Actually this list is from the website of Frameworks ;)
What I don't understand is why the Collectif Jeune Cinéma [6] is missing from the European list!!!! http://www.cjcinema.org/?langue=en [6] GOOD LUCK!! Cheers, Angélica On 2015-02-05 17:39, Andrea Márquez wrote: > 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 [1] > > 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 [2] > > 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 [3] > > If you like it, I can send you the complete version link. > > Best regards, > Andrea Márquez > e-mail: [email protected] > https://floodedhousefilms.wordpress.com/ [4] > > 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 [5] _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks [5] _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks [5] _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks [5] _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks [5] _______________________________________________ FrameWorks mailing list [email protected] https://mailman-mail5.webfaction.com/listinfo/frameworks [5] Links: ------ [1] http://www.hi-beam.net/org/showindex.html [2] http://drawclose.com [3] http://youtu.be/zMPEyvC1BrE [4] https://floodedhousefilms.wordpress.com/ [5] https://mailman-mail5.webfaction.com/listinfo/frameworks [6] http://www.cjcinema.org/?langue=en
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