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('story', 0, 31, 42, 'en', 0, '<p><span>1.</span>&nbsp;&nbsp;&nbsp;&nbsp;<span>The Golden Egg/ Vesna by Nathalia Konchalovsky.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><span>2.</span>&nbsp;&nbsp;&nbsp;&nbsp;<span>International shorts: Special mention / Black Line by Mark Olexa, Francesca Scalisi.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><span>3.</span>&nbsp;&nbsp;&nbsp;&nbsp;<span>Best International short / Gulyabani by Gurcan Keltek.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><span>4.</span>&nbsp;&nbsp;&nbsp;&nbsp;<span>Best Icelandic short / Jörmundur by Maddie O´hara, Jack Bushell &amp; Alex Herz.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><span>5.</span>&nbsp;&nbsp;&nbsp;&nbsp;<span>A different&nbsp;</span><span>tomorrow</span><span>&nbsp;/ América by Erick Stoll and Chase Whiteside.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><span>6.</span>&nbsp;&nbsp;&nbsp;&nbsp;<span>New Visions: Special mention / Styx by Wolfgang Fischer.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><span>7.</span>&nbsp;&nbsp;&nbsp;&nbsp;<span>The main prize of the RIFF festival,&nbsp;<strong>The Golden Puffin</strong>&nbsp;goes to&nbsp;<strong>Knife + Heart&nbsp;</strong>by<strong>&nbsp;Yann Gonzalez.</strong>&nbsp;</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><strong><span>THE GOLDEN EGG</span></strong></p>\r\n\r\n<p><span>Firstly, the members of the jury would like to thank all the filmmakers that so generously shared their stories with us. It was both a privilege and a pleasure to watch eight film from ten different countries. Each of these films offered either a window into the realm of human emotions, personal relations, composite cultures, or a peak into the heart of the filmmaker himself – and in some cases, all the above. These films touch upon brave and complex themes, brave and complex characters, brave and complex issues. We might indeed live in a brave new world, but at the same time we also live in a complex one. Thus, sometimes - the most complex of issues, need the simplest means for them to become clear and transparent to us. And such is the case with the premise of the film, that we, the jury, unanimously agreed upon. Few things are more fragile and precious as the relationship between a parent and a child; regardless of their age. To dive into a theme of a broken family that seeks healing, in the form of a short film – is not only difficult – it ́s almost mad. Yet, the filmmaker manages to deliver a deeply complex personal story between a mother and daughter, and their journey from utter lack of connection, to a new beginning - in an effortless, humorous and credible way. We the jury, thus find it quite fitting, to hand the Golden Egg, to a story of a mother ́s love to her daughter. The Russian film Vesna, directed by Nathalia Konchalovksy, is not only a beautiful film, but also quite of a storytelling achievement, full of vivid characters, impressive performances and sophisticated filmmaking.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><strong><span>SHORT FILM AWARDS</span></strong></p>\r\n\r\n<p><strong><span>Thora:</span></strong></p>\r\n\r\n<p><span>Our prize for the&nbsp;</span><strong><span>Best Icelandic short&nbsp;</span></strong><span>goes to a film we felt was a beautiful, reverent ode to an interesting subject: the jury is proud to award Jörmundur, directed by Jack Bushell and Nicole Stock.</span></p>\r\n\r\n<p><span>In the International Shorts competition, the jury would like to first award a</span><strong><span>Special Mention&nbsp;</span></strong><span>to the film Black Line, directed by Francesca Salisi and Mark Olexa, who told a big story through subtle but powerful means.</span></p>\r\n\r\n<p><strong><span>Jordan:</span></strong></p>\r\n\r\n<p><span>In a diverse and a frequently revelatory shorts program, one film stood for our jury as a unanimous and signifiant accomplishment. For its formal daring, thematic scope, and sociohistorical insight, the jury awards the</span><strong><span>International Shorts top prize</span></strong><span>to Gulyabani, by Gürcan Keltek.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><strong><span>A DIFFERENT&nbsp;</span></strong><strong><span>TOMORROW</span></strong></p>\r\n\r\n<p><strong><em><span>AMÉRICA</span></em></strong></p>\r\n\r\n<p><span>Our jury from Riga, Reykjavík and New York all connected equally with this soulful story of family guilt, responsibility and most of all, love. We were truly impressed by this film from new directors set in a small town in Mexico. The Award for Best Documentary goes to... América.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><strong><span>NEW VISIONS / THE GOLDEN PUFFIN</span></strong></p>\r\n\r\n<p><strong><em><span>STYX</span></em></strong></p>\r\n\r\n<p><span>For technically brilliant direction and an honest performance by Susanna Wolff, we give Honorable Mention to STYX by Wolfgang Fischer for his economical storytelling that illustrates the moral dilemma of Europe.</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p><strong><em><span>KNIFE + HEART</span></em></strong></p>\r\n\r\n<p><span>A playful homage to cinema and a celebration of queer subculture, director Yann Gonzalez defies labels using confidence, humor and a thrilling juxtaposition of love and loss. A juicy treat for all senses,&nbsp;<strong>the Golden Puffin is awarded to KNIFE + HEART</strong>.</span></p>\r\n', '', 'basic_html'),
('story', 0, 32, 43, 'en', 0, '<p>The Academy of Motion Picture Arts and Sciences tonight honored its student winners from colleges and universities around the world at the 45th Student Academy Awards ceremony, held at the Samuel Goldwyn Theater in Beverly Hills. The Gold, Silver and Bronze Medal awards were announced and presented by&nbsp;documentarian Arthur Dong, actor and comedian Kumail Nanjiani and directors Catherine Hardwicke and Patricia Riggen!</p>\r\n\r\n<p>The 2018 Student Academy Award winners are:</p>\r\n\r\n<p><strong>Alternative (Domestic Film Schools)</strong><br />\r\nGold: Shae Demandt, “Reanimated,” Florida State University</p>\r\n\r\n<p><strong>Animation (Domestic Film Schools)</strong><br />\r\nGold: Hanna Kim, “Raccoon and the Light,” California Institute of the Arts<br />\r\nSilver: Yu Yu, “Daisy,” University of Southern California<br />\r\nBronze: Eaza Shukla, “Re-Gifted,” Ringling College of Art and Design</p>\r\n\r\n<p><strong>Animation (International Film Schools)</strong><br />\r\nGold: Pierre Perveyrie, Maximilien Bougeois, Marine Goalard, Irina Nguyen-Duc and Quentin Dubois, “The Green Bird,” MOPA</p>\r\n\r\n<p><strong>Documentary (Domestic Film Schools)</strong><br />\r\nGold: Mathieu Faure, “An Edited Life,” New York University<br />\r\nSilver: Yiying Li, “Love &amp; Loss,” University of Southern California<br />\r\nBronze: Lauren Schwartzman, “Dust Rising,” University of California, Berkeley</p>\r\n\r\n<p><strong>Documentary (International Film Schools)</strong><br />\r\nGold: Mart Bira, “Nomadic Doctor,” University of Hertfordshire</p>\r\n\r\n<p><strong>Narrative (Domestic Film Schools)</strong><br />\r\nGold: Hua Tong, “Spring Flower,” University of Southern California<br />\r\nSilver: Kelley Kali, “Lalo’s House,” University of Southern California<br />\r\nBronze: Brian Robau, “Esta Es Tu Cuba”/“This Is Your Cuba,” Chapman University</p>\r\n\r\n<p><strong>Narrative (International Film Schools)</strong><br />\r\nGold: Jonatan Etzler, “Get Ready with Me,” Stockholm Academy of the Arts<br />\r\nSilver: Lisa Gertsch, “Almost Everything,” Zurich University of the Arts<br />\r\nBronze: István Kovács, “A Siege,” University of Theatre and Film Arts, Budapest</p>\r\n\r\n<p>See the full&nbsp;<a href=\"https://osca.rs/SAA2018\">livestream here.&nbsp;</a></p>\r\n', '', 'basic_html'),
('story', 0, 32, 45, 'en', 0, '<p>The Academy of Motion Picture Arts and Sciences tonight honored its student winners from colleges and universities around the world at the 45th Student Academy Awards ceremony, held at the Samuel Goldwyn Theater in Beverly Hills. The Gold, Silver and Bronze Medal awards were announced and presented by&nbsp;documentarian Arthur Dong, actor and comedian Kumail Nanjiani and directors Catherine Hardwicke and Patricia Riggen!</p>\r\n\r\n<p>The 2018 Student Academy Award winners are:</p>\r\n\r\n<p><strong>Alternative (Domestic Film Schools)</strong><br />\r\nGold: Shae Demandt, “Reanimated,” Florida State University</p>\r\n\r\n<p><strong>Animation (Domestic Film Schools)</strong><br />\r\nGold: Hanna Kim, “Raccoon and the Light,” California Institute of the Arts<br />\r\nSilver: Yu Yu, “Daisy,” University of Southern California<br />\r\nBronze: Eaza Shukla, “Re-Gifted,” Ringling College of Art and Design</p>\r\n\r\n<p><strong>Animation (International Film Schools)</strong><br />\r\nGold: Pierre Perveyrie, Maximilien Bougeois, Marine Goalard, Irina Nguyen-Duc and Quentin Dubois, “The Green Bird,” MOPA</p>\r\n\r\n<p><strong>Documentary (Domestic Film Schools)</strong><br />\r\nGold: Mathieu Faure, “An Edited Life,” New York University<br />\r\nSilver: Yiying Li, “Love &amp; Loss,” University of Southern California<br />\r\nBronze: Lauren Schwartzman, “Dust Rising,” University of California, Berkeley</p>\r\n\r\n<p><strong>Documentary (International Film Schools)</strong><br />\r\nGold: Mart Bira, “Nomadic Doctor,” University of Hertfordshire</p>\r\n\r\n<p><strong>Narrative (Domestic Film Schools)</strong><br />\r\nGold: Hua Tong, “Spring Flower,” University of Southern California<br />\r\nSilver: Kelley Kali, “Lalo’s House,” University of Southern California<br />\r\nBronze: Brian Robau, “Esta Es Tu Cuba”/“This Is Your Cuba,” Chapman University</p>\r\n\r\n<p><strong>Narrative (International Film Schools)</strong><br />\r\nGold: Jonatan Etzler, “Get Ready with Me,” Stockholm Academy of the Arts<br />\r\nSilver: Lisa Gertsch, “Almost Everything,” Zurich University of the Arts<br />\r\nBronze: István Kovács, “A Siege,” University of Theatre and Film Arts, Budapest</p>\r\n\r\n<p>See the full&nbsp;<a href=\"https://osca.rs/SAA2018\">livestream here.&nbsp;</a></p>\r\n', '', 'basic_html'),
('story', 0, 32, 357, 'en', 0, '<p>The Academy of Motion Picture Arts and Sciences tonight honored its student winners from colleges and universities around the world at the 45th Student Academy Awards ceremony, held at the Samuel Goldwyn Theater in Beverly Hills. The Gold, Silver and Bronze Medal awards were announced and presented by&nbsp;documentarian Arthur Dong, actor and comedian Kumail Nanjiani and directors Catherine Hardwicke and Patricia Riggen!</p>\r\n\r\n<p>The 2018 Student Academy Award winners are:</p>\r\n\r\n<p><strong>Alternative (Domestic Film Schools)</strong><br />\r\nGold: Shae Demandt, “Reanimated,” Florida State University</p>\r\n\r\n<p><strong>Animation (Domestic Film Schools)</strong><br />\r\nGold: Hanna Kim, “Raccoon and the Light,” California Institute of the Arts<br />\r\nSilver: Yu Yu, “Daisy,” University of Southern California<br />\r\nBronze: Eaza Shukla, “Re-Gifted,” Ringling College of Art and Design</p>\r\n\r\n<p><strong>Animation (International Film Schools)</strong><br />\r\nGold: Pierre Perveyrie, Maximilien Bougeois, Marine Goalard, Irina Nguyen-Duc and Quentin Dubois, “The Green Bird,” MOPA</p>\r\n\r\n<p><strong>Documentary (Domestic Film Schools)</strong><br />\r\nGold: Mathieu Faure, “An Edited Life,” New York University<br />\r\nSilver: Yiying Li, “Love &amp; Loss,” University of Southern California<br />\r\nBronze: Lauren Schwartzman, “Dust Rising,” University of California, Berkeley</p>\r\n\r\n<p><strong>Documentary (International Film Schools)</strong><br />\r\nGold: Mart Bira, “Nomadic Doctor,” University of Hertfordshire</p>\r\n\r\n<p><strong>Narrative (Domestic Film Schools)</strong><br />\r\nGold: Hua Tong, “Spring Flower,” University of Southern California<br />\r\nSilver: Kelley Kali, “Lalo’s House,” University of Southern California<br />\r\nBronze: Brian Robau, “Esta Es Tu Cuba”/“This Is Your Cuba,” Chapman University</p>\r\n\r\n<p><strong>Narrative (International Film Schools)</strong><br />\r\nGold: Jonatan Etzler, “Get Ready with Me,” Stockholm Academy of the Arts<br />\r\nSilver: Lisa Gertsch, “Almost Everything,” Zurich University of the Arts<br />\r\nBronze: István Kovács, “A Siege,” University of Theatre and Film Arts, Budapest</p>\r\n\r\n<p>See the full&nbsp;<a href=\"https://osca.rs/SAA2018\">livestream here.&nbsp;</a></p>\r\n', '', 'basic_html'),
('story', 0, 32, 360, 'en', 0, '<p>The Academy of Motion Picture Arts and Sciences tonight honored its student winners from colleges and universities around the world at the 45th Student Academy Awards ceremony, held at the Samuel Goldwyn Theater in Beverly Hills. The Gold, Silver and Bronze Medal awards were announced and presented by&nbsp;documentarian Arthur Dong, actor and comedian Kumail Nanjiani and directors Catherine Hardwicke and Patricia Riggen!</p>\r\n\r\n<p>The 2018 Student Academy Award winners are:</p>\r\n\r\n<p><strong>Alternative (Domestic Film Schools)</strong><br />\r\nGold: Shae Demandt, “Reanimated,” Florida State University</p>\r\n\r\n<p><strong>Animation (Domestic Film Schools)</strong><br />\r\nGold: Hanna Kim, “Raccoon and the Light,” California Institute of the Arts<br />\r\nSilver: Yu Yu, “Daisy,” University of Southern California<br />\r\nBronze: Eaza Shukla, “Re-Gifted,” Ringling College of Art and Design</p>\r\n\r\n<p><strong>Animation (International Film Schools)</strong><br />\r\nGold: Pierre Perveyrie, Maximilien Bougeois, Marine Goalard, Irina Nguyen-Duc and Quentin Dubois, “The Green Bird,” MOPA</p>\r\n\r\n<p><strong>Documentary (Domestic Film Schools)</strong><br />\r\nGold: Mathieu Faure, “An Edited Life,” New York University<br />\r\nSilver: Yiying Li, “Love &amp; Loss,” University of Southern California<br />\r\nBronze: Lauren Schwartzman, “Dust Rising,” University of California, Berkeley</p>\r\n\r\n<p><strong>Documentary (International Film Schools)</strong><br />\r\nGold: Mart Bira, “Nomadic Doctor,” University of Hertfordshire</p>\r\n\r\n<p><strong>Narrative (Domestic Film Schools)</strong><br />\r\nGold: Hua Tong, “Spring Flower,” University of Southern California<br />\r\nSilver: Kelley Kali, “Lalo’s House,” University of Southern California<br />\r\nBronze: Brian Robau, “Esta Es Tu Cuba”/“This Is Your Cuba,” Chapman University</p>\r\n\r\n<p><strong>Narrative (International Film Schools)</strong><br />\r\nGold: Jonatan Etzler, “Get Ready with Me,” Stockholm Academy of the Arts<br />\r\nSilver: Lisa Gertsch, “Almost Everything,” Zurich University of the Arts<br />\r\nBronze: István Kovács, “A Siege,” University of Theatre and Film Arts, Budapest</p>\r\n\r\n<p>See the full&nbsp;<a href=\"https://osca.rs/SAA2018\">livestream here.&nbsp;</a></p>\r\n', '', 'basic_html'),
('story', 0, 33, 44, 'en', 0, '<p>&nbsp;</p>\r\n\r\n<p>December 31, 2018 Earlybird Deadline</p>\r\n\r\n<p><br />\r\n&nbsp;</p>\r\n\r\n<p>February 25, 2019 Regular Deadline</p>\r\n\r\n<p><br />\r\n&nbsp;</p>\r\n\r\n<p>March 25, 2019 Late Deadline</p>\r\n\r\n<p>April 22, 2019 Extended Deadline</p>\r\n\r\n<p><a href=\"http://www.filmfestivals.com/blog/melbourne_documentary_film_festival\">Melbourne Documentary Film Festival\'s blog</a>&nbsp;I &nbsp;<a href=\"http://www.mdff.org.au/\">Website</a>&nbsp;I&nbsp;<a href=\"https://facebook.com/groups/701561099982598/\">Facebook</a>&nbsp;I&nbsp;<a href=\"https://twitter.com/mdffest\">Twitter</a>&nbsp;I&nbsp;<a href=\"http://mdff.org.au/submit/\">SUBMIT</a>&nbsp;I&nbsp;<a href=\"mailto:social@mdff.org.au\">Email</a></p>\r\n\r\n<p>Three times now, The Melbourne Doc Fest has been rated as a Top 100 Film Festival on FilmFreeway and has consistently been ranked in the top 2% of the over 6,000 film festival in the world over the last 3 years.</p>\r\n\r\n<p>The Melbourne Documentary Film Festival is currently rated as the Documentary Film Festival of the Year (2018) by FilmDaily.&nbsp;<br />\r\n<a href=\"https://filmdaily.co/craft/best-documentary-film-festivals-in-the-world/\">https://filmdaily.co/craft/best-documentary-film-festivals-in-the-world/</a></p>\r\n\r\n<p>The Melbourne Documentary Film Festival premieres, screens and showcases more quality local Australian and International documentaries each year than any other documentary only film festival in Australia and gives more talented Indie Filmmakers a chance to compete and screen to a big, receptive audience in Melbourne, Australia.</p>\r\n\r\n<p>The Melbourne Documentary Film Festival presents a unique opportunity and supportive platform to showcase YOUR documentary, down under in one of the coolest and most liveable cities in the world, Melbourne, Australia.</p>\r\n\r\n<p>The Melbourne Doc Fest each year curates world class features direct from some of the hottest most prestigious documentary film festivals in the world such as Sundance, Raindance, Slamdance, Sheffield Doc Fest, Hot Docs, Venice Film Festival, New Zealand International Film Festival, Traverse City Film Festival Doc NYC, SXSW, Doc Edge, CPH:Dox and IDFA.</p>\r\n\r\n<p>Each year we feature documentaries, directed, produced, narrated by or starring celebrities like Madonna, Sharon Stone, Anjelica Huston, Shia La Beouf, Kevin Smith, Grace Jones, George Michel, Doug Liman, Ed Burns, Stellan Skarsgård, Noam Chomsky, Tony Bennett, Mary J Blige, Naomi Campbell, Whitney Houston, Elton John, Nile Rogers, Bryan Ferry, Stevie Wonder, Christy Turlington, Ricky Gervais, James Corden, Jack Thompson, Tom Wilson, Ryan O\'Neil and Matthew Modine.</p>\r\n\r\n<p>What matters to us most is that documentaries are well-made, compelling, thought provoking, passionate and relevant to Australian audiences. The Melbourne Doc Fest is very much a filmmaker’s film festival.</p>\r\n\r\n<p>The Melbourne Doc Fest is one of the world newest documentary film festivals and one of the most fun and interesting stopovers on the international documentary film festival circuit. All our international guests genuinely have a good time at the festival, as well as seeing the sites of Melbourne.</p>\r\n\r\n<p>Our mission is to discover and promote independent Australian documentaries, and to showcase the best international documentaries to Melbourne audiences. The Melbourne Documentary Film Festival provides a public forum and supportive platform to allow emerging filmmakers to showcase their work.</p>\r\n\r\n<p>Our values:&nbsp;<br />\r\nWe want to highlight and promote all documentaries, but in particular:&nbsp;<br />\r\n• Documentaries from Women in Film&nbsp;<br />\r\n• Aboriginal and Indigenous documentaries&nbsp;<br />\r\n• Asian cinema&nbsp;<br />\r\n• LGBTI documentaries</p>\r\n\r\n<p>Screenings at the Festival:&nbsp;<br />\r\n84% of films screened at the festival are from film submissions&nbsp;<br />\r\n16% are from distributors</p>\r\n\r\n<p>Masterclasses:&nbsp;<br />\r\nEach year we programme, Masterclasses, Seminars and Talks geared towards helping Documentary Filmmakers get ahead. Previous classes have included:&nbsp;<br />\r\n1: History of New Zealand documentary a personal journey with Costa Botes&nbsp;<br />\r\n2: Asian documentary with Nick Torrens&nbsp;<br />\r\n3: VOD and distributions with Beama Films&nbsp;<br />\r\n4: Crowdfunding for documentary with Pozible&nbsp;<br />\r\n5: Self-Distribution with Fanforce</p>\r\n\r\n<p>Success:&nbsp;<br />\r\nOver the last 3 years we have seen documentaries that we have featured go on to be picked up by the following:&nbsp;<br />\r\n7 Feature documentaries picked up by Netflix&nbsp;<br />\r\n5 feature documentaries that became Oscar eligible&nbsp;<br />\r\n4 documentaries picked up by Redbull.TV&nbsp;<br />\r\n3 Documentaries that had limited theatrical runs in Australia&nbsp;<br />\r\n1 documentary picked up by National Geographic&nbsp;<br />\r\n1 60 Second Documentaries&nbsp;<br />\r\n1 Great Big Story</p>\r\n\r\n<p>Innovative:&nbsp;<br />\r\nThe Melbourne Documentary Film Festival is the only festival in Australasia to provide feedback on submissions (upon request). The feedback is simple, straight forward, positive and constructive (like a review) and gives you an insight into what the curator thought of your documentary. If you are interested in receiving feedback you need to apply separately for it at <a href=\"mailto:submissions@mdff.org.au\">submissions@mdff.org.au</a> by no later than 30th April 2019. Feedback will be provided to you by 31 July 2019.&nbsp;<br />\r\nOur categories of Documentary Photography, Documentary Web Series, and Micro Docs and curated sections on Street Art and Animated Documentaries have never been attempted by a documentary film festival in the southern hemisphere and are ground breaking.</p>\r\n\r\n<p>Value for money:&nbsp;<br />\r\nWhile our film submission fee is in line and bench marked against other film festivals, our incentives for the submitter are much higher than your average film festival.</p>\r\n\r\n<p>Successful Feature Entries to the Competition:&nbsp;<br />\r\n1 x Open Access Pass to all festival documentaries&nbsp;<br />\r\n10 x tickets to your session at the festival for crew, friends, and family (not redeemable for cash)&nbsp;<br />\r\nFeedback on your documentary&nbsp;<br />\r\nThe opportunity to win cash prizes, distribution deals, wine, and DVD’s&nbsp;<br />\r\nPromo code discount for all documentaries showing at the festival&nbsp;<br />\r\n% of the Box Office or % of Box Office donated to charity of your choosing</p>\r\n\r\n<p>Successful Short Entries to the Competition:&nbsp;<br />\r\n1 x Open Access Pass to all festival documentaries&nbsp;<br />\r\n5 x tickets to your session at the festival for crew, friends, and family (not redeemable for cash)&nbsp;<br />\r\nFeedback on your documentary&nbsp;<br />\r\nThe opportunity to win cash prizes, distribution deals, wine, and DVD’s&nbsp;<br />\r\nPromo code discount for all documentaries showing at the festival</p>\r\n\r\n<p>Unsuccessful entries:&nbsp;<br />\r\nComplimentary double pass to selected documentaries at the festival (not redeemable for cash)&nbsp;<br />\r\nFeedback on your documentary&nbsp;<br />\r\nPromo code discount for all documentaries showing at the festival.&nbsp;<br />\r\nIf the documentary scores an 8/10 or higher and does not end up being selected for this year’s competition, the filmmaker will be entitled to a fee waiver for a future edition of the festival.</p>\r\n\r\n<p>Post-festival service&nbsp;<br />\r\nWe try to find other ways to show case selected documentaries at other festivals that we are aligned with, which gives you double the exposure for the same submission price (more value for money) and try to find distribution for you in Australia after you have completely finished your world-wide festival run.</p>\r\n\r\n<p>The money we raise through sponsorship and submissions goes back into the Melbourne economy as a direct subsidy helping venues, printers, hotels and media partners that rely heavily on events like ours.</p>\r\n\r\n<p>The Melbourne Documentary Film Festival aims to feature the freshest and most innovative documentaries from around the world, from short docs right through to feature length, award winning films. The Melbourne Documentary Film Festival looks to promote the best quality independent documentaries cinema has to offer.</p>\r\n\r\n<p>The Melbourne Documentary Film Festival team looks forward to bringing you a diverse, challenging slate of documentaries that will entertain, educate and inform, providing our audience with a memorable experience.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<h4>Awards &amp; Prizes</h4>\r\n\r\n<p>The Melbourne Documentary Film Festival is a competitive film festival and has 14 award categories, known as the Ozstars, which you can enter, they include:</p>\r\n\r\n<p>Pool A&nbsp;<br />\r\nShort Awards&nbsp;<br />\r\nSupreme Jury Prize Short Documentary&nbsp;<br />\r\nBest International Short Documentary or Webseries&nbsp;<br />\r\nBest Australian Short Documentary or Webseries&nbsp;<br />\r\nBest Short Director – International /Australia</p>\r\n\r\n<p>Pool B&nbsp;<br />\r\nFeature Awards&nbsp;<br />\r\nSupreme Jury Prize Feature Documentary&nbsp;<br />\r\nBest International Documentary&nbsp;<br />\r\nBest Australian Documentary&nbsp;<br />\r\nAudience Choice&nbsp;<br />\r\nBest Director – International / Australia&nbsp;<br />\r\nBest Melbourne Documentary</p>\r\n\r\n<p>Pool C&nbsp;<br />\r\nDocumentary Photography Awards&nbsp;<br />\r\nSupreme Jury Prize Documentary Photograph&nbsp;<br />\r\nBest International Documentary Photograph&nbsp;<br />\r\nBest Australian Documentary Photograph&nbsp;<br />\r\nBest Documentary Photographer&nbsp;</p>\r\n\r\n<p>Prizes:&nbsp;<br />\r\nSupreme Jury Prize Award - $1,500&nbsp;<br />\r\nBest Australian Short Documentary - $1,500&nbsp;<br />\r\nSupreme Jury Prize Award - Photography - $500&nbsp;<br />\r\nOther prizes TBA June 2019</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<h4>Rules &amp; Terms</h4>\r\n\r\n<p>MELBOURNE DOCUMENTARY FILM FESTIVAL&nbsp;<br />\r\nSUBMISSION RULES&nbsp;<br />\r\nThe Melbourne Documentary Film Festival supports MIFF and AIDC but is independent and not part of either organisation.</p>\r\n\r\n<p>These rules (the “Rules”) apply to all submissions to The Melbourne Documentary Film Festival Inc (“MDFF”). By submitting your film (the “Film”) for consideration for inclusion in the festival operated by MDFF (the “Festival”), you (the “Applicant” or “You”) hereby agree to be bound by these Rules.&nbsp;<br />\r\nTHE RULES&nbsp;<br />\r\n1. Submission&nbsp;<br />\r\n1.1 MDFF will consider each submission received (a “Submission”) against the Eligibility Criteria (defined below).&nbsp;<br />\r\n1.2 A Film which does not meet the Eligibility Criteria as of the date of screening will not be screened.&nbsp;<br />\r\n1.3 MDFF may, at its absolute discretion, decide to accept a submission which meets the Eligibility Criteria, but is not obliged to screen any particular Film at the Festival even if the Film meets the Eligibility Criteria. MDFF reserves the right to change a decision to screen a Film at its discretion.&nbsp;<br />\r\n1.4 A decision made by MDFF to accept or refuse to screen a Film is final. Under no circumstances will MDFF refund any submission fees paid. Please ensure you check all dates, currency conversions and associated costs before submitting your documentary there will be no refund.&nbsp;<br />\r\n1.5 Successful applicants will be contacted in late May or early June 2017.&nbsp;<br />\r\n1.6 Successful applicants are eligible for six (6) free tickets to selected screenings at the Festival (not redeemable for cash). Unsuccessful applicants are eligible for a double pass to selected screening at the Festival (not redeemable for cash), and may contact <a href=\"mailto:info@mdff.org.au\">info@mdff.org.au</a> for feedback from 17 July 2017. But must have registered by 30th April 2018 gy emailing <a href=\"mailto:submissions@mdff.org.au\">submissions@mdff.org.au</a> Applicants must contact <a href=\"mailto:info@mdff.org.au\">info@mdff.org.au</a> to redeem their tickets.&nbsp;<br />\r\n1.7 Successful applicants will be forwarded a copy of the MDFF Screening Agreement. Submissions from successful applicants who do not agree to the MDFF Screening Agreement will not be screened.&nbsp;<br />\r\n1.8 You acknowledge that MDFF does not pay screening fees to applicants.&nbsp;<br />\r\n1.9 MDFF provides feedback on submissions after 17/07/2017. Filmmakers must apply to <a href=\"mailto:info@mdff.org.au\">info@mdff.org.au</a> to request feedback&nbsp;<br />\r\n2. Eligibility&nbsp;<br />\r\n2.1 A Submission is eligible if all of the following conditions are met:&nbsp;<br />\r\na. The Submission is received before the due date of 19 March 2017&nbsp;<br />\r\nb. Production of the Film was not completed prior to 1 January 2013;&nbsp;<br />\r\nc. The Film has never been, and will not be before 12 July 2017, released on DVD, freely available online or theatrically released other than on <a href=\"http://www.tugg.com\">www.tugg.com</a> (however, the Festival may at its discretion accept Films which have been theatrically released or previously screened at other festivals);&nbsp;<br />\r\nd. The Film is in English or contains English subtitles; and&nbsp;<br />\r\ne. The Submission accompanied by the applicable submission fee&nbsp;<br />\r\n(the “Eligibility Criteria”).&nbsp;<br />\r\n2.2 MDFF prefers that Films be submitted in one of the following formats: 16mm, DCP (DCI Compliant), HD CAM, DVD, Blu Ray. All zones are acceptable. MDFF may accept other formats (such as Vimeo): please contact <a href=\"mailto:info@mdff.org.au\">info@mdff.org.au</a> to arrange this.&nbsp;<br />\r\n3. Return of Materials&nbsp;<br />\r\n3.1 Materials submitted will not be returned. We strongly recommend that you do not submit original materials.&nbsp;<br />\r\n4. Warranty&nbsp;<br />\r\n4.1 By submitting your Film, you warrant that:&nbsp;<br />\r\na. You are free to submit the Film to the Festival;&nbsp;<br />\r\nb. The Film meets the Eligibility Criteria; and&nbsp;<br />\r\nc. You have obtained all necessary clearances in respect of the Film and the Film does not infringe the rights (including without limitation copyright) of any third party.</p>\r\n\r\n<p>Good luck filmmakers!&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Good luck filmmakers!&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n', '', 'basic_html'),
('short_post', 0, 34, 47, 'en', 0, '<p>The 62nd BFI London Film Festival in partnership with American Express® is underway and we couldn\'t be more thrilled to begin proceedings with Steve McQueen\'s pulsating thriller Widows. Who has tickets to the premiere?</p>\r\n', '', 'basic_html'),
('short_post', 0, 34, 48, 'en', 0, '<p>The 62nd BFI London Film Festival in partnership with American Express® is underway and we couldn\'t be more thrilled to begin proceedings with Steve McQueen\'s pulsating thriller Widows. Who has tickets to the premiere?</p>\r\n', '', 'basic_html'),
('short_post', 0, 34, 49, 'en', 0, '<p>The 62nd BFI London Film Festival in partnership with American Express® is underway and we couldn\'t be more thrilled to begin proceedings with Steve McQueen\'s pulsating thriller Widows. Who has tickets to the premiere?</p>\r\n', '', 'basic_html'),
('short_post', 0, 34, 50, 'en', 0, '<p>The 62nd BFI London Film Festival in partnership with American Express® is underway and we couldn\'t be more thrilled to begin proceedings with Steve McQueen\'s pulsating thriller Widows. Who has tickets to the premiere?</p>\r\n', '', 'basic_html'),
('short_post', 0, 34, 51, 'en', 0, '<p>The 62nd BFI London Film Festival in partnership with American Express® is underway and we couldn\'t be more thrilled to begin proceedings with Steve McQueen\'s pulsating thriller Widows. Who has tickets to the premiere?</p>\r\n', '', 'basic_html'),
('short_post', 0, 35, 52, 'en', 0, '<p>It\'s on again</p>\r\n', '', 'basic_html'),
('short_post', 0, 36, 53, 'en', 0, '<p>&nbsp;More than 60 female filmmakers and industry pros assembled for this too-good-to-miss photo opportunity.</p>\r\n', '', 'basic_html'),
('short_post', 0, 36, 56, 'en', 0, '<p>&nbsp;More than 60 female filmmakers and industry pros assembled for this too-good-to-miss photo opportunity.</p>\r\n', '', 'basic_html'),
('short_post', 0, 36, 155, 'en', 0, '<p>The Viennale is pleased to announce that&nbsp;<a href=\"https://www.viennale.at/en/guest/tilda-swinton\">Tilda Swinton</a>&nbsp;will be present at the beginning of the screening of Luca Guadagnino\'s film&nbsp;<strong><a href=\"https://www.viennale.at/en/films/suspiria-0\">SUSPIRIA&nbsp;</a></strong>at the&nbsp;<strong>Gartenbaukino on 5 November at 11 p.m.</strong>&nbsp;The award-winning Scottish actress and long-time friend of the Viennale plays the role of Madame Blanc in the remake of the Dario Argento classic.<br />\r\nTickets for the screening on 5.11. at 23:00 are available&nbsp;<a href=\"https://www.viennale.at/en/films/suspiria-0\">here</a>!<br />\r\n&nbsp;</p>\r\n', '', 'basic_html'),
('short_post', 0, 37, 54, 'en', 0, '<p>Keira Knightley bans daughter from watching Disney princess films</p>\r\n', '', 'basic_html'),
('short_post', 0, 37, 55, 'en', 0, '<p>Keira Knightley bans daughter from watching Disney princess films</p>\r\n', '', 'basic_html'),
('film', 0, 44, 73, 'en', 0, '<p>Following a fall during mistletoe picking, Druid Panoramix decides that it is time to secure the future of the village. Accompanied by Asterix and Obelix, he undertakes to travel the Gallic world in search of a talented young druid to transmit the Secret of the Magic Potion&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 45, 75, 'en', 0, '<p>Balloon is a German thriller that deals with the crossing of the inner German border of the families Strelzyk and Wetzel from the GDR to West Germany with a homemade hot-air balloon.</p>\r\n', '', 'basic_html'),
('film', 0, 46, 77, 'en', 0, '<p>A funny and irresistible story of a young girl who literally cannot see or hear her mother, even though she is living with her under the same roof. With the help of an eccentric psychiatrist, and a local, accidental hero, our heroine has to grow up, but falls in love and eventually takes hold of her future - despite not being able to see what\'s right in front of her.</p>\r\n', '', 'basic_html'),
('film', 0, 47, 79, 'en', 0, '<p>There is probably no other protagonist of the 20th century who has been as much talked about and as studied as Fidel Castro. Together with Che Guevara, his brother Raul and 80 dreamers, he started a movement that defeated the US backed regime of the Cuban dictator Batista and his partners, the American Crime Syndicates.&nbsp;The popular Revolution encountered the opposition of the US Government and the privileged Cubans.</p>\r\n\r\n<p>He survived over 600 murder attempts&nbsp;and took a strong stance against the US since 1959, outliving 10 US presidents.&nbsp; His leadership carried the Cuban people to confront the 50 years old political and economic Embargo with exemplary dignity.&nbsp;</p>\r\n\r\n<p>He has shaped Cuba into a new type of country, provoking over half a century of on-going debates, attacks, praise, and admiration.&nbsp;The small island is today one of the world leaders in Education,&nbsp;Health, and Social equality as well as a strong Internationalist stance that helped defeat Aparthaid in South Africa.&nbsp;</p>\r\n\r\n<p>Besides the titanic political figure was a man, a father, a brother and a son. This documentary attempts to be up there,&nbsp;close to a man whose name was Fidel.</p>\r\n', '', 'basic_html'),
('film', 0, 48, 81, 'en', 0, '<p>Small-time money launderer Moe Diamond suffers from amnesia after a freak accident during a deal gone&nbsp;wrong.</p>\r\n', '', 'basic_html'),
('film', 0, 49, 83, 'en', 0, '<p>Oscar-winner Gary Oldman and actor Jessica Alba have come aboard the cast of the film \"Killers Anonymous\". The two actors join Tommy Flanagan, Sam Hazeldine, Rhyon Nicole Brown, MyAnna Buring, Tim McInnerny, Michael Socha and Elizabeth Morris in the project. The film explores a world that exists beneath the day to day, the restraint and order.</p>\r\n\r\n<p>\"Let\'s Be Evil\" helmer Martin Owen will direct from a script by Elizabeth Morris, Goldfinch Studio said in a statement posted on their website. \"We are extremely excited at the opportunity of working with actors of the pedigree and ability of both Gary and Jessica,\" said Matt Williams, who will produce the film for Goldfinch.</p>\r\n\r\n<p>\"In \'Killers Anonymous\', we have created something that has the potential to become a cult classic, Martin is a truly exceptional talent and with the already brilliant ensemble, Gary and Jessica are the perfect tonic for this exciting project. They are well respected across the industry and we literally couldn\'t have found a better fit for the roles they are playing,\" he added. The film will be co-produced by Kirsty Bell, and Doug Urbanski, Jonathan Willis and Phil McKenzie will serve as executive producers.</p>\r\n', '', 'basic_html'),
('film', 0, 50, 85, 'en', 0, '<p>An International Drug Kingpin sends two of his most highly regarded Assassins to investigate why shipments are being hijacked and over cut. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 51, 87, 'en', 0, '<p>After serving 17 years in prison for a violent mistake he made in his youth, a once-aspiring baseball player returns to his Bronx neighborhood. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 52, 89, 'en', 0, '<p>Alain, a business man in a hurry, short after the time. In his life, no place for recreation or the family. When a day, a stroke makes him lose the language and use a word for another one. To the hospital, he is taken in hand by Jeanne, a young speech therapist, which he is learning again, as a child, the language and the patience.</p>\r\n', '', 'basic_html'),
('film', 0, 53, 91, 'en', 0, '<p>A former boxing champion and his companions get caught up with Russian mobsters after he witnesses a crime.</p>\r\n', '', 'basic_html'),
('film', 0, 54, 93, 'en', 0, '<p>As&nbsp; Yves&nbsp; Saint&nbsp; Laurent,&nbsp; one&nbsp; of&nbsp; the&nbsp; greatest&nbsp; Parisian&nbsp; haute&nbsp; couture&nbsp; designers,&nbsp; draws&nbsp; the&nbsp; sketches&nbsp; for&nbsp; his&nbsp; final&nbsp; collection,&nbsp; behind&nbsp; the&nbsp; scenes,&nbsp; Pierre&nbsp; Bergé manages&nbsp; a&nbsp; series&nbsp; of&nbsp; events&nbsp; to&nbsp; celebrate&nbsp; the&nbsp; fashion&nbsp; icon&nbsp; as&nbsp; a&nbsp; modern&nbsp; myth.&nbsp; Immersed&nbsp; inside&nbsp; the&nbsp; couture&nbsp; house&nbsp; during&nbsp; YSL’s&nbsp; final&nbsp; two&nbsp; years&nbsp; there,&nbsp; documentary&nbsp; filmmaker&nbsp; Olivier&nbsp; Meyrou’s&nbsp; camera&nbsp; films&nbsp; the&nbsp; YSL-Bergé&nbsp; duo. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 55, 95, 'en', 0, '<p>Harry Rosenmerck, an Ashkenazi Jewish American cardiologist, left everything to become a pig farmer in the Holy Land. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 56, 97, 'en', 0, '<p>A right wing talk show host\'s life takes a sudden turn when his 16 year old niece comes crashing into his life.</p>\r\n', '', 'basic_html'),
('film', 0, 58, 100, 'en', 0, '<p>When Christopher Columbus arrived in America, he was able to predict the advent of a lunar eclipse and used that knowledge to convince the native people that God had granted him the power to make the moon disappear. Through the construction of this fictitious myth, he achieved the surrender and colonization of the inhabitants of present-day Jamaica. This historical anecdote, narrated by an omniscient voice-over in FAUSTO, reflects on the idea of fiction as a colonizing method, a premise under which Andrea Bussmann&nbsp;reinterprets the myth and the homonymous literary piece, which gives its name to her first solo feature-length film. This reinterpreted Faustian universe, translated to the coast of Oaxaca, Mexico, under Bussmann’s camera – a kind of character in its own right that reminds us of Fausto on an endless search for knowledge – ends up building a timeless limbo where different languages and nationalities, literature and myths, history and fantasy, reality and fiction, the tangible and the intangible, the pre- and the postcolonial, the digital and the analog, are confronted in an ethnographic hybrid piece about a world of shadows: an essay about the multiple mysterious layers of reality. (Pedro Segura Bernal)</p>\r\n', '', 'basic_html'),
('film', 0, 59, 102, 'en', 0, '<p>Writer of TAXI DRIVER and RAGING BULL, director of AMERICAN GIGOLO, MISHIMA and CAT PEOPLE, veteran American auteur Paul Schrader has staged one of the most spectacular of recent cinematic comebacks with this acutely observed, character-based drama. Constructed around Oscar-tipped Ethan Hawke’s magnetic performance, it is an incisively intelligent and burningly topical film about faith, doubt, guilt and desire in the 21st century. A fortysomething clergyman of relentless self-searching introspection, Toller finds himself questioning his ethics and presumptions with renewed vigour after encountering eco-warrior parishioner Michael (a remarkable performance by previously little-known Philip Ettinger). This crisis of conscience brings Toller into conflict with his materialistically-minded religious superiors, spurring him towards increasingly “radical” perspectives – and, eventually, actions. Inspired by such classics of troubled faith as Bresson’s DIARY OF A COUNTRY PRIEST, Schrader (a scholar of film as well as being a distinguished practitioner) has crafted a visually striking, compellingly humane and thematically complex work, a transcendental mini-epic which has already earned hosannas of praise from critics and audiences all over the world. (Neil Young)&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 60, 104, 'en', 0, '<p>A homage to the San Francisco film per excellence, Alfred Hitchcock’s VERTIGO, built by using footage from hundreds of different films set in this same city – from Hollywood classics to experimental pieces, commercial hits, and TV episodes (don’t miss the end credits festival for a powerful dive into high and low culture alike!). Rather than organizing the materials as a poetic city symphony or a conventional documentary, directors Guy Maddin, Evan Johnson and Galen Johnson extract tropes and plot points from VERTIGO in order to sketch a narrative that examines how the phantoms of Hitchcock’s film permeate everything (including Chuck Norris movies), even if in an uncanny fashion.<br />\r\nWatching the mad assemblage executed in THE GREEN FOG, one would think that there’s something alien and other-worldly informing the fragmentary resonances, the stuttering dialogues, the wild reworkings, embeddings, repetitions and substitutions executed in this irreverent and hilarious remake of VERTIGO. Is it by chance that San Francisco and science fiction share the same initials? What is that green fog slipping through the images? Is it a shade from VERTIGO? A trace of contamination? The smoke of weed? (Cristina Álvarez López)</p>\r\n', '', 'basic_html'),
('film', 0, 60, 154, 'en', 0, '<p>A homage to the San Francisco film per excellence, Alfred Hitchcock’s VERTIGO, built by using footage from hundreds of different films set in this same city – from Hollywood classics to experimental pieces, commercial hits, and TV episodes (don’t miss the end credits festival for a powerful dive into high and low culture alike!). Rather than organizing the materials as a poetic city symphony or a conventional documentary, directors Guy Maddin, Evan Johnson and Galen Johnson extract tropes and plot points from VERTIGO in order to sketch a narrative that examines how the phantoms of Hitchcock’s film permeate everything (including Chuck Norris movies), even if in an uncanny fashion.<br />\r\nWatching the mad assemblage executed in THE GREEN FOG, one would think that there’s something alien and other-worldly informing the fragmentary resonances, the stuttering dialogues, the wild reworkings, embeddings, repetitions and substitutions executed in this irreverent and hilarious remake of VERTIGO. Is it by chance that San Francisco and science fiction share the same initials? What is that green fog slipping through the images? Is it a shade from VERTIGO? A trace of contamination? The smoke of weed? (Cristina Álvarez López)</p>\r\n', '', 'basic_html'),
('film', 0, 61, 106, 'en', 0, '<p>A father and his daughter struggle to survive in deep space where they live in isolation.</p>\r\n', '', 'basic_html'),
('film', 0, 62, 108, 'en', 0, '<p>Three young men bond together to escape volatile families in their Rust-Belt hometown. As they face adult responsibilities, unexpected revelations threaten their decade-long friendship</p>\r\n', '', 'basic_html'),
('film', 0, 64, 111, 'en', 0, '<p>A beautiful actress struggles to connect with her disfigured co-star on the set of a European auteur’s English-language debut. Armed with a sardonic sense of humor, pure emotionality, a reflective self-sarcastic mood, and obsession with detail, this enigmatic mesmerising melodrama holds in different ways all of cinema – from Tod Browning’s Freaks and David Lynch’s The Elephant Man, to Robert Altman’s The Player and Peter Strickland’s Berberian Sound Studio – to give it a radically new substantial twist.</p>\r\n', '', 'basic_html'),
('film', 0, 65, 113, 'en', 0, '<p>On the outskirts of Birmingham and the margins of society, the Billingham family perform extreme rituals and break social taboos as they muddle through a life decided by factors beyond their control. At times shocking and laced with an unsettling humour, three episodes from the early life of the artist unfold as a powerful evocation of the lived experience of growing up in the era of (Thatcherian) austerity. Famous British photographer Richard Billingham expands his reflection on the “still life” of the family, shooting in moving images a subjective landscape of negligence and loneliness.</p>\r\n', '', 'basic_html'),
('film', 0, 66, 115, 'en', 0, '<p>Us three. Us brothers. Us kings, inseparable. Three boys tear through their rural New York hometown, in the midst of their young parents’ volatile love. As Manny and Joel grow into versions of their father and while their Ma dreams of escape, Jonah, the youngest, embraces an imagined world all his own. An immersive portrait of working class family life and brotherhood, propelled by masterful performances from its young first-time actors and stunning animated sequences which bring Jonah’s torn inner world to life.</p>\r\n', '', 'basic_html'),
('film', 0, 68, 119, 'en', 0, '<p>Camille, an introvert teenager and talented skateboarder from Long Island, crosses path with an all-girl New York group of skateboarders. Quickly, Camille becomes an integral part of the tribe. Developing a strong fraternity, the crew rapidly becomes a source of support for Camille in the midst of her crumbling relationship with her mother. But while she goes through her first teenage experiences, her encounter with Devon, a mysterious skateboarder guy, challenges the strong link established with the other girls. Immersing the very closed world of skateboarding, Crystal Moselle’s long feature film depicts the difficulty for girls to break through in a male dominated space. It is also an authentic tribute to self-discovery and fraternity. For her movie, Crystal Moselle spent an entire year in contact with the Skate Kitchen, a real female group of skateboarders in order to recreate a genuine representation of this little-known community.</p>\r\n', '', 'basic_html'),
('film', 0, 69, 121, 'en', 0, '<p>Based on the novel by Richard Ford, »Wildlife« follows Joe Brinson, a 14-year-old boy who moved to Great Falls, Montana with his parents in the year 1960. Joe’s mother, Jeanette, is fed up with her absent husband who cannot hold a job and her eyes wander to Warren Miller, a local auto-shop mogul. Warren is a welcoming presence in Jeanette’s life which causes tension in the family. Joe is forced to watch the inevitable unravelling of his parents\' marriage as his mother begins an affair with the new man in her life. »Wildlife« stars academy award nominees Jake Gyllenhaal and Carey Mulligan as well as breakthrough actor, Ed Oxenbould. Paul Dano’s directorial debut film was nominated in 2018 for the Grand Jury Prize at the Sundance Film Festival, a Golden Camera nomination at the Cannes Film Festival, as well as a People’s Choice Award nomination at the Toronto International Film Festival. Adapted by Paul Dano and Zoe Kazan, »Wildlife« features stunning cinematography and dramatic storytelling.&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 70, 122, 'en', 0, '<p>Lou and her best friend Chantal plan to get out of their isolated, run-down town and move to a city far, far away. When Chantal\'s unstable and possessive ex violates her during a night of partying, the girls decide to exact their revenge on him through a night of vandalism and debauchery. The consequences of their actions are devastating, threatening the girls\' chances of ever leaving. The more Lou fights tooth-and-nail to save her friendship and hold onto her dreams, the more she spins out of control as she begins to realize that freedom will come at a high cost.</p>\r\n', '', 'basic_html');
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('film', 0, 72, 126, 'en', 0, '<p>In this unpredictable sci-fi thriller, based on the bestselling novel of the same name, a mother, Malorie (Sandra Bullock), and two children navigate a hostile, even demonic landscape after an apocalyptic event. As Malorie confronts her ambivalence toward motherhood while learning the rules of her new uncertain existence, she and a small group of survivors must grasp in the dark — figuratively and literally — in the hope that there is life outside of themselves.</p>\r\n', '', 'basic_html'),
('film', 0, 73, 127, 'en', 0, '<p>ON THE BASIS OF SEX follows the inspiring and spirited true story of young lawyer Ruth Bader Ginsburg (Academy Award® nominee Felicity Jones) as she teams with her husband Marty (Armie Hammer) to bring a groundbreaking case before the U.S. Court of Appeals and overturn a century of gender discrimination. Directed by AFI Conservatory alumna Mimi Leder (DEEP IMPACT, THE LEFTOVERS), ON THE BASIS OF SEX features a stellar ensemble cast including Justin Theroux, Academy Award® winner Kathy Bates, Academy Award® nominee Sam Waterston, Jack Reynor and Cailee Spaeny.</p>\r\n', '', 'basic_html'),
('film', 0, 74, 128, 'en', 0, '<p>Directed by Josie Rourke, MARY QUEEN OF SCOTS explores the turbulent life of the charismatic Mary Stuart. Queen of France at 16 and widowed at 18, Mary (Saoirse Ronan) defies pressure to remarry. Instead, she returns to her native Scotland to reclaim her rightful throne. But Scotland and England fall under the rule of the compelling Elizabeth I (Margot Robbie). Each young Queen beholds her “sister” in fear and fascination. Rivals in power and in love, and female regents in a masculine world, the two must decide how to play the game of marriage versus independence. Determined to rule as much more than a figurehead, Mary asserts her claim to the English throne, threatening Elizabeth’s sovereignty. Betrayal, rebellion and conspiracies within the court imperil both thrones — and change the course of history.</p>\r\n', '', 'basic_html'),
('film', 0, 76, 131, 'en', 0, '<p>Moll lives on the Channel Island of Jersey. Even though she is twenty-seven years old, she still lives with her parents. What keeps her there is the small, rather oppressive community which surrounds her and her morbid relationship with her elderly father and very strict mother. Everything changes when she meets Pascal, a foreigner she knows virtually nothing about but who wins her over with his free spirit. Moll, who is hopelessly in love, goes to live with him and begins a new life. But her happiness is short-lived: Pascal is accused of having committed a series of brutal murders. Despite the hostility and the pressure of the locals, Moll stands by her man. But she will have to pay the consequences of this decision.</p>\r\n', '', 'basic_html'),
('film', 0, 77, 132, 'en', 0, '<p>Fourteen-year-old J goes by the pronoun “They” and lives with their parents in the suburbs of Chicago. J is exploring their gender identity while taking hormone blockers to postpone puberty. After two years of medication and therapy, J has to make a decision whether or not to transition. Over this crucial weekend while their parents are away, J’s sister Lauren and her Iranian friend/partner Araz arrive to take care of “They.”</p>\r\n', '', 'basic_html'),
('film', 0, 78, 134, 'en', 0, '<p>They glide over the ice, ethereal, they take flight, sometimes they fall: a group of 15-year-old ice skaters deal with their daily life made of friendships, competitions, crushes, difficulties, doubts, choices, family conflicts. They are dominated by their very strict trainer, who borders on the sadistic. The first work by two documentary filmmakers, an atypical Bildungsroman which captures the nuances of growing up, makes no moral judgment, puts itself in the shoes of its young protagonists and admires their overflowing, contagious vitality.</p>\r\n', '', 'basic_html'),
('film', 0, 79, 136, 'en', 0, '<p>Every year at the University of Saint-Denis, the Eloquentia competition is held to decide “The Best Orator in the 93,” a reference to the number of the Seine-Saint-Denis departement. Students following any course can participate, and prepare with the help of professional advisors, who teach them the delicate exercise of public speaking. Over the weeks, they learn the subtle mechanisms of rhetoric, and will affirm their talents, revealing themselves to others, and above all, to themselves. With this new arsenal, Leïla, Elhadj, Eddy and the others face off in a bid to become the best orator in the 93.</p>\r\n', '', 'basic_html'),
('film', 0, 80, 137, 'en', 0, '<p>Arguello is the principal of a school just outside Buenos Aires; every day he searches his students’ backpacks because he is afraid they might be hiding something dangerous. Cata is a fourteen-year-old student who is injured in an accident near a lake. While she waits for her parents to arrive, Arguello spends a few hours with her. Which will change their lives forever.&nbsp;</p>\r\n', '', 'basic_html'),
('people', 0, 82, 148, 'en', 0, '<p>Tilda Swinton is an Oscar-winning British actress known for her arthouse film roles and for acclaimed performances in more mainstream pictures. Swinton began her career in theater, performing with the Royal Shakespeare Company in London and transitioning to less mainstream productions before finding her way to film. Her big screen debut arrived in Derek Jarman\'s CARAVAGGIO in 1986. Swinton continued to pursue avante garde films throughout her career to great acclaim. Despite her draw to independent art house films, Swinton has worked on several commercial projects.</p>\r\n', '', 'basic_html'),
('people', 0, 83, 149, 'en', 0, '<p>Born in 1963 in Cambridge, Massachusetts. Studied Politics at the Brandeis University and film at the Tisch School of the Arts, New York. After her first short film SNAKE FEED (1997) and two further short works she realized her feature film debut DOWN TO THE BONE (Viennale 04) in 2004. Her internationally successful drama WINTER’S BONE (2010, Viennale 10) earned her an Oscar nomination for the best adapted screenplay.</p>\r\n', '', 'basic_html'),
('people', 0, 83, 470, 'en', 0, '<p>Born in 1963 in Cambridge, Massachusetts. Studied Politics at the Brandeis University and film at the Tisch School of the Arts, New York. After her first short film SNAKE FEED (1997) and two further short works she realized her feature film debut DOWN TO THE BONE (Viennale 04) in 2004. Her internationally successful drama WINTER’S BONE (2010, Viennale 10) earned her an Oscar nomination for the best adapted screenplay.</p>\r\n', '', 'basic_html'),
('film', 0, 84, 150, 'en', 0, '<p>Will, a psychologically fragile Iraq War veteran, lives in the woods of Oregon with his teenage daughter Tom. They are neither homeless nor criminal; like others nearby, they have chosen to live apart from society. But when government rangers force Tom and Will out, they must try to adapt to civilisation and community. LEAVE NO TRACE is the third fiction feature by Debra Granik and, like DOWN TO THE BONE and WINTER’S BONE, it takes an observational, realist approach to an intriguing, marginal aspect of contemporary American life. Its characters are not militant right-wing survivalists shooting guns; they are ordinary, damaged people helping each other to cope. The social workers who intervene by relocating Will and Tom are benevolent; but to live in society means for Will to “eat their food, do their work” – to conform, crushing his freedom. Superbly acted by Foster and McKenzie, and rigorously eschewing any sensationalist possibilities (there is no sex or violence here), LEAVE NO TRACE eventually zeroes in on a universal human&nbsp;drama: the bond between father and daughter, which must ultimately arrive to the painful crossroad of separation, Tom wanting to think and act independently.</p>\r\n', '', 'basic_html'),
('film', 0, 85, 152, 'en', 0, '<p>Dario Argento’s genre classic is only the detonation point of Luca Guadagnino’s film. It keeps some elements of the plot, but redefines the historical context. Once again the location is Germany, but this time it is Berlin, where the still corrupt nation has failed to clear itself of those who had produced the horror of the Nazi era. In sharp contrast, the Red Army Faction fights for a new Germany with other means of terror. The Markos Tanz Company is the stage of a supernatural dimension in which a triad of ancestral divine presences control the events of the world, provided they feed their own power structure. Witchcraft is real when it is used to justify atrocities, like the wickedness of the Third Reich. Guadagnino reunites past and present, weaves together quotations, evocations, imagery, politics, art and psychoanalysis, in a gesture of formal rebellion of the cinematographic language, which is bloody, pulsating, unstoppable. The soundtrack composed by Thom Yorke (Radiohead) and the choreography by Damien Jalet propel the visionary force of the film. It multiplies in a linguistic dance that mentions the revolutionary role of the performative art of the 1970’s, which called into question power and identity by digesting violence through the experience of the body.</p>\r\n', '', 'basic_html'),
('external_link', 0, 90, 162, 'en', 0, '<p><span>For the eighth straight year at Missouri Western, the cinema department has hosted the 48-hour film festival with multiple teams made up of students.</span></p>\r\n\r\n<p><span>This year, the festival began on Friday, Nov. 2 at 6 p.m. and ended on Sunday, Nov. 4 at 6 p.m. </span></p>\r\n\r\n<p><span>Angel Edwards, sophomore theater major, </span><span>speaks about what the festival consisted of. </span><span>&nbsp;</span></p>\r\n\r\n<p><span>“48-hour Film Festival is an event where multiple teams disperse and create a film within 48 hours,” Edwards said. “This includes pre and post production. The films are later shown in a public screening and multiple positions are up for awards.”</span></p>\r\n\r\n<p><span>Every team must create a film with the same requirements: one specific character and their job, a certain prop and a specific line of dialogue. Thomas Brecheisen, ast. prof. of cinema, explains why students should participate in the festival. </span></p>\r\n\r\n<p><span>“It’s an awesome opportunity for filmmakers or people who just like to have fun in film to take two days – literally 48 hours – to write, shoot, edit and produce a film,” Brecheisen said. </span></p>\r\n\r\n<p><span>There were multiple mixers that occured before the festival began where students gathered and created their own teams. There were three mixers this year: Oct. 4, Oct. 19 and Nov. 1. </span></p>\r\n\r\n<p><span>The 48-hour Film Festival is a great opportunity in creating a student film according to Griffon Film Society President Nathan Gonder.</span></p>\r\n\r\n<p><span>“This is really great because it’s a really good experience to make a film on campus that is nonacademic with all the harsh requirements and regulations of a normal film put into just two days. This isn’t just for cinema majors,” Gonder said. “This is open to the entire school, so as long as you are a student or an alumni, you may participate in the festival”</span></p>\r\n\r\n<p><span>There were seven teams that participated this year. These teams consisted of major and nonmajor students, alumni and members of the community. &nbsp;</span></p>\r\n\r\n<p><span>Ben Smith, junior theater major, speaks about the positives that he took out of the festival.</span></p>\r\n\r\n<p><span>“It has given me a chance to branch out as an actor into a type of acting that I’m not very experienced with yet,” Smith said. “It has also given me a great appreciation for the amount of work that goes into films that don’t have the time crunch of 48 hours. It really is a great way to learn how to use your time effectively in filming.”</span></p>\r\n\r\n<p><span>There is a lot of work to do in a shorter amount of time. Sophomore Dalyn LeGrand gives advice to future participants. </span></p>\r\n\r\n<p><span>“To people doing 48 in the future, get a lot of sleep the night before, take small power naps when you can and don’t talk to people outside of your group as much as possible because drama or anything like it needs to be far from your mind. This weekend requires a lot of focus,” LeGrand said.</span></p>\r\n\r\n<p><span>The films that were created will undergo judging before a panel before being screened at an award ceremony. There are multiple awards that people can win including: best visual/special effects, best writing, best editing, best acting, audience choices, etc. </span></p>\r\n\r\n<p><span>The award ceremony will take place on Nov. 8, at 7:30 p.m. in Potter Theatre. It is free and open to the public.</span></p>\r\n', '', 'basic_html'),
('film', 0, 104, 192, 'en', 0, '<p>Three felons are notified that their prison sentence will start in just one week. Everything they do from now, will be for&nbsp; the last time.</p>\r\n', '', 'basic_html'),
('film', 0, 105, 194, 'en', 0, '<p>In the midst of Stalinist tyranny, six-year-old Leelo\'s mother is sent to a prison camp. Haunted by her mother\'s last words telling her to be a good kid, Leelo vows to be on her best behaviour in the confusing grown-up world in the hope that it will bring her mother back.</p>\r\n', '', 'basic_html'),
('film', 0, 106, 196, 'en', 0, '<p>Mourning the death of her father, Giulia is contacted by him from the other dimension.</p>\r\n', '', 'basic_html'),
('film', 0, 122, 254, 'en', 0, '<p>Young&nbsp;dancer Qiao falls for powerful mob boss Bin. After protecting him during a rival gang’s ambush, she ends up in prison. Upon release, some five years later, she seeks out Bin to restart their old life. But is that still possible? Their violent relationship develops from 2001 to 2017, which allows director Jia Zhangke to chronicle contemporary China – from mining ghost towns to entire villages sacrificed for new dams.</p>\r\n\r\n<p>Maestro Jia Zhangke’s latest film&nbsp;was inspired by scenes cut from his previous works <a href=\"https://iffr.com/en/2003/films/unknown-pleasures\"><strong>Unknown Pleasures</strong></a><strong>&nbsp;</strong>(2002) and<strong> </strong><a href=\"https://iffr.com/en/2007/films/still-life\"><strong>Still Life</strong></a>&nbsp;(2006).&nbsp;Those films also featured Jia\'s muse and wife Zhao Tao in the lead and in the director’s mind the two roles she played in those films melded into one.&nbsp;<strong>Ash Is Purest White</strong>&nbsp;completes&nbsp;her story.</p>\r\n', '', 'basic_html'),
('film', 0, 123, 255, 'en', 0, '<p>What makes Jamaica so special, multicultural, raw and spiritual? New Yorker Khalik Allah’s visual prayer and ode bares the Caribbean country’s soul in wonderfully unpolished, analogue images. Jamaica – blessed with fertile soil, yet cursed with a horrific history of slavery – proves a veritable melting pot of cultures, religions and traditions.</p>\r\n\r\n<p>In this artistic documentary, Allah gives Jamaicans the opportunity to share their dreams and wisdom, but also to talk about the harsh everyday reality. His characteristic, analogue shots are accompanied by a soundtrack that is sometimes juxtaposed with the images, yet the two always seem seamlessly aligned. The self-taught photographer and filmmaker portrays contemporary Jamaicans in a particularly honest fashion. From young streetwalkers and streetwise rappers to Rastafarians, mothers, agricultural labourers and devout church girls. Allah has subdivided his film into the trimesters of a pregnancy. Life’s key elements come together in <strong>Black Mother</strong>.&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 124, 256, 'en', 0, '<p>In Damascus, young pharmacist Sana is trying to give her son as normal a childhood as possible. It is 2012, the start of the war in Syria, and water, gas and electricity are scarce. Sana hears there are bottles of gas to be had in a city nearby. She sets off on a search that quickly gets out of hand after she encounters an unexpected roadblock. Along the way, she experiences the kindness of strangers, but also her worst nightmare. In an olive grove, she discovers that people can lose their shadows – as if the traumatic experience of war causes them to lose something of themselves.</p>\r\n\r\n<p>Following several documentaries on refugees, this gripping story marks Soudade Kaadan’s transition to fiction. Her background in documentary is clearly visible in the natural acting, handheld camerawork and hyper-realism of Sana’s panic-stricken journey, with an excursion into the territory of magical realism. Winner of the Luigi De Laurentiis Award for Best Debut in Venice.</p>\r\n', '', 'basic_html'),
('film', 0, 124, 261, 'en', 0, '<p>In Damascus, young pharmacist Sana is trying to give her son as normal a childhood as possible. It is 2012, the start of the war in Syria, and water, gas and electricity are scarce. Sana hears there are bottles of gas to be had in a city nearby. She sets off on a search that quickly gets out of hand after she encounters an unexpected roadblock. Along the way, she experiences the kindness of strangers, but also her worst nightmare. In an olive grove, she discovers that people can lose their shadows – as if the traumatic experience of war causes them to lose something of themselves.</p>\r\n\r\n<p>Following several documentaries on refugees, this gripping story marks Soudade Kaadan’s transition to fiction. Her background in documentary is clearly visible in the natural acting, handheld camerawork and hyper-realism of Sana’s panic-stricken journey, with an excursion into the territory of magical realism. Winner of the Luigi De Laurentiis Award for Best Debut in Venice.</p>\r\n', '', 'basic_html'),
('film', 0, 124, 267, 'en', 0, '<p>In Damascus, young pharmacist Sana is trying to give her son as normal a childhood as possible. It is 2012, the start of the war in Syria, and water, gas and electricity are scarce. Sana hears there are bottles of gas to be had in a city nearby. She sets off on a search that quickly gets out of hand after she encounters an unexpected roadblock. Along the way, she experiences the kindness of strangers, but also her worst nightmare. In an olive grove, she discovers that people can lose their shadows – as if the traumatic experience of war causes them to lose something of themselves.</p>\r\n\r\n<p>Following several documentaries on refugees, this gripping story marks Soudade Kaadan’s transition to fiction. Her background in documentary is clearly visible in the natural acting, handheld camerawork and hyper-realism of Sana’s panic-stricken journey, with an excursion into the territory of magical realism. Winner of the Luigi De Laurentiis Award for Best Debut in Venice.</p>\r\n', '', 'basic_html'),
('film', 0, 126, 258, 'en', 0, '<p>Yervant Gianikian and Angela Ricci Lucchi built up their impressive, highly praised and original joint oeuvre over a period of 40 years. Their work dissects found footage and makes connections between modernity and 20th-century imperialist violence.</p>\r\n\r\n<p>For example, in 2018 IFFR screened their beautiful installation&nbsp;<strong>Journey to Russia</strong> in its A History of Shadows programme. This consisted of a watercolour scroll by Ricci Lucchi (who studied under painter Oskar Kokoschka) and six video projections – a record of their search for the survivors of the Russian avant-garde during the period when the Soviet Union was disintegrating. Ricci Lucchi passed away shortly after this and Gianikian started making this film.</p>\r\n\r\n<p>This poignant homage is compiled from Angela Ricci Lucchi\'s illustrated diaries as well as personal film and video reports. These capture the everyday lives of the couple in the hills of Northern Italy and their many travels, such as a journey to Armenia with actor Walter Chiari. This personal record is proof that Gianikian is continuing their lives’ work of \'cinematic excavation\'.</p>\r\n', '', 'basic_html'),
('film', 0, 127, 259, 'en', 0, '<p>Punky biopic about the underground music scene in Leningrad just before Perestroika, based on the early years of pop icon Viktor Tsoï and his legendary band Kino.&nbsp;In the early 1980s, he befriends the charismatic singer of the band Zoopark, who has managed to pick up rare records by Bowie, Blondie and T. Rex.&nbsp;They decide to shake things up with their own performances, but for now their young audience is allowed only to move their feet to the rhythm.&nbsp;With humour and guts, the band members tackle censorship, even if only in their imagination.</p>\r\n\r\n<p>In lush black-and-white,&nbsp;<strong>Leto&nbsp;</strong>captures the energy of a long summer: making music together in cramped apartments and cautious rebellion, alternating with wildly scratched images and surrealistic interludes of train passengers singing along to&nbsp;<em>Psycho Killer</em>&nbsp;by Talking Heads.&nbsp;Filmmaker Serebrennikov (<strong>The Student</strong>) was placed under house arrest at the end of filming <strong>Leto</strong>.&nbsp;He was still able to finish the editing at home.</p>\r\n', '', 'basic_html'),
('film', 0, 127, 260, 'en', 0, '<p>Punky biopic about the underground music scene in Leningrad just before Perestroika, based on the early years of pop icon Viktor Tsoï and his legendary band Kino.&nbsp;In the early 1980s, he befriends the charismatic singer of the band Zoopark, who has managed to pick up rare records by Bowie, Blondie and T. Rex.&nbsp;They decide to shake things up with their own performances, but for now their young audience is allowed only to move their feet to the rhythm.&nbsp;With humour and guts, the band members tackle censorship, even if only in their imagination.</p>\r\n\r\n<p>In lush black-and-white,&nbsp;<strong>Leto&nbsp;</strong>captures the energy of a long summer: making music together in cramped apartments and cautious rebellion, alternating with wildly scratched images and surrealistic interludes of train passengers singing along to&nbsp;<em>Psycho Killer</em>&nbsp;by Talking Heads.&nbsp;Filmmaker Serebrennikov (<strong>The Student</strong>) was placed under house arrest at the end of filming <strong>Leto</strong>.&nbsp;He was still able to finish the editing at home.</p>\r\n', '', 'basic_html'),
('film', 0, 128, 262, 'en', 0, '<p>In 1999 truck driver Vlada arrives at a dilapidated warehouse in war-torn Kosovo to collect a mysterious load. He has to keep to a strict schedule, not ask any questions and keep the back of the truck locked. Vlada sets off on an odyssey through a desolate landscape of derelict houses and bridges bombed up by NATO. When he finally gets home, he is confronted by the consequences of his actions. His load becomes his burden.</p>\r\n\r\n<p>Ognjen Glavonić’s film is based on the real events he dealt with previously in the documentary <strong>Depth Two </strong>(2016). In his fiction debut&nbsp;<strong>The Load</strong>, he focuses principally on the moral degradation of an ordinary man just trying to get by, and investigates what this generation inherits from the last.&nbsp;Glavonić shifts down the gears for this subtle story, captured in claustrophobic images pregnant with ever-present threat, making the impact of the denouement all the more powerful.</p>\r\n', '', 'basic_html'),
('film', 0, 128, 268, 'en', 0, '<p>In 1999 truck driver Vlada arrives at a dilapidated warehouse in war-torn Kosovo to collect a mysterious load. He has to keep to a strict schedule, not ask any questions and keep the back of the truck locked. Vlada sets off on an odyssey through a desolate landscape of derelict houses and bridges bombed up by NATO. When he finally gets home, he is confronted by the consequences of his actions. His load becomes his burden.</p>\r\n\r\n<p>Ognjen Glavonić’s film is based on the real events he dealt with previously in the documentary <strong>Depth Two </strong>(2016). In his fiction debut&nbsp;<strong>The Load</strong>, he focuses principally on the moral degradation of an ordinary man just trying to get by, and investigates what this generation inherits from the last.&nbsp;Glavonić shifts down the gears for this subtle story, captured in claustrophobic images pregnant with ever-present threat, making the impact of the denouement all the more powerful.</p>\r\n', '', 'basic_html'),
('film', 0, 128, 269, 'en', 0, '<p>In 1999 truck driver Vlada arrives at a dilapidated warehouse in war-torn Kosovo to collect a mysterious load. He has to keep to a strict schedule, not ask any questions and keep the back of the truck locked. Vlada sets off on an odyssey through a desolate landscape of derelict houses and bridges bombed up by NATO. When he finally gets home, he is confronted by the consequences of his actions. His load becomes his burden.</p>\r\n\r\n<p>Ognjen Glavonić’s film is based on the real events he dealt with previously in the documentary <strong>Depth Two </strong>(2016). In his fiction debut&nbsp;<strong>The Load</strong>, he focuses principally on the moral degradation of an ordinary man just trying to get by, and investigates what this generation inherits from the last.&nbsp;Glavonić shifts down the gears for this subtle story, captured in claustrophobic images pregnant with ever-present threat, making the impact of the denouement all the more powerful.</p>\r\n', '', 'basic_html'),
('film', 0, 129, 263, 'en', 0, '<p>“The&nbsp;difference between film and memory is that film is always false. Memories mix truth and lies”, a character in Bi Gan’s second feature film says. His debut, <a href=\"https://iffr.com/en/2016/films/kaili-blues\"><strong>Kaili Blues</strong></a>, marked him as a talent to watch in China’s budding eighth generation. The dreamy, elliptic tale ends in a 45-minute single shot in which past and present intertwine.</p>\r\n\r\n<p>The follow-up, <strong>Long Day\'s Journey Into Night</strong>, is&nbsp;even more impressive and partially in 3D. Once again, his lead returns to Kaili (the director’s home town) after years away. Luo Hongwu has come to attend his father’s funeral, but is also in search of a lover he just can’t forget. The summer they shared 20 years ago seamlessly merges with his contemporary search: “Every time I see her, I know I am in a dream again.”</p>\r\n', '', 'basic_html'),
('film', 0, 129, 281, 'en', 0, '<p>“The&nbsp;difference between film and memory is that film is always false. Memories mix truth and lies”, a character in Bi Gan’s second feature film says. His debut, <a href=\"https://iffr.com/en/2016/films/kaili-blues\"><strong>Kaili Blues</strong></a>, marked him as a talent to watch in China’s budding eighth generation. The dreamy, elliptic tale ends in a 45-minute single shot in which past and present intertwine.</p>\r\n\r\n<p>The follow-up, <strong>Long Day\'s Journey Into Night</strong>, is&nbsp;even more impressive and partially in 3D. Once again, his lead returns to Kaili (the director’s home town) after years away. Luo Hongwu has come to attend his father’s funeral, but is also in search of a lover he just can’t forget. The summer they shared 20 years ago seamlessly merges with his contemporary search: “Every time I see her, I know I am in a dream again.”</p>\r\n', '', 'basic_html'),
('film', 0, 130, 264, 'en', 0, '<p>Juno, a sensitive boy in a village on Java, struggles with confusing impressions following the sudden departure of his father. Juno practises with a traditional Lengger dance company, where male dancers can assume female forms. He is attracted by the sensuality of this, but he is also shocked when he sees how seduction can lead to violence. He begins to discover his own sexual identity while becoming friends with a young boxer and an old dance teacher.</p>\r\n\r\n<p>Modern politics and traditional Indonesian dance, masculinity and femininity merge in this new film from Garin Nugroho, a versatile filmmaker who has regularly attended IFFR. Using straightforward means, he creates an impression of complex emotional and social relations at the time of Suharto’s resignation. The last episode is the most politically charged in this at times enchanting, at times realistic-poetic story. Inspired by the life of choreographer and dancer Rianto, who himself acts as a narrator through mini-performances and poignant recollections: \"My body is my home.\"</p>\r\n', '', 'basic_html'),
('film', 0, 131, 265, 'en', 0, '<p>A comedy about the Arab-Israeli conflict? There are few filmmakers willing to take on such a risky project, but in <strong>Tel Aviv on Fire </strong>Sameh Zoabi proves it is still possible to find something to laugh about. Starting from a&nbsp;made-up romantic series about a female spy who marries an Arab man in 1967, but also has to engage with a member of the Israeli military. As the viewers don’t&nbsp;yet know who the woman will finally choose, the programme becomes hugely&nbsp;popular on both sides of the wall.</p>\r\n\r\n<p>Salem works as a production assistant on the set and therefore has to pass a very strict border official every day. When he demands that the Israeli soldier be given a more positive role, Salem feverishly tries to influence the narrative&nbsp;of the TV series, as it becomes increasingly clear how futile this is. In this&nbsp;way, Zoabi is able to tackle a painful truth, zooming in on this decades-long conflict&nbsp;with the light touch of a compelling soap opera.</p>\r\n', '', 'basic_html'),
('film', 0, 133, 271, 'en', 0, '<p>Several already traumatised people escaping a planet in ruins in the hope of finding solace on Mars, experience what was not allowed to happen when their space ship suddenly veers off course. Pella Kågerman and Hugo Lilja’s film adaptation of Harry Martinson’s world-renowned “Aniara: A Review of Man in Time and Space” situates the story alarmingly close to our time.</p>\r\n', '', 'basic_html'),
('film', 0, 134, 272, 'en', 0, '<p>The choir director Halla becomes radicalised and turns into an armed ecoterrorist in a lonely struggle against the aluminium industry. Celebrated Icelandic director Benedikt Erlingsson’s (Of Horses and Men, 2013) masterful, Cannes-awarded climate-comedy is Iceland’s contribution to next year’s Oscars.</p>\r\n', '', 'basic_html'),
('film', 0, 134, 278, 'en', 0, '<p>The choir director Halla becomes radicalised and turns into an armed ecoterrorist in a lonely struggle against the aluminium industry. Celebrated Icelandic director Benedikt Erlingsson’s (Of Horses and Men, 2013) masterful, Cannes-awarded climate-comedy is Iceland’s contribution to next year’s Oscars.</p>\r\n', '', 'basic_html'),
('film', 0, 135, 273, 'en', 0, '<p>Skyscrapers collapse and whole streets split apart as nature displays its might in Oslo. The most powerful disaster film ever made in the Nordic countries combines an intimate family drama with startling images of destruction, which come together to remind us of what we have to lose.</p>\r\n', '', 'basic_html'),
('film', 0, 136, 274, 'en', 0, '<p>A melancholic apocalyptic drama about the TV cameraman Armin, who wakes up one day to a world without people. Suggestively and ominously, but not without humour, the German director Ulrich Köhler illustrates a post-apocalyptic plight where modern society and its monuments are slowly consumed by nature.</p>\r\n', '', 'basic_html'),
('film', 0, 136, 275, 'en', 0, '<p>A melancholic apocalyptic drama about the TV cameraman Armin, who wakes up one day to a world without people. Suggestively and ominously, but not without humour, the German director Ulrich Köhler illustrates a post-apocalyptic plight where modern society and its monuments are slowly consumed by nature.</p>\r\n', '', 'basic_html'),
('film', 0, 137, 276, 'en', 0, '<p>Two women on the run from hordes of zombies struggle for survival in a post-apocalyptic Germany. Swedish director Carolina Hellsgård finds a glimmer of light in a world in ruins across this intimate and philosophical portrayal of friendship, hope and zombie apocalypse.</p>\r\n', '', 'basic_html'),
('film', 0, 137, 277, 'en', 0, '<p>Two women on the run from hordes of zombies struggle for survival in a post-apocalyptic Germany. Swedish director Carolina Hellsgård finds a glimmer of light in a world in ruins across this intimate and philosophical portrayal of friendship, hope and zombie apocalypse.</p>\r\n', '', 'basic_html'),
('film', 0, 139, 282, 'en', 0, '<p>On the river towns of North Carolina, two sad vandals and an unemployed loner wait for a fabled rocket launch.</p>\r\n', '', 'basic_html'),
('film', 0, 140, 283, 'en', 0, '<p>Reeling from the death of her mother, Beatriz moves to Brazil where she begins an intense and toxic relatio</p>\r\n', '', 'basic_html'),
('film', 0, 141, 284, 'en', 0, '<p>A pack of Calcutta youth seek greater lust and life in their relentless pursuit of Brown Sugar (dirty heroin)... and it’s unsustainable high.</p>\r\n', '', 'basic_html'),
('film', 0, 142, 285, 'en', 0, '<p>In mid-90s Belarus, a young DJ\'s big overseas plans get derailed when a typo on her Visa application sends her to a backwater factory town where she is determined to fake her way to the American dream.</p>\r\n', '', 'basic_html'),
('film', 0, 143, 286, 'en', 0, '<p>A puppet-animation charting the rise and fall of fictional child pop star, Junie Spoons.</p>\r\n', '', 'basic_html'),
('film', 0, 144, 287, 'en', 0, '<p>Hurry Slowly follows Fiona over a few life-changing summer months on the north-western coast of Norway, where she juggle the care of her brother, her job at the local ferry and her interest in music.</p>\r\n', '', 'basic_html'),
('film', 0, 145, 288, 'en', 0, '<p>In the process of her ongoing film shoot in New York City, a filmmaker finds herself questioning the origin of impulsion. As she tries to overcome loss through creation, an unexpected event enlightens her journey.</p>\r\n', '', 'basic_html'),
('film', 0, 146, 289, 'en', 0, '<p>Two old highschool friends solve a Christmas mystery in D.C.</p>\r\n', '', 'basic_html'),
('film', 0, 147, 290, 'en', 0, '<p>When two outsiders arrive on an isolated intentional community, seventeen-year old Anahita begins to question her role at home, and what a future out in the world-at-large could be.</p>\r\n', '', 'basic_html'),
('film', 0, 148, 291, 'en', 0, '<p>At the dawn of the space-race, two radio-obsessed teens discover a strange frequency over the airwaves in what becomes the most important night of their lives and in the history of their small town.</p>\r\n', '', 'basic_html'),
('film', 0, 149, 292, 'en', 0, '<p>When Siyabonga, a young South African actor hungry to expand his craft, gets wind of a movie production that is shooting in a neighboring town, the eager actor decides to set out a journey that will take him away from his quiet home life and out into a bustling world of possibility.</p>\r\n', '', 'basic_html'),
('film', 0, 150, 293, 'en', 0, '<p>An in-depth look at four individuals who have pulled the trigger and the profound impact it’s had on their lives.</p>\r\n', '', 'basic_html'),
('film', 0, 151, 294, 'en', 0, '<p>A famous Polish painter known for his dark and twisted imagery chronicles his son\'s troubled life from the 1950s through the millennium.</p>\r\n', '', 'basic_html'),
('film', 0, 152, 295, 'en', 0, '<p>The untold story of a series of Reagan-era anarchic punk rock desert happenings that still reverberate throughout our culture.</p>\r\n', '', 'basic_html'),
('film', 0, 153, 296, 'en', 0, '<p>A lip-syncing scandal pits an American singer against an Italian male model over the legacy of 1980s \'Italo Disco\' star Den Harrow.&nbsp;<br />\r\n&nbsp;</p>\r\n', '', 'basic_html'),
('film', 0, 154, 297, 'en', 0, '<p>A mid-western transgender woman struggles with the prospect of de-transitioning under the pressures of her fundamentalist church, family and community.</p>\r\n', '', 'basic_html'),
('film', 0, 155, 298, 'en', 0, '<p>A year after Martin Luther King Jr was assassinated, a group of blues legends came together to celebrate the 150 year anniversary of Memphis, TN. This concert documentary, shot over 3 days in June of 1969, celebrates an American art form that unites us all.</p>\r\n', '', 'basic_html'),
('film', 0, 156, 299, 'en', 0, '<p>A behind-the-scenes look at the magic of Stevie Blatz, an entertainment entrepreneur in Bethlehem, PA.</p>\r\n', '', 'basic_html'),
('film', 0, 157, 300, 'en', 0, '<p>In 1979, the fatal shooting of a white crab fisherman in a Texas fishing village ignites a maelstrom of hostilities against Vietnamese refugees along the Gulf Coast.</p>\r\n', '', 'basic_html'),
('film', 0, 158, 301, 'en', 0, '<p>Through the conservation efforts of a rhino caretaker unit in Kenya, we peer past the headlines into the emptiness of extinction in real time.</p>\r\n', '', 'basic_html'),
('film', 0, 159, 302, 'en', 0, '<p>A universal story of friendship, rebellion and the irresistible power of gathered youth – set to a soundtrack as eclectic and electrifying as the scene it gave birth to, BEATS is a story for our time.</p>\r\n', '', 'basic_html'),
('film', 0, 160, 303, 'en', 0, '<p>A high-school girl who lives in a rural town in Japan struggles to define her own way in life. To help her impoverished family she works as a video fetish performer which leads to problems for her and her family with a criminal underworld.</p>\r\n', '', 'basic_html'),
('film', 0, 161, 304, 'en', 0, '<p>Desperate to become less shallow, a handsome teenage boy deforms his face with bandages and attends a support group for disfigured people.</p>\r\n', '', 'basic_html'),
('film', 0, 162, 305, 'en', 0, '<p>A teenage swimmer/high diver Iva, endures a grieving process, as family secrets and mysteries, especially her mother’s, unveil.</p>\r\n', '', 'basic_html'),
('film', 0, 171, 317, 'en', 0, '<p>Studying in Hong Kong but living in Shenzhen (the port of Mainland China), Peipei has spent 16 years in her life travelling between these two cities. To realize the dream of seeing snow in Japan with her bestie, Peipei joins a smuggling gang and uses her student identity to smuggle iPhones from HK.</p>\r\n', '', 'basic_html'),
('film', 0, 172, 318, 'en', 0, '<p>Near a coastal village of Thailand, by the sea where thousands of Rohingya refugees have drowned, a local fisherman finds an injured man lying unconscious in the forest. He rescues the stranger, who does not speak a word, offers him his friendship and names him Thongchai. But when the fisherman suddenly disappears at sea, Thongchai slowly begins to take over his friend\'s life - his house, his job and his ex-wife.</p>\r\n', '', 'basic_html'),
('film', 0, 176, 323, 'en', 0, '<p>A long-kept family secret thrusts codependent, thirty-something sisters Rachel and Jackie Gurner into a literal soap opera. A journey that proves that you really can come of age, at any age.</p>\r\n', '', 'basic_html'),
('film', 0, 177, 324, 'en', 0, '<p>A suburban teenager comes of age under the destructive guidance of his best friend, a charismatic college dropout.</p>\r\n', '', 'basic_html'),
('film', 0, 178, 325, 'en', 0, '<p>A woman living in New York takes control of her life – one city block at a time.</p>\r\n', '', 'basic_html'),
('film', 0, 179, 326, 'en', 0, '<p>Years of carrying out death row executions have taken a toll on prison warden Bernadine Williams. As she prepares to execute another inmate, Bernadine must confront the psychological and emotional demons her job creates, ultimately connecting her to the man she is sanctioned to kill.</p>\r\n', '', 'basic_html'),
('film', 0, 180, 327, 'en', 0, '<p>A headstrong Chinese-American woman returns to China when her beloved grandmother is given a terminal diagnosis. Billi struggles with her family’s decision to keep grandma in the dark about her own illness as they all stage an impromptu wedding to see grandma one last time.</p>\r\n', '', 'basic_html'),
('film', 0, 181, 328, 'en', 0, '<p>Muslim teenager Hala copes with the unraveling of her family as she comes into her own.</p>\r\n', '', 'basic_html'),
('film', 0, 182, 329, 'en', 0, '<p>A child TV star and his ex-rodeo clown father face their stormy past through time and cinema.</p>\r\n', '', 'basic_html'),
('film', 0, 183, 330, 'en', 0, '<p>The sexual, psychological and moral unraveling of an obsessive-compulsive suburban mom.</p>\r\n', '', 'basic_html'),
('film', 0, 184, 331, 'en', 0, '<p>Jimmie Fails dreams of reclaiming the Victorian home his grandfather built in the heart of San Francisco. Joined on his quest by his best friend Mont, Jimmie searches for belonging in a rapidly changing city that seems to have left them behind.</p>\r\n', '', 'basic_html'),
('film', 0, 185, 332, 'en', 0, '<p>A married couple is forced to reckon with their idealized image of their son, adopted from war-torn Eritrea, after an alarming discovery by a devoted high school teacher threatens his status as an all-star student.</p>\r\n', '', 'basic_html'),
('film', 0, 186, 333, 'en', 0, '<p>Kasie, stuck in LA’s Koreatown, works as a karaoke hostess getting paid for her companionship by drunken men. When her dad’s hospice nurse quits she reconnects with her estranged brother, Carey, forcing them to enter a period of intense self-reflection as their single father who raised them nears death.</p>\r\n', '', 'basic_html'),
('film', 0, 187, 334, 'en', 0, '<p>In this modern reimagining of Richard Wright’s seminal novel, a young African-American man named Bigger Thomas takes a job working for a highly influential Chicago family, a decision that will change the course of his life forever.</p>\r\n', '', 'basic_html'),
('film', 0, 188, 335, 'en', 0, '<p>After discovering a disturbing video from a night she doesn’t remember, sixteen-year-old Mandy must try to figure out what happened and how to navigate the escalating fallout.</p>\r\n', '', 'basic_html'),
('film', 0, 189, 336, 'en', 0, '<p>A successful “house tuner” in New York City, who calibrates the sound in people’s homes in order to adjust their moods, meets a client with a problem he can’t solve.</p>\r\n', '', 'basic_html'),
('film', 0, 190, 337, 'en', 0, '<p>Inside a snake-handling church deep in Appalachia, a forbidden relationship forces a pastor’s daughter to confront her community’s deadly tradition.</p>\r\n', '', 'basic_html'),
('film', 0, 191, 338, 'en', 0, '<p>Under small town scrutiny, a withdrawn farmer’s daughter forges an intimate friendship with a worldly but reckless new girl in 1960s Oklahoma.</p>\r\n', '', 'basic_html'),
('film', 0, 192, 339, 'en', 0, '<p>Seeking funds for her orphanage in India, Isabelle travels to New York to meet Theresa, a wealthy benefactor. An invitation to attend a wedding ignites a series of events in which the past collides with the present while mysteries unravel.</p>\r\n', '', 'basic_html'),
('film', 0, 193, 340, 'en', 0, '<p>After a decade of partying, Laura and Tyler’s friendship is strained by Laura’s new love and her focus on her novel. A snapshot of a modern woman with competing desires, at once a celebration of female friendship and an examination of the choices we make when facing a crossroads.</p>\r\n', '', 'basic_html'),
('film', 0, 194, 342, 'en', 0, '<p>In 1987 during the austere days of Thatcher’s Britain, a teenager learns to live life, understand his family and find his own voice through the music of Bruce Springsteen.</p>\r\n', '', 'basic_html'),
('film', 0, 195, 343, 'en', 0, '<p>Against all the odds, a thirteen year old boy in Malawi invents an unconventional way to save his family and village from famine. Based on the true story of William Kamkwamba.</p>\r\n', '', 'basic_html'),
('film', 0, 196, 344, 'en', 0, '<p>A chronicle of the crimes of Ted Bundy from the perspective of Liz, his longtime girlfriend, who refused to believe the truth about him for years.</p>\r\n', '', 'basic_html'),
('film', 0, 197, 345, 'en', 0, '<p>In the wake of humanity’s extinction, a teenage girl is raised by a robot designed to repopulate the earth. But their unique bond is threatened when an inexplicable stranger arrives with alarming news.</p>\r\n', '', 'basic_html'),
('film', 0, 198, 346, 'en', 0, '<p>Legendary late-night talk show host’s world is turned upside down when she hires her only female staff writer. Originally intended to smooth over diversity concerns, her decision has unexpectedly hilarious consequences as the two women separated by culture and generation are united by their love of a biting punchline.</p>\r\n', '', 'basic_html'),
('event', 0, 199, 348, 'en', 0, '<p>The cool, shiny, lovingly cared-for classic cars begin arriving around 3:15 p.m. at the upper level of the parking structure behind The Gardens on El Paseo. Get a close-up look at these beauties and talk to the owners before they take over cruising El Paseo from 4 to 6 pm.</p>\r\n', '', 'basic_html'),
('event', 0, 199, 349, 'en', 0, '<p>The cool, shiny, lovingly cared-for classic cars begin arriving around 3:15 p.m. at the upper level of the parking structure behind The Gardens on El Paseo. Get a close-up look at these beauties and talk to the owners before they take over cruising El Paseo from 4 to 6 pm.</p>\r\n', '', 'basic_html'),
('event', 0, 200, 351, 'en', 0, '<p>Join us for the Desert\'s Largest Health + Wellness event!&nbsp;The 3rd&nbsp;annual LiveWell Festival is an all-inclusive mind-body-spirit wellness festival that highlights the desert’s top local health and wellness businesses through fun, educational, and interactive demonstrations the whole family can enjoy.</p>\r\n', '', 'basic_html'),
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('story', 0, 203, 363, 'en', 0, '<p>The Santa Barbara International Film Festival (SBIFF), presented by UGG ® , announced today the highly anticipated lineup for the 34 th edition, which will run January 30 to February 9, 2019. The festival will feature 63 world premieres and 59 U.S. premieres from 48 countries, along with tributes with the year’s top talent, panel discussions, and free community education and outreach programs.</p>\r\n\r\n<p>SBIFF’s Executive Director Roger Durling stated this morning, “After the tragedy last year in Santa Barbara, we questioned whether to go ahead with last year’s festival, but we came to realize the importance of film as a way for people to gather in an equalitarian way to reflect, feel and simply experience art together. SBIFF is an event that brings together a plethora of visitors - international, national and local filmmakers, Oscar contenders, vital educational programs. We have entered this year with a renewed sense of purpose and continuity with the festival and understand more than ever the important role we play in the community. As such, we have chosen to bookend our festival with two films about iconic people and places in Santa Barbara to highlight the resilience, vitality and the talent within the Santa Barbara community.”</p>\r\n\r\n<p>Photo credits Getty Images for SBIFF</p>\r\n\r\n<p><strong><em>OPENING NIGHT</em></strong></p>\r\n\r\n<p><strong><em><img alt=\"\" height=\"800\" src=\"https://www.filmfestivals.com/files/images/u612/1091597500.jpg\" width=\"533\" /></em></strong></p>\r\n\r\n<p>SBIFF 2019 will start with the Opening Night Film, presented by UGG ® , on Wednesday, January 30, at the historic Arlington Theatre with the world premiere of <strong>Diving Deep:The Life and Times of Mike deGruy </strong>directed by Mimi deGruy. <strong>Diving Deep:The Life and Times of Mike deGruy </strong>is a feature film documentary about Mike deGruy, an irrepressible biologist turned award-winning filmmaker who swam, dived and filmed in oceans around the world and in the process became the first to film many rarely seen creatures in their own oceans. He was also a passionate advocate of the ocean’s creatures and became increasingly outspoken as an environmental activist. In 2012, deGruy died tragically in a helicopter crash in Australia while filming for director James Cameron. Told through the eyes of Mimi deGruy, his wife and filmmaking partner, <strong>Diving Deep:The Life and Times of Mike deGruy </strong>celebrates deGruy’s remarkable life, career and what he passionately believed: we are destroying the ocean before we even know what’s there.</p>\r\n\r\n<p>Following the film, the Opening Night Gala, sponsored by Amazon Studios, will take place in the beautiful outdoor Paseo Nuevo Shops and Restaurants in downtown Santa Barbara. It will feature entertainment, food, libations, and a chance to celebrate the start of SBIFF.</p>\r\n\r\n<p><strong><em>CLOSING NIGHT</em></strong></p>\r\n\r\n<p>The Festival will close Saturday, February 9 at the Arlington Theatre with the world premiere of <strong>Spoons:</strong></p>\r\n\r\n<p><strong>A Santa Barbara Story </strong>directed by Wyatt Daily. The Closing Night Film is sponsored by Winchester Mystery House.</p>\r\n\r\n<p><strong>SPOONS: A SANTA BARBARA STORY </strong>is an exploration of how one of the most significant corners of the world produced, and continues to produce, some of the most talented surfers and innovators. Deeper than all is a story of craftsmanship, work ethic, renegades and tradition. This is a film that goes beyond the time spent in the ocean to define how one spends a lifetime.</p>\r\n\r\n<p>Following the film, SBIFF will end with a final celebration at the Closing Night Party sponsored by Amazon Studios.</p>\r\n\r\n<p><strong><em>THE TRIBUTES</em></strong></p>\r\n\r\n<p>SBIFF has become an important showcase for Academy Award frontrunners, many of whom have arrived as nominees and gone on to win the Oscar. The 34th SBIFF proudly celebrates some of the year’s finest work in film.</p>\r\n\r\n<p>● The Outstanding Directors of the Year Award , sponsored by The Hollywood Reporter, will be Thursday, January 31 at 8:00pm. Honorees to be announced.</p>\r\n\r\n<p>● The Outstanding Performer of the Year Award will be Friday, February 1 at 8:00pm. Honoree to be announced.</p>\r\n\r\n<p>● <strong>Viggo Mortensen </strong>will receive the American Riviera Award, on Saturday, February 2 at 3:00pm.</p>\r\n\r\n<p>● <strong>Glenn Close </strong>will receive the Maltin Modern Master Award, moderated by longtime friend, film historian, and award namesake Leonard Maltin on Saturday, February 2 at 8:00pm.</p>\r\n\r\n<p>● <strong>Melissa McCarthy </strong>will receive the Montecito Award, sponsored by Bella Vista Designs, o n Sunday, February 3 at 8:00pm.</p>\r\n\r\n<p>● The Variety Artisans Award s, sponsored by Variety, will take place on Monday, February 4 at 8:00pm, and will be moderated by Tim Gray. Honorees to be announced.</p>\r\n\r\n<p>● The Virtuosos Award, presented by UGG ® , will be awarded to <strong>Yalitza Aparicio </strong>( <em>Roma </em>), <strong>Sam Elliott </strong>( <em>A Star is Born </em>), <strong>Elsie Fisher </strong>( <em>Eighth Grade </em>), <strong>Claire Foy </strong>( <em>First Man </em>), <strong>Richard E. Grant </strong>( <em>Can You Ever Forgive Me? </em>), <strong>Thomasin McKenzie </strong>( <em>Leave No Trace </em>), <strong>John David Washington </strong>( <em>BlacKkKlansman </em>), and <strong>Steven Yeun </strong>( <em>Burning </em>) on Tuesday, February 5 at 8:00pm, moderated by Dave Karger.</p>\r\n\r\n<p>● <strong>Michael B. Jordan </strong>will receive the Cinema Vanguard Award presented by Belvedere Vodka on</p>\r\n\r\n<p>Thursday, February 7 at 8:00pm.</p>\r\n\r\n<p>All tributes take place at the historic Arlington Theatre with the exception of the Variety Artisans Award which will be at the Lobero Theatre, presented by Toyota Mirai .</p>\r\n\r\n<p><strong><em>THE PANELS</em></strong></p>\r\n\r\n<p>SBIFF has become renowned for creating smart, insightful panels that feature a who’s who in the world of filmmaking, including many Oscar contenders.</p>\r\n\r\n<p>● Producers Panel will be on Saturday, February 2 at 10:00am, moderated by Glenn Whipp.</p>\r\n\r\n<p>● Writers Panel will be on Saturday, February 2 at 1:00pm, moderated by Anne Thompson.</p>\r\n\r\n<p>● Women’s Panel will be on Sunday, February 3 at 11:00am, moderated by Madelyn Hammond.</p>\r\n\r\n<p>All panels take place at the Lobero Theatre, presented by Toyota Mirai. Panelists to be announced.</p>\r\n\r\n<p><strong><em>EDUCATIONAL PROGRAMS AND FREE SCREENINGS</em></strong></p>\r\n\r\n<p><strong>Mike’s Field Trip to the Movies </strong>– Named for renowned nature cinematographer Mike deGruy, Mike’s Field Trip to the Movies uses filmmaking to stimulate creative, confident, and culturally aware thinkers.</p>\r\n\r\n<p>The program is offered to 4,000 4 th , 5 th , and 6 th grade students from throughout Santa Barbara County, and SBIFF provides free transportation to students from Title I schools. This year SBIFF is thrilled to present two critically acclaimed films: <strong>Spider-Man: Into the Spider-Verse </strong>with directors Peter Ramsey, Robert Persichetti Jr., Rodney Rothman and <strong>Ralph Breaks the Internet </strong>with directors Rich Moore and Phil Johnston. The directors will participate in a Q&amp;A following the screenings with the students to discuss the craft of animated filmmaking. Sponsored by Montecito Bank &amp; Trust, Patagonia, Union Bank, Bentson Foundation and Volentine Family Foundation.</p>\r\n\r\n<p><strong>Student Film Studies Program </strong>– Returning for its fifth year thanks to the generosity of Lynda Weinman and Bruce Heavin, the national student film studies program will bring 30 undergraduate film students from across the country for a three-day symposium with a focus on film appreciation, criticism, and analysis. Sixty college students in Santa Barbara have the opportunity to take an 11-Day Film Festival course through Santa Barbara City College.</p>\r\n\r\n<p><strong>AppleBox Family Films </strong>– SBIFF will again screen animated feature frontrunners free to families on the weekends of the Festival with complimentary popcorn and refreshments. This year’s screenings will include <strong>Spider-Man: Into the Spider-Verse </strong>(10:00am on February 2), <strong>Ralph Breaks the Internet </strong>(10:00am on February 3), and <strong>Incredibles 2 </strong>(10:00am on February 9). Sponsored by Metropolitan Theatres.</p>\r\n\r\n<p><strong>10–10–10 Student Screenwriting and Filmmaking Mentorship and Competition </strong>– In October, 20 high school and college screenwriters and filmmakers were accepted after a competitive application process before beginning a series of workshops, a table read, and a casting day. Since then, the ten writer/director teams and their crews have worked with industry mentors to produce short films that will be screened on Saturday, February 9 at 2:00pm at The Arlington Theatre, with an announcement of the winning scripts and films following the screening. Sponsored by Final Draft Inc. and generously supported by Mary Beth Riordan.</p>\r\n\r\n<p><strong>Free Public Screenings </strong>– SBIFF will again offer critically acclaimed film screenings free to the public at the Lobero Theatre presented by Toyota Mirai everyday throughout the Festival.</p>\r\n\r\n<p><strong>Filmmaker Seminars </strong>– SBIFF will again present educational seminars that will be free to the public and will take place in the Festival Pavilion daily at 11:00am. Filmmaker Seminars are sponsored by Driscoll’s.</p>\r\n\r\n<p><strong>Super Silent Sunday </strong>– On Sunday, February 3, SBIFF will pres ent the 1927 influential German science-fiction film <strong>Metropolis </strong>at the Arlington Theatre completely free to the public <strong>. </strong>Live accompaniment will be provided by Adam Aceto on the theatre’s Wonder Morton pipe organ. Super Silent Sunday is sponsored by Winchester Mystery House.</p>\r\n\r\n<p><strong>Youth CineMedia </strong><em>– </em>SBIFF presents a documentary film series produced entirely by teens involved in the Youth CineMedia program. Striving to help children transition away from gang life, drugs, and alcohol and into college and careers in music, photography, and video production, the organization offers creative tools, training, and support for underprivileged and at–risk teens. Free to the public with Q&amp;A following on Saturday, February 9.</p>\r\n\r\n<p><strong><em>FOCUS ON SANTA BARBARA</em></strong></p>\r\n\r\n<p><strong>Santa Barbara Filmmakers </strong>– The Santa Barbara filmmaking community continues to captivate and inspire audiences with this year’s impressive lineup. Santa Barbara filmmakers provide a diverse, thought–provoking series of features and shorts.</p>\r\n\r\n<p><strong>The “Stand Up” Award sponsored by ADL </strong>– The Santa Barbara Tri–Counties Region of the Anti–Defamation League will be sponsoring and presenting the “ <em>ADL Stand Up Award </em>” to a dramatic film in the festival that represents an important addition to the efforts of the ADL \"to secure justice and fair treatment for all.\"</p>\r\n\r\n<p><strong>The Tribute Awards </strong>were once again specially designed by Santa Barbara’s own Daniel Gibbings Jewelry. The award is inspired by the iconic steeple of Santa Barbara’s historic Arlington Theatre, is handcrafted in metal, and is 24 karat gold–plated, with a custom marble base.</p>\r\n\r\n<p><strong>34th Festival Poster Unveiled </strong>- Barbara Boros has designed the SBIFF poster each year for 16 years, this year highlighting Butterfly Beach.</p>\r\n\r\n<p><strong>Official Festival Hub </strong>– The official festival hub will again be located at Hotel Santa Barbara, returning for their 16 th year as supporters of SBIFF.</p>\r\n\r\n<p><strong><em>2019 FILMS</em></strong></p>\r\n\r\n<p>Below is the list of feature and short films at the 2019 SBIFF. For the complete list of films, synopses, and other special events please visit www.sbiff.org .</p>\r\n\r\n<p><strong>20 WORLD PREMIERE FEATURE FILMS </strong>(listed alphabetically)</p>\r\n\r\n<p><strong>Babysplitters, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Sam Friedlander</p>\r\n\r\n<p><strong>Better Together, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Isaac Hern á ndez</p>\r\n\r\n<p><strong>The Bird Catcher, Norway, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Ross Clarke</p>\r\n\r\n<p><strong>Cemetery Park, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Brandon Alvis</p>\r\n\r\n<p><strong>Diving Deep: The Life and Times of Mike deGruy, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Mimi deGruy</p>\r\n\r\n<p><strong>Enormous: The Gorge Story, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nic Davis</p>\r\n\r\n<p><strong>Find Your Groove, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Michael Kirk</p>\r\n\r\n<p><strong>Guest Artist, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Timothy Busfield</p>\r\n\r\n<p><strong>Ham on Rye, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Tyler Taormina</p>\r\n\r\n<p><strong>Here and Now (Aquí y ahora), Costa Rica - World Premiere</strong></p>\r\n\r\n<p>Directed by Paz León</p>\r\n\r\n<p><strong>Loopers: The Caddie\'s Long Walk, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Jason Baffa</p>\r\n\r\n<p><strong>Making Apes: The Artists Who Changed Film, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by William Conlin</p>\r\n\r\n<p><strong>The Map to Paradise, Australia - World Premiere</strong></p>\r\n\r\n<p>Directed by Danielle Ryan and James Sherwood</p>\r\n\r\n<p><strong>Ordinary Gods, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Pascui Rivas</p>\r\n\r\n<p><strong>Peel, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Rafael Monserrate</p>\r\n\r\n<p><strong>Quiet Storm, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Johnny Sweet</p>\r\n\r\n<p><strong>Silent Forests, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Mariah Wilson</p>\r\n\r\n<p><strong>Spoons: A Santa Barbara Story, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Wyatt Daily</p>\r\n\r\n<p><strong>Working Man, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Robert Jury</p>\r\n\r\n<p><strong>Zulu Summer, South Africa, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Joseph Litzinger and Eric Michael Schrader</p>\r\n\r\n<p><strong>51 U.S. PREMIERE FEATURE FILMS </strong>(listed alphabetically)</p>\r\n\r\n<p><strong>Alone at My Wedding (Seule à mon mariage), Belgium - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Marta Bergman</p>\r\n\r\n<p><strong>Amá, UK - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Lorna Tucker</p>\r\n\r\n<p><strong>Angel Face (Gueule d\'ange), France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Vanessa Filho</p>\r\n\r\n<p><strong>The Apollo of Gaza (L\'Apollon de Gaza), Switzerland, Canada - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Nicolas Wadimoff</p>\r\n\r\n<p><strong>Belmonte, Uruguay, Spain, Mexico - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Federico Veiroj</p>\r\n\r\n<p><strong>Betrayal (Traición), Mexico - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ignacio Ortiz Cruz</p>\r\n\r\n<p><strong>Break (Recreo), Argentina - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Hernán Guerschuny and Jazmín Stuart</p>\r\n\r\n<p><strong>Breaking Habits, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Robert Ryan</p>\r\n\r\n<p><strong>Celeste, Australia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ben Hackworth</p>\r\n\r\n<p><strong>Crystal Swan (Khrustal), Belarus - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Darya Zhuk</p>\r\n\r\n<p><strong>The Dead and the Others (Chuva é cantoria na aldeia dos mortos), Brazil, Portugal - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by João Salaviza and Renée Nader Messora</p>\r\n\r\n<p><strong>Emma Peeters, Canada, Belgium - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Nicole Palo</p>\r\n\r\n<p><strong>Ether (Eter), Poland, Hungary, Lithuania, Ukraine, Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Krzysztof Zanussi</p>\r\n\r\n<p><strong>Fine Lines, Hong Kong - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Dina Khreino</p>\r\n\r\n<p><strong>Fly by Night (Fei chang dao), Malaysia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Zahir Omar</p>\r\n\r\n<p><strong>Freaks, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Adam Stein and Zach Lipovsky</p>\r\n\r\n<p><strong>Helmet Heads (Cascos indomables), Chile, Costa Rica - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Neto Villalobos</p>\r\n\r\n<p><strong>Here and Now, Israel - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Roman Shumunov</p>\r\n\r\n<p><strong>Holy Tour (La grande messe), Belgium, France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Méryl Fortunat-Rossi and Valéry Rosier</p>\r\n\r\n<p><strong>I Act, I Am (Igram, sem), Slovenia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Miroslav Mandic</p>\r\n\r\n<p><strong>Joel, Argentina - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Carlos Sorín</p>\r\n\r\n<p><strong>José, Guatemala, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Li Cheng</p>\r\n\r\n<p><strong>Journey to a Mother\'s Room (Viaje al cuarto de una madre), Spain - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Celia Rico Clavellino</p>\r\n\r\n<p><strong>King Bibi: The Life and Performances of Benjamin Netanyahu, Israel, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Dan Shadur</p>\r\n\r\n<p><strong>Land of Hope (Oma maa), Finland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Markku Pölönen</p>\r\n\r\n<p><strong>Land of My Children (Im land meiner kinder), Germany, Switzerland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Darío Aguirre</p>\r\n\r\n<p><strong>The Laps: Tasmania, Australia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Dustin Hollick and Angie Davis</p>\r\n\r\n<p><strong>Les Dames (Ladies), Switzerland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Stéphanie Chuat and Véronique Reymond</p>\r\n\r\n<p><strong>Metal Heart, Ireland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Hugh O\'Conor</p>\r\n\r\n<p><strong>Murderous Trance aka The Guardian Angel, Finland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Arto Halonen</p>\r\n\r\n<p><strong>My Own Good (Il bene mio), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Pippo Mezzapesa</p>\r\n\r\n<p><strong>Nose to Tail, Canada - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Jesse Zigelstein</p>\r\n\r\n<p><strong>Not Quite Adults (Tampoco tan grandes), Argentina - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Federico Sosa</p>\r\n\r\n<p><strong>Pause (Pafsi), Cyprus - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Tonia Mishiali</p>\r\n\r\n<p><strong>Phoenix (Føniks), Norway - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Camilla Strøm Henriksen</p>\r\n\r\n<p><strong>Private Album, Israel - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Kobi Farag</p>\r\n\r\n<p><strong>Prosecuting Evil: The Extraordinary World of Ben Ferencz, Canada - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Barry Avrich</p>\r\n\r\n<p><strong>Put Grandma in the Freezer (Metti la nonna in freezer), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Giancarlo Fontana and Giuseppe Stasi</p>\r\n\r\n<p><strong>A Seed for Change, Greece - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Alexandros Ikonomidis</p>\r\n\r\n<p><strong>S ı ren’s Call (Son Çikiş), Turkey - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ramin Matin</p>\r\n\r\n<p><strong>Tell It to the Bees, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Annabel Jankel</p>\r\n\r\n<p><strong>Two Times You (Dos veces tú), Mexico - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Salomón Askenazi</p>\r\n\r\n<p><strong>Ulysses &amp; Mona, France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Sébastien Betbeder</p>\r\n\r\n<p><strong>The Unorthodox (Ha-Bilti Rishmi\'im), Israel - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Eliran Malka</p>\r\n\r\n<p><strong>Van Goghs (Van Gogi), Latvia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Sergey Livnev</p>\r\n\r\n<p><strong>Virgin and Extra: The Land of Olive Oil (Jaén, virgen y extra), Spain - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by José Luis López Linares</p>\r\n\r\n<p><strong>What Have We Done to Deserve This? (Womit haben wir das verdient?), Austria - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Eva Spreitzhofer</p>\r\n\r\n<p><strong>Wherever You Are (Ovunque proteggimi), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Bonifacio Angius</p>\r\n\r\n<p><strong>Wild Kids, Israel - US Premiere</strong></p>\r\n\r\n<p>Directed by Tal Pesses</p>\r\n\r\n<p><strong>With the Wind (Le vent tourne), Switzerland, France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Bettina Oberli</p>\r\n\r\n<p><strong>The Young Fan (Il ragazzo più felice del mondo), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Gianni Pacinotti (Gipi)</p>\r\n\r\n<p><strong>2019 SBIFF FEATURE FILMS </strong>(non-premieres listed alphabetically)</p>\r\n\r\n<p><strong>Afterward, USA</strong></p>\r\n\r\n<p>Directed by Ofra Bloch</p>\r\n\r\n<p><strong>Amazing Grace, USA</strong></p>\r\n\r\n<p>Directed by Sydney Pollack, completed by Alan Elliott</p>\r\n\r\n<p><strong>Angel (Un ange), Belgium, Netherlands, Senegal</strong></p>\r\n\r\n<p>Directed by Koen Mortier</p>\r\n\r\n<p><strong>Anthropocene: The Human Epoch, Canada</strong></p>\r\n\r\n<p>Directed by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky</p>\r\n\r\n<p><strong>As Needed (Quanto basta), Italy, Brazil</strong></p>\r\n\r\n<p>Directed by Francesco Falaschi</p>\r\n\r\n<p><strong>Ash Is Purest White (Jiang hu er nv), China</strong></p>\r\n\r\n<p>Directed by Jia Zhang-ke</p>\r\n\r\n<p><strong>Between the Lines, USA - *World Premiere Restoration</strong></p>\r\n\r\n<p>Directed by Joan Micklin Silver</p>\r\n\r\n<p><strong>The Biggest Little Farm, USA</strong></p>\r\n\r\n<p>Directed by John Chester</p>\r\n\r\n<p><strong>Carmen y Lola, Spain</strong></p>\r\n\r\n<p>Directed by Arantxa Echevarría</p>\r\n\r\n<p><strong>Carmine Street Guitars, Canada</strong></p>\r\n\r\n<p>Directed by Ron Mann</p>\r\n\r\n<p><strong>Cassandro the Exotico!, France</strong></p>\r\n\r\n<p>Directed by Marie Losier</p>\r\n\r\n<p><strong>Champions (Campeones), Spain</strong></p>\r\n\r\n<p>Directed by Javier Fesser</p>\r\n\r\n<p><strong>David Crosby: Remember My Name, USA</strong></p>\r\n\r\n<p>Directed by A.J. Eaton</p>\r\n\r\n<p><strong>Echo in the Canyon, USA</strong></p>\r\n\r\n<p>Directed by Andrew Slater</p>\r\n\r\n<p><strong>The Factory (Zavod), Russia, France, Armenia</strong></p>\r\n\r\n<p>Directed by Yury Bykov</p>\r\n\r\n<p><strong>Fire on the Hill: The Cowboys of South Central L.A., USA</strong></p>\r\n\r\n<p>Directed by Brett Fallentine</p>\r\n\r\n<p><strong>Gatao 2: Rise of the King, Taiwan</strong></p>\r\n\r\n<p>Directed by Yen Cheng-Kuo</p>\r\n\r\n<p><strong>Harvest Season, USA</strong></p>\r\n\r\n<p>Directed by Bernardo Ruiz</p>\r\n\r\n<p><strong>The Heat: A Kitchen (R)evolution, Canada</strong></p>\r\n\r\n<p>Directed by Maya Gallus</p>\r\n\r\n<p><strong>Hugh Hefner\'s After Dark: Speaking Out in America, Canada</strong></p>\r\n\r\n<p>Directed by Brigitte Berman</p>\r\n\r\n<p><strong>I Used to Be Normal: A Boyband Fangirl Story, Australia, USA</strong></p>\r\n\r\n<p>Directed by Jessica Leski</p>\r\n\r\n<p><strong>Incredibles 2, USA</strong></p>\r\n\r\n<p>Directed by Brad Bird</p>\r\n\r\n<p><strong>Inside Lehman Brothers, Canada</strong></p>\r\n\r\n<p>Directed by Jennifer Deschamps</p>\r\n\r\n<p><strong>Laila at the Bridge, Canada, Afghanistan</strong></p>\r\n\r\n<p>Directed by Elizabeth Mirzaei and Gulistan Mirzaei</p>\r\n\r\n<p><strong>The Last Prosecco (Finché c\'è prosecco c\'è speranza), Italy</strong></p>\r\n\r\n<p>Directed by Antonio Padovan</p>\r\n\r\n<p><strong>Light in the Water, USA</strong></p>\r\n\r\n<p>Directed by Lis Bartlett</p>\r\n\r\n<p><strong>Maya, France</strong></p>\r\n\r\n<p>Directed by Mia Hansen-Løve</p>\r\n\r\n<p><strong>Mouthpiece, Canada</strong></p>\r\n\r\n<p>Directed by Patricia Rozema</p>\r\n\r\n<p><strong>Outdoors (Bayit Bagalil), Israel</strong></p>\r\n\r\n<p>Directed by Asaf Saban</p>\r\n\r\n<p><strong>The Parting Glass, Canada, USA</strong></p>\r\n\r\n<p>Directed by Stephen Moyer</p>\r\n\r\n<p><strong>Ralph Breaks the Internet, USA</strong></p>\r\n\r\n<p>Directed by Phil Johnston and Rich Moore</p>\r\n\r\n<p><strong>Shadow, China</strong></p>\r\n\r\n<p>Directed by Zhang Yimou</p>\r\n\r\n<p><strong>Sharkwater Extinction, Canada</strong></p>\r\n\r\n<p>Directed by Rob Stewart</p>\r\n\r\n<p><strong>Spider-Man: Into the Spider-Verse, USA</strong></p>\r\n\r\n<p>Directed by Bob Persichetti, Peter Ramsey and Rodney Rothman</p>\r\n\r\n<p><strong>Stockholm, Canada, Sweden, USA</strong></p>\r\n\r\n<p>Directed by Robert Budreau</p>\r\n\r\n<p><strong>Take It or Leave It (Võta või jäta), Estonia</strong></p>\r\n\r\n<p>Directed by Liina Trishkina-Vanhatalo</p>\r\n\r\n<p><strong>The Third Wife, Vietnam</strong></p>\r\n\r\n<p>Directed by Ash Mayfair</p>\r\n\r\n<p><strong>This Changes Everything, USA</strong></p>\r\n\r\n<p>Directed by Tom Donahue</p>\r\n\r\n<p><strong>A Thousand Miles Behind, USA</strong></p>\r\n\r\n<p>Directed by Nathan Wetherington</p>\r\n\r\n<p><strong>Too Beautiful: Our Right to Fight, USA</strong></p>\r\n\r\n<p>Directed by Maceo Frost</p>\r\n\r\n<p><strong>Transit, Germany, France</strong></p>\r\n\r\n<p>Directed by Christian Petzold</p>\r\n\r\n<p><strong>Unsettling, UK, Israel</strong></p>\r\n\r\n<p>Directed by Iris Zaki</p>\r\n\r\n<p><strong>Winter Flies (Všechno bude), Czech Republic</strong></p>\r\n\r\n<p>Directed by Olmo Omerzu</p>\r\n\r\n<p><strong>2019 SBIFF SHORTS </strong>- (listed alphabetically)</p>\r\n\r\n<p><strong>42 WORLD PREMIERES AND 8 U.S. PREMIERES</strong></p>\r\n\r\n<p><strong>1 in 100,000, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Benjamin Yates</p>\r\n\r\n<p><strong>805 Strong, USA</strong></p>\r\n\r\n<p>Produced by Ellie Vargas</p>\r\n\r\n<p><strong>Accident (Ongelukje), Netherlands - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by David Cocheret</p>\r\n\r\n<p><strong>Ah Gong (Grandpa), Taiwan - World Premiere</strong></p>\r\n\r\n<p>Directed by Clifford Miu</p>\r\n\r\n<p><strong>BIG DATA - “L1ZY”, USA</strong></p>\r\n\r\n<p>Directed by Brandon LaGanke and John Carlucci</p>\r\n\r\n<p><strong>The Bird &amp; the Whale, Ireland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Carol Freeman</p>\r\n\r\n<p><strong>Birth of a Movement, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Paul Lynch</p>\r\n\r\n<p><strong>Black Lips, Australia</strong></p>\r\n\r\n<p>Directed by Adrian Chiarella</p>\r\n\r\n<p><strong>Buzzer, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Albert Birney</p>\r\n\r\n<p><strong>CC, Canada</strong></p>\r\n\r\n<p>Directed by Kailey Spear and Sam Spear</p>\r\n\r\n<p><strong>The Cheshire Cat Inn, USA</strong></p>\r\n\r\n<p>Directed by Joshua Sechrist</p>\r\n\r\n<p><strong>The Clinic, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Elivia Shaw</p>\r\n\r\n<p><strong>A Cohort of Guests, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Todd Sandler</p>\r\n\r\n<p><strong>Cruisin’ Santa Barbara, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Justin Gunn</p>\r\n\r\n<p><strong>Damage, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Matt Porter</p>\r\n\r\n<p><strong>Definition of Resilience, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Alexis Sallee and Tomas Karmelo</p>\r\n\r\n<p><strong>Dream Girl, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Ryan Slattery and Andrea Sanchez</p>\r\n\r\n<p><strong>Duel of the Hearts, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Harrison Derbyshire</p>\r\n\r\n<p><strong>Dust Devil, Australia</strong></p>\r\n\r\n<p>Directed by Poppy Walker</p>\r\n\r\n<p><strong>Esfuerzo, USA</strong></p>\r\n\r\n<p>Directed by Alana Maiello</p>\r\n\r\n<p><strong>EZK: Beyond the Walls (EZK: Au-delà des murs), France - World Premiere</strong></p>\r\n\r\n<p>Directed by Shawn Pyfrom</p>\r\n\r\n<p><strong>The Fallen Tree, USA</strong></p>\r\n\r\n<p>Directed by Drew Hodges</p>\r\n\r\n<p><strong>Fathom, USA</strong></p>\r\n\r\n<p>Directed by Alessio Morello</p>\r\n\r\n<p><strong>Forgotten, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Daniel Soares</p>\r\n\r\n<p><strong>From Water to Wind, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Casey McGarry</p>\r\n\r\n<p><strong>The Garden Is Singing: Ganna Walska Lotusland, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Karen Kasaba</p>\r\n\r\n<p><strong>Guns Found Here, USA</strong></p>\r\n\r\n<p>Directed by David Freid</p>\r\n\r\n<p><strong>Henrietta Bulkowski, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Rachel Johnson</p>\r\n\r\n<p><strong>Hidden Blueprints: The Story of Mikey, USA</strong></p>\r\n\r\n<p>Directed by Jeremy Lee MacKenzie</p>\r\n\r\n<p><strong>Holding, USA</strong></p>\r\n\r\n<p>Directed by Jesse Turk and Jon Zucker</p>\r\n\r\n<p><strong>Inanimate, UK</strong></p>\r\n\r\n<p>Directed by Lucia Bulgheroni</p>\r\n\r\n<p><strong>Inlove, France</strong></p>\r\n\r\n<p>Directed by Les Frères Lopez</p>\r\n\r\n<p><strong>jack, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nick Paonessa</p>\r\n\r\n<p><strong>John Van Hamersveld - Crazy World Ain\'t It, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Dave Tourjé</p>\r\n\r\n<p><strong>Jump, Australia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ryan O’Kane and James Conway-Law</p>\r\n\r\n<p><strong>Last Day of School ( Paskutinis skambutis), USA, Lithuania - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Gabriele Urbonaite</p>\r\n\r\n<p><strong>The Last Harvest, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Alexis Spraic</p>\r\n\r\n<p><strong>Love Is Never Wasted, USA</strong></p>\r\n\r\n<p>Directed by Nathanael Matanick</p>\r\n\r\n<p><strong>The Mayor, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Taylor Horky</p>\r\n\r\n<p><strong>Mitya\'s Love (Mitina Lyubov), Russia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Svetlana Filippova</p>\r\n\r\n<p><strong>MOOSE, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Jonah Ansell</p>\r\n\r\n<p><strong>My Brother Amal ( Amali bram) , Norway - U.S. Premiere</strong></p>\r\n\r\n<p>Directed Christopher Wollebekk</p>\r\n\r\n<p><strong>My Moon, USA</strong></p>\r\n\r\n<p>Directed by Eusong Lee</p>\r\n\r\n<p><strong>Near Miss, USA</strong></p>\r\n\r\n<p>Directed by Josh Berry</p>\r\n\r\n<p><strong>No Traveler Returns (D\'où nul ne revient), USA, Ivory Coast - World Premiere</strong></p>\r\n\r\n<p>Directed by Ellie Foumbi</p>\r\n\r\n<p><strong>Nothing Ever Good Happens in a Parking Garage, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Mike Winger</p>\r\n\r\n<p><strong>November 1st, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Charlie Manton</p>\r\n\r\n<p><strong>Opening the Earth: The Potato King, Peru, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Eric Ebner and Aaron Ebner</p>\r\n\r\n<p><strong>Our Last Trash, USA</strong></p>\r\n\r\n<p>Directed by Joanne Yue</p>\r\n\r\n<p><strong>Reboot, USA</strong></p>\r\n\r\n<p>Directed by Ellen Osborne</p>\r\n\r\n<p><strong>RETURN: Native American Women Reclaim Foodways for Health and Spirit, USA</strong></p>\r\n\r\n<p>Directed by Karen Cantor</p>\r\n\r\n<p><strong>Reverence (Curtain Call), Iran - World Premiere</strong></p>\r\n\r\n<p>Directed by Sogol Rezvani</p>\r\n\r\n<p><strong>The Running Man of Pasadena, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Brett Nicoletti</p>\r\n\r\n<p><strong>The Salty Generations, USA</strong></p>\r\n\r\n<p>Directed by Shaun Wolfe and Shelby Oliver</p>\r\n\r\n<p><strong>The Sea Ranch: Architecture, Environment, and Idealism, USA</strong></p>\r\n\r\n<p>Directed by Peter Samis</p>\r\n\r\n<p><strong>Second Unit: A Mockumentary, USA</strong></p>\r\n\r\n<p>Directed Ankush Khemani</p>\r\n\r\n<p><strong>Secret Times, Belarus, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Montanah Blue</p>\r\n\r\n<p><strong>Selling Lies, USA</strong></p>\r\n\r\n<p>Directed by Leslie Iwerks</p>\r\n\r\n<p><strong>Set on Intent, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Tate Larrick</p>\r\n\r\n<p><strong>Silence (Sunyi), USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Riani Singgih</p>\r\n\r\n<p><strong>SPIN, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Marielle Woods</p>\r\n\r\n<p><strong>Start with Half, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nathaniel Katzman</p>\r\n\r\n<p><strong>Stunning, USA, Sweden</strong></p>\r\n\r\n<p>Directed by Gustav Högmo</p>\r\n\r\n<p><strong>Tala,, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Missy Malek</p>\r\n\r\n<p><strong>This Side Has Dreams Too, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Spencer Rabin</p>\r\n\r\n<p><strong>Tino, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Robin Hauser</p>\r\n\r\n<p><strong>Too Many Bodies, USA</strong></p>\r\n\r\n<p>Directed by Reena Dutt</p>\r\n\r\n<p><strong>Trail Heads, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Dani Rodriguez</p>\r\n\r\n<p><strong>Treat Yourself, USA</strong></p>\r\n\r\n<p>Directed by Nathan Leonard</p>\r\n\r\n<p><strong>Trial by Fire, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Alex Astrella</p>\r\n\r\n<p><strong>True Love / True Crime on an American Bus, USA</strong></p>\r\n\r\n<p>Directed by Nicholas Coles</p>\r\n\r\n<p><strong>Tweet-Tweet, Russia</strong></p>\r\n\r\n<p>Directed by Zhanna Bekmambetova</p>\r\n\r\n<p><strong>VACA, Spain - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Marta Bayarri</p>\r\n\r\n<p><strong>The Video Shop, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Isaac Seigel-Boettner</p>\r\n\r\n<p><strong>We Are Love, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nick Lentz</p>\r\n\r\n<p><strong>White Guys Solve Sexism, USA</strong></p>\r\n\r\n<p>Directed by Christopher Guerrero</p>\r\n\r\n<p><strong>Who You Are, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Joel Jay Blacker</p>\r\n\r\n<p><strong>You Say Hello, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Lovell Holder</p>\r\n\r\n<p><strong>You Think You Can’t Dance?, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Kum-Kum Bhavnani</p>\r\n\r\n<p><strong>Zombie Debt, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Ashly Blodgett nd independent films every day.&nbsp;</p>\r\n', '', 'basic_html');
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('story', 0, 203, 364, 'en', 0, '<p>The Santa Barbara International Film Festival (SBIFF), presented by UGG ® , announced today the highly anticipated lineup for the 34 th edition, which will run January 30 to February 9, 2019. The festival will feature 63 world premieres and 59 U.S. premieres from 48 countries, along with tributes with the year’s top talent, panel discussions, and free community education and outreach programs.</p>\r\n\r\n<p>SBIFF’s Executive Director Roger Durling stated this morning, “After the tragedy last year in Santa Barbara, we questioned whether to go ahead with last year’s festival, but we came to realize the importance of film as a way for people to gather in an equalitarian way to reflect, feel and simply experience art together. SBIFF is an event that brings together a plethora of visitors - international, national and local filmmakers, Oscar contenders, vital educational programs. We have entered this year with a renewed sense of purpose and continuity with the festival and understand more than ever the important role we play in the community. As such, we have chosen to bookend our festival with two films about iconic people and places in Santa Barbara to highlight the resilience, vitality and the talent within the Santa Barbara community.”</p>\r\n\r\n<p>Photo credits Getty Images for SBIFF</p>\r\n\r\n<p><strong><em>OPENING NIGHT</em></strong></p>\r\n\r\n<p><strong><em><img alt=\"\" height=\"800\" src=\"https://www.filmfestivals.com/files/images/u612/1091597500.jpg\" width=\"533\" /></em></strong></p>\r\n\r\n<p>SBIFF 2019 will start with the Opening Night Film, presented by UGG ® , on Wednesday, January 30, at the historic Arlington Theatre with the world premiere of <strong>Diving Deep:The Life and Times of Mike deGruy </strong>directed by Mimi deGruy. <strong>Diving Deep:The Life and Times of Mike deGruy </strong>is a feature film documentary about Mike deGruy, an irrepressible biologist turned award-winning filmmaker who swam, dived and filmed in oceans around the world and in the process became the first to film many rarely seen creatures in their own oceans. He was also a passionate advocate of the ocean’s creatures and became increasingly outspoken as an environmental activist. In 2012, deGruy died tragically in a helicopter crash in Australia while filming for director James Cameron. Told through the eyes of Mimi deGruy, his wife and filmmaking partner, <strong>Diving Deep:The Life and Times of Mike deGruy </strong>celebrates deGruy’s remarkable life, career and what he passionately believed: we are destroying the ocean before we even know what’s there.</p>\r\n\r\n<p>Following the film, the Opening Night Gala, sponsored by Amazon Studios, will take place in the beautiful outdoor Paseo Nuevo Shops and Restaurants in downtown Santa Barbara. It will feature entertainment, food, libations, and a chance to celebrate the start of SBIFF.</p>\r\n\r\n<p><strong><em>CLOSING NIGHT</em></strong></p>\r\n\r\n<p>The Festival will close Saturday, February 9 at the Arlington Theatre with the world premiere of <strong>Spoons:</strong></p>\r\n\r\n<p><strong>A Santa Barbara Story </strong>directed by Wyatt Daily. The Closing Night Film is sponsored by Winchester Mystery House.</p>\r\n\r\n<p><strong>SPOONS: A SANTA BARBARA STORY </strong>is an exploration of how one of the most significant corners of the world produced, and continues to produce, some of the most talented surfers and innovators. Deeper than all is a story of craftsmanship, work ethic, renegades and tradition. This is a film that goes beyond the time spent in the ocean to define how one spends a lifetime.</p>\r\n\r\n<p>Following the film, SBIFF will end with a final celebration at the Closing Night Party sponsored by Amazon Studios.</p>\r\n\r\n<p><strong><em>THE TRIBUTES</em></strong></p>\r\n\r\n<p>SBIFF has become an important showcase for Academy Award frontrunners, many of whom have arrived as nominees and gone on to win the Oscar. The 34th SBIFF proudly celebrates some of the year’s finest work in film.</p>\r\n\r\n<p>● The Outstanding Directors of the Year Award , sponsored by The Hollywood Reporter, will be Thursday, January 31 at 8:00pm. Honorees to be announced.</p>\r\n\r\n<p>● The Outstanding Performer of the Year Award will be Friday, February 1 at 8:00pm. Honoree to be announced.</p>\r\n\r\n<p>● <strong>Viggo Mortensen </strong>will receive the American Riviera Award, on Saturday, February 2 at 3:00pm.</p>\r\n\r\n<p>● <strong>Glenn Close </strong>will receive the Maltin Modern Master Award, moderated by longtime friend, film historian, and award namesake Leonard Maltin on Saturday, February 2 at 8:00pm.</p>\r\n\r\n<p>● <strong>Melissa McCarthy </strong>will receive the Montecito Award, sponsored by Bella Vista Designs, o n Sunday, February 3 at 8:00pm.</p>\r\n\r\n<p>● The Variety Artisans Award s, sponsored by Variety, will take place on Monday, February 4 at 8:00pm, and will be moderated by Tim Gray. Honorees to be announced.</p>\r\n\r\n<p>● The Virtuosos Award, presented by UGG ® , will be awarded to <strong>Yalitza Aparicio </strong>( <em>Roma </em>), <strong>Sam Elliott </strong>( <em>A Star is Born </em>), <strong>Elsie Fisher </strong>( <em>Eighth Grade </em>), <strong>Claire Foy </strong>( <em>First Man </em>), <strong>Richard E. Grant </strong>( <em>Can You Ever Forgive Me? </em>), <strong>Thomasin McKenzie </strong>( <em>Leave No Trace </em>), <strong>John David Washington </strong>( <em>BlacKkKlansman </em>), and <strong>Steven Yeun </strong>( <em>Burning </em>) on Tuesday, February 5 at 8:00pm, moderated by Dave Karger.</p>\r\n\r\n<p>● <strong>Michael B. Jordan </strong>will receive the Cinema Vanguard Award presented by Belvedere Vodka on</p>\r\n\r\n<p>Thursday, February 7 at 8:00pm.</p>\r\n\r\n<p>All tributes take place at the historic Arlington Theatre with the exception of the Variety Artisans Award which will be at the Lobero Theatre, presented by Toyota Mirai .</p>\r\n\r\n<p><strong><em>THE PANELS</em></strong></p>\r\n\r\n<p>SBIFF has become renowned for creating smart, insightful panels that feature a who’s who in the world of filmmaking, including many Oscar contenders.</p>\r\n\r\n<p>● Producers Panel will be on Saturday, February 2 at 10:00am, moderated by Glenn Whipp.</p>\r\n\r\n<p>● Writers Panel will be on Saturday, February 2 at 1:00pm, moderated by Anne Thompson.</p>\r\n\r\n<p>● Women’s Panel will be on Sunday, February 3 at 11:00am, moderated by Madelyn Hammond.</p>\r\n\r\n<p>All panels take place at the Lobero Theatre, presented by Toyota Mirai. Panelists to be announced.</p>\r\n\r\n<p><strong><em>EDUCATIONAL PROGRAMS AND FREE SCREENINGS</em></strong></p>\r\n\r\n<p><strong>Mike’s Field Trip to the Movies </strong>– Named for renowned nature cinematographer Mike deGruy, Mike’s Field Trip to the Movies uses filmmaking to stimulate creative, confident, and culturally aware thinkers.</p>\r\n\r\n<p>The program is offered to 4,000 4 th , 5 th , and 6 th grade students from throughout Santa Barbara County, and SBIFF provides free transportation to students from Title I schools. This year SBIFF is thrilled to present two critically acclaimed films: <strong>Spider-Man: Into the Spider-Verse </strong>with directors Peter Ramsey, Robert Persichetti Jr., Rodney Rothman and <strong>Ralph Breaks the Internet </strong>with directors Rich Moore and Phil Johnston. The directors will participate in a Q&amp;A following the screenings with the students to discuss the craft of animated filmmaking. Sponsored by Montecito Bank &amp; Trust, Patagonia, Union Bank, Bentson Foundation and Volentine Family Foundation.</p>\r\n\r\n<p><strong>Student Film Studies Program </strong>– Returning for its fifth year thanks to the generosity of Lynda Weinman and Bruce Heavin, the national student film studies program will bring 30 undergraduate film students from across the country for a three-day symposium with a focus on film appreciation, criticism, and analysis. Sixty college students in Santa Barbara have the opportunity to take an 11-Day Film Festival course through Santa Barbara City College.</p>\r\n\r\n<p><strong>AppleBox Family Films </strong>– SBIFF will again screen animated feature frontrunners free to families on the weekends of the Festival with complimentary popcorn and refreshments. This year’s screenings will include <strong>Spider-Man: Into the Spider-Verse </strong>(10:00am on February 2), <strong>Ralph Breaks the Internet </strong>(10:00am on February 3), and <strong>Incredibles 2 </strong>(10:00am on February 9). Sponsored by Metropolitan Theatres.</p>\r\n\r\n<p><strong>10–10–10 Student Screenwriting and Filmmaking Mentorship and Competition </strong>– In October, 20 high school and college screenwriters and filmmakers were accepted after a competitive application process before beginning a series of workshops, a table read, and a casting day. Since then, the ten writer/director teams and their crews have worked with industry mentors to produce short films that will be screened on Saturday, February 9 at 2:00pm at The Arlington Theatre, with an announcement of the winning scripts and films following the screening. Sponsored by Final Draft Inc. and generously supported by Mary Beth Riordan.</p>\r\n\r\n<p><strong>Free Public Screenings </strong>– SBIFF will again offer critically acclaimed film screenings free to the public at the Lobero Theatre presented by Toyota Mirai everyday throughout the Festival.</p>\r\n\r\n<p><strong>Filmmaker Seminars </strong>– SBIFF will again present educational seminars that will be free to the public and will take place in the Festival Pavilion daily at 11:00am. Filmmaker Seminars are sponsored by Driscoll’s.</p>\r\n\r\n<p><strong>Super Silent Sunday </strong>– On Sunday, February 3, SBIFF will pres ent the 1927 influential German science-fiction film <strong>Metropolis </strong>at the Arlington Theatre completely free to the public <strong>. </strong>Live accompaniment will be provided by Adam Aceto on the theatre’s Wonder Morton pipe organ. Super Silent Sunday is sponsored by Winchester Mystery House.</p>\r\n\r\n<p><strong>Youth CineMedia </strong><em>– </em>SBIFF presents a documentary film series produced entirely by teens involved in the Youth CineMedia program. Striving to help children transition away from gang life, drugs, and alcohol and into college and careers in music, photography, and video production, the organization offers creative tools, training, and support for underprivileged and at–risk teens. Free to the public with Q&amp;A following on Saturday, February 9.</p>\r\n\r\n<p><strong><em>FOCUS ON SANTA BARBARA</em></strong></p>\r\n\r\n<p><strong>Santa Barbara Filmmakers </strong>– The Santa Barbara filmmaking community continues to captivate and inspire audiences with this year’s impressive lineup. Santa Barbara filmmakers provide a diverse, thought–provoking series of features and shorts.</p>\r\n\r\n<p><strong>The “Stand Up” Award sponsored by ADL </strong>– The Santa Barbara Tri–Counties Region of the Anti–Defamation League will be sponsoring and presenting the “ <em>ADL Stand Up Award </em>” to a dramatic film in the festival that represents an important addition to the efforts of the ADL \"to secure justice and fair treatment for all.\"</p>\r\n\r\n<p><strong>The Tribute Awards </strong>were once again specially designed by Santa Barbara’s own Daniel Gibbings Jewelry. The award is inspired by the iconic steeple of Santa Barbara’s historic Arlington Theatre, is handcrafted in metal, and is 24 karat gold–plated, with a custom marble base.</p>\r\n\r\n<p><strong>34th Festival Poster Unveiled </strong>- Barbara Boros has designed the SBIFF poster each year for 16 years, this year highlighting Butterfly Beach.</p>\r\n\r\n<p><strong>Official Festival Hub </strong>– The official festival hub will again be located at Hotel Santa Barbara, returning for their 16 th year as supporters of SBIFF.</p>\r\n\r\n<p><strong><em>2019 FILMS</em></strong></p>\r\n\r\n<p>Below is the list of feature and short films at the 2019 SBIFF. For the complete list of films, synopses, and other special events please visit www.sbiff.org .</p>\r\n\r\n<p><strong>20 WORLD PREMIERE FEATURE FILMS </strong>(listed alphabetically)</p>\r\n\r\n<p><strong>Babysplitters, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Sam Friedlander</p>\r\n\r\n<p><strong>Better Together, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Isaac Hern á ndez</p>\r\n\r\n<p><strong>The Bird Catcher, Norway, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Ross Clarke</p>\r\n\r\n<p><strong>Cemetery Park, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Brandon Alvis</p>\r\n\r\n<p><strong>Diving Deep: The Life and Times of Mike deGruy, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Mimi deGruy</p>\r\n\r\n<p><strong>Enormous: The Gorge Story, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nic Davis</p>\r\n\r\n<p><strong>Find Your Groove, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Michael Kirk</p>\r\n\r\n<p><strong>Guest Artist, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Timothy Busfield</p>\r\n\r\n<p><strong>Ham on Rye, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Tyler Taormina</p>\r\n\r\n<p><strong>Here and Now (Aquí y ahora), Costa Rica - World Premiere</strong></p>\r\n\r\n<p>Directed by Paz León</p>\r\n\r\n<p><strong>Loopers: The Caddie\'s Long Walk, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Jason Baffa</p>\r\n\r\n<p><strong>Making Apes: The Artists Who Changed Film, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by William Conlin</p>\r\n\r\n<p><strong>The Map to Paradise, Australia - World Premiere</strong></p>\r\n\r\n<p>Directed by Danielle Ryan and James Sherwood</p>\r\n\r\n<p><strong>Ordinary Gods, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Pascui Rivas</p>\r\n\r\n<p><strong>Peel, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Rafael Monserrate</p>\r\n\r\n<p><strong>Quiet Storm, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Johnny Sweet</p>\r\n\r\n<p><strong>Silent Forests, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Mariah Wilson</p>\r\n\r\n<p><strong>Spoons: A Santa Barbara Story, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Wyatt Daily</p>\r\n\r\n<p><strong>Working Man, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Robert Jury</p>\r\n\r\n<p><strong>Zulu Summer, South Africa, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Joseph Litzinger and Eric Michael Schrader</p>\r\n\r\n<p><strong>51 U.S. PREMIERE FEATURE FILMS </strong>(listed alphabetically)</p>\r\n\r\n<p><strong>Alone at My Wedding (Seule à mon mariage), Belgium - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Marta Bergman</p>\r\n\r\n<p><strong>Amá, UK - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Lorna Tucker</p>\r\n\r\n<p><strong>Angel Face (Gueule d\'ange), France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Vanessa Filho</p>\r\n\r\n<p><strong>The Apollo of Gaza (L\'Apollon de Gaza), Switzerland, Canada - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Nicolas Wadimoff</p>\r\n\r\n<p><strong>Belmonte, Uruguay, Spain, Mexico - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Federico Veiroj</p>\r\n\r\n<p><strong>Betrayal (Traición), Mexico - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ignacio Ortiz Cruz</p>\r\n\r\n<p><strong>Break (Recreo), Argentina - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Hernán Guerschuny and Jazmín Stuart</p>\r\n\r\n<p><strong>Breaking Habits, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Robert Ryan</p>\r\n\r\n<p><strong>Celeste, Australia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ben Hackworth</p>\r\n\r\n<p><strong>Crystal Swan (Khrustal), Belarus - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Darya Zhuk</p>\r\n\r\n<p><strong>The Dead and the Others (Chuva é cantoria na aldeia dos mortos), Brazil, Portugal - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by João Salaviza and Renée Nader Messora</p>\r\n\r\n<p><strong>Emma Peeters, Canada, Belgium - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Nicole Palo</p>\r\n\r\n<p><strong>Ether (Eter), Poland, Hungary, Lithuania, Ukraine, Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Krzysztof Zanussi</p>\r\n\r\n<p><strong>Fine Lines, Hong Kong - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Dina Khreino</p>\r\n\r\n<p><strong>Fly by Night (Fei chang dao), Malaysia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Zahir Omar</p>\r\n\r\n<p><strong>Freaks, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Adam Stein and Zach Lipovsky</p>\r\n\r\n<p><strong>Helmet Heads (Cascos indomables), Chile, Costa Rica - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Neto Villalobos</p>\r\n\r\n<p><strong>Here and Now, Israel - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Roman Shumunov</p>\r\n\r\n<p><strong>Holy Tour (La grande messe), Belgium, France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Méryl Fortunat-Rossi and Valéry Rosier</p>\r\n\r\n<p><strong>I Act, I Am (Igram, sem), Slovenia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Miroslav Mandic</p>\r\n\r\n<p><strong>Joel, Argentina - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Carlos Sorín</p>\r\n\r\n<p><strong>José, Guatemala, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Li Cheng</p>\r\n\r\n<p><strong>Journey to a Mother\'s Room (Viaje al cuarto de una madre), Spain - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Celia Rico Clavellino</p>\r\n\r\n<p><strong>King Bibi: The Life and Performances of Benjamin Netanyahu, Israel, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Dan Shadur</p>\r\n\r\n<p><strong>Land of Hope (Oma maa), Finland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Markku Pölönen</p>\r\n\r\n<p><strong>Land of My Children (Im land meiner kinder), Germany, Switzerland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Darío Aguirre</p>\r\n\r\n<p><strong>The Laps: Tasmania, Australia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Dustin Hollick and Angie Davis</p>\r\n\r\n<p><strong>Les Dames (Ladies), Switzerland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Stéphanie Chuat and Véronique Reymond</p>\r\n\r\n<p><strong>Metal Heart, Ireland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Hugh O\'Conor</p>\r\n\r\n<p><strong>Murderous Trance aka The Guardian Angel, Finland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Arto Halonen</p>\r\n\r\n<p><strong>My Own Good (Il bene mio), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Pippo Mezzapesa</p>\r\n\r\n<p><strong>Nose to Tail, Canada - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Jesse Zigelstein</p>\r\n\r\n<p><strong>Not Quite Adults (Tampoco tan grandes), Argentina - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Federico Sosa</p>\r\n\r\n<p><strong>Pause (Pafsi), Cyprus - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Tonia Mishiali</p>\r\n\r\n<p><strong>Phoenix (Føniks), Norway - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Camilla Strøm Henriksen</p>\r\n\r\n<p><strong>Private Album, Israel - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Kobi Farag</p>\r\n\r\n<p><strong>Prosecuting Evil: The Extraordinary World of Ben Ferencz, Canada - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Barry Avrich</p>\r\n\r\n<p><strong>Put Grandma in the Freezer (Metti la nonna in freezer), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Giancarlo Fontana and Giuseppe Stasi</p>\r\n\r\n<p><strong>A Seed for Change, Greece - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Alexandros Ikonomidis</p>\r\n\r\n<p><strong>S ı ren’s Call (Son Çikiş), Turkey - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ramin Matin</p>\r\n\r\n<p><strong>Tell It to the Bees, USA - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Annabel Jankel</p>\r\n\r\n<p><strong>Two Times You (Dos veces tú), Mexico - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Salomón Askenazi</p>\r\n\r\n<p><strong>Ulysses &amp; Mona, France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Sébastien Betbeder</p>\r\n\r\n<p><strong>The Unorthodox (Ha-Bilti Rishmi\'im), Israel - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Eliran Malka</p>\r\n\r\n<p><strong>Van Goghs (Van Gogi), Latvia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Sergey Livnev</p>\r\n\r\n<p><strong>Virgin and Extra: The Land of Olive Oil (Jaén, virgen y extra), Spain - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by José Luis López Linares</p>\r\n\r\n<p><strong>What Have We Done to Deserve This? (Womit haben wir das verdient?), Austria - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Eva Spreitzhofer</p>\r\n\r\n<p><strong>Wherever You Are (Ovunque proteggimi), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Bonifacio Angius</p>\r\n\r\n<p><strong>Wild Kids, Israel - US Premiere</strong></p>\r\n\r\n<p>Directed by Tal Pesses</p>\r\n\r\n<p><strong>With the Wind (Le vent tourne), Switzerland, France - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Bettina Oberli</p>\r\n\r\n<p><strong>The Young Fan (Il ragazzo più felice del mondo), Italy - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Gianni Pacinotti (Gipi)</p>\r\n\r\n<p><strong>2019 SBIFF FEATURE FILMS </strong>(non-premieres listed alphabetically)</p>\r\n\r\n<p><strong>Afterward, USA</strong></p>\r\n\r\n<p>Directed by Ofra Bloch</p>\r\n\r\n<p><strong>Amazing Grace, USA</strong></p>\r\n\r\n<p>Directed by Sydney Pollack, completed by Alan Elliott</p>\r\n\r\n<p><strong>Angel (Un ange), Belgium, Netherlands, Senegal</strong></p>\r\n\r\n<p>Directed by Koen Mortier</p>\r\n\r\n<p><strong>Anthropocene: The Human Epoch, Canada</strong></p>\r\n\r\n<p>Directed by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky</p>\r\n\r\n<p><strong>As Needed (Quanto basta), Italy, Brazil</strong></p>\r\n\r\n<p>Directed by Francesco Falaschi</p>\r\n\r\n<p><strong>Ash Is Purest White (Jiang hu er nv), China</strong></p>\r\n\r\n<p>Directed by Jia Zhang-ke</p>\r\n\r\n<p><strong>Between the Lines, USA - *World Premiere Restoration</strong></p>\r\n\r\n<p>Directed by Joan Micklin Silver</p>\r\n\r\n<p><strong>The Biggest Little Farm, USA</strong></p>\r\n\r\n<p>Directed by John Chester</p>\r\n\r\n<p><strong>Carmen y Lola, Spain</strong></p>\r\n\r\n<p>Directed by Arantxa Echevarría</p>\r\n\r\n<p><strong>Carmine Street Guitars, Canada</strong></p>\r\n\r\n<p>Directed by Ron Mann</p>\r\n\r\n<p><strong>Cassandro the Exotico!, France</strong></p>\r\n\r\n<p>Directed by Marie Losier</p>\r\n\r\n<p><strong>Champions (Campeones), Spain</strong></p>\r\n\r\n<p>Directed by Javier Fesser</p>\r\n\r\n<p><strong>David Crosby: Remember My Name, USA</strong></p>\r\n\r\n<p>Directed by A.J. Eaton</p>\r\n\r\n<p><strong>Echo in the Canyon, USA</strong></p>\r\n\r\n<p>Directed by Andrew Slater</p>\r\n\r\n<p><strong>The Factory (Zavod), Russia, France, Armenia</strong></p>\r\n\r\n<p>Directed by Yury Bykov</p>\r\n\r\n<p><strong>Fire on the Hill: The Cowboys of South Central L.A., USA</strong></p>\r\n\r\n<p>Directed by Brett Fallentine</p>\r\n\r\n<p><strong>Gatao 2: Rise of the King, Taiwan</strong></p>\r\n\r\n<p>Directed by Yen Cheng-Kuo</p>\r\n\r\n<p><strong>Harvest Season, USA</strong></p>\r\n\r\n<p>Directed by Bernardo Ruiz</p>\r\n\r\n<p><strong>The Heat: A Kitchen (R)evolution, Canada</strong></p>\r\n\r\n<p>Directed by Maya Gallus</p>\r\n\r\n<p><strong>Hugh Hefner\'s After Dark: Speaking Out in America, Canada</strong></p>\r\n\r\n<p>Directed by Brigitte Berman</p>\r\n\r\n<p><strong>I Used to Be Normal: A Boyband Fangirl Story, Australia, USA</strong></p>\r\n\r\n<p>Directed by Jessica Leski</p>\r\n\r\n<p><strong>Incredibles 2, USA</strong></p>\r\n\r\n<p>Directed by Brad Bird</p>\r\n\r\n<p><strong>Inside Lehman Brothers, Canada</strong></p>\r\n\r\n<p>Directed by Jennifer Deschamps</p>\r\n\r\n<p><strong>Laila at the Bridge, Canada, Afghanistan</strong></p>\r\n\r\n<p>Directed by Elizabeth Mirzaei and Gulistan Mirzaei</p>\r\n\r\n<p><strong>The Last Prosecco (Finché c\'è prosecco c\'è speranza), Italy</strong></p>\r\n\r\n<p>Directed by Antonio Padovan</p>\r\n\r\n<p><strong>Light in the Water, USA</strong></p>\r\n\r\n<p>Directed by Lis Bartlett</p>\r\n\r\n<p><strong>Maya, France</strong></p>\r\n\r\n<p>Directed by Mia Hansen-Løve</p>\r\n\r\n<p><strong>Mouthpiece, Canada</strong></p>\r\n\r\n<p>Directed by Patricia Rozema</p>\r\n\r\n<p><strong>Outdoors (Bayit Bagalil), Israel</strong></p>\r\n\r\n<p>Directed by Asaf Saban</p>\r\n\r\n<p><strong>The Parting Glass, Canada, USA</strong></p>\r\n\r\n<p>Directed by Stephen Moyer</p>\r\n\r\n<p><strong>Ralph Breaks the Internet, USA</strong></p>\r\n\r\n<p>Directed by Phil Johnston and Rich Moore</p>\r\n\r\n<p><strong>Shadow, China</strong></p>\r\n\r\n<p>Directed by Zhang Yimou</p>\r\n\r\n<p><strong>Sharkwater Extinction, Canada</strong></p>\r\n\r\n<p>Directed by Rob Stewart</p>\r\n\r\n<p><strong>Spider-Man: Into the Spider-Verse, USA</strong></p>\r\n\r\n<p>Directed by Bob Persichetti, Peter Ramsey and Rodney Rothman</p>\r\n\r\n<p><strong>Stockholm, Canada, Sweden, USA</strong></p>\r\n\r\n<p>Directed by Robert Budreau</p>\r\n\r\n<p><strong>Take It or Leave It (Võta või jäta), Estonia</strong></p>\r\n\r\n<p>Directed by Liina Trishkina-Vanhatalo</p>\r\n\r\n<p><strong>The Third Wife, Vietnam</strong></p>\r\n\r\n<p>Directed by Ash Mayfair</p>\r\n\r\n<p><strong>This Changes Everything, USA</strong></p>\r\n\r\n<p>Directed by Tom Donahue</p>\r\n\r\n<p><strong>A Thousand Miles Behind, USA</strong></p>\r\n\r\n<p>Directed by Nathan Wetherington</p>\r\n\r\n<p><strong>Too Beautiful: Our Right to Fight, USA</strong></p>\r\n\r\n<p>Directed by Maceo Frost</p>\r\n\r\n<p><strong>Transit, Germany, France</strong></p>\r\n\r\n<p>Directed by Christian Petzold</p>\r\n\r\n<p><strong>Unsettling, UK, Israel</strong></p>\r\n\r\n<p>Directed by Iris Zaki</p>\r\n\r\n<p><strong>Winter Flies (Všechno bude), Czech Republic</strong></p>\r\n\r\n<p>Directed by Olmo Omerzu</p>\r\n\r\n<p><strong>2019 SBIFF SHORTS </strong>- (listed alphabetically)</p>\r\n\r\n<p><strong>42 WORLD PREMIERES AND 8 U.S. PREMIERES</strong></p>\r\n\r\n<p><strong>1 in 100,000, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Benjamin Yates</p>\r\n\r\n<p><strong>805 Strong, USA</strong></p>\r\n\r\n<p>Produced by Ellie Vargas</p>\r\n\r\n<p><strong>Accident (Ongelukje), Netherlands - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by David Cocheret</p>\r\n\r\n<p><strong>Ah Gong (Grandpa), Taiwan - World Premiere</strong></p>\r\n\r\n<p>Directed by Clifford Miu</p>\r\n\r\n<p><strong>BIG DATA - “L1ZY”, USA</strong></p>\r\n\r\n<p>Directed by Brandon LaGanke and John Carlucci</p>\r\n\r\n<p><strong>The Bird &amp; the Whale, Ireland - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Carol Freeman</p>\r\n\r\n<p><strong>Birth of a Movement, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Paul Lynch</p>\r\n\r\n<p><strong>Black Lips, Australia</strong></p>\r\n\r\n<p>Directed by Adrian Chiarella</p>\r\n\r\n<p><strong>Buzzer, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Albert Birney</p>\r\n\r\n<p><strong>CC, Canada</strong></p>\r\n\r\n<p>Directed by Kailey Spear and Sam Spear</p>\r\n\r\n<p><strong>The Cheshire Cat Inn, USA</strong></p>\r\n\r\n<p>Directed by Joshua Sechrist</p>\r\n\r\n<p><strong>The Clinic, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Elivia Shaw</p>\r\n\r\n<p><strong>A Cohort of Guests, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Todd Sandler</p>\r\n\r\n<p><strong>Cruisin’ Santa Barbara, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Justin Gunn</p>\r\n\r\n<p><strong>Damage, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Matt Porter</p>\r\n\r\n<p><strong>Definition of Resilience, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Alexis Sallee and Tomas Karmelo</p>\r\n\r\n<p><strong>Dream Girl, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Ryan Slattery and Andrea Sanchez</p>\r\n\r\n<p><strong>Duel of the Hearts, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Harrison Derbyshire</p>\r\n\r\n<p><strong>Dust Devil, Australia</strong></p>\r\n\r\n<p>Directed by Poppy Walker</p>\r\n\r\n<p><strong>Esfuerzo, USA</strong></p>\r\n\r\n<p>Directed by Alana Maiello</p>\r\n\r\n<p><strong>EZK: Beyond the Walls (EZK: Au-delà des murs), France - World Premiere</strong></p>\r\n\r\n<p>Directed by Shawn Pyfrom</p>\r\n\r\n<p><strong>The Fallen Tree, USA</strong></p>\r\n\r\n<p>Directed by Drew Hodges</p>\r\n\r\n<p><strong>Fathom, USA</strong></p>\r\n\r\n<p>Directed by Alessio Morello</p>\r\n\r\n<p><strong>Forgotten, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Daniel Soares</p>\r\n\r\n<p><strong>From Water to Wind, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Casey McGarry</p>\r\n\r\n<p><strong>The Garden Is Singing: Ganna Walska Lotusland, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Karen Kasaba</p>\r\n\r\n<p><strong>Guns Found Here, USA</strong></p>\r\n\r\n<p>Directed by David Freid</p>\r\n\r\n<p><strong>Henrietta Bulkowski, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Rachel Johnson</p>\r\n\r\n<p><strong>Hidden Blueprints: The Story of Mikey, USA</strong></p>\r\n\r\n<p>Directed by Jeremy Lee MacKenzie</p>\r\n\r\n<p><strong>Holding, USA</strong></p>\r\n\r\n<p>Directed by Jesse Turk and Jon Zucker</p>\r\n\r\n<p><strong>Inanimate, UK</strong></p>\r\n\r\n<p>Directed by Lucia Bulgheroni</p>\r\n\r\n<p><strong>Inlove, France</strong></p>\r\n\r\n<p>Directed by Les Frères Lopez</p>\r\n\r\n<p><strong>jack, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nick Paonessa</p>\r\n\r\n<p><strong>John Van Hamersveld - Crazy World Ain\'t It, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Dave Tourjé</p>\r\n\r\n<p><strong>Jump, Australia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Ryan O’Kane and James Conway-Law</p>\r\n\r\n<p><strong>Last Day of School ( Paskutinis skambutis), USA, Lithuania - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Gabriele Urbonaite</p>\r\n\r\n<p><strong>The Last Harvest, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Alexis Spraic</p>\r\n\r\n<p><strong>Love Is Never Wasted, USA</strong></p>\r\n\r\n<p>Directed by Nathanael Matanick</p>\r\n\r\n<p><strong>The Mayor, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Taylor Horky</p>\r\n\r\n<p><strong>Mitya\'s Love (Mitina Lyubov), Russia - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Svetlana Filippova</p>\r\n\r\n<p><strong>MOOSE, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Jonah Ansell</p>\r\n\r\n<p><strong>My Brother Amal ( Amali bram) , Norway - U.S. Premiere</strong></p>\r\n\r\n<p>Directed Christopher Wollebekk</p>\r\n\r\n<p><strong>My Moon, USA</strong></p>\r\n\r\n<p>Directed by Eusong Lee</p>\r\n\r\n<p><strong>Near Miss, USA</strong></p>\r\n\r\n<p>Directed by Josh Berry</p>\r\n\r\n<p><strong>No Traveler Returns (D\'où nul ne revient), USA, Ivory Coast - World Premiere</strong></p>\r\n\r\n<p>Directed by Ellie Foumbi</p>\r\n\r\n<p><strong>Nothing Ever Good Happens in a Parking Garage, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Mike Winger</p>\r\n\r\n<p><strong>November 1st, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Charlie Manton</p>\r\n\r\n<p><strong>Opening the Earth: The Potato King, Peru, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Eric Ebner and Aaron Ebner</p>\r\n\r\n<p><strong>Our Last Trash, USA</strong></p>\r\n\r\n<p>Directed by Joanne Yue</p>\r\n\r\n<p><strong>Reboot, USA</strong></p>\r\n\r\n<p>Directed by Ellen Osborne</p>\r\n\r\n<p><strong>RETURN: Native American Women Reclaim Foodways for Health and Spirit, USA</strong></p>\r\n\r\n<p>Directed by Karen Cantor</p>\r\n\r\n<p><strong>Reverence (Curtain Call), Iran - World Premiere</strong></p>\r\n\r\n<p>Directed by Sogol Rezvani</p>\r\n\r\n<p><strong>The Running Man of Pasadena, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Brett Nicoletti</p>\r\n\r\n<p><strong>The Salty Generations, USA</strong></p>\r\n\r\n<p>Directed by Shaun Wolfe and Shelby Oliver</p>\r\n\r\n<p><strong>The Sea Ranch: Architecture, Environment, and Idealism, USA</strong></p>\r\n\r\n<p>Directed by Peter Samis</p>\r\n\r\n<p><strong>Second Unit: A Mockumentary, USA</strong></p>\r\n\r\n<p>Directed Ankush Khemani</p>\r\n\r\n<p><strong>Secret Times, Belarus, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Montanah Blue</p>\r\n\r\n<p><strong>Selling Lies, USA</strong></p>\r\n\r\n<p>Directed by Leslie Iwerks</p>\r\n\r\n<p><strong>Set on Intent, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Tate Larrick</p>\r\n\r\n<p><strong>Silence (Sunyi), USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Riani Singgih</p>\r\n\r\n<p><strong>SPIN, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Marielle Woods</p>\r\n\r\n<p><strong>Start with Half, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nathaniel Katzman</p>\r\n\r\n<p><strong>Stunning, USA, Sweden</strong></p>\r\n\r\n<p>Directed by Gustav Högmo</p>\r\n\r\n<p><strong>Tala,, UK - World Premiere</strong></p>\r\n\r\n<p>Directed by Missy Malek</p>\r\n\r\n<p><strong>This Side Has Dreams Too, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Spencer Rabin</p>\r\n\r\n<p><strong>Tino, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Robin Hauser</p>\r\n\r\n<p><strong>Too Many Bodies, USA</strong></p>\r\n\r\n<p>Directed by Reena Dutt</p>\r\n\r\n<p><strong>Trail Heads, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Dani Rodriguez</p>\r\n\r\n<p><strong>Treat Yourself, USA</strong></p>\r\n\r\n<p>Directed by Nathan Leonard</p>\r\n\r\n<p><strong>Trial by Fire, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Alex Astrella</p>\r\n\r\n<p><strong>True Love / True Crime on an American Bus, USA</strong></p>\r\n\r\n<p>Directed by Nicholas Coles</p>\r\n\r\n<p><strong>Tweet-Tweet, Russia</strong></p>\r\n\r\n<p>Directed by Zhanna Bekmambetova</p>\r\n\r\n<p><strong>VACA, Spain - U.S. Premiere</strong></p>\r\n\r\n<p>Directed by Marta Bayarri</p>\r\n\r\n<p><strong>The Video Shop, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Isaac Seigel-Boettner</p>\r\n\r\n<p><strong>We Are Love, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Nick Lentz</p>\r\n\r\n<p><strong>White Guys Solve Sexism, USA</strong></p>\r\n\r\n<p>Directed by Christopher Guerrero</p>\r\n\r\n<p><strong>Who You Are, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Joel Jay Blacker</p>\r\n\r\n<p><strong>You Say Hello, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Lovell Holder</p>\r\n\r\n<p><strong>You Think You Can’t Dance?, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Kum-Kum Bhavnani</p>\r\n\r\n<p><strong>Zombie Debt, USA - World Premiere</strong></p>\r\n\r\n<p>Directed by Ashly Blodgett nd independent films every day.&nbsp;</p>\r\n', '', 'full_html'),
('story', 0, 204, 365, 'en', 0, '<p class=\"rtecenter\">Opening night of Santa Barbara International Film festival 2019, filmfestivals.</p>\r\n\r\n<p>Tonight, the 34th Annual Santa Barbara International Film Festival officially opened with an enormously emotional celebration and screening for <a href=\"https://www.filmfestivals.com/blog/santa_barbara/video_the_opening_sbiff_documentary_diving_deep_the_life_and_times_of_mike_degruy\">Diving Deep: The Life and Times of Mike deGruy</a>.</p>\r\n\r\n<p>Director and wife, Mimi de Gruy introduced the screening alongside her below the line team and children, Max and Francis, who “teach her everyday” and let her tell and craft this story. Mimi deGruy also gave a nod to Roger Durling, Executive Director of SBIFF, for continuing to lead the festival “with global outreach while keeping it to its roots.” Diving Deep:Mimi deGruy is a feature film documentary about Mike deGruy, an irrepressible biologist turned award-winning filmmaker who swam, dived and filmed in oceans around the world and in the process became the first to film many rarely seen creatures in their own oceans. He was also a passionate advocate of the ocean’s creatures and became increasingly outspoken as an environmental activist. In 2012, deGruy died tragically in a helicopter crash in Australia while filming for director James Cameron. Told through the eyes of Mimi deGruy, his wife and filmmaking partner, Diving Deep:The Life and Times of Mike deGruy celebrates deGruy’s remarkable life, career and what he passionately believed: we are destroying the ocean before we even know what’s there.</p>\r\n\r\n<p>A great thanks to all, SBIFF, the SPONSORS and UGG.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<div class=\"media_embed\"><iframe frameborder=\"0\" height=\"315\" src=\"https://www.youtube.com/embed/fXJvsGP7_2Y\" width=\"560\"></iframe></div>\r\n\r\n<p>Photo credit</p>\r\n\r\n<p>Mimi deGruy and SBIFF Director Roger Durling attend the Opening Night Film \'Diving Deep:The Life And Times Of Mike deGruy\' during 34th Santa Barbara International Film Festival at Arlington Theatre on January 31, 2019 in Santa Barbara, California. (Photo by Emma McIntyre/Getty Images for SBIFF)</p>\r\n\r\n<p>You and a guest are cordially invited to watch the ambiance from the opening Gala. !</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<div class=\"media_embed\"><iframe frameborder=\"0\" height=\"315\" src=\"https://www.youtube.com/embed/Q0OX1H6H7oM\" width=\"560\"></iframe></div>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n', '', 'full_html'),
('story', 0, 205, 366, 'en', 0, '<h2 class=\"with-tabs pageTitle\">&nbsp;</h2>\r\n\r\n<div class=\"clear-block\" id=\"MyContent\">\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/diving%20deep.jpg\" style=\"width:400px;height:400px;\" /></p>\r\n\r\n<p>Diving Deep: The Life and Times of Mike deGruy Opening Night Film and World Premiere at SBIFF 2019 : watch the stage introduction by Roger Durling and Mimi deGruy.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<div class=\"media_embed\"><iframe frameborder=\"0\" height=\"315\" src=\"https://www.youtube.com/embed/dLqfHoQk8Xc\" width=\"560\"></iframe></div>\r\n\r\n<p>...a<span style=\"background-color:rgb(255,255,255);color:rgb(10,10,10);font-family:Roboto, Arial, sans-serif;font-size:14px;white-space:pre-wrap;\">nd watch the trailer!</span></p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<div class=\"media_embed\"><iframe frameborder=\"0\" height=\"315\" src=\"https://www.youtube.com/embed/mfErd8_faLY\" width=\"560\"></iframe></div>\r\n\r\n<p>photo credits Getty Images for SBIFF</p>\r\n</div>\r\n', '', 'full_html'),
('story', 0, 206, 367, 'en', 0, '<p>Roger Durling recalls his debut and quoted Ernest Hemingway from \"A Farewell to Arms\" A beautiful quote Roger loves!</p>\r\n\r\n<p>“The world breaks everyone and afterward many are strong at the broken places. But those that will not break it kills. It kills the very good and the very gentle and the very brave impartially. If you are none of these you can be sure it will kill you too but there will be no special hurry.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<div class=\"media_embed\"><iframe frameborder=\"0\" height=\"315\" src=\"https://www.youtube.com/embed/O3qbCTqo5ow\" width=\"560\"></iframe></div>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091598920.jpg\" style=\"width:810px; height:542px\" /></p>\r\n\r\n<p><b style=\"color:#333333; font-family:Arial; font-size:11px; background-color:#ffffff; line-height:18.04px\">Photo Credit</b><span style=\"font-size:11px\"><span style=\"color:#333333\"><span style=\"font-family:Arial\"><span style=\"background-color:#ffffff\">&nbsp;-&nbsp;</span></span></span></span><font style=\"color:#333333; font-family:Arial; font-size:11px; background-color:#ffffff; line-height:15.4px\">Getty Images for SBIFF</font></p>\r\n', '', 'full_html'),
('story', 0, 207, 368, 'en', 0, '<p>Directors of the Year Award, sponsored by The Hollywood Reporter</p>\r\n\r\n<ul>\r\n	<li>Honorees:&nbsp;<em>Roma</em>\'s&nbsp;<strong>Alfonso Cuaron</strong>,&nbsp;<em>The Favourite</em>\'s&nbsp;<strong>Yorgos Lanthimos</strong>,&nbsp;<em>BlacKkKlansman</em>\'s&nbsp;<strong>Spike Lee</strong>,&nbsp;<em>Vice</em>\'s&nbsp;<strong>Adam McKay</strong>&nbsp;and&nbsp;<em>Cold War</em>\'s&nbsp;<strong>Pawel Pawlikowski</strong></li>\r\n	<li>LOCATION: The Arlington Theatre</li>\r\n	<li>6:15 pm Media Check in</li>\r\n	<li>6:45 pm Red Carpet opens</li>\r\n</ul>\r\n\r\n<p>&nbsp;</p>\r\n', '', 'full_html'),
('story', 0, 207, 406, 'en', 0, '<p>Directors of the Year Award, sponsored by The Hollywood Reporter</p>\r\n\r\n<ul>\r\n	<li>Honorees:&nbsp;<em>Roma</em>\'s&nbsp;<strong>Alfonso Cuaron</strong>,&nbsp;<em>The Favourite</em>\'s&nbsp;<strong>Yorgos Lanthimos</strong>,&nbsp;<em>BlacKkKlansman</em>\'s&nbsp;<strong>Spike Lee</strong>,&nbsp;<em>Vice</em>\'s&nbsp;<strong>Adam McKay</strong>&nbsp;and&nbsp;<em>Cold War</em>\'s&nbsp;<strong>Pawel Pawlikowski</strong></li>\r\n	<li>LOCATION: The Arlington Theatre</li>\r\n	<li>6:15 pm Media Check in</li>\r\n	<li>6:45 pm Red Carpet opens</li>\r\n</ul>\r\n\r\n<p>&nbsp;</p>\r\n', '', 'full_html'),
('story', 0, 208, 369, 'en', 0, '<p><a href=\"https://www.facebook.com/SBIFF/?__tn__=kC-R&amp;eid=ARDmaqRTn2iKfZmn4ZhklNKPToZ5tTbwCsk50GndMgLiYRxJVYLzJSA6s-IxVDvr0n5dEA0wS3d87ZBX&amp;hc_ref=ARTY6EPc7nXVthPmrRwtFUHAkP3xSHaf9IkbIzHvoqGLc7An5bB3L_X8QU4p3quwMb0&amp;fref=nf&amp;__xts__%5B0%5D=68.ARDOdW69COlV5BVIK9urTjHwVOVQMON8Xa_z3EIOpxq9KIiaByb8W0Hd7J_ueOgjVrf88VVwtbr6Nclt9SoiWE2Ppx6-UNen-T-GlkeiHt3CDsm_eYcghxb4fHpK4vpb4kVwmRWcXemlDdcvRIkc55XC2EozzGEgzgVJUWeWGGwA_sAzk7Q2rfWaObkjqYEAqzJBmEYBC2VXaeek0WwPTyOCCrqvenKt3FT-g3gSfpvgvhwcca5JinsuAVyuNX1Xcl8kjfE-5L17qpd-vvu3l_32N8i1gld7tXdiCvLDNnA0ERvegWA4koaH_GaHI0KHTBpNNyD_RoYlfvqraPL6\">Santa Barbara International Film Festival</a>&nbsp;&nbsp;SBIFF 2019 Reel Nature Sidebar Films Sponsored by TOYOTA Mirai:</p>\r\n\r\n<p><a href=\"https://www.facebook.com/theanthropoceneproject/?__tn__=K-R&amp;eid=ARB9KhWgp0NF7JTF_fxz70sIm_6PP5Iub6vFwjncSSFy9AxaRm4Hn0C0JM9ItfTKlCnGTPC0tXgIbnAI&amp;fref=mentions&amp;__xts__%5B0%5D=68.ARDOdW69COlV5BVIK9urTjHwVOVQMON8Xa_z3EIOpxq9KIiaByb8W0Hd7J_ueOgjVrf88VVwtbr6Nclt9SoiWE2Ppx6-UNen-T-GlkeiHt3CDsm_eYcghxb4fHpK4vpb4kVwmRWcXemlDdcvRIkc55XC2EozzGEgzgVJUWeWGGwA_sAzk7Q2rfWaObkjqYEAqzJBmEYBC2VXaeek0WwPTyOCCrqvenKt3FT-g3gSfpvgvhwcca5JinsuAVyuNX1Xcl8kjfE-5L17qpd-vvu3l_32N8i1gld7tXdiCvLDNnA0ERvegWA4koaH_GaHI0KHTBpNNyD_RoYlfvqraPL6\">Anthropocene</a>&nbsp;<br />\r\nThe Biggest Little Farm<br />\r\nThe Map to Paradise<br />\r\n<a href=\"https://www.filmfestivals.com/blog/sharkwater_extinction\">Sharkwater Extinction</a><br />\r\nSilent Forests</p>\r\n\r\n<p><img alt=\"\" height=\"800\" src=\"https://www.filmfestivals.com/files/images/u612/SHARKWATER_Extinction_FINAL%20POSTER%201000.jpg\" width=\"540\" /></p>\r\n\r\n<p>View the full schedule at&nbsp;<a href=\"http://schedule.sbiff.org/?fbclid=IwAR0QRP8TKf3KNRUdLxMTG6pPkDlkhGGj344YT1ReIV8Apa0eDqhgbvaRWqs\">http://schedule.sbiff.org</a>&nbsp;or download the SBIFF Official App. Get film tickets at&nbsp;<a href=\"https://l.facebook.com/l.php?u=http%3A%2F%2Fgivebox.com%2F1035%3Ffbclid%3DIwAR3NCIRWV_iALc0tJXZNhJYNlTZSPovIrlbhhwIhs-AYciBz2NqKYuR5KHw&amp;h=AT03xAo2kbE39q6TmORUEd7eg8UIY9minvC8PvOI63bn8Z0AEh3g6ukdOeC3FqcfldtyK6Kg_i_ZOpu0Br38zhRGCWzk0hFA_wrtDSJ1vBzCG9ttNN7EaszY5A-bYak2D91vG-fYChwPmwJ8bqC2UfBJ74pzRX9sldu9NpBZyNeOfqLmcBrfPUD4g5ZtpycCtBlyz8HEYaqPA66P32nVYnnVZBNH_BZCmQUkFa1avtGgwjOGfmhC2k5-4Z3a1hhMABcQQpMtfz7Z7umZfneWh7QyYxsdZSG8vnh0tO_EggfKSidL75QoakVRhIh_AZIwTUW_Gf_sitkyin_AOPxCaLRlh1nRb9UfQ47vXWXLtRVJw5WgL0Z6HI65NV96MfZJYQQMj9Qz2z11fxUk4WCG93ZiiekyFqFYj-5HNyPpm0cUYJF34X442-SwVrYvhgPPC74A3JwxKFESdmt6dTrhIvKcCoHe_-unBBFGKhgMqaELY41w3ODpAvaVZ2IhzHF0UOfMUbTQtVA88b1Cf_8sn3GYCzHj2WfJrBb4r9a8ZI_cpnvgGoE35UJcWMKRwMjQ6qb6uVemUKxZfxa2b7EGnNLJYEqIrxIBmf_iNi5jQmDIwePd0K1-tOYVIqwmoNJqcx8oqE0B\">http://givebox.com/1035</a>.</p>\r\n', '', 'basic_html'),
('story', 0, 208, 371, 'en', 0, '<p><a href=\"https://www.facebook.com/SBIFF/?__tn__=kC-R&amp;eid=ARDmaqRTn2iKfZmn4ZhklNKPToZ5tTbwCsk50GndMgLiYRxJVYLzJSA6s-IxVDvr0n5dEA0wS3d87ZBX&amp;hc_ref=ARTY6EPc7nXVthPmrRwtFUHAkP3xSHaf9IkbIzHvoqGLc7An5bB3L_X8QU4p3quwMb0&amp;fref=nf&amp;__xts__%5B0%5D=68.ARDOdW69COlV5BVIK9urTjHwVOVQMON8Xa_z3EIOpxq9KIiaByb8W0Hd7J_ueOgjVrf88VVwtbr6Nclt9SoiWE2Ppx6-UNen-T-GlkeiHt3CDsm_eYcghxb4fHpK4vpb4kVwmRWcXemlDdcvRIkc55XC2EozzGEgzgVJUWeWGGwA_sAzk7Q2rfWaObkjqYEAqzJBmEYBC2VXaeek0WwPTyOCCrqvenKt3FT-g3gSfpvgvhwcca5JinsuAVyuNX1Xcl8kjfE-5L17qpd-vvu3l_32N8i1gld7tXdiCvLDNnA0ERvegWA4koaH_GaHI0KHTBpNNyD_RoYlfvqraPL6\">Santa Barbara International Film Festival</a>&nbsp;&nbsp;SBIFF 2019 Reel Nature Sidebar Films Sponsored by TOYOTA Mirai:</p>\r\n\r\n<p><a href=\"https://www.facebook.com/theanthropoceneproject/?__tn__=K-R&amp;eid=ARB9KhWgp0NF7JTF_fxz70sIm_6PP5Iub6vFwjncSSFy9AxaRm4Hn0C0JM9ItfTKlCnGTPC0tXgIbnAI&amp;fref=mentions&amp;__xts__%5B0%5D=68.ARDOdW69COlV5BVIK9urTjHwVOVQMON8Xa_z3EIOpxq9KIiaByb8W0Hd7J_ueOgjVrf88VVwtbr6Nclt9SoiWE2Ppx6-UNen-T-GlkeiHt3CDsm_eYcghxb4fHpK4vpb4kVwmRWcXemlDdcvRIkc55XC2EozzGEgzgVJUWeWGGwA_sAzk7Q2rfWaObkjqYEAqzJBmEYBC2VXaeek0WwPTyOCCrqvenKt3FT-g3gSfpvgvhwcca5JinsuAVyuNX1Xcl8kjfE-5L17qpd-vvu3l_32N8i1gld7tXdiCvLDNnA0ERvegWA4koaH_GaHI0KHTBpNNyD_RoYlfvqraPL6\">Anthropocene</a>&nbsp;<br />\r\nThe Biggest Little Farm<br />\r\nThe Map to Paradise<br />\r\n<a href=\"https://www.filmfestivals.com/blog/sharkwater_extinction\">Sharkwater Extinction</a><br />\r\nSilent Forests</p>\r\n\r\n<p><img alt=\"\" height=\"800\" src=\"https://www.filmfestivals.com/files/images/u612/SHARKWATER_Extinction_FINAL%20POSTER%201000.jpg\" width=\"540\" /></p>\r\n\r\n<p>View the full schedule at&nbsp;<a href=\"http://schedule.sbiff.org/?fbclid=IwAR0QRP8TKf3KNRUdLxMTG6pPkDlkhGGj344YT1ReIV8Apa0eDqhgbvaRWqs\">http://schedule.sbiff.org</a>&nbsp;or download the SBIFF Official App. Get film tickets at&nbsp;<a href=\"https://l.facebook.com/l.php?u=http%3A%2F%2Fgivebox.com%2F1035%3Ffbclid%3DIwAR3NCIRWV_iALc0tJXZNhJYNlTZSPovIrlbhhwIhs-AYciBz2NqKYuR5KHw&amp;h=AT03xAo2kbE39q6TmORUEd7eg8UIY9minvC8PvOI63bn8Z0AEh3g6ukdOeC3FqcfldtyK6Kg_i_ZOpu0Br38zhRGCWzk0hFA_wrtDSJ1vBzCG9ttNN7EaszY5A-bYak2D91vG-fYChwPmwJ8bqC2UfBJ74pzRX9sldu9NpBZyNeOfqLmcBrfPUD4g5ZtpycCtBlyz8HEYaqPA66P32nVYnnVZBNH_BZCmQUkFa1avtGgwjOGfmhC2k5-4Z3a1hhMABcQQpMtfz7Z7umZfneWh7QyYxsdZSG8vnh0tO_EggfKSidL75QoakVRhIh_AZIwTUW_Gf_sitkyin_AOPxCaLRlh1nRb9UfQ47vXWXLtRVJw5WgL0Z6HI65NV96MfZJYQQMj9Qz2z11fxUk4WCG93ZiiekyFqFYj-5HNyPpm0cUYJF34X442-SwVrYvhgPPC74A3JwxKFESdmt6dTrhIvKcCoHe_-unBBFGKhgMqaELY41w3ODpAvaVZ2IhzHF0UOfMUbTQtVA88b1Cf_8sn3GYCzHj2WfJrBb4r9a8ZI_cpnvgGoE35UJcWMKRwMjQ6qb6uVemUKxZfxa2b7EGnNLJYEqIrxIBmf_iNi5jQmDIwePd0K1-tOYVIqwmoNJqcx8oqE0B\">http://givebox.com/1035</a>.</p>\r\n', '', 'full_html');
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('story', 0, 209, 370, 'en', 0, '<h2 class=\"with-tabs pageTitle\">Directors of the Year Award in Santa Barbara to Alfonso Cuarón, Yorgos Lanthimos, Spike Lee, Adam McKay and Pawel Pawlikowski</h2>\r\n\r\n<div class=\"clear-block\" id=\"MyContent\">\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968746.jpg\" style=\"width:810px;height:597px;\" /><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968758.jpg\" style=\"width:810px;height:540px;\" />The 34<sup>th</sup>&nbsp;Annual Santa Barbara International Film Festival (SBIFF) welcomed this year’s five Academy Award nominees for Best Director.&nbsp;<strong>Alfonso Cuarón</strong>&nbsp;(“Roma”),&nbsp;<strong>Yorgos Lanthimos</strong>&nbsp;(“The Favourite”),&nbsp;<strong>Spike Lee</strong>&nbsp;(“BlacKkKlansman”),&nbsp;<strong>Adam McKay</strong>&nbsp;(“Vice”), and&nbsp;<strong>Pawel Pawlikowski</strong>&nbsp;(“Cold War”) each participated in a one-on-one interview with The Hollywood Reporter’s awards columnist Scott Feinberg, followed by a group discussion and a special presentation for the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>“This lineup in front of you is without a doubt a freaking amazing lineup of risk taking, push envelope, take no prisoners group of artists,” Roger Durling, Executive Director of SBIFF, told the audience when he took the stage at the Arlington Theatre at the end of the program to present the five nominees with the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968756.jpg\" style=\"width:810px;height:582px;\" /></p>\r\n\r\n<p>“You five make a case for cinema as art,” he continued. “Although I wish there were women included amongst you, I cherish and celebrate that all of you together is the best ‘fuck you Trump’ artistic line up. You have a Greek director, you have a Polish director, you have a Mexican director...you have a black director and you have a director that is willing to make a biting political satire. We need your voices more than ever - we don’t need a freaking wall.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Durling’s sentiments, including his comment about the wall, were received enthusiastically by the audience.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>During the group discussion that preceded the awards presentation, all five directors were effusive with their praise of not only each other’s films, but also the films of other peers that had not received the same level of attention. When asked by Feinberg to identify a worthy, under-the-radar film from the past year, McKay, Pawlikowski, and Lanthimos all selected films directed by women.&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>McKay recommended Debra Granik’s “Leave No Trace.” He told Feinberg: “I love movies that get into a subculture and a world you don’t know about. I just thought that there was a rawness and an openness to that movie that just blew me away.”</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968836.jpg\" style=\"width:810px;height:567px;\" /></p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968830.jpg\" style=\"width:810px;height:568px;\" /></p>\r\n\r\n<p>Pawlikowski and Lanthimos both recommended Alice Rohrwacher’s “Happy as Lazzaro.” Noted Pawlikowski: “She has a poetry all of her own and it’s a lovely story - it’s neither realist or fantasy.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Lanthimos also recommended Lucretia Martel’s “Zama,” which he described as a “period film which is completely surreal at the same time.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In addition to the Outstanding Directors of the Year Award program and presentation, SBIFF’s daytime programming offered festival-goers a number of events and screenings featuring some of this year’s most celebrated filmmakers and performers.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The morning included a screening of “The Biggest Little Farm,” by Emmy Award–winning documentary director and writer&nbsp;<strong>John Chester</strong>, which follows his and his wife Molly’s journey as they trade city life to start their own farm on a stretch of depleted soil outside Los Angeles. The documentary chronicles their efforts for more than eight years in this sweeping epic of twists and turns related to the creation of Apricot Lane Farms.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In a Q&amp;A moderated by Durling, John shared with the audience where it was that he drew inspiration from. “It came down to a quote by Wendell Berry,” he said. “‘It all turns on affection, and it just means that it can all change when we love something.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>When questioned about the filmmaking process, particularly about the eight years of filming and having gathered more than 90 terabytes of footage, John answered, “As a filmmaker, I believe it’s about content. You just have to get what you can get in the moment and a lot of it was on the fly. Nature is a juxtaposition of good and bad, and I think the film represents that.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In the early afternoon, the festival hosted a special screening of “Spider Man: Into the Spider-Verse” as part of the educational initiative, Mike’s Field Trip to the Movie<strong>s</strong>.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Named for renowned nature cinematographer Mike deGruy, Mike’s Field Trip to the Movies uses filmmaking to stimulate creative, confident, and culturally aware thinkers. The program is offered to 4,000 4th, 5th, and 6th grade students from throughout Santa Barbara County, and SBIFF provides free transportation to students from Title I schools. Sponsors include the Montecito Bank &amp; Trust, Patagonia, Union Bank, Bentson Foundation and Volentine Family Foundation.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The screening of “Spider Man: Into the Spider-Verse” was followed by a Q&amp;A with two of the film’s directors,&nbsp;<strong>Bob Persichetti&nbsp;</strong>and&nbsp;<strong>Peter Ramsey</strong>, and one of the biggest questions that came up during the discussion was whether or not fans could expect a sequel. Both directors hinted at the possibility, telling the crowd “we think so!”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The festival also hosted a special screening of “Roma” which was followed by a Q&amp;A with Cuarón and actress&nbsp;<strong>Yalitza Aparicio</strong>. Aparicio earned an Academy Award nomination for her work in the film, making her the first indigenous Mexican actress nominee.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968832.jpg\" style=\"width:611px;height:800px;\" /></p>\r\n\r\n<p>Cuarón explained his unusual approach to making the film to the crowd, admitting that having less control gave him more creative freedom. “I needed to push my boundaries and do something I didn’t know how to do,” he said. “I had to give up control… and that was exciting.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>At the end of the Q&amp;A, Aparicio was presented with the festival’s Virtuosos award for her groundbreaking performance. She thanked SBIFF, telling the crowd “Cinema has the power to break barriers and inspire love, courage and hope. I’m honored to be here.”</p>\r\n</div>\r\n', '', 'full_html'),
('story', 0, 209, 486, 'en', 0, '<h2 class=\"with-tabs pageTitle\">Directors of the Year Award in Santa Barbara to Alfonso Cuarón, Yorgos Lanthimos, Spike Lee, Adam McKay and Pawel Pawlikowski</h2>\r\n\r\n<div class=\"clear-block\" id=\"MyContent\">\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968746.jpg\" style=\"width:810px;height:597px;\" /><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968758.jpg\"  />The 34<sup>th</sup>&nbsp;Annual Santa Barbara International Film Festival (SBIFF) welcomed this year’s five Academy Award nominees for Best Director.&nbsp;<strong>Alfonso Cuarón</strong>&nbsp;(“Roma”),&nbsp;<strong>Yorgos Lanthimos</strong>&nbsp;(“The Favourite”),&nbsp;<strong>Spike Lee</strong>&nbsp;(“BlacKkKlansman”),&nbsp;<strong>Adam McKay</strong>&nbsp;(“Vice”), and&nbsp;<strong>Pawel Pawlikowski</strong>&nbsp;(“Cold War”) each participated in a one-on-one interview with The Hollywood Reporter’s awards columnist Scott Feinberg, followed by a group discussion and a special presentation for the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>“This lineup in front of you is without a doubt a freaking amazing lineup of risk taking, push envelope, take no prisoners group of artists,” Roger Durling, Executive Director of SBIFF, told the audience when he took the stage at the Arlington Theatre at the end of the program to present the five nominees with the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968756.jpg\" /></p>\r\n\r\n<p>“You five make a case for cinema as art,” he continued. “Although I wish there were women included amongst you, I cherish and celebrate that all of you together is the best ‘fuck you Trump’ artistic line up. You have a Greek director, you have a Polish director, you have a Mexican director...you have a black director and you have a director that is willing to make a biting political satire. We need your voices more than ever - we don’t need a freaking wall.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Durling’s sentiments, including his comment about the wall, were received enthusiastically by the audience.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>During the group discussion that preceded the awards presentation, all five directors were effusive with their praise of not only each other’s films, but also the films of other peers that had not received the same level of attention. When asked by Feinberg to identify a worthy, under-the-radar film from the past year, McKay, Pawlikowski, and Lanthimos all selected films directed by women.&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>McKay recommended Debra Granik’s “Leave No Trace.” He told Feinberg: “I love movies that get into a subculture and a world you don’t know about. I just thought that there was a rawness and an openness to that movie that just blew me away.”</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968836.jpg\" /></p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968830.jpg\" \" /></p>\r\n\r\n<p>Pawlikowski and Lanthimos both recommended Alice Rohrwacher’s “Happy as Lazzaro.” Noted Pawlikowski: “She has a poetry all of her own and it’s a lovely story - it’s neither realist or fantasy.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Lanthimos also recommended Lucretia Martel’s “Zama,” which he described as a “period film which is completely surreal at the same time.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In addition to the Outstanding Directors of the Year Award program and presentation, SBIFF’s daytime programming offered festival-goers a number of events and screenings featuring some of this year’s most celebrated filmmakers and performers.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The morning included a screening of “The Biggest Little Farm,” by Emmy Award–winning documentary director and writer&nbsp;<strong>John Chester</strong>, which follows his and his wife Molly’s journey as they trade city life to start their own farm on a stretch of depleted soil outside Los Angeles. The documentary chronicles their efforts for more than eight years in this sweeping epic of twists and turns related to the creation of Apricot Lane Farms.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In a Q&amp;A moderated by Durling, John shared with the audience where it was that he drew inspiration from. “It came down to a quote by Wendell Berry,” he said. “‘It all turns on affection, and it just means that it can all change when we love something.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>When questioned about the filmmaking process, particularly about the eight years of filming and having gathered more than 90 terabytes of footage, John answered, “As a filmmaker, I believe it’s about content. You just have to get what you can get in the moment and a lot of it was on the fly. Nature is a juxtaposition of good and bad, and I think the film represents that.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In the early afternoon, the festival hosted a special screening of “Spider Man: Into the Spider-Verse” as part of the educational initiative, Mike’s Field Trip to the Movie<strong>s</strong>.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Named for renowned nature cinematographer Mike deGruy, Mike’s Field Trip to the Movies uses filmmaking to stimulate creative, confident, and culturally aware thinkers. The program is offered to 4,000 4th, 5th, and 6th grade students from throughout Santa Barbara County, and SBIFF provides free transportation to students from Title I schools. Sponsors include the Montecito Bank &amp; Trust, Patagonia, Union Bank, Bentson Foundation and Volentine Family Foundation.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The screening of “Spider Man: Into the Spider-Verse” was followed by a Q&amp;A with two of the film’s directors,&nbsp;<strong>Bob Persichetti&nbsp;</strong>and&nbsp;<strong>Peter Ramsey</strong>, and one of the biggest questions that came up during the discussion was whether or not fans could expect a sequel. Both directors hinted at the possibility, telling the crowd “we think so!”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The festival also hosted a special screening of “Roma” which was followed by a Q&amp;A with Cuarón and actress&nbsp;<strong>Yalitza Aparicio</strong>. Aparicio earned an Academy Award nomination for her work in the film, making her the first indigenous Mexican actress nominee.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968832.jpg\" style=\"width:611px;height:800px;\" /></p>\r\n\r\n<p>Cuarón explained his unusual approach to making the film to the crowd, admitting that having less control gave him more creative freedom. “I needed to push my boundaries and do something I didn’t know how to do,” he said. “I had to give up control… and that was exciting.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>At the end of the Q&amp;A, Aparicio was presented with the festival’s Virtuosos award for her groundbreaking performance. She thanked SBIFF, telling the crowd “Cinema has the power to break barriers and inspire love, courage and hope. I’m honored to be here.”</p>\r\n</div>\r\n', '', 'full_html'),
('story', 0, 209, 487, 'en', 0, '<h2 class=\"with-tabs pageTitle\">Directors of the Year Award in Santa Barbara to Alfonso Cuarón, Yorgos Lanthimos, Spike Lee, Adam McKay and Pawel Pawlikowski</h2>\r\n\r\n<div class=\"clear-block\" id=\"MyContent\">\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968758.jpg\">The 34<sup>th</sup>&nbsp;Annual Santa Barbara International Film Festival (SBIFF) welcomed this year’s five Academy Award nominees for Best Director.&nbsp;<strong>Alfonso Cuarón</strong>&nbsp;(“Roma”),&nbsp;<strong>Yorgos Lanthimos</strong>&nbsp;(“The Favourite”),&nbsp;<strong>Spike Lee</strong>&nbsp;(“BlacKkKlansman”),&nbsp;<strong>Adam McKay</strong>&nbsp;(“Vice”), and&nbsp;<strong>Pawel Pawlikowski</strong>&nbsp;(“Cold War”) each participated in a one-on-one interview with The Hollywood Reporter’s awards columnist Scott Feinberg, followed by a group discussion and a special presentation for the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>“This lineup in front of you is without a doubt a freaking amazing lineup of risk taking, push envelope, take no prisoners group of artists,” Roger Durling, Executive Director of SBIFF, told the audience when he took the stage at the Arlington Theatre at the end of the program to present the five nominees with the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968756.jpg\"></p>\r\n\r\n<p>“You five make a case for cinema as art,” he continued. “Although I wish there were women included amongst you, I cherish and celebrate that all of you together is the best ‘fuck you Trump’ artistic line up. You have a Greek director, you have a Polish director, you have a Mexican director...you have a black director and you have a director that is willing to make a biting political satire. We need your voices more than ever - we don’t need a freaking wall.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Durling’s sentiments, including his comment about the wall, were received enthusiastically by the audience.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>During the group discussion that preceded the awards presentation, all five directors were effusive with their praise of not only each other’s films, but also the films of other peers that had not received the same level of attention. When asked by Feinberg to identify a worthy, under-the-radar film from the past year, McKay, Pawlikowski, and Lanthimos all selected films directed by women.&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>McKay recommended Debra Granik’s “Leave No Trace.” He told Feinberg: “I love movies that get into a subculture and a world you don’t know about. I just thought that there was a rawness and an openness to that movie that just blew me away.”</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968836.jpg\"></p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968830.jpg\"></p>\r\n\r\n<p>Pawlikowski and Lanthimos both recommended Alice Rohrwacher’s “Happy as Lazzaro.” Noted Pawlikowski: “She has a poetry all of her own and it’s a lovely story - it’s neither realist or fantasy.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Lanthimos also recommended Lucretia Martel’s “Zama,” which he described as a “period film which is completely surreal at the same time.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In addition to the Outstanding Directors of the Year Award program and presentation, SBIFF’s daytime programming offered festival-goers a number of events and screenings featuring some of this year’s most celebrated filmmakers and performers.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The morning included a screening of “The Biggest Little Farm,” by Emmy Award–winning documentary director and writer&nbsp;<strong>John Chester</strong>, which follows his and his wife Molly’s journey as they trade city life to start their own farm on a stretch of depleted soil outside Los Angeles. The documentary chronicles their efforts for more than eight years in this sweeping epic of twists and turns related to the creation of Apricot Lane Farms.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In a Q&amp;A moderated by Durling, John shared with the audience where it was that he drew inspiration from. “It came down to a quote by Wendell Berry,” he said. “‘It all turns on affection, and it just means that it can all change when we love something.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>When questioned about the filmmaking process, particularly about the eight years of filming and having gathered more than 90 terabytes of footage, John answered, “As a filmmaker, I believe it’s about content. You just have to get what you can get in the moment and a lot of it was on the fly. Nature is a juxtaposition of good and bad, and I think the film represents that.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In the early afternoon, the festival hosted a special screening of “Spider Man: Into the Spider-Verse” as part of the educational initiative, Mike’s Field Trip to the Movie<strong>s</strong>.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Named for renowned nature cinematographer Mike deGruy, Mike’s Field Trip to the Movies uses filmmaking to stimulate creative, confident, and culturally aware thinkers. The program is offered to 4,000 4th, 5th, and 6th grade students from throughout Santa Barbara County, and SBIFF provides free transportation to students from Title I schools. Sponsors include the Montecito Bank &amp; Trust, Patagonia, Union Bank, Bentson Foundation and Volentine Family Foundation.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The screening of “Spider Man: Into the Spider-Verse” was followed by a Q&amp;A with two of the film’s directors,&nbsp;<strong>Bob Persichetti&nbsp;</strong>and&nbsp;<strong>Peter Ramsey</strong>, and one of the biggest questions that came up during the discussion was whether or not fans could expect a sequel. Both directors hinted at the possibility, telling the crowd “we think so!”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The festival also hosted a special screening of “Roma” which was followed by a Q&amp;A with Cuarón and actress&nbsp;<strong>Yalitza Aparicio</strong>. Aparicio earned an Academy Award nomination for her work in the film, making her the first indigenous Mexican actress nominee.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968832.jpg\" style=\"width:611px;height:800px;\" /></p>\r\n\r\n<p>Cuarón explained his unusual approach to making the film to the crowd, admitting that having less control gave him more creative freedom. “I needed to push my boundaries and do something I didn’t know how to do,” he said. “I had to give up control… and that was exciting.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>At the end of the Q&amp;A, Aparicio was presented with the festival’s Virtuosos award for her groundbreaking performance. She thanked SBIFF, telling the crowd “Cinema has the power to break barriers and inspire love, courage and hope. I’m honored to be here.”</p>\r\n</div>\r\n', '', 'full_html'),
('story', 0, 209, 488, 'en', 0, '<h2 class=\"with-tabs pageTitle\">Directors of the Year Award in Santa Barbara to Alfonso Cuarón, Yorgos Lanthimos, Spike Lee, Adam McKay and Pawel Pawlikowski</h2>\r\n\r\n<div class=\"clear-block\" id=\"MyContent\">\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968758.jpg\" />The 34<sup>th</sup>&nbsp;Annual Santa Barbara International Film Festival (SBIFF) welcomed this year’s five Academy Award nominees for Best Director.&nbsp;<strong>Alfonso Cuarón</strong>&nbsp;(“Roma”),&nbsp;<strong>Yorgos Lanthimos</strong>&nbsp;(“The Favourite”),&nbsp;<strong>Spike Lee</strong>&nbsp;(“BlacKkKlansman”),&nbsp;<strong>Adam McKay</strong>&nbsp;(“Vice”), and&nbsp;<strong>Pawel Pawlikowski</strong>&nbsp;(“Cold War”) each participated in a one-on-one interview with The Hollywood Reporter’s awards columnist Scott Feinberg, followed by a group discussion and a special presentation for the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>“This lineup in front of you is without a doubt a freaking amazing lineup of risk taking, push envelope, take no prisoners group of artists,” Roger Durling, Executive Director of SBIFF, told the audience when he took the stage at the Arlington Theatre at the end of the program to present the five nominees with the 2019 Outstanding Directors of the Year Award.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968756.jpg\" /></p>\r\n\r\n<p>“You five make a case for cinema as art,” he continued. “Although I wish there were women included amongst you, I cherish and celebrate that all of you together is the best ‘fuck you Trump’ artistic line up. You have a Greek director, you have a Polish director, you have a Mexican director...you have a black director and you have a director that is willing to make a biting political satire. We need your voices more than ever - we don’t need a freaking wall.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Durling’s sentiments, including his comment about the wall, were received enthusiastically by the audience.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>During the group discussion that preceded the awards presentation, all five directors were effusive with their praise of not only each other’s films, but also the films of other peers that had not received the same level of attention. When asked by Feinberg to identify a worthy, under-the-radar film from the past year, McKay, Pawlikowski, and Lanthimos all selected films directed by women.&nbsp;</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>McKay recommended Debra Granik’s “Leave No Trace.” He told Feinberg: “I love movies that get into a subculture and a world you don’t know about. I just thought that there was a rawness and an openness to that movie that just blew me away.”</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968836.jpg\" /></p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968830.jpg\" /></p>\r\n\r\n<p>Pawlikowski and Lanthimos both recommended Alice Rohrwacher’s “Happy as Lazzaro.” Noted Pawlikowski: “She has a poetry all of her own and it’s a lovely story - it’s neither realist or fantasy.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Lanthimos also recommended Lucretia Martel’s “Zama,” which he described as a “period film which is completely surreal at the same time.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In addition to the Outstanding Directors of the Year Award program and presentation, SBIFF’s daytime programming offered festival-goers a number of events and screenings featuring some of this year’s most celebrated filmmakers and performers.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The morning included a screening of “The Biggest Little Farm,” by Emmy Award–winning documentary director and writer&nbsp;<strong>John Chester</strong>, which follows his and his wife Molly’s journey as they trade city life to start their own farm on a stretch of depleted soil outside Los Angeles. The documentary chronicles their efforts for more than eight years in this sweeping epic of twists and turns related to the creation of Apricot Lane Farms.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In a Q&amp;A moderated by Durling, John shared with the audience where it was that he drew inspiration from. “It came down to a quote by Wendell Berry,” he said. “‘It all turns on affection, and it just means that it can all change when we love something.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>When questioned about the filmmaking process, particularly about the eight years of filming and having gathered more than 90 terabytes of footage, John answered, “As a filmmaker, I believe it’s about content. You just have to get what you can get in the moment and a lot of it was on the fly. Nature is a juxtaposition of good and bad, and I think the film represents that.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In the early afternoon, the festival hosted a special screening of “Spider Man: Into the Spider-Verse” as part of the educational initiative, Mike’s Field Trip to the Movie<strong>s</strong>.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Named for renowned nature cinematographer Mike deGruy, Mike’s Field Trip to the Movies uses filmmaking to stimulate creative, confident, and culturally aware thinkers. The program is offered to 4,000 4th, 5th, and 6th grade students from throughout Santa Barbara County, and SBIFF provides free transportation to students from Title I schools. Sponsors include the Montecito Bank &amp; Trust, Patagonia, Union Bank, Bentson Foundation and Volentine Family Foundation.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The screening of “Spider Man: Into the Spider-Verse” was followed by a Q&amp;A with two of the film’s directors,&nbsp;<strong>Bob Persichetti&nbsp;</strong>and&nbsp;<strong>Peter Ramsey</strong>, and one of the biggest questions that came up during the discussion was whether or not fans could expect a sequel. Both directors hinted at the possibility, telling the crowd “we think so!”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>The festival also hosted a special screening of “Roma” which was followed by a Q&amp;A with Cuarón and actress&nbsp;<strong>Yalitza Aparicio</strong>. Aparicio earned an Academy Award nomination for her work in the film, making her the first indigenous Mexican actress nominee.</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u612/1091968832.jpg\" /></p>\r\n\r\n<p>Cuarón explained his unusual approach to making the film to the crowd, admitting that having less control gave him more creative freedom. “I needed to push my boundaries and do something I didn’t know how to do,” he said. “I had to give up control… and that was exciting.”</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>At the end of the Q&amp;A, Aparicio was presented with the festival’s Virtuosos award for her groundbreaking performance. She thanked SBIFF, telling the crowd “Cinema has the power to break barriers and inspire love, courage and hope. I’m honored to be here.”</p>\r\n</div>\r\n', '', 'full_html'),
('story', 0, 210, 372, 'en', 0, '<div class=\"clear-block\" id=\"MyContent\">\r\n<p>“I think we’re at a point now where I can move on. I don’t think the Festival needs an introduction now.” - Robert Redford !!!</p>\r\n\r\n<p><img alt=\"Image result for Sundance 2019\" src=\"https://d13ezvd6yrslxm.cloudfront.net/wp/wp-content/images/Sundance-2019-logo-700x300.jpg\" /></p>\r\n\r\n<p>Sundance has officially begun! My name is Cameron Lui, I will be filmfestivals.com\'s Sundance Correspondent this year. This year is packed with exciting films and projects. To start, we have Julianne Moore and Michelle Williams headlining&nbsp;<em>After The Wedding</em>, followed by&nbsp;<em>Apollo 11, Native Son&nbsp;</em>and&nbsp;<em>Give Me Liberty.&nbsp;</em></p>\r\n\r\n<p>All should be strong entries. I will be able to catch 1-2 of them tonight so stay tuned for reviews!&nbsp;</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u6168/FestHome2.jpg\" style=\"width:810px;height:307px;\" /></p>\r\n\r\n<p>&nbsp;</p>\r\n</div>\r\n', '', 'full_html'),
('story', 0, 210, 472, 'en', 0, '<div class=\"clear-block\" id=\"MyContent\">\r\n<p>“I think we’re at a point now where I can move on. I don’t think the Festival needs an introduction now.” - Robert Redford !!!</p>\r\n\r\n<p><img alt=\"Image result for Sundance 2019\" src=\"https://d13ezvd6yrslxm.cloudfront.net/wp/wp-content/images/Sundance-2019-logo-700x300.jpg\" /></p>\r\n\r\n<p>Sundance has officially begun! My name is Cameron Lui, I will be filmfestivals.com\'s Sundance Correspondent this year. This year is packed with exciting films and projects. To start, we have Julianne Moore and Michelle Williams headlining&nbsp;<em>After The Wedding</em>, followed by&nbsp;<em>Apollo 11, Native Son&nbsp;</em>and&nbsp;<em>Give Me Liberty.&nbsp;</em></p>\r\n\r\n<p>All should be strong entries. I will be able to catch 1-2 of them tonight so stay tuned for reviews!&nbsp;</p>\r\n\r\n<p><img alt=\"\" src=\"https://www.filmfestivals.com/files/images/u6168/FestHome2.jpg\" style=\"width:810px;height:307px;\" /></p>\r\n\r\n<p>&nbsp;</p>\r\n</div>\r\n', '', 'full_html'),
('story', 0, 211, 373, 'en', 0, '<p>What a jaw-dropping&nbsp;way to begin the festival. The tension in the room could be felt from the jump and persisted to an abysmal halt. Every little choice was made to be unexpected. First time director, Rashid Johnson, absolutely \"fucked shit up (as artists are supposed to)\" as he said in his closing remarks during the Q&amp;A session. This film took a classic novel and perverted some of it\'s most crucial scenes in such a way that left the audience pondering the arbitrary stereotypes that seem to guide our daily lives.&nbsp;</p>\r\n\r\n<p>The film begins with a heavy statement from the lead \'Bigger\' (played by Ashton Sanders, who may just blow up after this performance) that acts almost like the stories overarching thesis. Essentially Bigger states boldly that he doesn\'t want to be just another cliche, a black man caught up in a petty liquor store robbery. Interestingly enough, Bigger decides to do the opposite of his novel counterpart and takes the higher road. However, what happens when society is designed for you to fail? What happens when you make the right choices and those right choices lead you astray? Well, what happens is Rashid Johnson\'s take on&nbsp;Native Son. Suzan-Lori Parks,&nbsp;a writer on the rise that we should all be paying attention to, stated in the Q&amp;A that \"it wasn\'t until Big started playing by the rules that the shit went down.\" And the film is just that. A man doomed to fail.&nbsp;</p>\r\n\r\n<p>Ultimately, the strength in this film is its ability to keep its audience on their heals. Everything, from large plot points to idiosyncracies within the performances, is meant to be the opposite of what you expect. Rather than obsessing over hip-hop, Big listens to Punk and Classical. instead of robbing a liquor store, Big gets a job as a driver for a wealthy white man. Rather than chasing the forbidden fruit, Big holds his head up high and stays focused on his one true love. This film is everything you don\'t expect yet still finds itself in the same predicament we come to expect.&nbsp;</p>\r\n\r\n<p>Meet Rashid Johnson, director of Native Son, playing in the U.S. Dramatic Competition at the 2019 Sundance Film Festival.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<div class=\"media_embed\"><iframe frameborder=\"0\" height=\"315\" src=\"https://www.youtube.com/embed/0oySTienSBo\" width=\"560\"></iframe></div>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Written by: Cameron Lui</p>\r\n', '', 'full_html'),
('story', 0, 211, 375, 'en', 0, '<p>What a jaw-dropping&nbsp;way to begin the festival. The tension in the room could be felt from the jump and persisted to an abysmal halt. Every little choice was made to be unexpected. First time director, Rashid Johnson, absolutely \"fucked shit up (as artists are supposed to)\" as he said in his closing remarks during the Q&amp;A session. This film took a classic novel and perverted some of it\'s most crucial scenes in such a way that left the audience pondering the arbitrary stereotypes that seem to guide our daily lives.&nbsp;</p>\r\n\r\n<p>The film begins with a heavy statement from the lead \'Bigger\' (played by Ashton Sanders, who may just blow up after this performance) that acts almost like the stories overarching thesis. Essentially Bigger states boldly that he doesn\'t want to be just another cliche, a black man caught up in a petty liquor store robbery. Interestingly enough, Bigger decides to do the opposite of his novel counterpart and takes the higher road. However, what happens when society is designed for you to fail? What happens when you make the right choices and those right choices lead you astray? Well, what happens is Rashid Johnson\'s take on&nbsp;Native Son. Suzan-Lori Parks,&nbsp;a writer on the rise that we should all be paying attention to, stated in the Q&amp;A that \"it wasn\'t until Big started playing by the rules that the shit went down.\" And the film is just that. A man doomed to fail.&nbsp;</p>\r\n\r\n<p>Ultimately, the strength in this film is its ability to keep its audience on their heals. Everything, from large plot points to idiosyncracies within the performances, is meant to be the opposite of what you expect. Rather than obsessing over hip-hop, Big listens to Punk and Classical. instead of robbing a liquor store, Big gets a job as a driver for a wealthy white man. Rather than chasing the forbidden fruit, Big holds his head up high and stays focused on his one true love. This film is everything you don\'t expect yet still finds itself in the same predicament we come to expect.&nbsp;</p>\r\n\r\n<p>Meet Rashid Johnson, director of Native Son, playing in the U.S. Dramatic Competition at the 2019 Sundance Film Festival.</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<div class=\"media_embed\"><iframe frameborder=\"0\" height=\"315\" src=\"https://www.youtube.com/embed/0oySTienSBo\" width=\"560\"></iframe></div>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>Written by: Cameron Lui</p>\r\n', '', 'full_html'),
('story', 0, 212, 374, 'en', 0, '<p dir=\"ltr\">Uninspired, a total lack of originality, derivative, void of spiritual awareness. These are only a few of the harsh critiques that Gyllenhaal fires off as he moves briskly from scene to scene, emoting in such a way that we have not seen from the Nightcrawler actor.</p>\r\n\r\n<p dir=\"ltr\">&nbsp;</p>\r\n\r\n<p dir=\"ltr\">Dan Gilroy and Jake Gyllenhaal reunite for a brutally comedic satire on the world of fine art. They cover art’s destructive nature, the celebration of disturbing artists, the impossibility of separating the artist from the art, and the consequences of monetization all while visually stimulating the audience with out of this world hallucinations.</p>\r\n\r\n<p dir=\"ltr\">&nbsp;</p>\r\n\r\n<p dir=\"ltr\">Gyllenhaal plays Morf Vandewalt, a passionate bi-sexual art critic that can’t help but deliver his opinion on everything from a classic Freud, to the quality of a man’s coffin. His critiques are brutally honest, and his moral compass is consistent. He articulates with a briskness that a refined art critic would be proud of. Once again, he proves that he is one of the premier actors in Hollywood.</p>\r\n\r\n<p dir=\"ltr\">&nbsp;</p>\r\n\r\n<p dir=\"ltr\">The film makes you question the validity of opinion but shows the intricate difference between taste and bullshit. It brings to light just how important critics are to the world of art. A bad review can utterly devastate the hard work that is poured into a piece, while a glowing review can fuel a career. Gilroy shows us just how much artists thirst for this validation, not just for personal gratification, but for economic security. This toxicity surely should not go unpunished.</p>\r\n\r\n<p dir=\"ltr\">&nbsp;</p>\r\n\r\n<p dir=\"ltr\">The cast of the film should be enough to convince any cinephile to give it a chance and the execution will surely please. The supporting cast includes powerful performances from Zawe Ashton, Rene Russo, John Malkovich, Daveed Diggs, and Toni Collette. Together they string a thrilling web of despair and pretentious anxiety.</p>\r\n\r\n<p dir=\"ltr\">&nbsp;</p>\r\n\r\n<p dir=\"ltr\">Art gallery oners glide between characters as the audience naturally connects their relationships to each other. Every actor blends perfectly into the world of fine art. Through performance, they satirize the world without outright disrespecting it, which can be a difficult niche to find. They seem to do so successfully by being innocently unaware of their absurdities creating an irony that lasts from beginning to end. They’re intertwined lives stir up enough drama to fill a feature, yet that is not all there is to the film.</p>\r\n\r\n<p dir=\"ltr\">&nbsp;</p>\r\n\r\n<p dir=\"ltr\">The plot unfolds dualistically. On one hand, you get a deep dive into their entangled history with each other, while on the other you’re senses are viscously attacked by surreal circumstances. Never does one supersede the other. Both aspects of the film live amongst each other, complementing their respective progressions. Every aspect is connected abstractly giving the viewer a feeling of elation throughout. The surreal intrusions blend with the anxieties of the subjects in such a way that leaves you floating through the story until you reach its bitter conclusion.</p>\r\n\r\n<p dir=\"ltr\">&nbsp;</p>\r\n\r\n<p dir=\"ltr\">Of all the films I’ve seen so far, this one is by far the best. Please, do not go and watch the trailer. It gives up most of the secrets in the movie. I had no idea what to expect going in and I came out elated and refreshed. I just took a peek at the trailer and it is sure to dampen your experience. The film will, fortunately, be released in a couple days on Netflix. Watch it right away! Then watch it again.</p>\r\n\r\n<div>&nbsp;</div>\r\n\r\n<p>Written by: Cameron Lui</p>\r\n', '', 'full_html'),
('film', 0, 222, 387, 'en', 0, '<p>DIVING DEEP:THE LIFE AND TIMES OF MIKE DEGRUY is a feature film documentary about Mike deGruy, an irrepressible biologist turned award-winning filmmaker who swam, dived and filmed in oceans around the world and in the process became the first to film many rarely seen creatures in their own oceans. He was also a passionate advocate of the ocean’s creatures and became increasingly outspoken as an environmental activist. In 2012, deGruy died tragically in a helicopter crash in Australia while filming for director James Cameron. Told through the eyes of Mimi deGruy, his wife and filmmaking partner, DIVING DEEP:THE LIFE AND TIMES OF MIKE DEGRUY celebrates deGruy’s remarkable life, career and what he passionately believed: we are destroying the ocean before we even know what’s there.</p>\r\n', '', 'basic_html'),
('film', 0, 223, 388, 'en', 0, '<p>Centuries old and enjoyed by tens of millions of people worldwide, golf is seen by many as more than a sport. Yet what do we know about the other person on the course—the man or woman behind the player carrying the bag? In a narrative never covered in any feature length documentary, LOOPERS: THE CADDIE’S LONG WALK explores the incredible personal bond that a golfer and a caddie develop through hours of time together.<br />\r\n<br />\r\nIt is often said that a good caddie does three things: show up, keep up and shut up. But a great caddie wears many hats, acting as the player’s psychologist, mother/father figure, technical advisor, and confidante. The film unveils the working dynamic between famous partnerships and delves into the making of a caddie’s career with stories about caddies like Greg Puga — a young Bel Air caddie from East Los Angeles who fought his way to Augusta to play in the Masters as a Mid-Amateur Champ.<br />\r\n<br />\r\nLOOPERS: THE CADDIE\'S LONG WALK is a visual tour de force shot on the iconic courses of Pebble Beach, Augusta National, St. Andrews, Carnoustie, Prestwick, Ballybunion, and Lahinch. Narrated by Bill Murray, it explores the untold stories and lives of golf caddies working with some of the world’s most famous golfers—profiling caddies for Tiger Woods, Jordan Spieth, and Tom Watson. LOOPERS: THE CADDIE\'S LONG WALK relates a new, heartfelt story about the game of golf.</p>\r\n', '', 'basic_html'),
('film', 0, 224, 390, 'en', 0, '<p>The story of Dick Cheney, an unassuming bureaucratic Washington insider, who quietly wielded immense power as Vice President to George W. Bush, reshaping the country and the globe in ways that we still feel today.</p>\r\n', '', 'basic_html'),
('film', 0, 225, 391, 'en', 0, '<p>Ron Stallworth, an African American police officer from Colorado Springs, CO, successfully manages to infiltrate the local Ku Klux Klan branch with the help of a Jewish surrogate who eventually becomes its leader. Based on actual events.</p>\r\n', '', 'basic_html'),
('people', 0, 226, 392, 'en', 0, '<p><strong>Shelton Jackson</strong> \"<strong>Spike</strong>\" <strong>Lee</strong> (born March 20, 1957) is an American film director, producer, writer, and actor. His production company, 40 Acres and a Mule Filmworks, has produced over 35 films since 1983.</p>\r\n\r\n<p>He made his directorial debut with <em>She\'s Gotta Have It</em> (1986), and has since directed such films as <em><a href=\"https://en.wikipedia.org/wiki/Do_the_Right_Thing\">Do the Right Thing</a></em> (1989), <em>Malcolm X</em> (1992), <em>The Original Kings of Comedy</em> (2000), <em>25th Hour</em> (2002), <em>Inside Man</em> (2006), <em>Chi-Raq</em> (2015), and <em>BlacKkKlansman</em> (2018). Lee has also acted in 10 of his own films.</p>\r\n\r\n<p>Lee\'s films have examined race relations, colorism in the black community, the role of media in contemporary life, urban crime and poverty, and other political issues. He has won numerous accolades for his work, including five Academy Award nominations, a Student Academy Award, and an Academy Honorary Award from the Academy of Motion Picture Arts and Sciences, two Emmy Awards, two Peabody Awards, an honorary BAFTA Award, an Honorary César, the 2013 Gish Prize, and a Grand Prix award.</p>\r\n', '', 'basic_html'),
('people', 0, 227, 394, 'en', 0, '<p>Adam McKay (born April 17, 1968) is an American screenwriter, director, comedian, and actor. McKay has a comedy partnership with Will Ferrell, with whom he co-wrote the films Anchorman, Talladega Nights, and The Other Guys. Ferrell and McKay also founded their comedy website Funny or Die through their production company Gary Sanchez Productions. He has been married to Shira Piven since 1999. They have two children.</p>\r\n', '', 'basic_html'),
('story', 0, 232, 407, 'en', 0, '<p dir=\"ltr\"><span><span>In a festival full of artistically layered and creatively structured films, Abe Forsythe’s </span><em>Little Monsters </em><span>stands out by telling a classic three-act narrative with predictable beats that lead to an ending we’ve all seen before. Usually, that would not be a compliment in my book, however, this film executes it’s ‘save the cat’ style story to perfection. It gives the audience everything they want in a film. It is chock-full of humor that has the crowd boisterous throughout, mixed with gruesome violence, love, and despair. It does not try to torture your soul, instead, it aims to please and entertain, which it does quite well. </span></span></p>\r\n\r\n<p dir=\"ltr\"><span><span>The story follows Dave, played by Alexander England, a hapless stoner, recently dumped by his neurotic girlfriend because of his refusal to give up the past, and his fear of having a child. The man is addicted to video games and pornography, with absolutely no direction until he meets Miss Caroline played by Lupita Nyong\'o, while dropping off his nephew at Kindergarten. In a vain attempt to attain her attention, he volunteers to chaperone a field trip where chaos ensues when zombies, yes zombies, invade their excursion. &nbsp;</span></span></p>\r\n\r\n<p dir=\"ltr\"><span><span>Nyong\'o, of course, delivers a show-stopping performance. It’s hard to tell this was her first attempt at comedy. The film puts her wit on full display, as she holds her own amongst seasoned comedians. She utilizes her award-winning acting skills to carry a narrative on her back that could easily be a joke at a festival like Sundance. She controls the energy of every scene and does something not many females do in this genre, she keeps the men in check. </span></span></p>\r\n\r\n<p dir=\"ltr\"><span><span>Lupita is surrounded by outrageously hilarious comedians. Alexander England’s ability to morph into a total dunce allows the audience to laugh at what they ought not to be. Meanwhile, Josh Gad plays a disturbingly ill-willed children’s television character that rapidly fires off improvised insult after insult in the direction of anyone in the same frame as him. The comedic chemistry between Gad and England is electric. They have a plethora of gut-busting scenes together which energy gets balanced out by Nyong\'o’s hard-nosed ‘straight man’ performance. In the Q&amp;A, Nyong\'o spoke on how truly hard it was to play the ‘straight man’ during the most outrageous scenes. I can only imagine how difficult it was given how no one in the audience managed to hold a straight face for longer than a beat. </span></span></p>\r\n\r\n<p dir=\"ltr\"><span><span>Leaving the venue had unparalleled energy. There is something about a well-executed three-act structure that really appeals to mass audiences. In film school, they drill this approach into filmmakers to the point that the more artistically inclined seem to really want to escape the form. You can really see this effect in most of the Sundance films. A lot of the filmmakers actively try to disguise their structure in a way that feels more authentic or artistic. This film, however, fully embraces the classical form. It does so quite successfully. It has everything you would expect from a mainstream, box office film. It has violence, a ‘get the girl’ throughline, a well-placed call to action, a clear second act turning point and a convenient conclusion. It does so, not in a way that feels stale, but in a way that somehow still feels refreshing. This ultimately comes down to the filmmaker\'s decision to hand over the keys to Lupita Nyong\'o and the enduringness of the children’s innocence. </span></span></p>\r\n\r\n<p dir=\"ltr\"><span><span>The best factor of the entire film is the irony built around children’s innocence. Too often do we want to shelter children from the brutal truth of the world. In the face of flesh-eating zombies, Miss Caroline protects the children’s innocence by playing them their favorite Taylor Swift song on her ukulele. She tells them they are simply in a fun game and that the invasion is all part of the planned field trip. The question arises of how healthy it truly is to keep children away from the brutal realities of the world. </span></span></p>\r\n\r\n<p dir=\"ltr\"><span><span>The theme of the film really came to light in the Q&amp;A when Josh Gad gave the audience a powerful closing statement. He said that too often do we treat ourselves like children, hiding from the monsters that live in our society. He brought up his close friend, Jussie Smollett, who had been viciously attacked by racist MAGA supporters earlier that day. He reminded the audience that we cannot hide when incidences like his happen, we must face our fears and openly talk about the monsters that live in our world or they will never be conquered. Eventually, that is what the characters had to do, face their fears in order to escape the grasp of evil. </span></span></p>\r\n', '', 'basic_html');
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('story', 0, 233, 417, 'en', 0, '<p>Dedicated to the theme “Mistakes”, the approximately 100 workshops, talks and film screenings at <em>Berlinale Talents</em> (February 9-14) will not only spotlight the productive handling of mistakes and minor catastrophes, but also focus on the deliberate decision to “do things wrong” as an aesthetic experiment, a creative force of renewal, and a wilful rebellion of art against the norm.</p>\r\n\r\n<p>The official program at the HAU Hebbel am Ufer invites renowned festival guests, jury members as well as international film experts – among them <strong>Charlotte Rampling, Roberto Saviano, David Lowery, Tendo Nagenda </strong>(VP of Original Film at Netflix), the indie adult filmmaker<strong> Erika Lust, </strong>the Golden Bear winner <strong>Adina Pintilie</strong>, the Oscar contender <strong>Guy Nattiv</strong> and many more – to engage with the Berlin audience.</p>\r\n\r\n<p><em>Berlinale Talents</em> will once again present current trends and discourse also from inside the different fields of work, including the sound designer <strong>Peter Albrechtsen</strong> and Foley Artist <strong>Heikki Kossi</strong>, who bring <a href=\"https://www.berlinale-talents.de/bt/program/v/3172\">sound for documentary films</a> to life using real props, or the puppet- and prop builder <strong><a href=\"https://www.berlinale-talents.de/bt/program/v/3173\">Simon Weiße, who presents his miniature work</a></strong> for Wes Anderson films (both Wednesday). Interdisciplinarity remains a core theme of <em>Berlinale Talents</em>, when the cinematographer, editor and production designer of the new series <strong><em><a href=\"https://www.berlinale-talents.de/bt/program/v/3155\">M – A City Searches for a Murderer</a></em></strong> provide insights into their collaboration and experts from the UN to the „Mayor of Skid Row“ try to come up with “alternate histories” to counter the mainstream narrative in a “<a href=\"https://www.berlinale-talents.de/bt/program/v/3152\">Live World Building Session</a>” (both on Monday). <a href=\"https://www.berlinale-talents.de/bt/program/v/3164\">Research methods</a> (Monday) and <a href=\"https://www.berlinale-talents.de/bt/program/v/3162\">interview conducting techniques</a> (Tuesday) for fiction and documentary films are as much part of the program as <a href=\"https://www.berlinale-talents.de/bt/program/v/3154\">interactive web series from the Lebanon</a> (Monday).</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In addition to its 25 public talks <em>Berlinale Talents</em> offers alumni screenings of <strong><em>Systemsprenger </em></strong>(System Crasher)(<em>Competition</em>), <strong><em>Chão</em> </strong>(Landless)(<em>Forum</em>), <strong><em>Knives and Skin</em></strong> (<em>Generation</em>), <strong><em>Buoyancy</em> </strong>and <strong><em>Screening Shorts</em></strong> (<em>Generation</em> and <em>Berlinale Shorts</em> films) followed by Q&amp;A’s with the respective alumni.</p>\r\n', '', 'basic_html'),
('story', 0, 233, 418, 'en', 0, '<p>Dedicated to the theme “Mistakes”, the approximately 100 workshops, talks and film screenings at <em>Berlinale Talents</em> (February 9-14) will not only spotlight the productive handling of mistakes and minor catastrophes, but also focus on the deliberate decision to “do things wrong” as an aesthetic experiment, a creative force of renewal, and a wilful rebellion of art against the norm.</p>\r\n\r\n<p>The official program at the HAU Hebbel am Ufer invites renowned festival guests, jury members as well as international film experts – among them <strong>Charlotte Rampling, Roberto Saviano, David Lowery, Tendo Nagenda </strong>(VP of Original Film at Netflix), the indie adult filmmaker<strong> Erika Lust, </strong>the Golden Bear winner <strong>Adina Pintilie</strong>, the Oscar contender <strong>Guy Nattiv</strong> and many more – to engage with the Berlin audience.</p>\r\n\r\n<p><em>Berlinale Talents</em> will once again present current trends and discourse also from inside the different fields of work, including the sound designer <strong>Peter Albrechtsen</strong> and Foley Artist <strong>Heikki Kossi</strong>, who bring <a href=\"https://www.berlinale-talents.de/bt/program/v/3172\">sound for documentary films</a> to life using real props, or the puppet- and prop builder <strong><a href=\"https://www.berlinale-talents.de/bt/program/v/3173\">Simon Weiße, who presents his miniature work</a></strong> for Wes Anderson films (both Wednesday). Interdisciplinarity remains a core theme of <em>Berlinale Talents</em>, when the cinematographer, editor and production designer of the new series <strong><em><a href=\"https://www.berlinale-talents.de/bt/program/v/3155\">M – A City Searches for a Murderer</a></em></strong> provide insights into their collaboration and experts from the UN to the „Mayor of Skid Row“ try to come up with “alternate histories” to counter the mainstream narrative in a “<a href=\"https://www.berlinale-talents.de/bt/program/v/3152\">Live World Building Session</a>” (both on Monday). <a href=\"https://www.berlinale-talents.de/bt/program/v/3164\">Research methods</a> (Monday) and <a href=\"https://www.berlinale-talents.de/bt/program/v/3162\">interview conducting techniques</a> (Tuesday) for fiction and documentary films are as much part of the program as <a href=\"https://www.berlinale-talents.de/bt/program/v/3154\">interactive web series from the Lebanon</a> (Monday).</p>\r\n\r\n<p>&nbsp;</p>\r\n\r\n<p>In addition to its 25 public talks <em>Berlinale Talents</em> offers alumni screenings of <strong><em>Systemsprenger </em></strong>(System Crasher)(<em>Competition</em>), <strong><em>Chão</em> </strong>(Landless)(<em>Forum</em>), <strong><em>Knives and Skin</em></strong> (<em>Generation</em>), <strong><em>Buoyancy</em> </strong>and <strong><em>Screening Shorts</em></strong> (<em>Generation</em> and <em>Berlinale Shorts</em> films) followed by Q&amp;A’s with the respective alumni.</p>\r\n', '', 'basic_html'),
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('people', 0, 238, 465, 'en', 0, '<p><span>Viggo Peter Mortensen Jr. is a Danish-American actor, producer, author, musician, director, photographer, poet, and painter. He is the recipient of various accolades including a Screen Actors Guild Award and has been nominated for three Academy Awards, three BAFTA Awards, and four Golden Globe Awards.</span></p>\r\n', '', 'basic_html'),
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('film', 0, 241, 473, 'en', 0, '<p>One day, Marlene suddenly chooses to abandon her daughter for a man she has just met during yet another night of excess. Elli must confront her mother\'s demons to get her back.</p>\r\n', '', 'basic_html'),
('film', 0, 241, 476, 'en', 0, '<p>One day, Marlene suddenly chooses to abandon her daughter for a man she has just met during yet another night of excess. Elli must confront her mother\'s demons to get her back.</p>\r\n', '', 'basic_html');

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-- --------------------------------------------------------

--
-- Table structure for table `node_revision__field_animation`
--

CREATE TABLE `node_revision__field_animation` (
  `bundle` varchar(128) CHARACTER SET ascii NOT NULL DEFAULT '' COMMENT 'The field instance bundle to which this row belongs, used when deleting a field instance',
  `deleted` tinyint(4) NOT NULL DEFAULT '0' COMMENT 'A boolean indicating whether this data item has been deleted',
  `entity_id` int(10) UNSIGNED NOT NULL COMMENT 'The entity id this data is attached to',
  `revision_id` int(10) UNSIGNED NOT NULL COMMENT 'The entity revision id this data is attached to',
  `langcode` varchar(32) CHARACTER SET ascii NOT NULL DEFAULT '' COMMENT 'The language code for this data item.',
  `delta` int(10) UNSIGNED NOT NULL COMMENT 'The sequence number for this data item, used for multi-value fields',
  `field_animation_value` longtext NOT NULL,
  `field_animation_format` varchar(255) CHARACTER SET ascii DEFAULT NULL
) ENGINE=InnoDB DEFAULT CHARSET=utf8mb4 COMMENT='Revision archive storage for node field field_animation.';

--
-- Dumping data for table `node_revision__field_animation`
--

INSERT INTO `node_revision__field_animation` (`bundle`, `deleted`, `entity_id`, `revision_id`, `langcode`, `delta`, `field_animation_value`, `field_animation_format`) VALUES
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