer-director Sophie Mathisen looked to the Lena Dunham model when making her first film.
Dunham famously made her debut feature, Tiny Furniture, by setting most of it in her parents' New York loft..
Mathisen made hers in Paris, shooting in the three-storey apartment owned by the parents of her focus-puller. The space ended up doubling as two seperate apartments, plus a nightclub.
Mathisen, who also stars in the film, graduated from Vca as an actor, worked in theatre for a few years, then decamped to London for an Ma in acting for screen at London's Royal Central School of Speech and Drama..
While in London she became increasingly interested in scriptwriting, and ended up writing scripts for her fellow students..
"When it came time to do my thesis, I pitched that instead of making a short I'd make a feature instead", Mathisen told If.
First-time writer-director Sophie Mathisen looked to the Lena Dunham model when making her first film.
Dunham famously made her debut feature, Tiny Furniture, by setting most of it in her parents' New York loft..
Mathisen made hers in Paris, shooting in the three-storey apartment owned by the parents of her focus-puller. The space ended up doubling as two seperate apartments, plus a nightclub.
Mathisen, who also stars in the film, graduated from Vca as an actor, worked in theatre for a few years, then decamped to London for an Ma in acting for screen at London's Royal Central School of Speech and Drama..
While in London she became increasingly interested in scriptwriting, and ended up writing scripts for her fellow students..
"When it came time to do my thesis, I pitched that instead of making a short I'd make a feature instead", Mathisen told If.
- 1/21/2016
- by Harry Windsor
- IF.com.au
Cinema Retro has received the following press release:
The 2015 Portland Film Festival is Oregon’s largest film event of the year, with 80 narrative and documentary feature films and 134 short films selected out of 3500 Submissions.
This weeklong extravaganza also includes over 75 Master Classes, Two Lifetime Achievement Tributes, and an unprecedented live event featuring Several Thousand Festivalgoers As Extras in a record-setting Zombie Day Event.
Los Angeles – August 13, 2015 – Portland Film Festival announced today the feature film competition programs, opening and closing screenings, music and midnight sections, tribute presentations, northwest, and special screenings for the 2015 Portland Film Festival. The 3rd Annual festival is a weeklong event of 214 screenings of feature length and short films from around the world, red carpet world premieres, tributes to filmmaking legends, more than 50 hours of professional workshops, nightly after-parties and more.
The third annual Portland Film Festival will take place September 1 – 7th, 2015, in Portland, Oregon, at seven venues throughout the city,...
The 2015 Portland Film Festival is Oregon’s largest film event of the year, with 80 narrative and documentary feature films and 134 short films selected out of 3500 Submissions.
This weeklong extravaganza also includes over 75 Master Classes, Two Lifetime Achievement Tributes, and an unprecedented live event featuring Several Thousand Festivalgoers As Extras in a record-setting Zombie Day Event.
Los Angeles – August 13, 2015 – Portland Film Festival announced today the feature film competition programs, opening and closing screenings, music and midnight sections, tribute presentations, northwest, and special screenings for the 2015 Portland Film Festival. The 3rd Annual festival is a weeklong event of 214 screenings of feature length and short films from around the world, red carpet world premieres, tributes to filmmaking legends, more than 50 hours of professional workshops, nightly after-parties and more.
The third annual Portland Film Festival will take place September 1 – 7th, 2015, in Portland, Oregon, at seven venues throughout the city,...
- 8/24/2015
- by nospam@example.com (Cinema Retro)
- Cinemaretro.com
The third annual Portland Film Festival happens from September 1st through 7th this year. With a program featuring 80 narrative and documentary feature films and 134 short films the festival announced their feature film competition programs, opening and closing screenings, music and midnight sections, tribute presentations, northwest, and special screenings.The narrative program will include World Premieres of Sridhar Reddy's 6 Angry Women, Hooroo Jackson's Aimy in a Cage, Heather de Michele's As Good As You, Sophie Mathisen's Drama, and Tebogo Malope's For Love & Broken Bones."Portland audiences are the most enthusiastic, film-savvy crowds in the nation, and we're proud to bring them a stellar festival schedule this year. We've created an incredibly diverse and large program of films and events that honor cinema legends, celebrate new approaches and experimentation in film,...
[Read the whole post on twitchfilm.com...]...
[Read the whole post on twitchfilm.com...]...
- 8/13/2015
- Screen Anarchy
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