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Festival Director Vanja Kaludjercic: “This edition we saw with great pleasure how our discoveries found their audiences. From the joy of our opening night, to the excitement of welcoming superstars and cinematic giants, to witnessing the blossoming of future greats like the Tiger Award winner, there was a special atmosphere at the festival this edition. We take pride in making a programme that foregrounds the unexpected and unique – and that challenges and enriches. Our Focus programmes, like the first-of-their kind retrospectives on Chilean cinema in exile, Italian genre masters Manetti Bros. and Hong Kong provocateur Scud stand as a testament to that and the spaces we create. As we look ahead, we see that our ideas and aspirations connect strongly with the audience, strengthening us for the years to come.”
Managing Director Clare Stewart: “We are thrilled that, despite a reduction in scale to match our resources, the 53rd edition of IFFR has maintained its public reach, exceeded ticket sales targets and increased our overall occupancy rate to 75%. This affirms our strategic focus on ‘impact over scale’ and puts us in a great position to continue the recalibration of IFFR for future years.
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A Week of French Language Cinema
Posted By Robin Menken
For the fifteenth year straight, in collaboration with the Consulates General of Canada, Belgium, Switzerland, France, the Grand Duchy of Luxembourg, the Quebec Government Office in Los Angeles, and Le Lycée Français de Los Angeles, Théâtre Raymond Kabbaz (TRK) presents A Week of French Language Cinema, with nightly screenings of critically acclaimed French language films, from March 19th through March 25th. All films are subtitled in English.
A Week of French Language Cinema is organized annually to coincide with the International Organization of La Francophonie (OIF)’s celebration of the French language and Francophone culture on March 20th. The event is the perfect showcase to present the artistry of French-language voices the world over.
"Humanist Vampire Seeking Consenting Suicidal Person"- Canadian filmmaker Ariane Louis-Seize’s debut feature is a witty dark comedy, a sort of Romeo and Vampira.
Amusing world building and a witty cast portray the coming of age woes of young Sasha (Sara Montpetit), who’s just too compassionate to kill and feed. She’s kept alive by refrigerated blood packs, as her parents quarrel.
A black comedy scene of little vampire Sasha's birthday party sets the film in motion. Decades pass. Unwilling vampire, teenager-like Sasha is an unending stress to her bickering family
Sara Montpetit (wonderfully matched by actress Lilas-Rose Cantin who plays Sasha as a little vampire) has a face that speaks volumes. She’s a Goth glamor girl. Her dead-pan stares hold hidden depths.
Young looking Sophie’s a late bloomer. Her fangs have never dropped. Unable to feed she spends her nights busking, playing Cello outside the local bowling alley.
One night she spots Paul (Félix-Antoine Bénard) on the roof of the bowling alley where he works, planning to jump. He puts it off.
Sensitive teenager Paul spends his days at school bullied by a bunch of thugs. He can’t tell his mom. Félix-Antoine Bénard plays Paul as a crestfallen innocent willing to follow Sasha's lead.
The next time Sasha spots him, they lock eyes. Paul flees, right into a wall, knocking himself out. Scenting his blood, Sasha’s fangs finally emerge. Afraid of her teenage (blood) lust it’s Sasha’s turn to flee. (She’s already 62 years-old and fang-shy).
This works as a metaphor, Sasha is afraid of her adult sexuality. So is Paul. They connect as two awkward virgins. Sasha explains her issue to Paul framing their various problems as each other’s solutions. It’s a morbidly endearing perfect match.
When Sophie backs off from biting his neck, besotted Paul hurriedly offers to take off his shirt.
Steve Laplante is hilarious as a protective father who resists forcing Sophie to feed, while Mom (Sophie Cadieux) fumes. She’s sick of hunting for the whole family and worries it will go on for the next 300 years.
Eventually they lock the fridge and send Sasha off to room with her bawdy older cousin Denise (Noémie O’Farrell). Efficient vampire Denise, who uses her sexual charms and promises of kinky sex to lure her dinner dates (make that dinner) promises to make Sophie into the vampire they all know she can be.
A Week of French Language Cinema
Posted By Robin Menken
For the fifteenth year straight, in collaboration with the Consulates General of Canada, Belgium, Switzerland, France, the Grand Duchy of Luxembourg, the Quebec Government Office in Los Angeles, and Le Lycée Français de Los Angeles, Théâtre Raymond Kabbaz (TRK) presents A Week of French Language Cinema, with nightly screenings of critically acclaimed French language films, from March 19th through March 25th. All films are subtitled in English.
A Week of French Language Cinema is organized annually to coincide with the International Organization of La Francophonie (OIF)’s celebration of the French language and Francophone culture on March 20th. The event is the perfect showcase to present the artistry of French-language voices the world over.
"Humanist Vampire Seeking Consenting Suicidal Person"- Canadian filmmaker Ariane Louis-Seize’s debut feature is a witty dark comedy, a sort of Romeo and Vampira.
Amusing world building and a witty cast portray the coming of age woes of young Sasha (Sara Montpetit), who’s just too compassionate to kill and feed. She’s kept alive by refrigerated blood packs, as her parents quarrel.
A black comedy scene of little vampire Sasha's birthday party sets the film in motion. Decades pass. Unwilling vampire, teenager-like Sasha is an unending stress to her bickering family
Sara Montpetit (wonderfully matched by actress Lilas-Rose Cantin who plays Sasha as a little vampire) has a face that speaks volumes. She’s a Goth glamor girl. Her dead-pan stares hold hidden depths.
Young looking Sophie’s a late bloomer. Her fangs have never dropped. Unable to feed she spends her nights busking, playing Cello outside the local bowling alley.
One night she spots Paul (Félix-Antoine Bénard) on the roof of the bowling alley where he works, planning to jump. He puts it off.
Sensitive teenager Paul spends his days at school bullied by a bunch of thugs. He can’t tell his mom. Félix-Antoine Bénard plays Paul as a crestfallen innocent willing to follow Sasha's lead.
The next time Sasha spots him, they lock eyes. Paul flees, right into a wall, knocking himself out. Scenting his blood, Sasha’s fangs finally emerge. Afraid of her teenage (blood) lust it’s Sasha’s turn to flee. (She’s already 62 years-old and fang-shy).
This works as a metaphor, Sasha is afraid of her adult sexuality. So is Paul. They connect as two awkward virgins. Sasha explains her issue to Paul framing their various problems as each other’s solutions. It’s a morbidly endearing perfect match.
When Sophie backs off from biting his neck, besotted Paul hurriedly offers to take off his shirt.
Steve Laplante is hilarious as a protective father who resists forcing Sophie to feed, while Mom (Sophie Cadieux) fumes. She’s sick of hunting for the whole family and worries it will go on for the next 300 years.
Eventually they lock the fridge and send Sasha off to room with her bawdy older cousin Denise (Noémie O’Farrell). Efficient vampire Denise, who uses her sexual charms and promises of kinky sex to lure her dinner dates (make that dinner) promises to make Sophie into the vampire they all know she can be.
50th Seattle International Film Festival Celebrates Indigenous Filmmakers
with the return of 4th World Media Lab & cINeDIGENOUS program
In partnership with SIFF Programmer Tracy Rector,
4th World Media Lab and cINeDIGENOUS
continue to celebrate Indigenous filmmakers
The 50th Seattle International Film Festival will see the return of 4th World Media Lab and the Festival’s cINeDIGENOUS program, amplifying Indigenous filmmakers from across the globe. The cINeDIGENOUS program will screen films throughout the Festival from May 9-19 at venues across Seattle.
In its 10th year, the 4th World Media Lab provides Indigenous media creators a progressive immersion into film learning and industry exploration through a cultural lens. In partnership with global Indigenous organizations and industry experts, 4th World offers the fellows a master class of hands-on experiences, producer coaching, pitch training, community centered gatherings, and global networking in the SIFF urban festival atmosphere. In addition to the Seattle International Film Festival, the lab includes residencies with Big Sky Documentary Film Festival and Camden International Film Festival.
Seattle International Film Festival Programmer Tracy Rector has been a pivotal part of developing Indigenous educational workshops, supporting Indigenous-led community events and film presentations at the Festival for 19 years. With the return of the 4th World Media Lab and cINeDIGENOUS program to this year’s festival, Tracy continues to uplift, amplify and celebrate Indigenous made stories and filmmakers.
“SIFF has been an incredible partner over the last two decades, standing in solidarity with Indigenous peoples globally by spotlighting their films, perspectives and helping them to access resources for their work, career and communities.” says Rector, global Indigenous content programmer.
The cINeDIGENOUS program has a total of 11 features and 1 short film program in this year’s Festival, which include films and insights from Indigenous artists across the globe. As core to our mission, this annual program has centered the works and experiences of Indigenous filmmakers for two decades.
SIFF 2024 cINeDIGENOUS Program Highlights
Bring Them Home (USA/Canada 2024 , 85 min., d: Ivan MacDonald (Blackfeet), Ivy MacDonald (Blackfeet), Daniel Glick)
Molokaʻi Bound (USA 2024, 112 min., d: Alika Tengan (Kanaka Maoli)) - World Premiere
Moving Poetry: Indigenous Stories (Short Film Program, 69 min.)
Standing Above The Clouds (USA 2024, 83 min., d: Jalena Keane-Lee) - World Premiere
Sugarcane (USA/Canada 2024, 107 min., d: Julian Brave NoiseCat (Secwepemc Nation), Emily Kassie)
The Tundra Within Me (Norway 2023, 95 min., d: Sara Margrethe Oskal (Sámi))
4th World Media Lab 2024 Fellows
Victoria Cheyenne - Aymara, El Alto Bolivia / Tsétsêhéstâhese, Northern Cheyenne | Montana
Keisha Erwin - Woodland Cree, Lac La Ronge Indian Band | Saskatchewan
Cass Gardiner - Anishinaabe Algonquin, Kebaowek First Nation | New Jersey
Nicolle L. Gonzales (Arthun) - Diné, Navajo Nation | New Mexico
Bruce Thomas Miller - Anishinaabe, Matachewan First Nation | Alberta
Sisa Quispe - Quechua Aymara | New York
The 50th Seattle International Film Festival screens in theaters acros
[Editor’s Note: This interview is part of a larger feature about the women documentary filmmakers who blazed trails for the craft by premiering their films at the Sundance Film Festival in the 1980s. Please read the main introduction to this feature here.]
By Bedatri Choudhury
You are currently restoring the film but tell me what made you want to make it, back then?
PDK: When I was in art school, I remember a teacher took me aside and he said, ‘You have talent, but you really need to marry, stay home, and raise children.’ This was in 1972. And I was so shocked. Here he’s teaching at Pratt Institute, and you have men and women working together. We were looking at the women’s movement, and here was this very blatant expression of sexism. One of our producers, who has since passed away, Lynne Campbell founded Women Against Pornography in in Manhattan. Lucy and I, and a bunch of women were able to go through 42nd Street, and visit the sex shops. While women’s voices were censored, we saw pornography and these expressions of exploitation. We believe in First Amendment rights, but you don’t want to be surrounded by these images and this kind of abuse. And so we realized we wanted to find out the roots of sexism, and other forms of oppression, racism, and exploitation of women. We wanted to cover the ground and show that there’s a continuum. What is being said in sexist images of women in advertising, in pornography, is perpetrating violence against women in real life.
LW: There was so much hurt and anger in a moment like that. We were raised with lip service being given to ‘you can do anything, and the sexes are equal.’ And that as a woman artist, you have every opportunity that a male artist does. That was absolutely not the case. That was a really rude awakening.
We went around and interviewed men who produced images that we thought were sexist. And asked them what they’re doing, and why they’re doing it. And the answers were not surprising, except in their honesty. As Paula pointed out, the values that informed the mainstream advertising, and the men who put that advertising out in the world, were the same values that we found in the pornography shops. Same values expressed in a more extreme way.
That must have been a hard film to make?
PDK: In some ways, it was kind of easy as well. We bought a 60 millimeter camera with another woman, and we shared it around. It got a lot of use. It was sort of like guerilla filmmaking; we just went out there with our lights, extension cords, and an old secondhand Nagra tape recorder.
This is all to say, with very little money, we had great freedom. We rented a Steenbeck editor, and Lucy edited the film. Then we got some money from British television, $30,000 or $40,000. Which meant we could actually buy the Steenbeck and put it in Lucy’s living room.
 Lucy Winer and Paula de Koenigsberg while filming "Rate It X." Photo courtesy of Paula de Koenigsberg.
What would you say has gotten easier down the years?
LW: Technically, the thing that has made the biggest difference in terms of the making of the film is nonlinear editing. I am sentimental about cuttin
Progressive House
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