Close to 100 New York-based Latino film & media arts professionals attended the New York Latino Film Summit on Friday evening, June 21, evening and all day Saturday June 22, at the Film Society of Lincoln Center, to engage in an open dialogue concerning the current and future state of U.S. Latinos in multimedia. By reevaluating and adopting comprehensive strategies that address critical issues, their professional insight and dedication proved to be an invaluable response to build a community to serve us all.
The purported trillion dollar purchasing power of Latinos in the United States bestowing a tremendous power as consumers of media has not yet increased the number of Latino cultural producers in this country. There are not yet enough Latino film directors, screenwriters, critical writers, programmers, and funders to create a consistent flow of product to a developed audience looking for a “Latino” film experience.
Simultaneously, independent filmmaking in Latin America is reaching new heights. The amount of projects coming out of the region continues to increase and the films are receiving international acclaim at top tier film festivals. So, what is going on?
The Summit culminated with a number of concrete initiatives, action points that to be implemented to advocate for a greater understanding of Latino cultural and geographical diversity, the richesse of stories, and a determination not to be defined and limited by labels.
Multimedia makers
The word Multimedia is used to include advertising, television, feature films, webisodes, and even literature, comic books, cartoons, animation and any other sort of media, new or old.
Beginning with Friday evening’s introduction and kick-off, a freely associated discussion of the meaning of “Latino” began a stimulating give-and-take amongst the participants aimed at pinpointing the solutions to the obstacles that stand in the way of creating meaningful and innovative Latino media content and a vibrant U.S.-based Latino film community.
The roundtables on the following day attempted to tackle such questions as:
Who has access to a film career? How can we democratize access to filmmaking? What stories are we telling? Are we limiting the stories Latinos can tell? Who is documenting our cinema? How are film festivals programming our films? How can we create more critical content on Latino films and filmmakers?
The spirit of the meeting reminded me of that of the Art House Convergence (now in its 6th year) or even of the founding of Ifp East and West so many years ago. The enthusiasm and intelligence shared among all the participants energized all of us.
What follows are my notes and sometimes my own thoughts as a well organized process took place to cull out the five major issues needed in order to develop further a strong, vibrant Latino multimedia community.
New York Latino Film Summit: Changing Our Paradigms
Day 1: Friday, June 21, 6pm – 8pm
Summer Solstice today marks a new beginning.
Today, what defines Latinidad exceeds the traditional categories imposed on the Latino identity. The opening session asked participants to question how we define ourselves, how we are defined by others, who validates our authenticity, and what it means to appropriate the label.
The Amphitheater at the Film Society of Lincoln Center’s Elinor Bunin Munroe Film Center was filled to capacity. The audience of writers, actors, directors, producers, festival programmers, executives, and interested individuals bandied about the words heritage, language, community, diversity, the need to identify while still being “American”, the need not to identify to maintain one’s own unique individuality, the understanding among selves, the diversity among selves, even the Jewish part of Latino spoke up. Junot Diaz, (Omg! My idol! If you have not yet read The Brief Wondrous Life of Oscar Wao, then run to your nearest bookstore or go to Amazon now and order it! Its depiction of the Dominican Republic under Trujillo and the hero’s journey well deserves its Pulitzer and Booker Prizes!) standing in the back of the amphitheater, spoke of the need to identify in Latino solidarity, in spite of all the differences, in order to be heard by the rest of the world. Latino is a general strategic identity. The outside world recognizes it. It in no way negates all the other identities each one of us carries within us.
Other ideas coming out of the discussion:
• Latino serves as a bridge to filmmaking. It does not follow the Hollywood model at all.
• There is a duality of Latino: one’s own self-perception and others’ view of Latino.
• How can we rethink the Latino identity to rebuild the old into a new system?
• How to increase the Latino without appearing un-American?
• How do we move forward?
• There is a lack of community, even in the community.
Day 2: Saturday, June 22, 10:30am - 8pm
On rising this morning—at 4am, -- I am excited, anticipating today, and thinking about last night, I came up with my own thoughts and feelings on the issue. I bring the Pov of an outsider, and a “Latino manquee”, so to speak, as a once Spanish Jew who, when expelled from Spain in 1492, did not go to the New World, but instead went over the Pyrenees, “with nothing but the clothes on our back”, to France whence we were invited to the Duchy of Lithuania, and where we spent the next 400 years becoming “Ashkenazic” Jews. Speaking as an outsider I would define Latino as “everyone originating some generations ago (more or less with Hispanic last names) in the New World in areas not first colonized by the Anglos, French, or Germans, but by the Spanish and Portuguese, and not totally indigenous”
Access and Accessibility 10:30am - 12pm
Who has access to a film career?
By teaching reading and writing via filmmaking as storytelling to the young, both in school and out of school, we will raise the next generation of filmmakers and multimedia makers. Literacy began and still begins with pictures. Every child knows about moving pictures and wants to make him/her self part of them. Our form of alienation today is that we see ourselves as actors in stories not our own or we retreat into realities we create for ourselves, thinking that they are our private domain. We need to share the stories to become “real” to ourselves and to the rest of the world. Silence is not golden; it’s suicide.
Today access comes with the simplest digital toy: a mobile phone, iPad or simple point and shoot camera. Anyone can make a film.
How can the audience get access to the work of Latino media makers?
By creating a Latino circuit of festivals, distributors and exhibitors who share information, marketing ideas, existing materials, prints and advertising, dubbed and subtitled soundtracks, press coverage and tools for community outreach.Creating a sustainable circuit of branding festivals with films or for films, distribution, exhibition, press.Placing product in movies, at events, in advertising...Corona beer, Chilean and Argentinian wine, Dominos Pizza, Contadina, Coca Cola, Univision, Televisa, Panama hats, Galapagos conservation, Easter Islands tourism, Earthquakes preparedness, quinoa...
Funding and Training: Is needed not only for filmmaking, but for also distribution and international licensing and sales. The discussion created a list of options, under the headings of challenges.
Public Funding
What are the strengths: PBS, Itvs, Ford Foundation, Nea, Latino Public Broadcasting grant money one does not have to pay back and they bestow a seal of approval upon the project.
What are the challenges: They are restricted by the fiscal year, by who has access, and by their lack of lack of outreach into the communities.
Private Funding
· Global film initiative
· Wealthy individuals
· Equity funds
Training and networks of solidarity training
Class and access, formal schooling vs. other forms of training.
Professional networking
Distribution
Strengths:
· Can raise monies
· Access
· Money
· The deal
· Legitimizes
Challenges:
· Expensive
· Lack of screens
· Only 3% of films get into theaters
· 1% of programming in theaters is split among U.S. indies, docs and features and foreign language films.
· Lack of organizational cohesiveness
· Highly trend given.
. I think the model of Affrm (for African American theatrical film distribution via the African American film festivals) plus using Emerging Pictures to reach non-theatrical venues in museums, libraries and other 4walled spaces, plus art house theaters would be viable especially if there were a “body of work” rather than just a single film.
· Non-theatrical circuit needs an organizational strategy of the Latino film community.
· Additional revenue streams, audience development, greater visibility are needed.
· Shorts have great interest at universities.
· Parity of funding, exposure on tv, etc, If Latino is 13% , then funding, distribution, and training should be 13%.
And not parenthetically, 50% of that should go to Latinas (gender parity).
Storytelling and Narratives
What stories are we telling? Are we pushing the envelope? Are we limited by our own narratives? Are we limiting the stories Latinos versus Latin Americans can tell?
• Latin American films have greater interest in Europe than Latino stories. And they are very different from each other.
• What about this oft cited “universality of stories? Question the formulas which labs and classes provide. Learn the rules and then bend them, like learning the dance steps, beats and rhythms in order to create new variations of the themes which are, nevertheless, universal.
• Alex Rivera, filmmaker who did Sleep Dealer noted that he changed genre to tell a typical border-crossing story and made it science fiction.
• Film is a collaborative art, there is a need for people to read scripts, Proofing your scripts! Have someone else proof them!
• There seems to be a lack of creativity in scripts. Self doubt creates a lack of creativity.
• There is a need for mentoring, for a salon and for workshops for scriptwriting particularly for Latino screenwriting labs and social networking, a workshop where each person gets 10 minutes to try out his\her project.
There is a lack of critical writing about Latino films. The only consistent writing is LatinoBuzz, Chicana from Chicago, about.com, NBC Latino, Huffington Post.
There is a lack of government funding of films except for the ever dwindling Nea. However, discussions are now underway with the government regarding using Kickstarter, Indiegogo and other crowdfunding platforms to accept investments as well as gifts.
Validation and Audience Development
Who is validating our cinema? Who is documenting our cinema? How are we programming our films and directors? How can we create more critical content on the films and filmmakers? How do we engage audiences in a more effective way?
There is a lack of knowledge of U.S.-Latino films.
The closest thing to a catalog of U.S.-Latino films was created by Lava.
Latin American Video Archives (Lava) opened in the late 80s and closed in 2006 for lack of funding. It contained 3,000 tapes. It created a database, and was set to go online as a searchable database of Latin American and Latino cinema. Listing over 9,000 titles produced by and about Latin Americans and Latinos, it became a distributor for the educational and consumer markets and for film festivals. The physical archive still exists as does the database on a hard disk drive.
FilmFinders (the company I founded in 1988) also tracked U.S.-Latino, Latino and every other film in the international film market from 1988 to 2009, totaling 60,000 titles with details including rights sold.
Latino film festivals also have databases of films and of participants from the public as well as publicists for Latino films. Those festival databases and those festivals’ skills in outreach could be used throughout the year if they would see the value in this for their own festivals.
Out of this comes the idea to create a central database with critical information.
The educational and non-theatrical market is an unknown market. Finding the academic department where the film belongs is somewhat complicated. A film could show on campus and bring in $3,000. A school or university could also buy the film on dvd for $300. The trick is in finding the proper professor to pitch, preferably one who would bring in the filmmaker as well to speak of the experience. Moreover, professors will write about the film too and so the life of the film can continue to be a vital part of the study program or the body of literature cited in the course of study. The professors might be in Latin American studies, anthropology, political science, or any other departments at a university or college.
An example in academia of interest in Latino film which might be useful in going forward in educational distribution is the Film Festival Research Network (Ffrn). Kansas based member Tamara L. Falicov, Associate Professor/Department Chair of the Department of Film and Media Studies at the
University of Kansas was quoted in a LatinoBuzz blog dealing with Latino production from the Spanish point of view. She can be reached at tfalicov [at] Ku.edu, 785-864-1353
Plenary Session Wrap Up
1st session:
Felipe Tewes, HBO Latino, reiterated Junot Diaz's advice to embrace general identity for strategic purposes without diluting individual identities.
Action
Create community and spaces for cross-pollination.Create a monthly salon for sharing...Create a resource directory/database.Create a film collaborative.Create a cinema club.
2nd Session: Storytelling
Lack of mentorship and developmentCreate an umbrella encompassing a salon, with biweekly or monthly script reading.Create a Latino fund.Create Facebook Page...or Linked InCreate co-production event.
3rd Session: Distribution and funding bodies are broken.
Look at models of Emerging Pictures, Affrm, and create a festival-distribution-exhibitor circuit
Look at educational distribution and other forms of non-theatrical distribution to universities, colleges, libraries, special interest groups.
4th Session: Validation
Lack of knowledge of U.S. -Latino films
Lack of critical writing
LobbyingArchivingMicro cinemaNetworkingWriting networking...cinema tropical and Latino buzzLatino film history/information
In one year this group meeting will reconvene to see what has developed. Meanwhile, here are the points of action with volunteers committing to work on them. I am on the database committee.
Call to Action
For those of you who were not able to attend, the participants of the last session signed up for the action groups, If you would like to sign up, please email and name which group(s) you choose to join. Send your email to: newyorklatinofilmsummit [At] gmail.com.
The committees are:
- Organizing Committee. The group in charge of general coordination and communication, as well as planning future Summit events.
- Information Committee. The group that will coordinate databases and communication in social media, as well as creating fluid networks of information inside and outside the group.
- Salons. This group will organize Professional events (please choose one from below)
a) Screenwriters
b) Producers
c) Work-in-progress screenings
d) Non-Theatrical/ Educational Distribution
- Workshops. Organizing specific workshops for the professional advancement of the group.
- Mentorships. Creating mentorship programs both for the members of the group, as well as for younger generations.
- Lobby/Advocacy/Activism. Creating strategies for the advancement and visibility of the professional and social causes of the group.
- Microcinema/Cine-Club. Creating a on-going cine-club with the hopes of documenting and presenting the history of Latino Cinema in the U.S., and serving as a curatorial platform for the exhibition of Latino works.
The summit organizing committee consists of: Andrea Betanzos (Assistant Director, Cinema Tropical), Carlos A. Gutiérrez (Co-founder and Director, Cinema Tropical), Paula Heredia (director/editor, Heredia Pictures), and Lucila Moctezuma (Production Assistance Program Manager, Women Make Movies.
The purported trillion dollar purchasing power of Latinos in the United States bestowing a tremendous power as consumers of media has not yet increased the number of Latino cultural producers in this country. There are not yet enough Latino film directors, screenwriters, critical writers, programmers, and funders to create a consistent flow of product to a developed audience looking for a “Latino” film experience.
Simultaneously, independent filmmaking in Latin America is reaching new heights. The amount of projects coming out of the region continues to increase and the films are receiving international acclaim at top tier film festivals. So, what is going on?
The Summit culminated with a number of concrete initiatives, action points that to be implemented to advocate for a greater understanding of Latino cultural and geographical diversity, the richesse of stories, and a determination not to be defined and limited by labels.
Multimedia makers
The word Multimedia is used to include advertising, television, feature films, webisodes, and even literature, comic books, cartoons, animation and any other sort of media, new or old.
Beginning with Friday evening’s introduction and kick-off, a freely associated discussion of the meaning of “Latino” began a stimulating give-and-take amongst the participants aimed at pinpointing the solutions to the obstacles that stand in the way of creating meaningful and innovative Latino media content and a vibrant U.S.-based Latino film community.
The roundtables on the following day attempted to tackle such questions as:
Who has access to a film career? How can we democratize access to filmmaking? What stories are we telling? Are we limiting the stories Latinos can tell? Who is documenting our cinema? How are film festivals programming our films? How can we create more critical content on Latino films and filmmakers?
The spirit of the meeting reminded me of that of the Art House Convergence (now in its 6th year) or even of the founding of Ifp East and West so many years ago. The enthusiasm and intelligence shared among all the participants energized all of us.
What follows are my notes and sometimes my own thoughts as a well organized process took place to cull out the five major issues needed in order to develop further a strong, vibrant Latino multimedia community.
New York Latino Film Summit: Changing Our Paradigms
Day 1: Friday, June 21, 6pm – 8pm
Summer Solstice today marks a new beginning.
Today, what defines Latinidad exceeds the traditional categories imposed on the Latino identity. The opening session asked participants to question how we define ourselves, how we are defined by others, who validates our authenticity, and what it means to appropriate the label.
The Amphitheater at the Film Society of Lincoln Center’s Elinor Bunin Munroe Film Center was filled to capacity. The audience of writers, actors, directors, producers, festival programmers, executives, and interested individuals bandied about the words heritage, language, community, diversity, the need to identify while still being “American”, the need not to identify to maintain one’s own unique individuality, the understanding among selves, the diversity among selves, even the Jewish part of Latino spoke up. Junot Diaz, (Omg! My idol! If you have not yet read The Brief Wondrous Life of Oscar Wao, then run to your nearest bookstore or go to Amazon now and order it! Its depiction of the Dominican Republic under Trujillo and the hero’s journey well deserves its Pulitzer and Booker Prizes!) standing in the back of the amphitheater, spoke of the need to identify in Latino solidarity, in spite of all the differences, in order to be heard by the rest of the world. Latino is a general strategic identity. The outside world recognizes it. It in no way negates all the other identities each one of us carries within us.
Other ideas coming out of the discussion:
• Latino serves as a bridge to filmmaking. It does not follow the Hollywood model at all.
• There is a duality of Latino: one’s own self-perception and others’ view of Latino.
• How can we rethink the Latino identity to rebuild the old into a new system?
• How to increase the Latino without appearing un-American?
• How do we move forward?
• There is a lack of community, even in the community.
Day 2: Saturday, June 22, 10:30am - 8pm
On rising this morning—at 4am, -- I am excited, anticipating today, and thinking about last night, I came up with my own thoughts and feelings on the issue. I bring the Pov of an outsider, and a “Latino manquee”, so to speak, as a once Spanish Jew who, when expelled from Spain in 1492, did not go to the New World, but instead went over the Pyrenees, “with nothing but the clothes on our back”, to France whence we were invited to the Duchy of Lithuania, and where we spent the next 400 years becoming “Ashkenazic” Jews. Speaking as an outsider I would define Latino as “everyone originating some generations ago (more or less with Hispanic last names) in the New World in areas not first colonized by the Anglos, French, or Germans, but by the Spanish and Portuguese, and not totally indigenous”
Access and Accessibility 10:30am - 12pm
Who has access to a film career?
By teaching reading and writing via filmmaking as storytelling to the young, both in school and out of school, we will raise the next generation of filmmakers and multimedia makers. Literacy began and still begins with pictures. Every child knows about moving pictures and wants to make him/her self part of them. Our form of alienation today is that we see ourselves as actors in stories not our own or we retreat into realities we create for ourselves, thinking that they are our private domain. We need to share the stories to become “real” to ourselves and to the rest of the world. Silence is not golden; it’s suicide.
Today access comes with the simplest digital toy: a mobile phone, iPad or simple point and shoot camera. Anyone can make a film.
How can the audience get access to the work of Latino media makers?
By creating a Latino circuit of festivals, distributors and exhibitors who share information, marketing ideas, existing materials, prints and advertising, dubbed and subtitled soundtracks, press coverage and tools for community outreach.Creating a sustainable circuit of branding festivals with films or for films, distribution, exhibition, press.Placing product in movies, at events, in advertising...Corona beer, Chilean and Argentinian wine, Dominos Pizza, Contadina, Coca Cola, Univision, Televisa, Panama hats, Galapagos conservation, Easter Islands tourism, Earthquakes preparedness, quinoa...
Funding and Training: Is needed not only for filmmaking, but for also distribution and international licensing and sales. The discussion created a list of options, under the headings of challenges.
Public Funding
What are the strengths: PBS, Itvs, Ford Foundation, Nea, Latino Public Broadcasting grant money one does not have to pay back and they bestow a seal of approval upon the project.
What are the challenges: They are restricted by the fiscal year, by who has access, and by their lack of lack of outreach into the communities.
Private Funding
· Global film initiative
· Wealthy individuals
· Equity funds
Training and networks of solidarity training
Class and access, formal schooling vs. other forms of training.
Professional networking
Distribution
Strengths:
· Can raise monies
· Access
· Money
· The deal
· Legitimizes
Challenges:
· Expensive
· Lack of screens
· Only 3% of films get into theaters
· 1% of programming in theaters is split among U.S. indies, docs and features and foreign language films.
· Lack of organizational cohesiveness
· Highly trend given.
. I think the model of Affrm (for African American theatrical film distribution via the African American film festivals) plus using Emerging Pictures to reach non-theatrical venues in museums, libraries and other 4walled spaces, plus art house theaters would be viable especially if there were a “body of work” rather than just a single film.
· Non-theatrical circuit needs an organizational strategy of the Latino film community.
· Additional revenue streams, audience development, greater visibility are needed.
· Shorts have great interest at universities.
· Parity of funding, exposure on tv, etc, If Latino is 13% , then funding, distribution, and training should be 13%.
And not parenthetically, 50% of that should go to Latinas (gender parity).
Storytelling and Narratives
What stories are we telling? Are we pushing the envelope? Are we limited by our own narratives? Are we limiting the stories Latinos versus Latin Americans can tell?
• Latin American films have greater interest in Europe than Latino stories. And they are very different from each other.
• What about this oft cited “universality of stories? Question the formulas which labs and classes provide. Learn the rules and then bend them, like learning the dance steps, beats and rhythms in order to create new variations of the themes which are, nevertheless, universal.
• Alex Rivera, filmmaker who did Sleep Dealer noted that he changed genre to tell a typical border-crossing story and made it science fiction.
• Film is a collaborative art, there is a need for people to read scripts, Proofing your scripts! Have someone else proof them!
• There seems to be a lack of creativity in scripts. Self doubt creates a lack of creativity.
• There is a need for mentoring, for a salon and for workshops for scriptwriting particularly for Latino screenwriting labs and social networking, a workshop where each person gets 10 minutes to try out his\her project.
There is a lack of critical writing about Latino films. The only consistent writing is LatinoBuzz, Chicana from Chicago, about.com, NBC Latino, Huffington Post.
There is a lack of government funding of films except for the ever dwindling Nea. However, discussions are now underway with the government regarding using Kickstarter, Indiegogo and other crowdfunding platforms to accept investments as well as gifts.
Validation and Audience Development
Who is validating our cinema? Who is documenting our cinema? How are we programming our films and directors? How can we create more critical content on the films and filmmakers? How do we engage audiences in a more effective way?
There is a lack of knowledge of U.S.-Latino films.
The closest thing to a catalog of U.S.-Latino films was created by Lava.
Latin American Video Archives (Lava) opened in the late 80s and closed in 2006 for lack of funding. It contained 3,000 tapes. It created a database, and was set to go online as a searchable database of Latin American and Latino cinema. Listing over 9,000 titles produced by and about Latin Americans and Latinos, it became a distributor for the educational and consumer markets and for film festivals. The physical archive still exists as does the database on a hard disk drive.
FilmFinders (the company I founded in 1988) also tracked U.S.-Latino, Latino and every other film in the international film market from 1988 to 2009, totaling 60,000 titles with details including rights sold.
Latino film festivals also have databases of films and of participants from the public as well as publicists for Latino films. Those festival databases and those festivals’ skills in outreach could be used throughout the year if they would see the value in this for their own festivals.
Out of this comes the idea to create a central database with critical information.
The educational and non-theatrical market is an unknown market. Finding the academic department where the film belongs is somewhat complicated. A film could show on campus and bring in $3,000. A school or university could also buy the film on dvd for $300. The trick is in finding the proper professor to pitch, preferably one who would bring in the filmmaker as well to speak of the experience. Moreover, professors will write about the film too and so the life of the film can continue to be a vital part of the study program or the body of literature cited in the course of study. The professors might be in Latin American studies, anthropology, political science, or any other departments at a university or college.
An example in academia of interest in Latino film which might be useful in going forward in educational distribution is the Film Festival Research Network (Ffrn). Kansas based member Tamara L. Falicov, Associate Professor/Department Chair of the Department of Film and Media Studies at the
University of Kansas was quoted in a LatinoBuzz blog dealing with Latino production from the Spanish point of view. She can be reached at tfalicov [at] Ku.edu, 785-864-1353
Plenary Session Wrap Up
1st session:
Felipe Tewes, HBO Latino, reiterated Junot Diaz's advice to embrace general identity for strategic purposes without diluting individual identities.
Action
Create community and spaces for cross-pollination.Create a monthly salon for sharing...Create a resource directory/database.Create a film collaborative.Create a cinema club.
2nd Session: Storytelling
Lack of mentorship and developmentCreate an umbrella encompassing a salon, with biweekly or monthly script reading.Create a Latino fund.Create Facebook Page...or Linked InCreate co-production event.
3rd Session: Distribution and funding bodies are broken.
Look at models of Emerging Pictures, Affrm, and create a festival-distribution-exhibitor circuit
Look at educational distribution and other forms of non-theatrical distribution to universities, colleges, libraries, special interest groups.
4th Session: Validation
Lack of knowledge of U.S. -Latino films
Lack of critical writing
LobbyingArchivingMicro cinemaNetworkingWriting networking...cinema tropical and Latino buzzLatino film history/information
In one year this group meeting will reconvene to see what has developed. Meanwhile, here are the points of action with volunteers committing to work on them. I am on the database committee.
Call to Action
For those of you who were not able to attend, the participants of the last session signed up for the action groups, If you would like to sign up, please email and name which group(s) you choose to join. Send your email to: newyorklatinofilmsummit [At] gmail.com.
The committees are:
- Organizing Committee. The group in charge of general coordination and communication, as well as planning future Summit events.
- Information Committee. The group that will coordinate databases and communication in social media, as well as creating fluid networks of information inside and outside the group.
- Salons. This group will organize Professional events (please choose one from below)
a) Screenwriters
b) Producers
c) Work-in-progress screenings
d) Non-Theatrical/ Educational Distribution
- Workshops. Organizing specific workshops for the professional advancement of the group.
- Mentorships. Creating mentorship programs both for the members of the group, as well as for younger generations.
- Lobby/Advocacy/Activism. Creating strategies for the advancement and visibility of the professional and social causes of the group.
- Microcinema/Cine-Club. Creating a on-going cine-club with the hopes of documenting and presenting the history of Latino Cinema in the U.S., and serving as a curatorial platform for the exhibition of Latino works.
The summit organizing committee consists of: Andrea Betanzos (Assistant Director, Cinema Tropical), Carlos A. Gutiérrez (Co-founder and Director, Cinema Tropical), Paula Heredia (director/editor, Heredia Pictures), and Lucila Moctezuma (Production Assistance Program Manager, Women Make Movies.
- 7/5/2013
- by Sydney Levine
- Sydney's Buzz
Everywhere you turn marketers, advertisers, film studios, and television networks are courting the purported trillion dollar purchasing power of Latinos in the United States. Despite the tremendous power we hold as consumers of media there still is a lack of Latino cultural producers in this country. We simply don’t have enough Latino film directors, screenwriters, film critics, programmers, and funders.
Simultaneously, independent filmmaking in Latin America is reaching new heights. The amount of projects coming out of the region continues to increase and the films are receiving international acclaim at top tier film festivals. So, what is going on? What are we doing wrong in the U.S. and how can we fix it?
This is exactly what the organizers of the New York Latino Film Summit are trying to figure out. They have invited New York-based Latino film & media arts professionals to a special gathering that will take place on Friday, June 21, and Saturday, June 22 at the Film Society of Lincoln Center. They hope to, “provide a space where professionals can convene to engage in an open dialogue concerning the current and future state of U.S. Latinos in multimedia by reevaluating and adopting comprehensive strategies that address critical issues...”
Over the course of two days several roundtables will take place. The aim is to stimulate a discussion amongst the participants of the summit and to pinpoint the obstacles that stand in the way of creating meaningful and innovative Latino media content and a vibrant U.S.-based Latino film community.
The roundtables will tackle such questions as:
● Who has access to a film career?
● How can we democratize access to filmmaking?
● What stories are we telling?
● Are we limiting the stories Latinos can tell?
● Who is documenting our cinema?
● How are film festivals programming our films?
● How can we create more critical content on Latino films and filmmakers?
In order to take on these issues it is imperative that a wide range of voices and perspectives be part of the discussion. Don’t underestimate the power of your own voice. We need you there! And, come say hi, LatinoBuzz will be there too.
For further information and to register go here. Invite your friends on the Facebook event page.
New York Latino Film Summit: Changing Our Paradigms
Free and open to Latino film and media arts professionals and students (registration necessary).
Day 1: Friday, June 21, 6pm – 8pm
Amphitheater at the Film Society of Lincoln Center's Elinor Bunin Munroe Film Center
144 West 65th Street (between Broadway and Amsterdam Ave.)
1. Welcome and Introduction, 6pm
2. New Cultural Frontiers, 6:30pm - 8pm
Today, what defines our Latinidad exceeds the traditional categories imposed on the Latino identity. This session will ask participants to question how we define ourselves, how we are defined by others, who validates our authenticity, and what it means to appropriate the label.
Day 2: Saturday, June 22, 10:30am - 8pm
Furman Gallery, adjacent to the Film Society of Lincoln Center's Walter Reade Theater
165 West 65th Street (between Broadway and Amsterdam Ave.)
3. Access and Accessibility, 10:30am - 12pm
Who has access to a film career? Who and how does a filmmaker get validated to talk about our community? How can we democratize access to filmmaking? How can the audience get access to the work of Latino media makers.
4. Storytelling and Narratives, 1pm - 3pm
What stories are we telling? Are we pushing the envelope? Are we limited by our own narratives? Are we limiting the stories Latinos versus Latin Americans can tell? How are we being represented and who is representing us? Who is deciding what our storylines and our aesthetics are?
5. Validation and Audience Development, 3pm - 5pm
Who is validating our cinema? Who is documenting our cinema? How are we programming our films and directors? How can we create more critical content on the films and filmmakers? How do we engage audiences in a more effective way?
6. Plenary Session: Community Building, 5pm- 7pm
The summit organizing committee consists of: Andrea Betanzos (Assistant Director, Cinema Tropical), Carlos A. Gutiérrez (Co-founder and Director, Cinema Tropical), Paula Heredia (director/editor, Heredia Pictures), and Lucila Moctezuma (Production Assistance Program Manager, Women Make Movies)
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
Simultaneously, independent filmmaking in Latin America is reaching new heights. The amount of projects coming out of the region continues to increase and the films are receiving international acclaim at top tier film festivals. So, what is going on? What are we doing wrong in the U.S. and how can we fix it?
This is exactly what the organizers of the New York Latino Film Summit are trying to figure out. They have invited New York-based Latino film & media arts professionals to a special gathering that will take place on Friday, June 21, and Saturday, June 22 at the Film Society of Lincoln Center. They hope to, “provide a space where professionals can convene to engage in an open dialogue concerning the current and future state of U.S. Latinos in multimedia by reevaluating and adopting comprehensive strategies that address critical issues...”
Over the course of two days several roundtables will take place. The aim is to stimulate a discussion amongst the participants of the summit and to pinpoint the obstacles that stand in the way of creating meaningful and innovative Latino media content and a vibrant U.S.-based Latino film community.
The roundtables will tackle such questions as:
● Who has access to a film career?
● How can we democratize access to filmmaking?
● What stories are we telling?
● Are we limiting the stories Latinos can tell?
● Who is documenting our cinema?
● How are film festivals programming our films?
● How can we create more critical content on Latino films and filmmakers?
In order to take on these issues it is imperative that a wide range of voices and perspectives be part of the discussion. Don’t underestimate the power of your own voice. We need you there! And, come say hi, LatinoBuzz will be there too.
For further information and to register go here. Invite your friends on the Facebook event page.
New York Latino Film Summit: Changing Our Paradigms
Free and open to Latino film and media arts professionals and students (registration necessary).
Day 1: Friday, June 21, 6pm – 8pm
Amphitheater at the Film Society of Lincoln Center's Elinor Bunin Munroe Film Center
144 West 65th Street (between Broadway and Amsterdam Ave.)
1. Welcome and Introduction, 6pm
2. New Cultural Frontiers, 6:30pm - 8pm
Today, what defines our Latinidad exceeds the traditional categories imposed on the Latino identity. This session will ask participants to question how we define ourselves, how we are defined by others, who validates our authenticity, and what it means to appropriate the label.
Day 2: Saturday, June 22, 10:30am - 8pm
Furman Gallery, adjacent to the Film Society of Lincoln Center's Walter Reade Theater
165 West 65th Street (between Broadway and Amsterdam Ave.)
3. Access and Accessibility, 10:30am - 12pm
Who has access to a film career? Who and how does a filmmaker get validated to talk about our community? How can we democratize access to filmmaking? How can the audience get access to the work of Latino media makers.
4. Storytelling and Narratives, 1pm - 3pm
What stories are we telling? Are we pushing the envelope? Are we limited by our own narratives? Are we limiting the stories Latinos versus Latin Americans can tell? How are we being represented and who is representing us? Who is deciding what our storylines and our aesthetics are?
5. Validation and Audience Development, 3pm - 5pm
Who is validating our cinema? Who is documenting our cinema? How are we programming our films and directors? How can we create more critical content on the films and filmmakers? How do we engage audiences in a more effective way?
6. Plenary Session: Community Building, 5pm- 7pm
The summit organizing committee consists of: Andrea Betanzos (Assistant Director, Cinema Tropical), Carlos A. Gutiérrez (Co-founder and Director, Cinema Tropical), Paula Heredia (director/editor, Heredia Pictures), and Lucila Moctezuma (Production Assistance Program Manager, Women Make Movies)
Written by Juan Caceres and Vanessa Erazo, LatinoBuzz is a weekly feature on SydneysBuzz that highlights Latino indie talent and upcoming trends in Latino film with the specific objective of presenting a broad range of Latino voices. Follow @LatinoBuzz on Twitter and Facebook.
- 6/18/2013
- by Vanessa Erazo
- Sydney's Buzz
"Argo" remains the Oscar-frontrunner! The Ben Affleck film was the big winner at the recently concluded 63rd Annual Ace Eddie Awards honoring outstanding editing in nine categories of film, television, and documentaries. "Argo" won the Dramatic category, "Silver Linings Playbook" for Comedy/Musical, "Brave" for Animated, and "Searching for Sugar Man" for Documentary.
Here are the complete list of nominees; for winners/nominees of other award-giving bodies, click here:
Best Edited Feature Film (Dramatic):
*** Argo
William Goldenberg, A.C.E.
Life of Pi
Tim Squyres, A.C.E.
Lincoln
Michael Kahn, A.C.E.
Skyfall
Stuart Baird, A.C.E.
Zero Dark Thirty
Dylan Tichenor, A.C.E. and William Goldenberg, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
The Best Exotic Marigold Hotel
Chris Gill
Les Misérables
Melanie Ann Oliver & Chris Dickens, A.C.E.
Moonrise Kingdom
Andrew Weisblum, A.C.E.
*** Silver Linings Playbook
Jay Cassidy,...
Here are the complete list of nominees; for winners/nominees of other award-giving bodies, click here:
Best Edited Feature Film (Dramatic):
*** Argo
William Goldenberg, A.C.E.
Life of Pi
Tim Squyres, A.C.E.
Lincoln
Michael Kahn, A.C.E.
Skyfall
Stuart Baird, A.C.E.
Zero Dark Thirty
Dylan Tichenor, A.C.E. and William Goldenberg, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
The Best Exotic Marigold Hotel
Chris Gill
Les Misérables
Melanie Ann Oliver & Chris Dickens, A.C.E.
Moonrise Kingdom
Andrew Weisblum, A.C.E.
*** Silver Linings Playbook
Jay Cassidy,...
- 2/18/2013
- by Manny
- Manny the Movie Guy
The winners of the 3rd Annual Cinema Tropical Awards were announced at a special event at the New York Times headquarters in New York City,celebrating the best of the Latin American film production of the year in five different categories:
- Best Feature Film
- Best Documentary Film
- Best Director, Feature Film
- Best Director, Documentary Film
- Best First Film
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times and 92YTribeca, with the support of the Mexican Cultural Institute. Special thanks to Lucila Moctezuma and Mario Díaz.
Best Feature Film
- O Som Ao Redor / Neighboring Sounds (Kleber Mendonça Filho, Brazil, 2012)
Best Director, Feature Film
- MatÍAs Meyer, Los ÚLtimos Cristeros / The Last Christeros (Mexico, 2011)
Best Documentary Film
- El Salvavidas / The Lifeguard (Maite Alberdi, Chile, 2011)
Best Director, Documentary Film
- JosÉ ÁLvarez, CanÍCula (Mexico, 2011)
Best First Film
- El Estudiante / The Student (Santiago Mitre, Argentina, 2011)
The films were selected from a list of Latin American feature films with a minimum of 60 minutes in length that were premiered between April 1, 2011 and March 31, 2012. The winners and final nominees were selected by a six-member jury panel from a list of fiction and documentary films compiled from the selections of a nominating committee composed of 14 film professionals from Latin America, the U.S. and Europe (see list below).
Fiction Jury
Dennis Lim writes about film and popular culture for various publications including The New York Times and the Los Angeles Times. He is the founding editor of Moving Image Source, the online publication and research resource of the Museum of the Moving Image and was formerly the film editor of The Village Voice. His work has also appeared in The Believer, The Oxford American, Blender, Spin, Espous, Indiewire, New York Daily News, The Independent on Sunday, The Guardian, and the film quarterly Cinema Scope, where he is a contributing editor. A member of the National Society of Film Critics and the editor of The Village Voice Film Guide (2006), he has served as a member of the New York Film Festival selection committee and he teaches in the Cultural Reporting and Criticism graduate program a New York University.
Matías Piñeiro is a filmmaker and professor at the Universidad del Cine in Buenos Aires. His first feature-length work, El hombre robado / The Stolen Man (2007), won awards at the Jeonju International Film Festival and at Las Palmas de Gran Canaria International Film Festival. In 2009, his second feature, Todos mienten / They All Lie, premiered at Bafici (Buenos Aires Festival International de Cine Independiente), where it won two awards. It also won a prize at the Santiago Festival Internacional de Cine. In 2010, he was selected—along with James Benning and Denis Côté—to screen his third film, Rosalinda at the 11th Jeonju Digital Project. Piñeiro recently premiered his most recent film, Viola, at the Toronto Film Festival, and it's slated for a Us release in 2013. He earned a filmmaking degree from Universidad del Cine. His award-winning films have been screened around the world, including at Anthology Film Archives, Festival des 3 Continents, the Festival del film Locarno, the London Film Festival, Museo de Arte Latinoamericano de Buenos Aires, the Museum of Modern Art, Rencontré Cinémas d’Amerique Latine de Toulouse, and the Viennale.
Frida Torresblanco served as a producer in Spain working on film including The Dancer Upstairs, directed by John Malkovich and starring Javier Bardem, as well as Susan Seidelman’s Gaudi Afternoon. She moved to New York City in 2002 to launch and lead Alfonso Cuaron’s film production company, Esperanto, where she served as Executive Producer and Creative On-Set Producer for The Assassination of Richard Nixon (directed by Niels Mueller, starring Sean Penn), among others. In 2006, Frida joined Alfonso Cuarón and Guillermo del Toro to produce El laberinto del Fauno / Pan’s Labyrinth (Three Oscars & another three Oscar nominations; three wins & five BAFTA nominations; a nomination for the Palm d’Or and a Golden Globe). The Hollywood Reporter named Frida one of the 50 most powerful Latinos in Hollywood. She also produced Rudo y Cursi (directed by Carlos Cuarón, starring Gael García Bernal and Diego Luna). In 2010, Frida launched her new film production company, Braven Films, with partners Eric Laufer and Giovanna Randall. Her next project, Magic Magic, produced through Braven Films, will star Michael Cera, Juno Temple and Emily Browning.
DocuMentary Jury
Ryan Harrington is the Director of Documentary Programs at the Tribeca Film Institute where he oversees the Gucci Tribeca Documentary Fund, the Tfi Documentary Fund, Tribeca All Access documentary program and the Latin America Media Arts Fund while developing other initiatives and programs that support non-fiction filmmaking. Recent Tfi successes include Give Up Tomorrow, If a Tree Falls, The Redemption of General Butt Naked, The Oath, Enemies of the People, Marathon Boy and Donor Unknown. Independently he is currently working on the feature doc Hungry in America, with filmmakers Kristi Jacobson & Lori Silverbush and Participant Media, that explores why so many people in the USA go without food, and what can be done about it. Harrington managed production for A&E IndieFilms, the theatrical documentary arm of the A&E Network, for four years. Throughout his time there he championed the Oscar-nominated films Murderball and Jesus Camp, and the Sundance hits My Kid Could Paint That and American Teen.
Paula Heredia is a director and editor based in New York. She was awarded an Emmy for the HBO documentary In Memoriam, NYC 9/11/01, and an Ace Eddie Award for the acclaimed documentary Unzipped. Her directorial work includes the documentaries George Plimpton and the Paris Review, Ralph Gibson, and The Couple in the Cage. Her dramatic work includes Having a Baby, Tras La Ventana, Slings and Arrows, and La Cena de Matrimonio. Her short film La Pájara Pinta premiered at the Lincoln Center Film Society LatinBeat Film Festival. Heredia’s editorial work can be seen in the HBO feature-length documentary Addiction, which received the 2007 Emmy Governors Award, and Alive Day Memories—Home from Iraq, executive produced by James Gandolfini for HBO. Her new edit, The Art of Failure: Chuck Connelly Not for Sale and Jacques D'Ambois in China, will air on HBO this summer. Other editorial credits include: Modulations Cinema for the Ear, The Vagina Monologues, Finding Christa and Free Tibet. Paula’s work and creative process is featured in the book: The Art of the Documentary by Megan Cunningham. With partner Larry Garvin, she co-founded Heredia Pictures, heads the international committee of New York Women in Film and Television and serves on the board of advisors of Tribeca All Access and Clementina, Inc.
Chi-hui Yang is a film programmer, lecturer and writer based in New York. As a guest curator, Yang has presented film and video series at film festivals and events internationally, including MoMA's Documentary Fortnight, Robert Flaherty Film Seminar (“The Age of Migration”), Seattle International Film Festival, Washington D.C. International Film Festival and Barcelona Asian Film Festival. From 2000-2010 he was the Director and Programmer of the San Francisco International Asian American Film Festival, the largest showcase of its kind in the Us. Yang is also the programmer of “Cinema Asian America,” a new On-Demand service offered by Comcast and currently a Visiting Scholar at New York University’s Asian/Pacific/American Institute.
Nominating Committee
- Isabel Arrate Fernandez, Idfa, The Netherlands
- Hugo Chaparro, film critic, Colombia
- Lucile De Calan, programmer, Biarritz Latin American Film Festival, France
- Denis de la Roca, programmer, Abu Dhabi Film Festival
- Mara Fortes, programmer, Morelia Film Festival
- Erick Gonzalez, programmer, Valdivia Film Festival, Chile
- Elías Jiménez, director, Festival Ícaro, Guatemala
- Roger Alan Koza, film critic and programmer, Filmfest Hamburg, Ficunam, Mexico
- Janneke Langelaan, Hubert Bals Fund, The Netherlands
- Diego Lerer, film critic, Argentina
- Rosa Martinez Rivero, film producer, Argentina
- Christian Sida-Valenzuela, director, Vancouver Latin American Film Festival
- Hebe Tabachnik, programmer, Los Angeles and Palm Springs Film Festivals
- Sergio Wolf, film programmer, Argentina...
- Best Feature Film
- Best Documentary Film
- Best Director, Feature Film
- Best Director, Documentary Film
- Best First Film
The Cinema Tropical Awards are presented in partnership with Voces, Latino Heritage Network of The New York Times and 92YTribeca, with the support of the Mexican Cultural Institute. Special thanks to Lucila Moctezuma and Mario Díaz.
Best Feature Film
- O Som Ao Redor / Neighboring Sounds (Kleber Mendonça Filho, Brazil, 2012)
Best Director, Feature Film
- MatÍAs Meyer, Los ÚLtimos Cristeros / The Last Christeros (Mexico, 2011)
Best Documentary Film
- El Salvavidas / The Lifeguard (Maite Alberdi, Chile, 2011)
Best Director, Documentary Film
- JosÉ ÁLvarez, CanÍCula (Mexico, 2011)
Best First Film
- El Estudiante / The Student (Santiago Mitre, Argentina, 2011)
The films were selected from a list of Latin American feature films with a minimum of 60 minutes in length that were premiered between April 1, 2011 and March 31, 2012. The winners and final nominees were selected by a six-member jury panel from a list of fiction and documentary films compiled from the selections of a nominating committee composed of 14 film professionals from Latin America, the U.S. and Europe (see list below).
Fiction Jury
Dennis Lim writes about film and popular culture for various publications including The New York Times and the Los Angeles Times. He is the founding editor of Moving Image Source, the online publication and research resource of the Museum of the Moving Image and was formerly the film editor of The Village Voice. His work has also appeared in The Believer, The Oxford American, Blender, Spin, Espous, Indiewire, New York Daily News, The Independent on Sunday, The Guardian, and the film quarterly Cinema Scope, where he is a contributing editor. A member of the National Society of Film Critics and the editor of The Village Voice Film Guide (2006), he has served as a member of the New York Film Festival selection committee and he teaches in the Cultural Reporting and Criticism graduate program a New York University.
Matías Piñeiro is a filmmaker and professor at the Universidad del Cine in Buenos Aires. His first feature-length work, El hombre robado / The Stolen Man (2007), won awards at the Jeonju International Film Festival and at Las Palmas de Gran Canaria International Film Festival. In 2009, his second feature, Todos mienten / They All Lie, premiered at Bafici (Buenos Aires Festival International de Cine Independiente), where it won two awards. It also won a prize at the Santiago Festival Internacional de Cine. In 2010, he was selected—along with James Benning and Denis Côté—to screen his third film, Rosalinda at the 11th Jeonju Digital Project. Piñeiro recently premiered his most recent film, Viola, at the Toronto Film Festival, and it's slated for a Us release in 2013. He earned a filmmaking degree from Universidad del Cine. His award-winning films have been screened around the world, including at Anthology Film Archives, Festival des 3 Continents, the Festival del film Locarno, the London Film Festival, Museo de Arte Latinoamericano de Buenos Aires, the Museum of Modern Art, Rencontré Cinémas d’Amerique Latine de Toulouse, and the Viennale.
Frida Torresblanco served as a producer in Spain working on film including The Dancer Upstairs, directed by John Malkovich and starring Javier Bardem, as well as Susan Seidelman’s Gaudi Afternoon. She moved to New York City in 2002 to launch and lead Alfonso Cuaron’s film production company, Esperanto, where she served as Executive Producer and Creative On-Set Producer for The Assassination of Richard Nixon (directed by Niels Mueller, starring Sean Penn), among others. In 2006, Frida joined Alfonso Cuarón and Guillermo del Toro to produce El laberinto del Fauno / Pan’s Labyrinth (Three Oscars & another three Oscar nominations; three wins & five BAFTA nominations; a nomination for the Palm d’Or and a Golden Globe). The Hollywood Reporter named Frida one of the 50 most powerful Latinos in Hollywood. She also produced Rudo y Cursi (directed by Carlos Cuarón, starring Gael García Bernal and Diego Luna). In 2010, Frida launched her new film production company, Braven Films, with partners Eric Laufer and Giovanna Randall. Her next project, Magic Magic, produced through Braven Films, will star Michael Cera, Juno Temple and Emily Browning.
DocuMentary Jury
Ryan Harrington is the Director of Documentary Programs at the Tribeca Film Institute where he oversees the Gucci Tribeca Documentary Fund, the Tfi Documentary Fund, Tribeca All Access documentary program and the Latin America Media Arts Fund while developing other initiatives and programs that support non-fiction filmmaking. Recent Tfi successes include Give Up Tomorrow, If a Tree Falls, The Redemption of General Butt Naked, The Oath, Enemies of the People, Marathon Boy and Donor Unknown. Independently he is currently working on the feature doc Hungry in America, with filmmakers Kristi Jacobson & Lori Silverbush and Participant Media, that explores why so many people in the USA go without food, and what can be done about it. Harrington managed production for A&E IndieFilms, the theatrical documentary arm of the A&E Network, for four years. Throughout his time there he championed the Oscar-nominated films Murderball and Jesus Camp, and the Sundance hits My Kid Could Paint That and American Teen.
Paula Heredia is a director and editor based in New York. She was awarded an Emmy for the HBO documentary In Memoriam, NYC 9/11/01, and an Ace Eddie Award for the acclaimed documentary Unzipped. Her directorial work includes the documentaries George Plimpton and the Paris Review, Ralph Gibson, and The Couple in the Cage. Her dramatic work includes Having a Baby, Tras La Ventana, Slings and Arrows, and La Cena de Matrimonio. Her short film La Pájara Pinta premiered at the Lincoln Center Film Society LatinBeat Film Festival. Heredia’s editorial work can be seen in the HBO feature-length documentary Addiction, which received the 2007 Emmy Governors Award, and Alive Day Memories—Home from Iraq, executive produced by James Gandolfini for HBO. Her new edit, The Art of Failure: Chuck Connelly Not for Sale and Jacques D'Ambois in China, will air on HBO this summer. Other editorial credits include: Modulations Cinema for the Ear, The Vagina Monologues, Finding Christa and Free Tibet. Paula’s work and creative process is featured in the book: The Art of the Documentary by Megan Cunningham. With partner Larry Garvin, she co-founded Heredia Pictures, heads the international committee of New York Women in Film and Television and serves on the board of advisors of Tribeca All Access and Clementina, Inc.
Chi-hui Yang is a film programmer, lecturer and writer based in New York. As a guest curator, Yang has presented film and video series at film festivals and events internationally, including MoMA's Documentary Fortnight, Robert Flaherty Film Seminar (“The Age of Migration”), Seattle International Film Festival, Washington D.C. International Film Festival and Barcelona Asian Film Festival. From 2000-2010 he was the Director and Programmer of the San Francisco International Asian American Film Festival, the largest showcase of its kind in the Us. Yang is also the programmer of “Cinema Asian America,” a new On-Demand service offered by Comcast and currently a Visiting Scholar at New York University’s Asian/Pacific/American Institute.
Nominating Committee
- Isabel Arrate Fernandez, Idfa, The Netherlands
- Hugo Chaparro, film critic, Colombia
- Lucile De Calan, programmer, Biarritz Latin American Film Festival, France
- Denis de la Roca, programmer, Abu Dhabi Film Festival
- Mara Fortes, programmer, Morelia Film Festival
- Erick Gonzalez, programmer, Valdivia Film Festival, Chile
- Elías Jiménez, director, Festival Ícaro, Guatemala
- Roger Alan Koza, film critic and programmer, Filmfest Hamburg, Ficunam, Mexico
- Janneke Langelaan, Hubert Bals Fund, The Netherlands
- Diego Lerer, film critic, Argentina
- Rosa Martinez Rivero, film producer, Argentina
- Christian Sida-Valenzuela, director, Vancouver Latin American Film Festival
- Hebe Tabachnik, programmer, Los Angeles and Palm Springs Film Festivals
- Sergio Wolf, film programmer, Argentina...
- 1/23/2013
- by Sydney Levine
- Sydney's Buzz
The American Cinema Editors (Ace) has announced the nominees of the 63rd Annual Ace Eddie Awards honoring outstanding editing in nine categories of film, television, and documentaries. We'll find out the winners on Saturday, February 16th.
Here are the complete list of nominees; for winners/nominees of other award-giving bodies, click here:
Best Edited Feature Film (Dramatic):
Argo
William Goldenberg, A.C.E.
Life of Pi
Tim Squyres, A.C.E.
Lincoln
Michael Kahn, A.C.E.
Skyfall
Stuart Baird, A.C.E.
Zero Dark Thirty
Dylan Tichenor, A.C.E. and William Goldenberg, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
The Best Exotic Marigold Hotel
Chris Gill
Les Misérables
Melanie Ann Oliver & Chris Dickens, A.C.E.
Moonrise Kingdom
Andrew Weisblum, A.C.E.
Silver Linings Playbook
Jay Cassidy, A.C.E. & Crispin Struthers
Ted
Jeff Freeman, A.C.E.
Best Edited Animated Feature Film:
Brave -- Nicolas C.
Here are the complete list of nominees; for winners/nominees of other award-giving bodies, click here:
Best Edited Feature Film (Dramatic):
Argo
William Goldenberg, A.C.E.
Life of Pi
Tim Squyres, A.C.E.
Lincoln
Michael Kahn, A.C.E.
Skyfall
Stuart Baird, A.C.E.
Zero Dark Thirty
Dylan Tichenor, A.C.E. and William Goldenberg, A.C.E.
Best Edited Feature Film (Comedy Or Musical):
The Best Exotic Marigold Hotel
Chris Gill
Les Misérables
Melanie Ann Oliver & Chris Dickens, A.C.E.
Moonrise Kingdom
Andrew Weisblum, A.C.E.
Silver Linings Playbook
Jay Cassidy, A.C.E. & Crispin Struthers
Ted
Jeff Freeman, A.C.E.
Best Edited Animated Feature Film:
Brave -- Nicolas C.
- 1/12/2013
- by Manny
- Manny the Movie Guy
The nominees for the 63rd Annual Ace Eddie Awards was announced today. Ace, the American Cinema Editors, is an honorary society of motion picture editors founded in 1950. Film editors are voted into membership on the basis of their professional achievements, their dedication to the education of others and their commitment to the craft of editing. Best Edited Feature Film (Dramatic): Argo William Goldenberg, A.C.E Life of Pi Tim Squyres, A.C.E. Lincoln Michael Kahn, A.C.E. Skyfall Stuart Baird, A.C.E. Zero Dark Thirty Dylan Tichenor, A.C.E. & William Goldenberg, A.C.E. Best Edited Feature Film (Comedy Or Musical): The Best Exotic Marigold Hotel Chris Gill Les Misérables Melanie Ann Oliver & Chris Dickens, A.C.E. Moonrise Kingdom Andrew Weisblum, A.C.E. Silver Linings Playbook Jay Cassidy, A.C.E. & Crispin Struthers Ted Jeff Freeman, A.C.E. Best Edited...
- 1/11/2013
- by hnblog@hollywoodnews.com (Hollywood News Team)
- Hollywoodnews.com
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