Archive for the ‘Call For Entries’ Category

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The Dharamshala International Film Festival is pleased to announce the DIFF Film Fellows Programme 2018. The Film Fellows initiative, which saw its inception in 2014, aims to encourage and develop filmmaking talent in the Indian Himalayan regions by offering mentorship opportunities with established filmmakers.

This year, the programme will focus specifically on filmmakers from Himachal Pradesh.

The programme will provide a much-needed opportunity to budding filmmakers from Himachal Pradesh who would otherwise have limited or no access to these resources. Five young filmmakers from the HP region will be selected and invited to attend DIFF, participate in its various events, and benefit from one-on-one mentorship sessions with established filmmakers.

Previous DIFF Film Fellows have come from across the Himalayan region, from Ladakh all the way to Arunachal Pradesh, and are now engaged in various stages of their filmmaking career.

Siddharth Chauhan, last year’s film fellow from Himachal Pradesh, and the director of Pashi (2017) says: “DIFF Film Fellows Programme was a break I desperately needed in my life and career. Surrounded by beautiful mountains, young people and the amazing two mentors (filmmakers Gurvinder Singh and Kesang Tseten) I got to learn and unlearn so many facets of filmmaking.”

The deadline for applying to this programme is 24 September 2018. Applicants must be between 18-45 years of age and hold bonafide Himachali certificates.

A jury made up of eminent filmmakers will review all applicants and the final selection of the five fellows will be announced by 1st October 2018.

Rules & Regulations
  1. The DIFF Film Fellows programme accepts applications from aspiring Film Directors.
  2. Applicants must be in the age group 18 to 45.
  3. Applicants must be from Himachal Pradesh.
  4. Applicants must submit a completed entry form together with a link to a short film they have directed.
  5. Films submitted must be shorter than 20 minutes in duration but may include excerpts from longer films. In the latter instance, please do not send the full film.
  6. Films can be submitted as a link on Vimeo, YouTube, etc.
  7. Non-English-language film must be subtitled in English.
  8. Films may be of any genre: fiction; documentary; experimental; animation; etc.
  9. A panel of industry professionals will judge the entries and their decision will be final.
  10. The application deadline is 24th September 2018.
  11. Successful applicants will be notified by 1st October 2018.

To apply for the fourth DIFF Film Fellows Programme, please download the application form below and send your completed application to info@diff.co.in and programmingassistant@diff.co.in by 24th September 2018.

Subject Line: DIFF Film Fellows Application.

DIFF FILM FELLOWS PROGRAMME ENTRY FORM

More details: DIFF Film Fellows

The National Film Development Corporation has announced the Call for Entries for the 12th Year of Film Bazaar Co-Production Market.

Full length fiction feature projects with South Asian themes are invited to apply.

The Deadline for submissions is September 13th, 2018. Extended Deadline is September 18th 2018. The deadline has been extended to September 30th 2018.

The Market will be held between 20-24th November, 2018 at Film Bazaar, Goa.

The Co-Production Market presents a list of curated projects to the national and international film professionals attending Film Bazaar. The Market kicks off with Open Pitch where participants present their projects through Video Pitches to an audience of investors, producers and financiers. The four days of the market are earmarked for one on one meetings specially scheduled for each project.

Over the years, the dedicated team has honed its skills for matching projects with the right delegates. Dedicated online and print catalogues consisting of all project details are available for Film Bazaar attendees interested in Co Production Market projects. The Co-Production Market also conducts an orientation session to familiarize participants to Open Pitch as well as the working of the Co-Production Market and Film Bazaar.

For Application Form and more details, please visit https://filmbazaarindia.com/co-production-market/
For further queries, write to: coproduction@filmbazaarindia.com

CPM Projects Over the Years:

  • Lipstick Under My Burkha, Alankrita Shrivastava CPM 2013
  • Newton, Amit Masurkar, CPM 2015
  • Song of the Scorpions, Anup Singh CPM 2013
  • Beyond the Known World, Pan Nalin, CPM 2012
  • Lady of the Lake, Haobam Paban Kumar, CPM 2011
  • Manto, Nandita Das (in production), CPM 2015
  • Court, Chaitanya Tamhane, CPM 2012 (VENICE INTERNATIONAL FILM FESTIVAL, 2014)
  • Chauthi Koot, Gurvinder Singer, CPM 2012 (FESTIVAL DE CANNES 2015)
  • Titli, Kanu Behl CPM 2012 (FESTIVAL DE CANNES 2014)
  • Liar’s Dice, Geetu Mohan Das, CPM 2011 (Official Selection, Sundance Film Festival, IFFRIndia’s Official Entry to the 87th Academy Awards)
  • Arunoday, Partho Sengupta, CPM 2012 (BUSAN 2014)
  • Highway, Umesh Kulkarni CPM 2013
  • Television, Mostofa Farooki CPM 2010 (PUSAN INTERNATIONAL FILM FESTIVAL 2012) Chauranga, Bikas Mishra, CPM 2011 (MUMBAI FILM FESTIVAL 2014)
  • Qissa, Anup Singh CPM 2008 (Toronto International Film Festival 2013)
  • LSD, Dibakar Banerjee (CPM 2009) (Filmfare for Best Editing, Sound Design, Stardust Film of the Year)
  • Paltadacho Munis, Laxmikant Shetgaonkar (TORONTO INTERNATIONAL FILM FESTIVAL, FIPRESCI for Discovery 2009)
  • That girl with Yellow Boots, Anurag Kashyap (VENICE INTERNATIONAL FILM FESTIVAL 2010)
  • Deool, Umesh Vinayak Kulkarni (BUSAN INTERNATIONAL FILM FESTIVAL 2011 & 59th National Award for Best Feature Film).
  • Karma, Prasanna Jayakody (ROTTERDAM INTERNATIONAL FILM FESTIVAL 2011)
  • Shanghai, Dibakar Banerjee (TORONTO INTERNATIONAL FILM FESTIVAL 2012)
  • Miss Lovely, Ashim Ahluwalia (FESTIVAL DE CANNES 2012)
  • Mumbai Cha Raja, Manjeet Singh (TORONTO INTERNATIONAL FILM FESTIVAL 2012)
  • As the River Flows, Bidyut Kotoky, CPM 2007
  • Shor in the City, Krish D K, Raj Nidimoru, (CPM 2007) (MIAAC Festival – Best Director, PUSAN FIlm Festival, Dubai International Film Festival 2010)
  • 28, Prasanna Jayakody, CPM 2013, (IFFR, 2014 – NETPAC Award.)

Some of the projects and people who have attended the Co Production Market at Film Bazaar are Chedomir Kolar [ Producer No Man’s Land], Mustofa Sarwar Farooki [Director Television], Michael Werner [Fortissimo Films ], Chris Paton [San Sebastian Film Festival], Christian Jeune [Cannes Film Festival], Kristen Niehuus [Medien Board, Berlin-Brandenburg] Remi Burah [Arte France Cinema], Anurag Kashyap, Madhu Mantena, Manish Mundhra, Sooni Taraporewala, Sabiha Sumar [Director Khamosh Pani], Guneet Monga, Nandita Das, Govind Nihalani, Shyam Benegal, Pablo Bertolini [Venice Film Festival], Charles Tesson [Cemaine de la Crtique Cannes Film Festival], Aviva Silver [NEA cinema, Belgium], Anup Singh [Director Quissa],Catherine Dussart [Producer Chautih Koot France], Ramesh Sippy, Kabir Khan, Sheeladitya Bora, Marco Muller, [Beijing Film Festival], Benjamin Illos [Director’s Fortnight, Cannes]

The 7th edition of Dharamshala International Film Festival, in association with the Paddy & Joan Leigh Fermor Arts Fund, announces the launch of the Dharamshala PJLF Editing Workshop 2018.

The Editing Workshop will be mentored by Internationally renowned editor Jacques Comets, editor and Artistic Director of the International Film Festival of Kerala Bina Paul, and Producer and Script & Editing Mentor Olivia Stewart.

Eligibility

The application for the workshop is only open to Director/Editor teams who are working closely together as equal collaborators on the edit of an Indian-language (including in English) feature film.

The film can be at any stage between rough-cut and fine cut and should be at least 90 minutes long. Indian-language films will need to have English subtitles.

Submission process

The following information must be submitted to: diffeditingworkshop@gmail.com

  1. Name of Director
  2. Address, email and mobile number of Director
  3. Short filmography of Director
  4. Name of Editor
  5. Address, email and mobile number of Editor
  6. Short filmography of Editor
  7. Short synopsis of film (max 200 words)
  8. Short statement outlining the reasons why Director and Editor want to enter their film for the Editing Workshop (max 200 words)
  9. Link to rough cut/fine cut with English subtitles

Submission deadline: 22 September 2018.
The decision of the Selection Committee will be final.
Two teams of director & editor will be given a chance to screen their film, receive feedback from a team of experienced film professionals and have two follow-up sessions working with the Editing Mentor on revising their cut and/or concentrating on particular sequences in their film.

Application Deadline & Dates

Applications are open from 23 August 2018 and the submission deadline is 22 September. The two selected projects will be announced on 8 October.

The two selected Director/Editor teams will be invited to come to Dharamshala for seven days from 29 October to 4 November. All their expenses including travel and stay will be covered by the workshop.

Editing Workshop Mentors: Bina Paul and Olivia Stewart
Editing Mentor: Jacques Comets
Selection Committee: Umesh Kulkarni, Bina Paul and Tenzing Sonam

Ritu Sarin + Tenzing Sonam

More details: http://diff.co.in/dharamshala-pjlf-editing-workshop-2018/

NFDC Film Bazaar 2018 is calling for entries for the Viewing Room and the Work-in-Progress (WIP) Lab.

– Film Bazaar will be held from November 20-24, 2018 at the Goa Marriott Resort.

– The Early Bird Deadline for submissions is August 31, 2018, which will offer a discount on the submission fees. The last date for submission of completed applications is September 14th 2018.

WIP Lab

– Submissions are invited for the WIP Fiction lab.

– Up to five projects in their rough-cut stage will be selected to be presented to a panel of international film experts for their feedback.

– Feature-length fiction films of any genre in the rough-cut stage are invited to apply to the WIP lab.

Viewing Room

The Viewing Room will present films seeking finishing funds, world sales, distribution partners and film festivals to investors, world sales agents and film festival programmers attending the film bazaar. Here, films are viewed on individual computer terminals in private booths via a specially designed software which allows the users to contact the director or producer of the film via email.

– Films (fiction/documentary) of all genres and lengths in rough or final cut are invited to apply to the Viewing Room.

– Feature length films in the rough cut are eligible to apply to both WIP lab and Viewing Room.

– Short films can also be submitted to the Viewing Room, which will be showcased in a category called Short Films.

– For application form and other details, click here.

The films that were a part of the previous Work-in-Progress Labs at Film Bazaar have had their world premieres at leading international film festivals and some have even gone on to enjoy a successful theatrical run. These include Raam Reddy’s Thithi, Ashwiny Iyer Tiwari’s Nil Battey Sannata, Kanu Behl’s Titli, Avinash Arun’s Killa, Ashim Ahluwalia’s Miss Lovely, Anand Gandhi’s Ship of Theseus, Ajay Bahl’s BA Pass, Ere Gowda’s Balekampa, Alankrita Shrivastava’s Lipstick Under My Burkha, Dipesh Jain’s Gali Guleiyan.

India Film Project and FilterCopy has launched a new Web Writers’ Lab. The lab has been designed to take the selected participants and the scripts (for a web sketch) through a formal process of screenwriting, making it adaptive to viewers, and giving an opportunity to learn the skills which are essential to screenwriting for web. And finally, the web sketch will be produced by them.

In short, Join + Write + Learn + Give to web = Web Writers’ lab

– Once you submit your scripts, the team will curate and shortlist the 20 scripts who get a chance to attend a one-day workshop with writers of FilterCopy at their HQ, Mumbai.

– At the end of it, 5 scripts will be shortlisted for a five day scriptwriting lab at Mumbai (Travel+stay will be taken care of). The emphasis will be on fine-tuning the scripts so that they can be produced into individual sketches by FilterCopy.

– The writer whose script will be selected to be made into a video will receive a standard fee for their script

– It’s open only for comedy sketches

– Last day of submission – 31st December, 2017

-Registration fee for the lab is Rs 1,000.

– For more details, do click here.

 

You want to be a screenwriter, but you don’t know where to start.

Bombay is expensive. Is it worth going?

And on top of that, you don’t even know anyone. Even if you are in bombay, you don’t know whom to call for writing work.

These are just some of the basic questions that we all have grappled with at some point or other. There are no straight answers. Everyone finds a way.

But one thing is for sure now – it was never this easy if you have heard about AIB’s First Draft Programme. I wish there was something like this when we were starting out. It looked too good to be true – there is no fee, they take care of all the tuition expenses, and they even take care of your stay in Bombay. I have always felt that Bombay kids have an advantage. Not for anything else, but just for the rent. It’s fucking expensive! Whatever you earn, it goes in rent.

So when they started last year, it made me quite curious. Let’s see how it pans out. Been part of few script labs, i have experienced that nobody gets you till the last mile. Writing, feedback, learning, polishing – all that is good. BUT ARE YOU GETTING HIRED FOR WRITING?

Last i checked, out of the 10 writers that AIB selected, 7 of them are already writing commissioned work (film/web) for AIB which is in various stages of production. This is great. This is what all writers want.

So this year, we got one of the selected participant, Pulkit Arora to write about the whole experience.

Read. And Apply. Or Apply first, then come back and read. Last date for registration is Dec 5th, 2017. Click here for more details.

Falling In Love With Cinema / How I Learnt To Stop Worrying And Love The Screen

Last month, I went to my first film festival. As I swiftly discovered, festivals are exercises in cinema gluttony, with people catching as many as five films a day and ruing the absence of a sixth. But I felt oddly at home in queue for my next course.

18 months ago, this wasn’t the case. I’d maybe watch a film if the ticket price was less than Rs 2o0 and the run-time was under 100 minutes – that’d be about a film a month.

Most people around me at the festival had fallen in love with the movies when they were children. Stories told to you on a 50-ft screen as you chewed popcorn and slurped coke – what’s not to like? The leap from loving cinema to making cinema is substantial, but natural.

But as a vocal detractor of sitting still for more than 4 minutes, I had missed that honeymoon. I don’t think I even made it to the altar.

No one in my family had worked in art since a distant alcoholic uncle in the 80s ran production on a film with Asrani in the romantic lead. The casting choice was only slightly worse than the film itself; to this day at the dinner table, the conclusion is folks in arts are lazy drunks who didn’t score well in Science section.

On pure whim on an especially boring weekend, I stumbled onto a course called AIB First Draft, with no information on what writing for films entails. A whole Saturday off, and only a few tasks in the application – why not?

That application was a revelation. Playing around with characters can be pure fun, as if someone had given you a playground with a sandbox as big as human experience itself. The tasks took a lot longer than just that Saturday, but I did not resent it for a moment.

Upon what I continue to maintain was a miraculous selection, I sort of packed my bags and showed up expecting decent shelter and knowledge. I was fortunate to receive both.

While the course focused on writing stories for film, it throws you into a whirlwind romance with the medium of film itself.

Every day of every week was spent reading screenplays, watching cinema & writing. A lot of writing. I used my imagination more in six months than I had in every semester in college combined, especially with nine other people to imagine with.

But the biggest value of the First Draft framework was the predictability it brings – by Monday, we’d know the scheduled writing/reading/watching ratios of each day until Friday. Freed from the usual constraints of rent payments and deadlines, the only task was to learn.

But once the course spat me out of its comforts and straight into writing a high-stakes project, I found myself dwelling more and more in this sudden appreciation for an art form. I used to be a utility-and-function guy who scoffed at anyone “not contributing to making our world better” in the ways that I defined it; now I spent my days figuring out conflicts and emotional graphs for imaginary people. I was on my own little second act, figuring out how to reconcile this new job with my values.

But now that there was infatuation, I sailed into indulgence, consuming a film a day and a screenplay every week. Every film pored over, every screenplay marked with notes. All the “do what you love” posts that I cringed at all these years ended up coming true.

Somewhere in this process, I found something that I had lacked my entire life – an understanding of the value of creating cinema, and creating art itself. We throng to theaters to feel something our lives do not provide us, and that catharsis is more important than any of our institutions teach it to be. “Story is equipment for living” is how Kenneth Burke put it, and I have stumbled upon the honor to manufacture equipment. (That analogy has worked spectacularly with the family.)

A year in, cinema and I are doing quite well together. I think about it in the day and spend time with it in my evenings. I think in frames and scenes, I see people as characters. I have a feeling this may be more than just a fling.

Pulkit Arora

(Pulkit used to run a non-profit in Delhi before First Draft. He had no experience in fiction writing before he applied for the course. He is currently writing a feature film for AIB with a course-mate from the programme)

We also asked Pulkit to give us details about stay/course/schedule. More here –

– Our accommodation was spread over three houses in Versova. One of those houses was the venue for all the lectures and screenings. We would converge there for all the group work and then split up into our own houses for writing individually.

– The curriculum was a mish-mash of several screenwriting books, guest lectures as well as Satyanshu’s personal lessons. Everything was up for discussion – we would discuss exceptions as much as the rules.

– Every Monday, we would get a schedule that lays out the week for us. It would include watching films, plays and music, reading screenplays and writing our own draft. It made life super simple, because I now knew what I’m doing five days in advance.

– As for food, AIB paid for a cook that would make three meals for all of us. We would pay for the ingredients, but that was about it)

The National Film Development Corporation officially announces Call for Entries for the 11th Year of Filmbazaar Co-Production Market.

The Co-Production Market presents a list of curated projects to the national and international film professionals attending Film Bazaar.

– The Market kicks off with Open Pitch where participants present their projects through Video Pitches to an audience of investors, producers and financiers.

– The four days of the market are earmarked for one on one meetings specially scheduled for each project.

Over the years, the dedicated team has honed its skills for matching projects with the right delegates. Dedicated online and print catalogues consisting of all project details are available for Film Bazaar attendees interested in Co-Production Market projects. The market also conducts an orientation session to familiarize participants to Open Pitch as well as the working of the Co-Production Market and Film Bazaar.

– Full length fiction feature projects with South Asian themes are invited to apply.

– The Early Bird Deadline for submissions is July 5th, 2017.

– The Regular Deadline is August 7th 2017.

– The Extended Deadline is August 21st 2017.

– The Market will be held between 20 – 24th November, 2017 at Film Bazaar, Goa.

– Click www.filmbazaarindia.com for Application Forms and more details

– For further queries, write to: coproduction@filmbazaarindia.com

CPM Projects Over the Years:

 

Lipstick Under My Burkha (CPM 2013),  Newton, Amit Masurkar (CPM 2015), Mantra, Nicholas Khargaonkar, Song of the Scorpions (Anup Singh CPM 2013), Beyond the Known World (Pan Nalin, CPM 2012), Lady of the Lake, Manto, Court, Chauthi Koot, Titli, Liar’s Dice, Arunoday, Highway,Television, Chauranga, Qissa, LSD, Paltadacho Munis, That girl with Yellow Boots, Anurag Kashyap Deool, Karma, Shanghai, Miss Lovely, Mumbai Cha Raja, As the River Flows, Shor in the City, 28.

– Some of the people who have attended the Co Production Market at Film Bazaar are Chedomir Kolar [ Producer No Man’s Land], Mustofa Sarwar Farooki [Director Television], Michael Werner [Fortissimo Films ], Chris Paton [San Sebastian Film Festival], Christian Jeune [Cannes Film Festival], Kristen Niehuus [Medien Board, Berlin-Brandenburg] Remi Burah [Arte France Cinema], Anurag Kashyap, Madhu Mantena, Manish Mundhra, Sooni Taraporewala, Sabiha Sumar [Director Khamosh Pani], Guneet Monga, Nandita Das, Govind Nihalani, Shyam Benegal, Pablo Bertolini [Venice Film Festival], Charles Tesson [Cemaine de la Crtique Cannes Film Festival], Aviva Silver [NEA cinema, Belgium], Anup Singh [Director Quissa],Catherine Dussart [Producer Chautih Koot France], Ramesh Sippy, Kabir Khan, Sheeladitya Bora, Marco Muller, [Beijing Film Festival], Benjamin Illos [Director’s Fortnight, Cannes]