I think you're absolutely right, Francisco! I just found this list that a friend sent to me a couple of months ago, and I think it might be useful for others: http://www.hi-beam.net/org/showindex.html
Best, Andrea 2015-02-04 16:21 GMT+00:00 Francisco Torres <[email protected]>: > so maybe you should concentrate on venues that show mostly experimental > films, like micro cinemas and experimental screening series. > do not be discouraged, think about the exposure that films like the ones > made by craig baldwin, david lynch or guy maddin eventually found. > > 2015-02-03 18:53 GMT-04:00 Andrea Márquez <[email protected]>: > > Dear Jessica, >> Thanks for taking the time to make these comments. I'm going to send you >> the complete version in a separate e-mail. >> >> Dear Francisco, >> Thanks for your response. I believe the intended audience would be people >> who like experimental films. Even if it's not experimental in the >> traditional sense or genre, there are several points of experimentation on >> it, especially around the narrative device. And I sent it to this list >> because I thought some people might like it, but I wasn't sure. >> >> I suppose that my concern about distribution is an issue that concerns to >> a lot of people who make films and try to show them somehow. Basically I >> don't have money to send the film to festivals. And I'm not saying that if >> I had that money the film would be necessarily screened. I don't know if >> it's good, if people will like it, if it achieves the festivals standars, >> the programming criterion, if it will have lucky, and so on. I do know >> there are some festivals that don't charge any entry fees, but with >> features I understand it's not an easy process. In addition this film has a >> lot of technical problems that make it still more breakable. We made it >> without any money, without any technical resource, and for all of us who >> have been envolved, there was a kind of ideological resistance working in >> this way. So to me it seems a bit hypocritical to pay hundreds of dollars >> in festivals entry fees. >> >> I hope this discussion be useful to think (again) this delicate topic of >> films distribution. >> >> Saludos!! >> Andrea >> >> >> >> >> >> >> >> 2015-02-03 16:23 GMT+00:00 Francisco Torres <[email protected]>: >> >>> ''The truth is, I don't know how to start to distribute it'' >>> The first question you should ask yourself is who is the intended >>> audience? Distribution often depends on that. >>> >>> 2015-02-02 16:46 GMT-04:00 Lady Snowblood <[email protected]> >>> : >>> >>> The opening sets up -- >>>> >>>> first, a tension between the actual experience of life as a series of >>>> sychronicities via singular point of view (the narrator finds only >>>> "fragments") and the very real need for a cohesive story for the psyche to >>>> hang on to (the narrator "I was looking for a story" paraphrase) >>>> >>>> second, the image of three women speaking to each other followed by the >>>> voiceover of comparison/competition b/t self & other -- I think of the >>>> first narrator having that internal struggle and coming to a space of >>>> relating to others (or not) with a half-formed story --- >>>> >>>> I would love to see the whole thing. I'm pretty good at writing >>>> treatments for very liminal work / work playing with elements of narrative. >>>> >>>> Jessica >>>> >>>> >>>> * * * >>>> http://drawclose.com >>>> >>>> On Feb 2, 2015, at 8:34 AM, Andrea Márquez <[email protected]> >>>> wrote: >>>> >>>> Dear frameworkers, >>>> >>>> I would normally repress this embarrassing impetus of writing. I used >>>> to have them a lot when I was younger, and I guess I gained some >>>> experience. However, I'm going to ask you to watch this small fragment of >>>> our humble film called DETOUR. >>>> >>>> The truth is, I don't know how to start to distribute it. I wish I >>>> could list a number of reasons explaining why it's worth watching or tell >>>> you something that could awake your interest, but I'm afraid that I can't. >>>> It's probably because of my lack of "the art of the pitching", but also >>>> because I don't understand entirely how DETOUR operates in spite of me, in >>>> spite of what I thought the film might be, what I wanted to make it say and >>>> so on. >>>> >>>> Felisberto Hernández, an Uruguayan and a very extraordinary author >>>> wrote: >>>> >>>> "I'll also have to write many things I know very little about; it even >>>>> strikes me that impenetrability is intrinsic to them. Perhaps when we >>>>> think >>>>> we know them we stop knowing that we don't know them, because their >>>>> existence is inevitably obscure, and that must be one of their qualities. >>>>> >>>>> But I don't believe I must write only whay I know. I must also write >>>>> the other things." >>>>> >>>> >>>> I enjoy thinking there is a connection between this idea and my lack of >>>> knowledge and qualities. >>>> >>>> >>>> *Director's statement:* >>>> “Detour” or “Around” or >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> >>>> *Adverb that denotes the situation of people and things that surround >>>> other. Outline of a place. Preceding a numerical expression approximately >>>> more or less. Surrounding, around. Metathesis.Movement that is difficult to >>>> determine. Examples: a hug in the darkness, panning that the camera >>>> suddenly stops, sideways glance of the subject that attempts to disguise a >>>> state, silence that precedes certain words.Circumlocution, round about >>>> expression, periphrasis.Without circuit, without result.More or less close >>>> but without security, without warranty.Shortly before or shortly after. >>>> Still unaccounted for.Going away, from a distance.Narrative device that >>>> dispenses the linear order of the successive stages leading to. >>>> Interruptions. Love.No destination, no teleology, no money.Inefficient, >>>> eager for simple stuffs.“Desire, yes, always desire.”Deviation, detour.* >>>> >>>> >>>> I wrote this statement inspired in the way that we made the film. If >>>> you feel that something there could be interesting for you somehow, and you >>>> could help us to make this very little project finds its audience, here it >>>> is the link to watch the opening scene: >>>> >>>> http://youtu.be/zMPEyvC1BrE >>>> >>>> >>>> If you like it, I can send you the complete version link. >>>> >>>> >>>> Best regards, >>>> >>>> >>>> *Andrea Márqueze-mail: [email protected] >>>> <[email protected]>https://floodedhousefilms.wordpress.com/ >>>> <https://floodedhousefilms.wordpress.com/>* >>>> >>>> *Synopsis:* >>>> DETOUR is a lyrical feature film contemplating the detours of three >>>> childhood friends who reunite again after ten years. Starting with >>>> 1991 George W. Bush's speech about the coming of a new world order and the >>>> announcement of Operation Desert Storm, the film explores the paradigm that >>>> started in the 90s after the dissolution of the URSS. >>>> >>>> >>>> >>>> _______________________________________________ >>>> FrameWorks mailing list >>>> [email protected] >>>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>>> >>>> >>>> _______________________________________________ >>>> FrameWorks mailing list >>>> [email protected] >>>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>>> >>>> >>> >>> _______________________________________________ >>> FrameWorks mailing list >>> [email protected] >>> https://mailman-mail5.webfaction.com/listinfo/frameworks >>> >>> >> >> _______________________________________________ >> FrameWorks mailing list >> [email protected] >> https://mailman-mail5.webfaction.com/listinfo/frameworks >> >> > > _______________________________________________ > FrameWorks mailing list > [email protected] > https://mailman-mail5.webfaction.com/listinfo/frameworks > >
_______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks
