Showing posts with label films. Show all posts
Showing posts with label films. Show all posts

Sunday, November 12, 2023

ZENITH 2024 Inaugural International Film Festival

 


ZENITH 2024

Zenith International Film Festival: Coming Soon!

Zenith International Film Festival is an annual independent film festival for the promotion of the best in motion picture, from script to screen; where the most ambitious filmmakers will meet the most ambitious film distributors from all over the world.

Participation is strictly by application and competition is only by official selection. 

Only 20 films will be selected by the international jury.

The inaugural annual Zenith International Film Festival will be launched in Lagos before the end of 2024. 


 We may not be the first and we may not be the biggest, but our mission is to be among the best international film festivals in the world.

More details will be announced later.

#zenith
#filmfestivals
#officialselection
#nominees
#nominations
#awards
#prizes
#filmmaking
#movies
#actors
#nigeria
#filmmakers
#jury
#filmdistribution
#acquisition

#ZENITH2024

Tuesday, August 29, 2023

The Academy Awards, Nollywood and the Submission of Nigeria's Entry for the Best International Feature Film


The Academy of Motion Pictures, Arts and Sciences (AMPAS) is not responsible for the selections of the members of the Nigerian Official Selection Committee (NOSC) for the International Feature Film (IFF) category of the annual Academy Awards (Oscars).

The brouhaha over the lack of honesty and transparency in the rejection of any of the two acclaimed Nigerian films as the country’s official submission for the IFF Award last year caused the resignation of Mildred Okwo and Shaibu Husseini from the selection committee and I don't know if they have returned. But there should be a defined criteria for the membership of the Nigerian Official Selection Committee (NOSC) based on international professional achievements and accomplishments in filmmaking and being on the jury of highly rated international film festivals and awards. So, some members of the NOSC are not qualified to be members of the committee. And I mean every word in my statement. 

I was dragged into the mess of the NOSC last year that caused the local and international embarrassment of Nollywood, because after my investigation I discovered that Nigeria should have submitted an entry for the International Feature Film (IFF) category of the last Oscars. But personal antagonisms and not professional criticisms caused the rejection of the two films from which one should have been submitted. 




The two major contenders for the submission as Nigeria's entry were "Elesin Oba, The King's Horseman" , Yoruba-language historical drama film directed by Biyi Bandele based on Nobel Laureate, Prof. Wole Soyinka's "Death and the King's Horseman", a stage play he wrote while in Cambridge and "Aníkúlápó", a Yoruba epic fantasy film by Kunle Afolayan. Both of them were good enough; therefore one of them should have been submitted for the International Feature Film (IFF) category of the annual Academy Awards (Oscars). But the antagonism between those who wanted "Aníkúlápó" and those who wanted "Elesin Oba, The King's Horseman" resulted in the rejection of the films. 

Selfish opportunism has done more harm than good to professionalism in Nollywood and the Nigerian film industry.

To me, any Nigerian film that fails to be accepted for the Official Selections of any of the following annual international film festivals: Sundance Film Festival; Berlin International Film Festival: Cannes Film Festival, Venice International Film Festival and Toronto International Film Festival (TIFF) should not be in the consideration for the submission by the NOSC.


 - Ekenyerengozi Michael Chima,
The Publisher/Editor,
NOLLYWOOD MIRROR® Series,
Nigeria Daily
Nigerians Report Online on Blogger and Facebook
New Nigeria on Pinterest
Vuulr Program Partner,
Cinewav affiliate partner

#Oscars
#Academyawards
#BestInternationalFeatureFilm
#OfficialSelections
#nominations
#nominees
#films
#committee
#Nollywood

Friday, April 14, 2023

2023 Cannes Film Festival: Official Selection


The 76th edition of the festival will run May 16-27.

Official Selection 2023

Competition

Opening Film
  • Jeanne du Barry, Maiwenn
  • A Brighter TomorrowNanni Moretti
  • About Dry Grasses, Nuri Bilge Ceylan
  • Anatomy Of A Fall, Justine Triet
  • Asteroid City, Wes Anderson
  • Banel Et Adama, Ramata-Toulaye Sy
  • Club Zero, Jessica Hausner
  • Fallen Leaves, Aki Kaurismaki
  • Firebrand, Karim Aïnouz
  • Four Daughters, Kaouther Ben Hania
  • Jeunesse, Wang Bing
  • Kidnapped, Marco Bellocchio
  • La Chimera, Alice Rohrwacher
  • La Passion De Dodin Bouffant, Tran Anh Hung
  • Last Summer, Catherine Breillat
  • May December, Todd Haynes
  • Monster, Hirokazu Kore-eda
  • The Old Oak, Ken Loach
  • Perfect Days, Wim Wenders
  • The Zone Of Interest, Jonathan Glazer

Out Of Competition

  • Cobweb, Kim Jee-Woon
  • The Idol, Sam Levinson
  • Indiana Jones And The Dial Of Destiny, James Mangold
  • Jeanne du Barry, Maiwenn (opening film)
  • Killers Of The Flower Moon, Martin Scorsese

Midnight Screenings

  • Acide, Just Philippot
  • Kennedy, Anurag Kashyap
  • Omar La Fraise, Elias Belkeddar

Cannes Premiere

  • Bonnard, Pierre And Marthe, Martin Provost
  • Cerrar Los Ojos (Fermer Les Yeux), Victor Erice
  • Kubi, Takeshi Kitano
  • Le Temps D’aimer, Katell Quillévéré

Special Screenings

  • Le Bruit Du Temps, Anselm Kiefer, Wim Wenders
  • Man In Black, Wang Bing
  • Occupied City, Steve McQueen
  • Pictures Of Ghosts, Kleber Mendonça Filho

Un Certain Regard

  • The Breaking Ice, Anthony Chen
  • The Buriti Flower, João Salaviza, Renée Nader Messora
  • The Delinquents, Rodrigo Moreno
  • Goodbye Julia, Mohamed Kordofani
  • Hopeless, Kim Chang-hoon
  • How To Have Sex, Molly Manning Walker
  • If Only I Could Hibernate, Zoljargal Purevdash
  • Le Regne Animal, Thomas Cailley (UCR opening film)
  • Les Meutes, Kamal Lazraq
  • The Mother Of All Lies, Asmae El Moudir
  • The New Boy, Warwick Thornton
  • Omen, Baloji Tshiani
  • Rien À Perdre, Delphine Deloget
  • Rosalie, Stephanie di Giusto
  • The Settlers, Felipe Gálvez
  • Simple Comme Sylvain, Monia Chokri
  • Terrestrial Verses, Ali Asgari, Alireza Khatami

Tuesday, January 3, 2023

Funke Akindele’s "Battle on Buka Street" Overtakes James Cameron's "Avatar: The Way of Water" in Top 20 Movies in Nigeria


Funke Akindele’s "Battle on Buka Street" Overtakes James Cameron's "Avatar: The Way of Water" in Top 20 Movies in Nigeria



The current box office report from the Cinema Exhibitors Association of Nigeria (CEAN) for the top 20 movies in Nigeria shows the Nollywood comedy, Funke Akindele’s "Battle on Buka Street" at the #1 position with N252, 625, 736 from 93, 223 admissions followed by James Cameron's "Avatar: The Way of Water" at the #2 position with N222, 372, 805 from 73, 449 admissions.


"The Battle on Buka Street" grossed more than N135 million on the first day of the opening weekend, the biggest single day for a Nollywood film in 2022.

"Battle on Buka Street" is a 2022 Nigerian comedy drama film directed by Funke Akindele and Tobi Makinde. The film is jointly produced as a collaboration between Funke Ayotunde Akindele Network (FAAN) and FilmOne Entertainment.The film had its theatrical release on 16 December 2022

Synopsis:
Half sisters, YEJIDE and AWELE are rival mama put sellers who are not strangers to competing; they were born a minute apart to different women and married to different men on the same day . To them, there is a silent competition where one woman must out do the other, but when a set of coordinated attacks on homes and shops in their community become frequent, these rival mama put sellers must come together and put their differences aside, proving that indeed blood triumphs over petty squabbles.

Starring

Funke Akindele

Mercy Johnson

Sola Sobowale

Tina Mba

Nkem Owoh

Femi Jacobs

Kelvin Ikeduba

Edited by Valentine Chukwuma

#BattleonBukaStreet
#Avatarthewayofwater
#Nollywood
#Hollywood 
#Jamescameron 
#FunkeAkindele
#comedy
#scifi
#fantasy
#movies

Saturday, October 22, 2022

Elesin Oba, The King's Horseman, Anikulapo and the Obsession for Netflix in Nollywood

Elesin Oba, The King's Horseman, Anikulapo and the Obsession for Netflix in Nollywood

Planning is everything and everything is planning in achieving our goals in our occupations and professions.

Nobody is too big, too high or too old to learn.

The films, ‘Elesin Oba, The King's Horseman" by Biyi Bandele and   "Anikulapo" by Kunle Afolayan  should have been in the Official Selections of the  Cannes Film Festival, Venice Film Festival and Toronto International Film Festival (TIFF) in competition with the best new films by other filmmakers in the world. 
Both of them were produced for Netflix and the producers were fixated on seeing them in competition for the global Top 10 movies on Netflix.

The obsession of Nigerian filmmakers for Netflix deserves to be studied by psychologists.
Being on Netflix has become a status symbol for bragging rights by local filmmakers in Nollywood and their second obsession and status symbol is Amazon Prime Video SVOD.
To them being on either Netflix or Amazon Prime Video SVOD is like winning an Oscar at the annual Academy Awards of the Academy of Motion Picture Arts and Sciences (AMPAS). Once they are on Netflix or Amazon Prime Video SVOD, they have arrived, even though they are among the lowest paid filmmakers compared to the American, European, Australian and Asian filmmakers on Netflix and Amazon Prime Video SVOD.
Hundreds of the local filmmakers can stampede over themselves to be on either of the two leading streaming platforms for even US$20, 000. Yeah, they have become so cheap that many of them are giving their new movies to MultiChoice for less than US$1, 000 per movie! In fact, they fast and pray and do night vigils of praise and worship to be accepted by Netflix, Amazon Prime Video SVOD and MultiChoice.
They are doing more harm than good to the international reputation and valuation of Nollywoood and the Nigerian film industry.

If the focus of the producers of "Elesin Oba, The King's Horseman" and "Anikulapo" has been on making the Official Selections of the biggest international film festivals and the Academy Awards, there would not have been any controversial rejection of the films by the  Nigerian Official Selection Committee (NOSC) for the Best International Feature Film category of the 2023 annual Academy Awards. Their focus on Netflix distracted them from following the road map to the Oscars.


- By Ekenyerengozi Michael Chima.
The Publisher/Editor,
NOLLYWOOOD MIRROR® Series,
New Nigeria on Pinterest





Tuesday, June 7, 2022

Nollywood and the French Connection

NOLLYWOOD

Nollywood and The French Connection


Before the Nigerian government started supporting Nollywood and the Nigerian film industry with grants from the Project Act Nollywood and the NollyFund of the Bank of Industry (BoI), the French government through the French Ministry of Foreign Affairs supported the film and TV productions of selected Nigerian filmmakers. The French Audio Visual Attaché in Nigeria (2002-2006), Monsieur Pierre Barrot authored one of the first books on the phenomenon of Nollywood, "Nollywood: The Video Phenomenon in Nigeria" published by the Indiana University Press in 2009.

One of films sponsored by the French government, "Eternal" by Chike Ibekwe won the best film award (Ecrans Dór) at the 14th edition of Ecrans Noir Film Festival in  2010 in Yaoundé, Cameroon.
Another outstanding film produced with the support of  Fonds images Afrique of the French Ministry of Foreign Affairs was "Changing Faces";by Faruk Lasaki,  the first Nigerian film to be dubbed into French and broadcast by Canal France International in 2009 to all television channels in French-speaking Africa under the title "La Métamorphose".

Nigerian Films and TV series projects which benefitted from French production funding and were fully completed.

Projet

Producteur

ou réalisateur

Genre

Aide accordée

Origine

Année

Our husband has gone mad again

Albert Egbe

TV Series

(13 x 26 minutes)

40 000 euros

Fonds Images Afrique

2003

The Virgin ?

 

 

Tunde Kelani

TV Series

35 000 euros

Fonds Images Afrique

2003

Claws of the lion

Francis Onwochei

Feature Film

30 000 euros

Fonds Images Afrique

2004

Tides of Fate

Greg Odutayo

TV Series

40 000 euros

Fonds Images Afrique

2005

Eternal

Chikeh Ibekwe

Feature Film

40 000 euros

Fonds Images Afrique

2005

The Head of State

Jimi Odumosu

 

45 000 euros

Fonds Images Afrique

2005

Changing Faces

Faruk Lasaki

 

60 000 euros

Fonds Images Afrique

2005

Off Campus

Chikeh Ibekwe

 

35 000 euros

Fonds Images Afrique

2005

Relentless

Andy Amadi Okoroafor

 

Aide réécriture

 

100 000 euros

Fonds Images Afrique

2005

 

 

2006

 

- By Ekenyerengozi Michael Chima

Publisher/Editor

NOLLYWOOD MIRROR®Series


Wednesday, May 25, 2022

The Best Films from Africa and its Diasporas Come to the 19th Edition of the Tarifa African Film Festival

The Best Films from Africa and its Diasporas Come to the 19th Edition of the Tarifa African Film Festival

This event will be held from 27 May to 3 June in the Andalusian town of Tarifa, a cross-border town between Morocco and Spain.

The opening film is the Nigerien film Walking on Water, the closing film is the Somali film The Gravedigger's Wife.

Tarifa, May 2022. The Tarifa African Film Festival celebrates its 19th edition with an official session made up of films from Tunisia, Sao Tome and Principe, Ethiopia, Egypt, Benin, Reunion, Rwanda, Central African Republic, Democratic Republic of Congo, Senegal, French Guiana, Nigeria, Guinea Bissau, Madagascar and Angola, as well as two major retrospectives, one dedicated to the links between cinema and literature and the other focusing on the Egyptian filmmaker Atteyat Al Abnoudy.

The two great retrospectives of the Tarifa African Film Festival

The big bet of this edition will be Entre la tinta y la pantalla, a parallel section that delves into the relationship between literature and cinema, through sixteen titles produced from the 1960s to the present day that cover countries such as Senegal, Mozambique, South Africa, Mauritania, Burkina Faso, Algeria, Angola, Morocco and Afro-Cuban descent. Among the filmmakers present in this section, some historical ones stand out, such as Ousmane Sembène (Senegal), Med Hondo (Mauritania) or Djibril Diop Mambéty (Senegal); as well as other contemporary ones, such as Dani Kouyaté (Burkina Faso) or Mariano Bartolomeu (Angola), among others. As for literary authors, we find classics such as Naguib Mahfuz (Egypt), an emblematic figure of the new Arab novel, Abdoulaye Mamani (Níger), Moussa Diagana (Mauritania), Assia Djebar (Algeria, literary pseudonym of Fatema Zohra), Malek Alloula (Algeria) and Mia Couto (Mozambique), one of today's most important authors. 

The FCAT dedicates a major retrospective to the Egyptian filmmaker Atteyat Al Abnoudy (1939-2018), considered the "mother of the Egyptian documentary" and one of the pioneering directors in the Arab world. Nicknamed "filmmaker of the poor", her decision to film people in a daily life of hard work and precariousness was a scandal at a time when film was perceived as a propaganda weapon by the authorities. 

FCAT official sessions: 20 titles from 18 African countries

The African presence at the major international festivals provided a great harvest of films from the continent. The official feature film section of the FCAT, called Hypermetropia, offers films from Rwanda, Tunisia, Egypt, Haiti, Mali, Benin, Reunion, Ethiopia, Central African Republic, Democratic Republic of Congo and, for the first time, a film from Sao Tome. 

The ten titles in Hypermetropia are among the most daring on a formal level and imbued with great visual poetry. Most of them are works by young filmmakers, films that dialogue with each other on the issues of exile, from the dream of an idealised place (Faya Dayi, by Jessica Beshir, Ethiopia) to the uprooting, the violence of the host country (Lèv la tèt dann fenwar, by Erika Étangsalé, La Réunion). Another theme is the struggle for dignity (Xaraasi Xanne, by Malians Bouba Touré and Raphaël Grisey). 

Films that propose a representation of women far from clichés (Black Medusa, by Ismaël and Youssouf Chebbi, Tunisia), of their emancipation and empowerment (Feathers, by Omar El Zohairy, Egypt) and (Freda, by Gessica Géneus, a film from Haiti and Benin), but also highlighting the necessary liberation of men from their own mental shackles (Une histoire d'amour et désir, by Tunisian Leyla Bouzid).

Films that revisit the traumas and forgotten episodes of history (the documentary Constelaçoes do Equador, by Silas Tiny, the first film from Sao Tome and Principe in the FCAT); a portrait of the concerns and aspirations of youth (Nous, étudiants! by Rafiki Fariala, from the Central African Republic); or the screening of an Afrofuturist, anti-colonialist, anti-capitalist and queer vision of the continent (Neptune Frost, by Rwandans Saul Williams and Anisia Uzeyman). 

África en breve, the competitive short film section continues to be an incubator of talent on the African continent, with titles dealing with colonial violence (Écoutez le battement de nos images, by Audrey & Maxime Jean-Baptiste, French Guiana), colonial representation (Kapita, by Petna Ndaliko, Democratic Republic of Congo) and resistance to colonial domination (Mangrove School, by Filipa César & Sónia Vaz Borges, Guinea Bissau, Portugal).

Also, the violence of war (Vou Mudar a Cozinha, by Ondjaki, Angola), gender violence (Imuhira, by Myriam Uwiragiye, Rwanda) and (Microbus, by Maggie Kamal, Egypt); the emotional violence of leaving childhood (Astel, by Ramata-Toulaye, Senegal) and the violence of exile and uprooting (Egúngún, by Olive Nwosu, Nigeria). Comedy is also present in this selection, through the meta-cinema in an international premiere (The Unusual Kinky Quaint Peculiar Weird Strange Rum Queer Odd and Bizarre Day of a Shadow Man, by Hary Joel, French Guiana) or magical realism (Precious Hair & Beauty, by John Ogunmuyiwa).

Additionally, outside the official competition is La tercera raíz, a section dedicated to Afro-descendants. The 19th edition of the festival will be dominated by films from the Dominican Republic, where the cultural legacy of Africa is present in all areas of people’s life. 

The opening and closing film of the 19th edition of the festival 

The opening film of this year's festival, the documentary Marcher sur l'eau (Aïssa Maïga, 2021), a co-production between Niger and France, is set in the village of Tatiste in Niger, where Houlaye, a 14-year-old teenager, and other children travel kilometres to fetch the water the village needs to survive. The closing film, The gravedigger's wife (Khadar Ayderus Ahmed, 2021), a Somali film presented at the Cannes Critics' Week, will be screened on Friday, 3 June, after the prize-giving ceremony of the 19th FCAT. A tender portrait of an African couple facing a health problem. 

The poster, the work of the Italian-Senegalese artist Maïmouna Guerresi 

This year's poster was created by Maïmouna Guerresi, an Italian-Senegalese multimedia artist whose work is steeped in Sufi spirituality. The work, which belongs to her series Aïsha in Wonderland, brings a feminine energy to this powerful image that alludes to "cultural and spiritual crossbreeding".

Industry and training at FCAT

The FCAT LAB post-production workshop, which offers support for featured films from Africa in the form of prizes, will once again be active at this year's edition. The FCAT LAB 2022 will take place in online format as part of the actions programmed in the Tree of Words, the space dedicated to the professional and training activities of the African Film Festival-FCAT. 

For its part, the Instituto de la Cinematografía y de las Artes Audiovisuales (ICAA) will organise a showcase in Tarifa, where five Spanish companies representing post-production services will present themselves to African producers and directors both in person and via streaming. 

The Aula de cine will also take place, under the title Relatos ensoñados. El arte narrativo en los cines africanos, an in-depth course on the evolution and characteristics of African cinema, given by the programmer and film critic Javier H. Estrada (Spain). All the filmmakers that will be analysed in the Aula share an iconoclastic spirit, authentic aesthetic renovators who also observed the realities of their countries with a profoundly critical eye. During four sessions, cinematographies such as those of Mali, Egypt, Tunisia and Angola will be addressed, highlighting their past and present relevance.

The Festival de Cine Africano-FCAT is the most important film festival of the continent and of African descent in the Spanish-speaking world and has a film collection of more than a thousand titles translated into Spanish.

DOWNLOAD IMAGES 

For more information you can contact the communication office: 

Marta Jiménez: gabineteprensa@fcat.es

Valeria Reyes: comunicacion3@fcat.es


                             



Wednesday, April 6, 2022

Why Bollywood and Nollywood Have Not Won the Oscar for the Best International Feature Film

Why #Bollywood and #Nollywood Have Not Won the #Oscar for the Best International Feature Film
#Oscars 
 #academyawards
#movies

In nearly 75 years, the Oscar for best international film has only gone to an African production three times and a Bollywood production has never won. Europe dominates the category. Why?

Bollywood also snubbed by Hollywood

Half of the Asian-winning films are Japanese productions. Despite the size of Bollywood's film industry, India has never won the best international film award.

Another reason is the lack of financial means to promote Indian films to the Academy, says Namrata Joshi, an Indian film critic and author who has served on international film festivals juries in Toronto, Moscow and Cluj.

Even though Nigeria's internationally renowned Nollywood industry produces around 2,500 films a year, it hasn't won a single foreign film Academy Award.

Nollywood productions often do not meet the technical requirements of a cinema film since the focus is on home television. According to Ayorinde, streaming services like Netflix could change the situation significantly. Netflix is raising the bar, he says, by requiring cinematic standards even for films made for home viewing.

Read the report on 

https://amp.dw.com/en/oscars-where-are-the-african-films/a-61187154


Highly recommended: Nigerians Report Online: Why Nollywood Filmmakers Have Failed To Qualify for the Oscars and Cannes

Friday, September 10, 2021

VIFF Announces 40th Edition Festival Lineup

The poster of the Opening Film 

VIFF40Years_logo_Bl
FOR IMMEDIATE RELEASE

 

VIFF ANNOUNCES 40TH EDITION FESTIVAL LINEUP,
A RETURN TO IN-CINEMA PRESENTATIONS
AND EXPANDED VIFF CONNECT ACCESS

 

40th Vancouver International Film Festival

October 1 – 11, 2021

 
VANCOUVER, BC (SEPTEMBER 8, 2021) Vancouver International Film Festival (VIFF) celebrates its 40th edition with a vibrant festival program that includes more than 110 feature films, 77 shorts, and 20 events. All films will be presented in-cinema, in strict compliance with provincial COVID-19 health and safety protocols, and select titles will be available for streaming across the province and Canada-wide on the festival’s online streaming platform, VIFF Connect. 

VIFF’s 2021 lineup showcases a kaleidoscopic collection of revelatory work, from provocative documentaries to elevated genre films. VIFF Talks take viewers behind the camera, and Totally Indie Day, VIFF AMP, and VIFF Immersed conferences support the local creative communities. VIFF’s 40th edition will officially open with an in-cinema screening of the inventive biopic The Electrical Life of Louis Wain, from U.K. director Will Sharpe, starring Benedict Cumberbatch who gives a bravura performance as the Victorian illustrator who found lasting fame with his knack for drawing cute cats. The festival will mark its closing with an in-cinema screening of Petite Maman, the latest from French director Céline Sciamma. A simple, subtle fairy tale about the mysterious bond between mother and daughter, the poetic film is realized with supreme delicacy and tact. 

"Perhaps more than any other art form, film has helped us through these past 18 months," says Kyle Fostner, Executive Director. "Isolated in our homes, we turned to movies for a connection to a larger world, full of perspectives, ideas, and culture. Our milestone 40th edition will be a celebration of cinema that shares the singular joy of experiencing incredible storytelling safely together, basking in the warm glow of the big screen. At the same time, we’ll continue to offer the opportunity and accessibility gained with last year’s model — with 85 per cent of our festival's vast and varied offerings available online via VIFF Connect. And for the first time, a large selection of films will also be available online across Canada."

VIFF Board Chair Lucille Pacey adds: "VIFF has always been a festival rooted in community and cinematic excellence. We mark this special edition by reconnecting with those who have supported us through the past four decades and with those who are only just discovering all that VIFF has to offer. VIFF's remarkable team has programmed an extraordinary lineup that highlights the voices of today and looks to the future of filmmaking."

“For our 40th edition, our programmers have curated a diverse selection of international cinema that includes work from dozens of countries and countless communities here in Canada,” says Curtis Woloschuk, Associate Director of Programming. “It’s a lineup that truly offers a plurality of perspectives. Many of this year’s selections are born of this era, as they share stories of reconnections with family and community, and employ structures that bend time. There are powerful narratives from Indigenous filmmakers, poignant stories from female perspectives, and bold work that confronts critical issues such as colonialism, racism, and the climate crisis. Likewise, there are films that testify to the transportative power of creativity and remind us that, even when it’s darkest, we can dream.”

Tickets are now on sale at viff.org. Single tickets are $15 for in-cinema presentations, $17 for in-cinema Special Presentations, and $10 for VIFF Connect. All-access VIFF Connect passes are $80, and will provide access to a selection of film titles and VIFF Talks streamed online. The Limited Edition Festival Pass is $725, and will provide access to all in-cinema and online screenings. While a selection of the film programming via VIFF Connect will remain geo-blocked to the province, a vast majority of films will be available across Canada. VIFF Talks, VIFF AMP, Totally Indie Day, and VIFF Immersed will be livestreamed Canada-wide and internationally, providing an unprecedented level of access to filmmakers and fans around the globe. 

 
Tickets and Information
 
VIFF Connect Single Tickets for Films and Talks: $10
VIFF Connect Festival Pass: $80 Regular / $110 Household
VIFF In-Cinema Single Tickets for Films and Talks: $15
VIFF In-Cinema Special Presentations: $17
VIFF Limited Edition Festival Pass: $725
40th Anniversary 4-Ticket Pack: $48 Regular / $32 Student / $44 Senior
VIFF AMP Pass In-person: $75 Regular / $25 Student
VIFF AMP Pass Online: $25 Regular / $15 Student
Totally Indie Day In-person: $45 Regular / $25 Student
Totally Indie Day Online: $25 Regular / $15 Student
VIFF Immersed: Free
 
Single tickets and passes available at viff.org.
 
To explore VIFF’s complete 2021 programming, visit viff.org.
 
VIFF’s health and safety protocols — in strict compliance with provincial health orders — can be viewed HERE.

With the generous support of these partners:

 

PressRelease_LogoStrip_18Aug

 

Founded in 1982, the Greater Vancouver International Film Festival Society is a not-for-profit cultural society and federally registered charitable organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF) and the year-round programming at the VIFF Centre. VIFF produces screenings, talks, conferences, and events that act as a catalyst for the community to discover the creativity and craft of storytelling on screen. For its 40th edition, VIFF takes place both online and in-cinema, from Oct. 1–11, 2021, showcasing the top international, Canadian, and BC films along with creators and industry professionals from around the globe.

VIFF is presented on the traditional and unceded territories of the xʷməθkʷəy̓əm (Musqueam), Sḵwx̱wú7mesh (Squamish), and səl̓ílwətaʔɬ/Selilwitulh (Tsleil‑Waututh) Nations.

Media inquiries:
press@viff.org
Laura Murray | 
lmurray@mpmgarts.com | 604.418.2998
Ines Min | imin@mpmgarts.com | 604.440.0791
 

MPMG_logo-wordmark_blackblue_sm





Thursday, August 26, 2021

VIFF Announces 2021 Festival Lineup

FOR IMMEDIATE RELEASE

MEDIA ADVISORY:

VIFF ANNOUNCES 2021 FESTIVAL LINEUP

Vancouver International Film Festival Celebrates 40th Edition

October 1 – 11, 2021

VANCOUVER, B.C. (AUGUST 26, 2021) Vancouver International Film Festival (VIFF) invites you to the official unveiling of the 40th edition’s programming and events on Wednesday, September 8, 2021. Roughly 110 feature films and 80 shorts will screen in Vancouver venues, with a selection of films also available online via the VIFF Connect streaming platform.

WHAT: Media are invited to attend either an in-person presentation of VIFF’s 2021 festival lineup and events or receive VIFF’s digital press kit, including the festival announcement and sizzle reel.

In-person: Following the unveiling of the 40th festival and event lineup, media are invited to stay for a special pre-festival screening of Albert Dupontel’s award-winning Bye Bye Morons, an official selection at VIFF 2021, alongside an audience of VIFF VIPs. 

Due to B.C. health and safety regulations, capacity restrictions are in effect for the in-cinema film screening. Please RSVP to Laura Murray at lmurray@mpmgarts.com by August 31 to book your seat.

WHERE

In-person: At the VIFF Centre located at 1181 Seymour St, Vancouver. There is street parking as well as an Impark lot off of Granville Street.

Online: On September 8 at 10am, media will be emailed the season announcement and a link to access VIFF’s 2021 press kit and sizzle reel. 

WHEN: Wednesday, September 8 at 10am.

Doors open: 9am, complimentary refreshments will be served.

Presentation and festival launch: 10am

Film screening: 10:30am to 12pm

Interviews in the VIFF Centre Atrium: 10:30am (for those media unable to watch the film)

Interviews in the VIFF Centre Atrium: 12pm (for those media who are able to watch the film)

WHO: Interviews will be available immediately following the festival launch at 10:30am and following the film screening at 12pm — in-person and by phone — with: 

Kyle Fostner, Executive Director

Curtis Woloschuk, Associate Director of Programming

PoChu AuYeung, Program Manager and Senior Programmer

Melanie Lemaire, Program Logistics Manager

Kinga Binkowska, Create Engagement Producer

Frances Bergin, Creative Engagement Curator

Tammy Bannister, Programmer & MODES Curator

To schedule an interview in advance, please email press@viff.org.

VIFF’s health and safety protocols — in strict compliance with provincial health orders — can be viewed HERE

With the generous support of these partners:

PressRelease_LogoStrip_18Aug


About VIFF | viff.org
Founded in 1982, the Greater Vancouver International Film Festival Society is a not-for-profit cultural society and federally registered charitable organization that operates the internationally acclaimed Vancouver International Film Festival (VIFF) and the year-round programming at the VIFF Centre. VIFF produces screenings, talks, conferences and events that act as a catalyst for the community to discover the creativity and craft of storytelling on screen. For its 40th edition, VIFF takes place both online and in-theatre, from October 1 – 11, 2021, showcasing the top international, Canadian and BC films along with creators and industry professionals from around the globe.

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Media inquiries:
press@viff.org
Laura Murray | 
lmurray@mpmgarts.com | 604.418.2998
Ines Min | imin@mpmgarts.com | 604.440.0791
 
To schedule an interview in advance, please email press@viff.org.



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