Outfest has announced the award winners of its 2021 Outfest Los Angeles LGBTQ Film Festival.
The nation’s leading LGBTQ festival ran from August 13th to August 22nd, holding its closing night at the iconic Orpheum Theatre, with Vivian Kleiman’s No Straight Lines: The Rise of Queer Comics claiming the Documentary Feature Grand Jury Prize, and Brielle Brilliant’s Firstness winning the U.S. Narrative Feature Grand Jury Prize.
For the first time ever, Outfest collaborated with IMDb in choosing Audience Award winners, selecting them based on IMDb ratings. Among other prizes and recognition, eligible Outfest Los Angeles winners received a one-year membership to IMDbPro.
The winners of the Grand Jury Prizes for Best U.S. Narrative Short, Best Documentary Short, and Best International Narrative Short all received a $2000 cash prize awarded in partnership with Entertainment Partners.
Also of note is the fact that the U.S. and International Narrative...
The nation’s leading LGBTQ festival ran from August 13th to August 22nd, holding its closing night at the iconic Orpheum Theatre, with Vivian Kleiman’s No Straight Lines: The Rise of Queer Comics claiming the Documentary Feature Grand Jury Prize, and Brielle Brilliant’s Firstness winning the U.S. Narrative Feature Grand Jury Prize.
For the first time ever, Outfest collaborated with IMDb in choosing Audience Award winners, selecting them based on IMDb ratings. Among other prizes and recognition, eligible Outfest Los Angeles winners received a one-year membership to IMDbPro.
The winners of the Grand Jury Prizes for Best U.S. Narrative Short, Best Documentary Short, and Best International Narrative Short all received a $2000 cash prize awarded in partnership with Entertainment Partners.
Also of note is the fact that the U.S. and International Narrative...
- 8/24/2021
- by Matt Grobar
- Deadline Film + TV
The documentaries “Landfall” and “Five Years North” have won the top jury prizes at the 2020 Doc NYC film festival, the largest festival in the United States devoted to nonfiction filmmaking.
“Landfall,” director Cecilia Aldarondo’s portrait of a Puerto Rican community in the wake of Hurricane Maria, won the Grand Jury Prize in the Viewfinders Competition, with a special jury prize going to “Through the Night.” In the Metropolis Competition, made up of films about New York City, the top winner was “Five Years North,” Zach Ingrasci and Chris Temple’s film about a Cuban-American Ice agent and a teenage Guatemalan immigrant. “Wojnarowicz” received a special award for its use of archival material.
Jury prizes in the Short List: Features section, which was made up of 15 films deemed by Doc NYC programmers to be likely awards contenders, were awarded to “Time” for directing, “Welcome to Chechnya” for producing, “Boys State...
“Landfall,” director Cecilia Aldarondo’s portrait of a Puerto Rican community in the wake of Hurricane Maria, won the Grand Jury Prize in the Viewfinders Competition, with a special jury prize going to “Through the Night.” In the Metropolis Competition, made up of films about New York City, the top winner was “Five Years North,” Zach Ingrasci and Chris Temple’s film about a Cuban-American Ice agent and a teenage Guatemalan immigrant. “Wojnarowicz” received a special award for its use of archival material.
Jury prizes in the Short List: Features section, which was made up of 15 films deemed by Doc NYC programmers to be likely awards contenders, were awarded to “Time” for directing, “Welcome to Chechnya” for producing, “Boys State...
- 11/18/2020
- by Steve Pond
- The Wrap
The future of film is female: a photo snapped in February at the Berlinale’s climax, when the Juliette Binoche-led international jury met with German Chancellor Angela Merkel, may be the most important film photo of 2019 — or even the decade. The image is a signpost of where we want to be as women in film and as a film community at large. And that it’s attainable.
As Americans become mired on how to navigate the Scylla and Charybdis of #MeToo and Trump, on the way to 50/50 in 2020, the Berlinale jury showed what the future could look like with a female jury president — and a female government leader. Embrace the change — the Berlinale showed us how (and stepped ahead of rivals Cannes and Venice in so doing).
“The picture clearly captures a life-highlight moment for all of us who were there [hopefully the chancellor as well],” says Rajendra Roy, Berlin jury member and MoMA’s chief curator of film.
As Americans become mired on how to navigate the Scylla and Charybdis of #MeToo and Trump, on the way to 50/50 in 2020, the Berlinale jury showed what the future could look like with a female jury president — and a female government leader. Embrace the change — the Berlinale showed us how (and stepped ahead of rivals Cannes and Venice in so doing).
“The picture clearly captures a life-highlight moment for all of us who were there [hopefully the chancellor as well],” says Rajendra Roy, Berlin jury member and MoMA’s chief curator of film.
- 5/7/2019
- by Thelma Adams
- Variety Film + TV
Palm Springs International Film Festival: Michael Lerman, Artistic Director InterviewedI caught up with a very, very busy Michael Lerman today, Christmas Eve. Asked what at the moment was occupying his mind he said he was making sure the juries were in place and that the Q&A schedule was on track.
The ten-day Festival will screen 223 films from 78 countries, including 48 premieres from January 3–14, 2019.
The line-up includes a focus on cinema from France, India and Mexico, Premieres, Talking Pictures, Book to Screen, Special Presentations, Flos: Foreign Language Oscar Submissions, Gay!L.A., Local Spotlight, Modern Masters, True Stories, World Cinema Now, a 30-film retrospective of selections from past festivals (free screenings sponsored by Desert Care Network and National Endowment for the Arts), and more.
Sydney Levine: The Palm Springs Film Festival is often dubbed as “gays and grays”, is that your audience?
Michael Lerman: I have never heard that phrase before…...
The ten-day Festival will screen 223 films from 78 countries, including 48 premieres from January 3–14, 2019.
The line-up includes a focus on cinema from France, India and Mexico, Premieres, Talking Pictures, Book to Screen, Special Presentations, Flos: Foreign Language Oscar Submissions, Gay!L.A., Local Spotlight, Modern Masters, True Stories, World Cinema Now, a 30-film retrospective of selections from past festivals (free screenings sponsored by Desert Care Network and National Endowment for the Arts), and more.
Sydney Levine: The Palm Springs Film Festival is often dubbed as “gays and grays”, is that your audience?
Michael Lerman: I have never heard that phrase before…...
- 12/28/2018
- by Sydney Levine
- Sydney's Buzz
This week on Dr. Miami, the good doc offers some advice to telenovela stars Maria Raquenel and Liliana Rodriguez, plus a glamour model who wants her nose altered. Mexican singer and actress Raquenel is no stranger to appearing on TV with her many roles on TV and stage, most recently on WEtv’s My Life is a Telenovela. But will she and fellow star Liliana take Dr. Miami’s advice or will they think he is a little loco? Raquenel is looking to have some of the depressions and other marks on her butt evened out but is pretty nervous about stripping off in front of...read more...
- 4/21/2017
- by James Wray
- Monsters and Critics
Anyone that has attended the Palm Springs International Film Festival has surely noticed the rather specific demographic - both in background and age - that makes up the audiences that night after night fill up the screenings. While audiences of color and from a wide age range live in this small town, which has managed to put together an important regional festival for nearly three decades, they don’t seem to have incorporated into the film festival experience. The assumption that the festival is only for those with a higher income, prominent educational backgrounds, or industry connections, might deter local audiences, to whom the festival should aim, from attending.
Conscious of such this phenomenon, the festival and their Latino team in particular, have doubled their efforts to create visibility for the festival in a Latino context in order to attract those patrons that erroneously could think their festival doesn’t welcome them or that it doesn’t offer any stories that could entice them. People like seasoned programmer Hebe Tabachnick, who ensures the best films to come out of Latin America that year screen in Palm Springs; Program Manager Liliana Rodriguez, who also programs the After Dark section of the festival and who is an outspoken supporter of Latin American cinema; or Film Society Assistant Patricia Garza-Elsperger, whose efforts in making the festival a friendly environment for local Latino audiences go above and beyond her official duties.
Events such as the Cine Latino Party, which brings together filmmakers, press, programmers, staff and the general public, or the Latino Filmmakers Dinner, where the artists discussed their works amongst each other and with selected press in attendance in a casual environment that hopes to create a stronger community of people rallying behind Latin American cinema, U.S. Latino projects, and even honorary-Latino films like Paddy Breathnach Cuba-set “Viva.”
Thanks to Tabachnick and her collaborator’s relentless dedication, an immense amount of Latin American films formed part of this year’s Palm Springs International Film Festival program and an equally impressive number of filmmakers came to the city to present their work. The film selection included "Alias Maria" (Colombia),"The Second Mother" (Brazil),"From Afar" (Venezuela), "Jeremy" (Mexico), "The Club" (Chile), "Liz in September" (Venezuela), "Magallanes" (Peru), "The Memory of Water" (Chile), "Papa" (Cuba), "Neon Bull" (Brazil), "Paulina" (Argentina), "The Clan" (Argentina). Celso R. García director of the Guillermo Del Toro-produced “The Thin Yellow Line” (La delgada linea amarilla), Flavio Florencio director of Mexican trans documentary “Made in Bangkok,” Jayor Bustamante director of "Ixcanul," and Ciro Guerra director of the Academy Award-nominated "Embrace of the Serpent," were among he talented creators in attendance.
One particularly insightful presentation was the double feature program of Michel Franco’s English-language debut “Chronic” and Gabriel Ripstein’s feature debut “600 Miles,” in which both filmmakers interchanged roles as producer and directors respectively. Both hard-hitting and emotionally devastating films star British actor Tim Roth in two very distinct roles. In “Chronic” as a hospice caretaker struggling with his own turbulent past, and in “600 Miles” as an Atf agent that is kidnapped by a young Mexican boy working very dangerous people. Following the screenings Tabachnick moderated a Q&A with Ripstein and Roth about their mutual experience working on these titles.
As part of the festival’s commitment to engage its homegrown audiences in the festival’s mission and to expose them stories from around the world from, Tabachnik also hosted a screening of the Mexican family film “Jeremy” (El Jeremias) at a local high school. Through initiatives like this, Psiff wishes to evolve into a more inclusive event that can cater to cinephiles, casual attendees, and those looking to be surprised – no matter how young they are. Community outreach via the power of cinema is what could truly transform the festival from its apparent elite quality to an accessible and much more multicultural space to enjoy and discuss the art form.
Latin American cinema is consistently present and awarded at countless festival due to the particular voices and topical issues it depicts, not only with an authentic approach, but always layered with universal appeal. It’s time that audiences represented in such films or those connected to them by their heritage become a stronger force not only at the mainstream box-office but also at festival where they can have an interaction with the storytellers behind the camera. On that note, Palm Springs International Film Festival is on the right path into becoming a festival that retains the quality of the films, but sets its eyes on diversifying the eyes set that come through the theater doors.
The 27th Palm Springs International Film Festival took place January 1-11, 2016.
Conscious of such this phenomenon, the festival and their Latino team in particular, have doubled their efforts to create visibility for the festival in a Latino context in order to attract those patrons that erroneously could think their festival doesn’t welcome them or that it doesn’t offer any stories that could entice them. People like seasoned programmer Hebe Tabachnick, who ensures the best films to come out of Latin America that year screen in Palm Springs; Program Manager Liliana Rodriguez, who also programs the After Dark section of the festival and who is an outspoken supporter of Latin American cinema; or Film Society Assistant Patricia Garza-Elsperger, whose efforts in making the festival a friendly environment for local Latino audiences go above and beyond her official duties.
Events such as the Cine Latino Party, which brings together filmmakers, press, programmers, staff and the general public, or the Latino Filmmakers Dinner, where the artists discussed their works amongst each other and with selected press in attendance in a casual environment that hopes to create a stronger community of people rallying behind Latin American cinema, U.S. Latino projects, and even honorary-Latino films like Paddy Breathnach Cuba-set “Viva.”
Thanks to Tabachnick and her collaborator’s relentless dedication, an immense amount of Latin American films formed part of this year’s Palm Springs International Film Festival program and an equally impressive number of filmmakers came to the city to present their work. The film selection included "Alias Maria" (Colombia),"The Second Mother" (Brazil),"From Afar" (Venezuela), "Jeremy" (Mexico), "The Club" (Chile), "Liz in September" (Venezuela), "Magallanes" (Peru), "The Memory of Water" (Chile), "Papa" (Cuba), "Neon Bull" (Brazil), "Paulina" (Argentina), "The Clan" (Argentina). Celso R. García director of the Guillermo Del Toro-produced “The Thin Yellow Line” (La delgada linea amarilla), Flavio Florencio director of Mexican trans documentary “Made in Bangkok,” Jayor Bustamante director of "Ixcanul," and Ciro Guerra director of the Academy Award-nominated "Embrace of the Serpent," were among he talented creators in attendance.
One particularly insightful presentation was the double feature program of Michel Franco’s English-language debut “Chronic” and Gabriel Ripstein’s feature debut “600 Miles,” in which both filmmakers interchanged roles as producer and directors respectively. Both hard-hitting and emotionally devastating films star British actor Tim Roth in two very distinct roles. In “Chronic” as a hospice caretaker struggling with his own turbulent past, and in “600 Miles” as an Atf agent that is kidnapped by a young Mexican boy working very dangerous people. Following the screenings Tabachnick moderated a Q&A with Ripstein and Roth about their mutual experience working on these titles.
As part of the festival’s commitment to engage its homegrown audiences in the festival’s mission and to expose them stories from around the world from, Tabachnik also hosted a screening of the Mexican family film “Jeremy” (El Jeremias) at a local high school. Through initiatives like this, Psiff wishes to evolve into a more inclusive event that can cater to cinephiles, casual attendees, and those looking to be surprised – no matter how young they are. Community outreach via the power of cinema is what could truly transform the festival from its apparent elite quality to an accessible and much more multicultural space to enjoy and discuss the art form.
Latin American cinema is consistently present and awarded at countless festival due to the particular voices and topical issues it depicts, not only with an authentic approach, but always layered with universal appeal. It’s time that audiences represented in such films or those connected to them by their heritage become a stronger force not only at the mainstream box-office but also at festival where they can have an interaction with the storytellers behind the camera. On that note, Palm Springs International Film Festival is on the right path into becoming a festival that retains the quality of the films, but sets its eyes on diversifying the eyes set that come through the theater doors.
The 27th Palm Springs International Film Festival took place January 1-11, 2016.
- 1/23/2016
- by Carlos Aguilar
- Sydney's Buzz
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