Screen International’s Post

WHERE CAN YOU WATCH IT? Thanks so much to all of you who reached out to ask where they can still watch "Being HUMAN" as well as all of you who reached out to share the many different ways in which the film touched you or helped move some feelings inside. It is doing what we wanted it to do... Start conversations. We thought it would help a few more by posting some details here of where you can still watch it... And save many messages of copy and paste. WHERE TO WATCH?: "Being Human" is available in NZ and Australia via the New Zealand Mountain Film Festival online pass. Link here - https://lnkd.in/geJSZpS2 Option One: An Online Festival Pass to watch all of the Festival Sessions on one device (NZ$69.95). (Seriously recommended!) Option Two: One Session of films (2 – 2.5hrs) through a link valid for 24 hours on one device ($11.95). "Being Human" is part of SESSION 3 "PURE NZ" at 1h 18mins 08secs WHEN: Available till 31st July 2024. Help us share the word... Pass it around.

Incredibly insightful thoughts about the current situation in the industry and the changes that need to be made. Take some time to read the latest Nostradamus report. If you follow Ted Hope’s newsletter, you’ll enjoy the insight he adds into this report. Film i Vast’s Tomas Eskilsson has enlightening thoughts on the current film funding models and the theatrical ecosystem. I enjoyed Robert Franke insight on the creator industry within the film/tv industry. Joanna Szymanska comments on choosing collaborators with smaller budgets because of their qualities as human beings as opposed someone not so friendly who gives you money. Hannah Reifgerst is spot on with her analogy of the opera for adults to the cinemas for teenagers. For many it’s only affordable for a once a year type of experience. There is so much more wisdom and insights to ponder in the report from: Angela Chan Fatima Djoumer Guillaume Esmiol TABITHA JACKSON Kjersti Mo Gaia Tridente I would have pulled quotes from everyone, but then I would have just copy & pasted the whole report on this post.

Let's title this one "What African Film Industries Can Learn from the UK's Progressive Model for Growth and Sustainability." There's a critical need in African film industries for actionable initiatives beyond discussions at summits and forums. Leveraging the influence and access of organizers to push for structured, progressive policies, akin to those adopted by the UK government in the article below, could significantly advance the industries. In the context of African cinemas, a proposed inquiry might look like this: Committee Formation - It could be continent-wide, or country-specific. In either case, the Committee should include a diverse range of industry professionals and representatives. Areas of Focus - Most important at this moment is talent development. So, establishing world-class training and educational programs that are not just imitations of Western models, but rather nurture and celebrate the unique cinematic voices and stories, prioritizing local context and perspectives that can lead to the development of distinctly African cinematic identities. - Of course funding and financing, exploring sustainable funding models. - Distribution and accessibility, enhancing local and international film distribution channels. - Cultural representation, ensuring diverse and inclusive storytelling. - Technology adoption, notably the proliferation of AI in the production and distribution stages. - A regulatory environment that is consistent in examining and proposing regulatory changes. - Audience engagement strategies, both locally and globally. - Encouraging regional and international partnerships. Process - Gathering insights via submissions, followed by an in-depth analysis and a report outlining strategic recommendations. - The next crucial step would be advocating for these recommendations to be implemented by governments. This means engaging with policymakers, leveraging the influence of industry stakeholders, and using the report to demonstrate the potential benefits of the proposed changes. - Effective implementation will require continuous dialogue, collaboration, and, possibly, adjustments to the recommendations based on practical considerations and feedback. This merely outlines a potential framework for exploring similar issues in African cinema contexts. Can this happen? While challenging, successful examples in other regions suggest it's possible with concerted effort and strategic planning.

What's more important, the opportunity to follow your dreams or maintaining creative freedom? Join us on September 27th for a film screening and panel discussion to learn more about Taiwan's creative economy and how China impacts it: https://ow.ly/fUtK50PKPEv

The Texas Moving Image Industry Incentive Program (TMIIIP) has had a profound impact on the state, both economically and culturally. See the facts in this article on the economic and cultural impact of the film industry on Texas, past, current, and what can be. https://lnkd.in/gbdzVMrY

The AVMS Directive is bringing changes in the audiovisual landscape, but in our point of view, it could be much more when it comes to the variety of the offer. ED hopes to see the AVMSD be worked on even further to bring much more diversity in the realm of European film on linear and non-linear services.  Read more on Screendaily.com

https://lnkd.in/eRqu2jYd Call for evidence: The Culture, Media and Sport Committee is inviting written submissions by Tuesday 19 September on the following areas: How attractive is the UK as a global destination for the production of film and high-end television? What are the barriers to maintaining and increasing overseas investment in the sector? What are the benefits and challenges of overseas investment for the UK’s film-making capacity? What are the current challenges facing the UK’s independent film production sector? What is the demand for and capacity for production of films with a clear British identity? Are the nations and regions of the UK adequately represented and supported in the production of British films? What more can be done to incentivise film and high-end television production in the UK? Are the current funding routes, tax credits and governance for the industry fit for purpose? What are the issues facing the UK’s film exhibition sector? What more can be done to protect and promote the UK’s screen heritage? What can the industry and Government do to ensure British film and high-end television can adapt for the future? What should be prioritised to ensure a strong skills pipeline and retention in the film and high-end TV industry? What are the risks and benefits of artificial intelligence to the sector? What needs to change to ensure the industry is supporting inclusivity and sustainability.

Here are the winners from the Film Independent Spirit Awards

Is there a more effective way to depict text messages in a movie? What about representing the internet? Despite the advanced digital era we're in, film still struggles to accurately portray our contemporary world. Perhaps the answer lies not in the content itself, but in the way it's presented. https://lnkd.in/eTCWYXGY

I hope the panel we did about co-producing with the UK was helpful. Mia Bays from the BFI outlined the funding available and how to access it. Denitsa Yordanova from the BFI’s Global Screen Fund spoke about the different funding available for international co-productions from the GSF. Ben Dalton from Screen International international kindly moderated the panel. Fiction producer Chris Curling and I shared our experiences doing international co-productions. Some of the takeaways we highlighted include ** Co-productions can be truly wonderful and beneficial on many levels but they also take work and complicate things. Choose your co-pro partners carefully and ensure you have the same vision and plans for the film. ** Ensure all co-pro partners understand and agree at the outset on roles etc. Who is the lead producer? Which roles do different prod companies take etc ** Co-pros work best when they are baked into the DNA of a film rather than tacked on primarily for financial gain. ** Some of our most wonderful experiences have been international co-productions and we often go back to the same partners. ** Co-productions are like a marriage so take time to explore the relationship and vision / ambitions / expectations for the film before you commit. ** Co-productions can bring huge benefits including financial so def worth looking into. My co-speakers can maybe add their presentations or key points or hyperlinks here #documentary #film #tiff2023 Toronto International Film Festival