Ganadores Ariel 2009

Premios Ariel 2009 El Instituto Mexicano de Cinematografía felicita a los equipos de producción de las películas Lake Tahoe por los premios a Mejor película, Mejor dirección (Fernando Eimbcke) y Mejor coactuación masculina (Héctor Herrera). Desierto adentro por los premios a Mejor guión original (Laura Santullo y Rodrigo Plá), Mejor efectos especiales (José Ángel Cordero), Mejores efectos visuales (John Reid, Juan Medina y Rita Basulto), Mejor música original (Leonardo Heiblum, Jacobo Lieberman), Mejor sonido (Mario Martínez, Miguel Hernández, Marco Hernández y Antonio Diego), Mejor coactuación femenina (Eileen Yáñez), Mejor fotografía (Serguei Saldivar Tanaka) y Mejor actor (Mario Zaragoza). Arráncame la vida por los premios a Mejor guión adaptado (Roberto Sneider y Ángeles Mastretta), Mejor diseño de arte (Salvador Parra, Rafael Mandujano, Miguel Ángel Jiménez y Luisa Guala), Mejor vestuario (Gilda Navarro y Mónica Neumaier) y Mejor maquillaje (Regina Reyes y David Gameros). Los herederos, de Eugenio Polgovsky, por los premios a Mejor largometraje Documental y Mejor edición (Eugenio Polgovsky). Intimidades de Shakespeare y Víctor Hugo, de Yulene Olaizola, por el premio a Mejor ópera prima. Bajo la sal por el premio a Mejor actriz (Irene Azuela). Café Paraíso, de Alonso Ruiz Palacios, por el premio a Mejor cortometraje de fi cción. Su mercé, de Isabel Muñoz, por el premio a Mejor cortometraje documental. Jacinta, de Karla Castañeda, por el premio a Mejor cortometraje de animación. Leonera, de Pablo Trapero (Argentina), por el premio a Mejor película iberoamericana. Los premios Ariel de Oro fueron para la actriz cómica Famie Kauffman “Vitola” y para el actor Alejandro Parodi.

Empiezan cursos de cine! en Monterrey

Inician cursos de cine en Secuencial

Apreciación cinematográfica, sábados de 11 a 14 hrs

Guión de cortometraje, lunes de 18 a 21 hrs

Percepción fotográfica en el cine, martes de 6 a 9 pm.

Costos y temarios en la página

www.secuencial.net

Ganadores/Ganadoras de los BAFTAS (British Academy of Film and Television Arts)

Copio de IMDB (God Bless IMDB).

Por cierto, Slumdog no para.

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Best Film

WINNER

Slumdog Millionaire (2008)

Other Nominees:

The Curious Case of Benjamin Button (2008)

Frost/Nixon (2008)

Milk (2008)

The Reader (2008)

Alexander Korda Award for Outstanding British Film of the Year

WINNER

Man on Wire (2008)

Other Nominees:

Hunger (2008/I)

In Bruges (2008)

Mamma Mia! (2008)

Slumdog Millionaire (2008)

Best Actor

WINNER

Mickey Rourke for The Wrestler (2008)

Other Nominees:

Frank Langella for Frost/Nixon (2008)

Dev Patel for Slumdog Millionaire (2008)

Sean Penn for Milk (2008)

Brad Pitt for The Curious Case of Benjamin Button (2008)

Best Actress

WINNER

Kate Winslet for The Reader (2008)

Other Nominees:

Angelina Jolie for Changeling (2008)

Kristin Scott Thomas for Il y a longtemps que je t'aime (2008)

Meryl Streep for Doubt (2008/I)

Kate Winslet for Revolutionary Road (2008)

Best Supporting Actor

WINNER

Heath Ledger for The Dark Knight (2008)

Other Nominees:

Robert Downey Jr. for Tropic Thunder (2008)

Brendan Gleeson for In Bruges (2008)

Philip Seymour Hoffman for Doubt (2008/I)

Brad Pitt for Burn After Reading (2008)

Best Supporting Actress

WINNER

Penélope Cruz for Vicky Cristina Barcelona (2008)

Other Nominees:

Amy Adams for Doubt (2008/I)

Freida Pinto for Slumdog Millionaire (2008)

Tilda Swinton for Burn After Reading (2008)

Marisa Tomei for The Wrestler (2008)

David Lean Award for Achievement in Direction

WINNER

Danny Boyle for Slumdog Millionaire (2008)

Other Nominees:

Stephen Daldry for The Reader (2008)

Clint Eastwood for Changeling (2008)

David Fincher for The Curious Case of Benjamin Button (2008)

Ron Howard for Frost/Nixon (2008)

Best Screenplay (Original)

WINNER

In Bruges (2008): Martin McDonagh

Other Nominees:

Burn After Reading (2008): Joel Coen, Ethan Coen

Changeling (2008): J. Michael Straczynski

Il y a longtemps que je t'aime (2008): Philippe Claudel

Milk (2008): Dustin Lance Black

Best Screenplay (Adapted)

WINNER

Slumdog Millionaire (2008): Simon Beaufoy

Other Nominees:

The Curious Case of Benjamin Button (2008): Eric Roth

Frost/Nixon (2008): Peter Morgan

The Reader (2008): David Hare

Revolutionary Road (2008): Justin Haythe

Best Cinematography

WINNER

Slumdog Millionaire (2008): Anthony Dod Mantle

Other Nominees:

Changeling (2008): Tom Stern

The Curious Case of Benjamin Button (2008): Claudio Miranda

The Dark Knight (2008): Wally Pfister

The Reader (2008): Chris Menges, Roger Deakins

Best Editing

WINNER

Slumdog Millionaire (2008): Chris Dickens

Other Nominees:

Changeling (2008): Joel Cox, Gary Roach

The Curious Case of Benjamin Button (2008): Kirk Baxter, Angus Wall

The Dark Knight (2008): Lee Smith

Frost/Nixon (2008): Daniel P. Hanley, Mike Hill

In Bruges (2008): Jon Gregory

Best Production Design

WINNER

The Curious Case of Benjamin Button (2008): Donald Graham Burt, Victor J. Zolfo

Other Nominees:

Changeling (2008): James J. Murakami, Gary Fettis

The Dark Knight (2008): Nathan Crowley, Peter Lando

Revolutionary Road (2008): Kristi Zea, Debra Schutt

Slumdog Millionaire (2008): Mark Digby, Michelle Day

Best Costume Design

WINNER

The Duchess (2008): Michael O'Connor

Other Nominees:

Changeling (2008): Deborah Hopper

The Curious Case of Benjamin Button (2008): Jacqueline West

The Dark Knight (2008): Lindy Hemming

Revolutionary Road (2008): Albert Wolsky

Anthony Asquith Award for Film Music

WINNER

Slumdog Millionaire (2008): A.R. Rahman

Other Nominees:

The Curious Case of Benjamin Button (2008): Alexandre Desplat

The Dark Knight (2008): James Newton Howard, Hans Zimmer

Mamma Mia! (2008): Benny Andersson, Björn Ulvaeus

WALL·E (2008): Thomas Newman

Best Make Up/Hair

WINNER

The Curious Case of Benjamin Button (2008)

Other Nominees:

The Dark Knight (2008)

The Duchess (2008)

Frost/Nixon (2008)

Milk (2008)

Best Sound

WINNER

Slumdog Millionaire (2008)

Other Nominees:

Changeling (2008)

The Dark Knight (2008)

Quantum of Solace (2008)

WALL·E (2008)

Best Achievement in Special Visual Effects

WINNER

The Curious Case of Benjamin Button (2008)

Other Nominees:

The Dark Knight (2008)

Indiana Jones and the Kingdom of the Crystal Skull (2008)

Iron Man (2008)

Quantum of Solace (2008)

Best Film not in the English Language

WINNER

Il y a longtemps que je t'aime (2008)

Other Nominees:

Der Baader Meinhof Komplex (2008)

Gomorra (2008)

Persepolis (2007)

Vals Im Bashir (2008)

Best Animated Feature Film

WINNER

WALL·E (2008)

Other Nominees:

Persepolis (2007)

Vals Im Bashir (2008)

Orange Rising Star Award

WINNER

Noel Clarke

Other Nominees:

Michael Cera

Michael Fassbender

Rebecca Hall

Toby Kebbell

Carl Foreman Award for the Most Promising Newcomer

WINNER

Steve McQueen for Hunger (2008/I)(Director/Writer)

Other Nominees:

Simon Chinn for Man on Wire (2008)(Producer)

Judy Craymer for Mamma Mia! (2008)(Producer)

Garth Jennings for Son of Rambow (2007)(Writer)

Sol Papadopoulos, Roy Boulter for Of Time and the City (2008)(Producers)

Best Short Animation

WINNER

Wallace and Gromit in 'A Matter of Loaf and Death' (2008) (TV)

Other Nominees:

Codswallop (2008)

Varmints

Best Short Film

WINNER

September (2008)

Other Nominees:

Kingsland #1: The Dreamer (2008)

Love You More (2008)

Ralph (2008)

Voyage d'affaires (2008)

Top Festivales Latinos (con temática latina)

De acuerdo a Chris Gore.

Pa que manden sus movies a esos.

SALUD

PD. Nótese que los nombres están incompletos (agréguese International, Film y Festival a consideración personal)

Best Latin Film Festival

AluCine Toronto Latino

Cartagena International

Chicago Latino

Cine ACCIÓN

Cine Las Amercias International

Cinesol Latino

Havana Film Festival in NY

Latin USA Internationl

Latino Film Festival San Francisco Bay Area

Miami International Film

Miami Latin

Nwe York International

Providence Festival of New Latin American

San Antonio CineFestival

San Diego Latino Film Festival

Sao Paulo International Film Festival

Toronto Hispano American

Películas Mexicanas en la Berlinale 59, aka Berlín 2009

Me estoy pirateando un pedazo del blog de la Berlinale de PREMIERE.COM.MX con quien estoy sumamente agradecido (espero que no me odien).

SALUD.

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Enviado por berlinale2009 el Jue, 02/05/2009 - 13:33.

Enseguida enlistaré las producciones -en ocasiones co-producciones- mexicanas que serán exhibidas en distintas secciones de la Berlinale 59. Aunque esta vez ningún largometraje formará parte de la Selección Oficial, hay documentos fílmicos que se antojan bastante interesantes:

SECCIÓN PANORAMA

Rabioso Sol, Rabioso Cielo, de Julián Hernández

Sólo quiero Caminar, de Agustín Díaz Yañez (México-España)

SECCIÓN FORUM

La Sirena y el Buzo, documental de Mercedes Moncada (México-España)

BERLINALE SHORTS (CORTOMETRAJES)

Buenas Intenciones, de Iván Lomelí

SECCIÓN GENERATION

Voy a Explotar, de Gerardo Naranjo

Los Herederos, documental de Eugenio Polgovsky

PRESENCIA MEXICANA EN EL EUROPEAN FILM MARKET (TRABAJO EN PROGRESO)

Viaje Redondo, de Gerardo Tort

Programación 50 MUESTRA INTERNACIONAL DE CINE del 6 al 12 de febrero

CINETECA NUEVO LEON

Semana del 6 al 12 de febrero
SALA UNO / SALA DOS
50 MUESTRA INTERNACIONAL DE CINE
DEL 9 DE ENERO AL 13 DE FEBRERO

Viernes 6 y sábado 7 de febrero
FADOS

(Portugal-España, 2007)
Musical
Dir: Carlos Saura
Con: Chico Buarque, Carmané, Carlos Do Carmo, Lila Downs.

Para Carlos Saura, el fado es un amor de la infancia, de los días en que lo escuchaba en los cines de los años Cuarenta. Por ello no extraña que cuando el productor portugués Iván Días le ofreció la oportunidad de inmortalizar este canto melancólico en pantalla, Saura aceptó sin vacilar y se lanzó a fondo en una investigación de dos años.

Duración: 85 min.
FUNCIONES: 4:00 – 6:00 – 8:00 PM


Domingo 8 y lunes 9 de febrero
LIVERPOOL

(Argentina-Francia-Países Bajos-Alemania-España, 2008)
Drama
Dir: Lisandro Alonso
Con: Juan Fernández, Giselle Irrazabal, Nieves Cabrera.
Farrel es un marinero que regresa, tras una larga ausencia, a su natal Ushuaia para ver si su madre aún vive. Su búsqueda arrojará sorprendentes resultados y una posible hija aparecerá en su camino. Tomas largas y casi estáticas conforman un retrato, donde la vida de los personajes es tan aislada como el paisaje que los rodea.

Duración: 84 min.
FUNCIONES: 4:00 – 6:00 – 8:00 PM


Martes 10 y miércoles 11 de febrero
LA VISITA DE LA BANDA

(Bikur Ha-Tizmoret, Israel, 2007)
Comedia dramática
Dir: Eran Kolirin
Con: Sasson Gabai, Ronit Elkabetz, Saleh Bakri, Califa Natour.

Una banda de músicos integrada por policías egipcios viaja a Israel. Por varios motivos quedan varados en una pequeña ciudad olvidada, donde compartirán experiencias e historias con sus habitantes. La película funciona como un reflejo de la identidad entre culturas en el mundo actual, más allá de diferencias de todo tipo.

Duración: 87 min.
FUNCIONES: 4:00 – 6:00 – 8:00 PM


Jueves 12 y viernes 13 de febrero
LA QUIMERA DEL ORO

(The Gold Rush, Estados Unidos, 1925)
Version restaurada y sonorizada por Chaplin en 1942
Dir: Charles Chaplin
Con: Charles Chaplin, Georgia Hale, Mack Swain, Tom Murray.

En esta obra maestra de la comedia, el vagabundo Charlot se dirige a las montañas para buscar oro y hacerse rico, conociendo en el trayecto a otro compañero con quién comparte el mismo sueño. Además se encuentra con alguien que amenaza sus vidas y una mujer de la que se enamora, aunque esta no parece corresponderle.

Duración: 75 min.
FUNCIONES: 4:00 – 6:00 – 8:00 PM

NINE / 9, Burton "patrocina" a director revelación

Les paso el corto original de NINE o 9, de SHANE ACKER.

Este corto hizo que TIM BURTON y el director de WANTED, TIMUR BEKMAMBETOV se fijaran en él. Ahora le producen una movie basada en su corto. Abajo les pongo el trailer.
Chéquenlo en HD.

Elijah Wood hace la voz de 9, acompañado de otros "muñecos de trapo" como Jennifer Connelly y Christopher Plummer.

SALUD

Corto original

Trailer del largometraje

Porgramación 50 MUESTRA INTERNACIONAL DE CINE Semana del 30 de enero al 5 de febrero

CINETECA NUEVO LEON

Semana del 30 de enero al 5 de febrero
SALA UNO / SALA DOS
50 MUESTRA INTERNACIONAL DE CINE

Viernes 30 de enero

CORDERO DE DIOS

(Argentina-Francia-Chile, 2008)

Drama

Dir: Lucia Cedrón

Con: Mercedes Morán, Jorge Marrale, Leonora Balcarce, Malena Solda.

En 2002, en plena crisis económica argentina, Arturo, un veterinario de 77 años, es secuestrado en Buenos Aires. Su nieta Guillermina, debe negociar con los secuestradores el pago del rescate. Para ello, pide ayuda a su madre, Teresa, quién aún vive en Francia, a donde se exilió junto con su hija pequeña en los años 70. LA PELI HA TENIDO EXITOS EN BUENOS AIRES, ROTTERDAM Y TOULOUSSE Y VIENE CON EXCELENTES REFERENCIAS... LAS CHICAS ARGENTINAS TIENEN EL LIDERAZGO FUERTE EN CREACION DE CINE...

Duración: 92 min.

SALA UNO Y SALA DOS: 4:00 – 6:00 – 8:00 PM

Sábado 31 de enero y domingo 1 de febrero

UNA DAMA PARA DOS

(La fille coupée en deux, Francia, 2007)

Thriller dramático

Dir: Claude Chabrol

Con: Ludivine Sagnier, Benoit Magimel, Francois Berléand, Mathilda May.

Un relato sobre el poder, tanto en la familia como en la pareja. Gabrielle, una joven y bella mujer, busca tener éxito en la vida. Aunque está enamorada de un escritor famoso, casado y perverso, termina casándose con un rico, pero inestable heredero. Película inspirada en el filme "La chica del trapecio rojo" de Richard Fleischer. CHABROL SIEMPRE SORPRENDE PORQUE NO POR SER MAYOR ABANDONA SU MIRADA CURIOSA POR LO DISTORSIONADO QUE GUSTAN DE VIVIR SUS PERSONAJES... "Gracias por el chocolate" ES SOBERBIA COMO EJEMPLO DE SU CINE RECIENTE Y TODA SU OBRA ES INTERESANTE...

Duración: 115 min.

SALA UNO Y SALA DOS: 5:00 – 8:00 PM

Lunes 2 y martes 3 de febrero

REPRISE: VIVIR DE NUEVO

(Reprise, Noruega, 2006)

Drama

Dir: Joachim Trier

Con: Anders Danielsen Lie, Espen Klouman-Hoiner, Viktoria Winge, Henrik Elvested.

Erik y Phillip, son amigos que comparten la vocación por la literatura. Phillip es el primero que logra publicar una novela exitosa. Sin embargo, su salud mental comienza a deteriorarse y termina internado en un hospicio. A la vez que se nos muestran las inquietudes artísticas de estos jóvenes, se traza un dramático retrato generacional. ´PARA UNA DE LAS FIRMAS DE LA ZONA DE CINE DEL NY TIMES, EL GUION ES DE LO MEJOR DEL 2008

Duración: 105 min.

SALA UNO Y SALA DOS: 5:00 – 8:00 PM

Miércoles 4 y jueves 5 de febrero

IMPORT / EXPORT

(Import / Export, Austria, 2007)

Drama

Dir: Ulrich Seidl

Con: Ekateryna Rak, Paul Hoffmann, Michael Thomas, Maria Hofstätter.

Olga y Paul, de Rusia y Austria respectivamente, deciden buscar una mejor calidad de vida abandonando sus países. Sin embargo, todas sus expectativas serán superadas por inesperadas vueltas del destino, al verse envueltos en un mundo en el cual imperan el tedio, la crueldad y la locura. Una película perturbadora y conmovedora. TIENE FAMA DE SU DIRECTOR DE ENTRAR CON INTENSIDAD EN TEMAS FUERTES Y SU CINE DIFICILMENTE SE PODRIA CALIFICAR DE ESCAPISTA, PORQUE AFRONTA CON MUCHA CRUDEZA LOS LADOS OSCUROS DE LOS HUMANOS.

Duración: 140 min.

SALA UNO Y SALA DOS 5:00 – 8:00 PM

Corren a Michael Jones de Variety

Les paso el mensaje de despedida de Michael Jones, ahora ex editor de festivales de Variety. Tremenda crisis.

Interesante reflexión.

SALUD

Tuesday, January 27, 2009

Morning after...

As many of you are aware, the grim economy finally came knocking yesterday, taking many journalists off the roster and shuttering The Circuit.

It was a great run and I thank everyone for their support and sentiments. Your emails have been overwhelming and very moving.

On the plane back from Park City I sat next to a former exec, also now without a company desk. The conversation moved to the economy, and we both commented on how easily it did.

The blossoming depression is now an inevitable part of all small talk. Hard to even call the talk small. Yet in the wake of a 70,000-plus job loss yesterday, the magnitude of what the country faces threatens to make the individual story smaller. It's important to remember the stories above this drone of newspaper statistics and bad news avalanche. The news will get worse. We'll rely on filmmakers and artists to make some sense of it all, or to at least shift our gaze. Which is frankly just as good.

And that task is the film festival's job -- to put up stories in that great black box, on that giant screen, with that enveloping sound system, and under the influence of a room full of moody strangers. All without a pause button. Film festivals are cinema's art gallery and in an economic crisis it is a cheap temple to worship at. For me, it's the best worship around.

Find me on Facebook and reach out. Or look for me in those moldy seats, or combing through the fest's pocket schedule. And if there's time between screenings, let's go outside. We'll be stunned at how much of the day we've spent in the dark. And then we'll argue about what we just saw, who will buy it, or who will market it better.

But let's not take long arguing, because there is probably a bar across the street.

And you're buying.

Programación *50 MUESTRA INTERNACIONAL DE CINE * DEL 9 DE ENERO AL 13 DE FEBRERO

Agradecemos al Forum de Cine de Monterrey por las reseñas

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El Fórum de Cine Monterrey te invita a que asistas a la siguiente ronda de
películas de la muestra de cine en Cineteca.
Se reajustó el precio gracias a las "presiones" del mercado (como dirían en
Wall Street) así que cuesta 25 pesos la entrada.

*CINETECA NUEVO LEON*

Semana del 16 al 22 de enero


SALA UNO / SALA DOS


*50 MUESTRA INTERNACIONAL DE CINE * DEL 9 DE ENERO AL 13 DE FEBRERO

* *


*Viernes 16 de enero*
ENTRE LOS MUERTOS
(*Senki*, Macedonia, 2007)
*Thriller* dramático

Dir: Milcho Manchevski
Con: Borce Nacev, Vesna Stanojevska, Sabin Arjula-Tozija, Salaetin Bilal.

La historia de un joven médico, cuya vida se transforma después de
sobrevivir a un grave accidente. A la manera de un nuevo Lázaro que retornade la tumba, el protagonista intentará redimir acciones pasadas y encontrarel verdadero sentido en en interior de su mente de un mundo extraño que escapa a su razón.

*MILCHO es el director de la magnífica BEFORE THE RAIN, que hace algunos años arrasó en Venecia y Toronto.*

Duración: 120 min.
FUNCIONES: 5:00 – 8:00 PM


*Sábado 17 y domingo 18 de enero*
LA SOLEDAD
(España, 2007)
Drama visto a través de dos mujeres

Dir: Jaime Rosales
Con: Sonia Almarcha, Petra Martínez, Miriam Correa, Nuria Mencia

Adela, una joven separada y con un hijo de un año de edad, está cansada de la vida que lleva en su pueblo natal. Se traslada a Madrid; donde todo es ruido, tráfico y un continuo vaivén de un lado a otro. Para salir adelante,se busca un trabajo de azafata y se muda a un apartamento junto a Carlos e Inés, dos jóvenes muy agradables.

*Está cinta arrasó en los GOYA de España y trae magníficas referencias.
Viene muy vigoroso el cine ibérico últimamente...*

Duración: 133 min.
FUNCIONES: 5:00 – 8:00 PM


*Lunes 19 y martes 20 de enero*
*EL ARTE DE LLORAR EN CORO*
(*Kunsten at graede i kor*, Dinamarca, 2006)
Drama

Dir: Peter Schonau Fog
Con: Jannik Lorenzen, Jesper Asholt, Hanne Hedelund, Julie Kolbech.

Al ser abandonado por todos los miembros de su familia, el adolescente Allanse convierte en el único apoyo de su padre, un granjero perturbado que alivia sus tendencias suicidas al hacer llorar a los demás. Filme oscuro y trágico pero, a través de los ojos de Allan, las cosas son tan inocentes quese convierten en humor negro.

*Suena interesante....*

Duración: 106 min.

*FUNCIONES: 5:00 – 8:00 PM*



*Miércoles 21 y jueves 22 de enero*
*TRES MONOS: NO VEO, NO OIGO, NO HABLO*
(*Uc maymun*, Turquía, 2008)
Drama

Dir: Nuri Bilge Ceylan
Con: Yavuz Bingol, Hatice Aslan, Rifat Sungar, Ercan Kesal.

Un automóvil conducido por un político arrolla a un hombre en una carreterarural. El responsable convence a su chofer de asumir la culpa y pagar unacondena de seis meses en prisión. Sin embargo, la familia del protagonistasufrirá las consecuencias del engaño. Película con un humor seco, gran ritmonarrativo y aguda ironía moral.

Duración: 109 min.

*FUNCIONES: 5:00 – 8:00 PM*

* *

*A PARTIR DE ESTE MES DE ENERO DEL 2009, EL PRECIO DE ENTRADA A LAS SALAS 1
Y 2 DE LA CINETECA NUEVO LEON, EN FUNCIONES DE PROGRAMACIÓN NORMAL, SERA DE
$25.00 M.N.*

SALUD

Programación de la 50 Muestra Internacional de Cine en la CINETECA MONTERREY

Les comparto parte de la nota acerca de la muestra de cine. Abajo hay reseñas de las movies de esta semanas. Gracias a Jasso y al Forum Internacional de Cine por la info (puro-copy paste y algunos cuts de mi parte)

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Alejandro Jasso

Monterrey, México (9 enero 2009).- Los trabajos de arte cinematográfico reconocidos en varios festivales del mundo llegarán a partir de hoy a Monterrey en la 50 Muestra Internacional de Cine.

La Cineteca de Nuevo León será el lugar donde se exhibirán del 9 de enero al 13 de febrero los trabajos realizados en países como España, Hungría, Alemania, Francia y Noruega, entre otros lugares.

"Son una serie de realizadores cinematográficos de los más importantes y cada uno habla de diferentes temas. Es la presencia del cine de arte, del cine de calidad de todo el mundo en Monterrey. Gracias a esta muestra que organiza la Cineteca Nacional desde los años 70", dijo Roberto Escamilla, coordinador de programación de la Cineteca ayer en rueda de prensa.

A pagar función... y estacionamiento

El estacionamiento cuesta 50 pesos y la entrada a la Cineteca 40.

RESEÑAS Y PROGRAMACIÓN

EL FORUM INTERNACIONAL DE CINE MONTERREY te hace llegar la programación de la Muestra de Cine Edición 50.
Saludos y feliz año y buen cine...

*CINETECA NUEVO LEON*
Semana del 9 al 15 de enero
SALA UNO / SALA DOS

*50 MUESTRA INTERNACIONAL DE CINE * DEL 9 DE ENERO AL 13 DE FEBRERO

* ** ** ** ** ** ** ** ** *
*Viernes 9 y sábado 10 de enero*
CADA QUIEN SU CINE
(*Chacun son cinéma*, Francia, 2007)
Serie de cortometrajes

Realizada por los más grandes directores del cine contemporáneo

Para celebrar el 60 aniversario del Festival Internacional de Cine de *
Cannes* en 2007, su presidente, Gilles Jacob, decidió convocar a los
cineastas más importantes del mundo para visualizar historias donde el
personaje central son las salas de cine. Cada cultura y el entorno de cada país, hacen que la misma sala de proyección sea distinta.

DIRIGEN: Theo Angelopoulos, Olivier Assayas, Bille August, Jane Campion, Youssef Chahine, Chen Kaige, Michael Cimino, Ethan Coen, Joel Coen, David Cronenberg, Jean-Pierre Dardenne, Luc Dardenne, Manoel de Oliveira, Raymond Depardon, Atom Egoyan, Amos Gitai, Alejandro González Iñárritu, Hou Hsiao-hsien, Aki Kaurismäki, Abbas Kiarostami, Takeshi Kitano, Andrei Konchalovsky, Claude Lelouch, Ken Loach, Nanni Moretti, Roman Polanski, Raoul Ruiz, Walter Salles, Elia Suleiman, Ming-liang Tsai, Gus Van Sant, Lars von Trier, Wim Wenders, Wong Kar-Wai, Zhang Yimou

Duración: 100 min.
FUNCIONES: 4:00 – 6:00 – 8:00 PM

* ** ** ** ** ** ** ** ** *
*Domingo 11 y lunes 12 de enero*** A LA ORILLA DEL CIELO
(*Auf der anderen Seite*, Alemania, 2007)
Drama
Dir: Fatih Akin
Con: Nurgul Yesilcay, Baki Davrak, Patrycia Ziolkovska, Nursel Kose.

Tras el gran éxito del filme *Contra la pared* (2004), Fatih Akin filma la
segunda parte de la trilogía *Amor, Muerte y Diablo*; una saga que ubicada en Alemania y Turquía entrelaza, a través de una serie de encuentros, las vidas de seis personajes durante sus viajes, siempre en situaciones limite hacia el perdón total y la reconciliación.

Duración: 116 min.
FUNCIONES: 5:00 – 8:00 PM

* ** ** ** ** ** ** ** ** *
Martes 13 y miércoles 14 de enero EL LATIDO DEL TAMBOR
(*Zhan gu*, Hong Kong, 2007)
Drama
Dir: Kenneth Bi
Con: Jaycee Chan, Tony Leung, Angelica Lee, Roy Cheung.

Sid, hijo de un jefe de la mafia de Hong Kong, descubre a través de la
música *zen* el verdadero sentido de la vida, al encontrarse con un grupo de tamboristas *zen* que se dedican a perfeccionar el cuerpo y la mente en las montañas de Taiwán. En un viaje iniciático, entre la ciudad y la montaña, dos mundos singulares se unen.

Duración: 118 min.
FUNCIONES: 5:00 – 8:00 PM

* ** ** ** ** ** ** ** ** *
Jueves 15 y viernes 16 de enero ENTRE LOS MUERTOS
(*Senki*, Macedonia, 2007)
*Thriller* dramatico
Dir: Milcho Manchevski
Con: Borce Nacev, Vesna Stanojevska, Sabin Arjula-Tozija, Salaetin Bilal.

La historia de un joven médico, cuya vida se transforma después de
sobrevivir a un grave accidente. A la manera de un nuevo Lázaro que retorna de la tumba, el protagonista intentará redimir acciones pasadas y encontrar el verdadero sentido en en interior de su mente de un mundo extraño que escapa a su razon. DEL DIRECTOR DE "ANTES DE LA LLUVIA".

Duración: 120 min.
FUNCIONES: 5:00 – 8:00 PM

* ** ** ** ** ** ** ** ** *

EL RESTO DE LA PROGRAMACIÓN

- La Soledad (España), 17 y 18
- El Arte de Llorar en Coro (Dinamarca), 19 y 20
- Tres Monos. No Veo, No Oigo, No Hablo (Turquía), 21 y 22
- Delta (Hungría), 23 y 24
- Las Flores del Cerezo (Alemania), 25 y 26
- En la Ciudad de Sylvia (España), 27 y 28
- Cordero de Dios (Argentina), 29 y 30
- Una Dama Para Dos (Francia), 31 y 1 de febrero

Febrero
- Reprise, Vivir de Nuevo (Noruega), 2 y 3
- Import/Export (Austria), 4 y 5
- Fados (Portugal), 6 y 7
- Liverpool (Argentina), 8 y 9
- La Visita de la Banda (Israel), 10 y 11
- La Quimera del Oro (EU), 12 y 13

¿Te gustaría que produjeran tu guión?

Gracias a Magdalena por el tip

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Proyecto Joven

"Del guión a la toma"

Proyecto Jóven, grupo dedicado a la promoción cultural, convoca a los escritores, guionistas y público en general a participar en "Del guión a la toma" que consiste en la selección del mejor guión de cortometraje para realizarse durante el 2009 bajo la producción y dirección del equipo de Proyecto Jóven. El ganador tendrá la oportunidad de ser respaldado y patrocinado en la realización de su guión y que su obra sea enviada a participar durante el 2009 en diversos eventos culturales a nivel nacional.
Proyecto Jóven ha realizado eventos culturales anteriormente como exposición de cortometrajes, teatro independiente, tocadas y montajes teatrales como "Oscuridad en Salem"

Bases:

Los guiones deben ser inéditos y originales.

Se recibirán todos los guiones en formato word que lleguen al mail proyecto.joven08@gmail.com hasta las 12:00 AM del Miércoles 3 de Enero de 2009

Se espera que el guión contenga los detalles de la escenografía, personajes y una pequeña sinopsis de la historia, el guión terminado y los datos del autor (nombre, edad, teléfono, cel etc)

La duración de la obra no debe exceder los 20 minutos.

Para cualquier pregunta y/o aclaración favor de escribir a:

proyecto.joven08@gmail.com

El guión ganador será utilizado para grabar un cortometraje durante el 2009 bajo la dirección y producción del equipo de Proyecto Jóven.
El ganador será notificado vía e-mail el día 6 de Enero de 2009
Cualquier imprevisto será considerado por el equipo de Proyecto Jóven

--
Magdalena Rdz. Gómez
Proyecto Jóven
8114691923
Guadalupe, N.L.

MEXICANAS EN SUNDANCE 2009!!!

• RAZAAAAAAAAA,

Antes de que alguien les cuente este blog tiene el placer de presentarles las movies mexicanas que estarán en las competencias de largos en SUNDANCE. Me lo robé de Variety. Gracias a Michael Jones.

SALUD.

• 
  
• DOCUMENTARY COMPETITION:
  
• "The General (El General)" (Director: Natalia Almada)--As great-granddaughter of Mexican President Plutarco Elias Calles, one of Mexico’s most controversial revolutionary figures, filmmaker Natalia Almada paints an intimate portrait of Mexico. World Premiere

NOTA: Según yo esta amiga no es mexicana de nacimiento, y más bien lo trae en la sangre, porque está en la competencia ESTADOUNIDENSE. Pero tal vez me equivoque.

Estuvo en Ambulante. Ellos nos resolverán la duda.

• 
  
• WORLD CINEMA DRAMATIC COMPETITION
  
• "Heart of Time" ("Corazon Del Tiempo") (Mexico) (Director and Screenwriter: Alberto Cortes)--In La Esperanza de San Pedro, Chiapas, in the midst of the Zapatista struggle, a young woman makes serious waves when she falls in love with a revolutionary fighter from the mountains.
  Cast: Rocío Barrios. North American Premiere

FELICIDADES y gracias por llevar a México a Sundance.

SALUD

Se buscan animadores para largometraje mexicano “Espiritus de Furia”

Las compañías Espektro Films y Alux Films están buscando animadores para un largometraje que van a realizar.

Más info en

http://www.ethos.com.mx/academy/?p=172

Les dejo el teaser de su película



Gracias a Pixel por la info.

Gana Corto de Animación Mexicano en Medio Oriente

Pues les comparto tarde una gran noticia:

El cortometraje de animación mexicano JACINTA, ganó la Perla Negra de Oro por Mejor Cortometraje de Animación en el MIDDLE EAST INTERNATIONAL FILM FESTIVAL, realizado del 10 al 19 de Octubre. El Festival otorga más de un millón de dólares en premios, siendo el que más dinero da en el mundo (según su página web).

Imagen de JACINTA, de Karla Castañeda

Les copio del comunicado de prensa:

The Black Pearl for Best Animation- Shot Film- $75.000
Jacinta
Director: Karla Casteneda. Producer: Luis Tellez

Esos tres ceros se refieren a miles de dólares.

¿Ta bien, no?

Felicidades a Karla y a su equipo de trabajo.

PROGRAMACIÓN DE LA CINETECA NL

Más info en:
84790016
centrodelasartesnl@gmail.com

EN LA CINETECA TENEMOS:

“Retrato de Diego”
Del Viernes 21 al Jueves 27 de Noviembre
(México, 2007)
Dirs: Gabriel Figueroa y Diego López
Documental
FUNCIONES: 16:00 – 18:00 – 20:00hrs

SALA DOS

GABRIEL FIGUEROA EN CINE, ¡CINE!
Del Domingo 31 de Octubre al Martes 25 de Noviembre

Sábado 22 y Domingo 23 de Noviembre
“Días de otoño”
(México, 1962)
Dir: Roberto Gavaldón
Melodrama
FUNCION UNICA: 20:00hrs

Lunes 24 y Martes 25 de Noviembre
“Pedro Páramo”
(México, 1966)
Dir: Carlos Velo
Drama fantástico
FUNCION UNICA: 20:00hrs

Miércoles 26 y Jueves 27 de Noviembre
Cine Regio

Del Viernes 28 de Noviembre al Jueves 11 de Diciembre
“La edad de la peseta”
(Argentina, 2006)
Dir: Pavel Giroud
Drama
FUNCIONES: 16:00 – 18:00 – 20:00 PM

NOVEDADES DE NUESTRO ACERVO

Viernes 12 y Sábado 13 de Diciembre
“Mi querido Tom Mix”
(México, 1991)
Dir: Carlos García Agraz
Western
Función única: 20:00hrs

Domingo 14 y Lunes 15 de Diciembre
“La leyenda de una máscara”
(México, 1991)
Dir: José Buil
Drama
FUNCION UNICA: 20:00hrs

Martes 16 y Miércoles 17 de Diciembre
“La guerra santa”
(México, 1979)
Dir: Carlos Enrique Taboada
Drama bélico
FUNCION UNICA: 20:00hrs

SALA DOS

Del Viernes 28 de Noviembre al Jueves 11 de Diciembre
“12:08 Al éste de Bucarest”
(A fost sau n-a fost?, Rumanía, 2006)
Dir: Corneliu Porumboui
Comedia dramática
FUNCIONES: 16:00 – 18:00 – 20:00hrs

NOVEDADES DE NUESTRO ACERVO

Viernes 12 y Sábado 13 de Diciembre
“Un hilito de sangre”
(México, 1995)
Dir: Erwin Neumaier
Drama
FUNCION UNICA: 20:00hrs

Domingo 14 y Lunes 15 de Diciembre
“Llovizna”
(México, 1978)
Dir: Sergio Olhovich
Thriller dramático
FUNCION UNICA: 20:00hrs

Martes 16 y Miércoles 17 de Diciembre
“La otra virginidad”
(México, 1975)
Dir: Juan Manuel Torres
Drama
FUNCION UNICA: 20:00hrs

Gana 15 mil Euros y 4 semanas en NYFA con un corto de 3 minutos

Un tal Pixel puso esto como comment en el post anterior así que se los paso.

Muchas gracias a Pixel, btw.

Ya llegué.

SALUD

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Notodofilmfest es un festival con vocación internacional. Esto quiere decir que puede participar cualquier persona ("física o jurídica"), sea de la nacionalidad que sea, siempre que haya cumplido ya los 18 años. El número de cortometrajes que puedes presentar a concurso es ilimitado.

El primer paso que debes dar es rellenar el formulario de inscripción que encontrarás en la sección Participa de nuestra página web (www.notodofilmfest.com).

CARACTERÍSTICAS DE TU CORTO
Tu película puede pesar hasta 20 Mbs. La película no puede durar más de 3 minutos y medio, o sea, 3:30 (con las cortinillas inicial y final incluidas). Si te presentas a la categoría de Triple Destilación la película debe durar 30 segundos exactos, ni uno más ni uno menos, con cortinillas incluidas.

Debes enviarla en un único formato digital:
- Una copia en formato .flv de 600 píxeles de ancho x 340 píxeles de alto.

Tienes que añadir a tus películas dos cortinillas que te facilitamos en el link DESCARGAR RECURSOS de esta misma sección (Bases). Cada una de ellas debe mantenerse en imagen durante 1 o 2 segundos. Recuerda que el peso máximo de tu peli debe ser 20 Mb con las cortinillas incluidas.

Además, tienes que enviar un cartel en dos versiones:
- una pequeña: que mida 86 x 107 píxeles y pese 20 kb como máximo. Éste debe ser en formato .jpg

- otra más grande: que mida 138 x 174 píxeles y pese 35 kb como máximo. También en formato .jpg
¿HASTA CUÁNDO PUEDO ENVIAR MI CORTOMETRAJE?
Puedes mandar tu cortometraje o cortometrajes desde el 21 de octubre de 2008 hasta el 15 de enero de 2009 a las 12 del mediodía. O sea, que ya puedes empezar a currar en cuanto acabes de leer estas bases.

No dejes para mañana lo que puedes hacer hoy: aunque el plazo de entrega de pelis es de casi 3 meses te aconsejamos que nos envíes pronto tus obras. El público tendrá mucho más tiempo para disfrutarlas con tranquilidad y evitaremos las conocidas "avalanchas" de cortos, ataques de nervios y chapucillas de última hora.

¿QUIÉN SE OCUPA DE VER MI CORTO?
Estos son los miembros del jurado:
Nani Fernández. Subdirectora de Notodofilmfest.com
Mónica Gallego. Directora de Difusión de la Agencia Freak
Luis Manso. Productor ejecutivo de Películas Pendelton
Ángel Mirallas. Periodista y crítico cinematográfico
Millán Vázquez. Director de Ventas y Proyectos de la Agencia Freak
Sofía Ingunza. Jameson Brand Manager

Una vez que finalice el plazo de recepción de pelis, o sea, después del 15 de enero de 2009, el mismo Comité decidirá cuáles, entre todas las admitidas a concurso, se convierten en Finalistas y, por tanto, optan a los premios que otorgan el Jurado y el Público.

QUÉ ME PUEDO LLEVAR SI MI PELÍCULA GANA

Estos son los premios que te puedes embolsar este año:

- Gran Premio del Jurado a la Mejor Película: dotado con 15.000 € más una beca de 4 semanas en la New York Film Academy (*)

- Premio a la Mejor Película de Ficción: dotado con 3.000 €
- Premio a la Mejor Película de Animación: dotado con 3.000 € más una beca para cursar la Diplomatura de Diseño Digital en el Istituto Europeo Di Design (IED) en Madrid.
- Premio a la Mejor Película Documental: dotado con 3.000 €
- Premio del Jurado a la Mejor Interpretación: dotado con 2.000 €
- Premio del Jurado a la Mejor Película de Triple Destilación: dotado con 3.000 € más una beca de una semana en la New York Film Academy (*)

Aquí está la oportunidad para que hagas tu SUPER CORTO GRATIS

Quiubo raza,

Adelanto el post de mañana (viernes) porque tendré un día complicado. De pasada les aviso que no publicaré del 14 al 19 de Noviembre, pero espero estar de vuelta el 20. Digo ya sé que nobody cares, pero pa que sepan, ja.

Les copio un mensaje de Nina, directora de programación de EXPRESIÓN EN CORTO.

Los directores de programación tienden a ser cool así que les recomiendo que lo lean.

SIN DUDA.

Sean felices y así.

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Queridos amigos cineastas y cinefilos,

reciban un afectuoso saludo desde San Miguel de Allende donde actualmente nos encontramos preparando la duodécima edición del Festival Internacional de Cine Expresión en Corto. A la vez, me complace presentarles con el Rally Universitario que se celebrara por primera vez en este marco.

Queremos extender una cordial invitación a todas las Universidades del país, de unirse a este esfuerzo y a sus alumnos cinefilos a tomar el reto de esta competencia. La convocatoria ya está abierta y tendrá como fecha límite de recepción de proyectos el 1 de Febrero del 2009. Anexo a este correo una postal electronica así como las bases de la convocatoria que tambien pueden consultarse en nuestra pagina Web: http://www.expresionencorto.com/web/rallyuni.html

Esperemos poder contar con su participación, así como su apoyo en la difusión de dicha convocatoria entre sus amigos y contactos, reenviando este correo. Tambien esperemos puedan subir la convocatoria a sus páginas de Internet e incluirla en sus boletines.

Agradeciendo de antemano su invaluable apoyo, quedo a sus órdenes ante cualquier otra duda.

Mil gracias y muchos Saludos,
Nina

--
Nina Rodríguez
Directora de Programación
Expresion En Corto IFF
Nuñez 20-A, Zona Centro
San Miguel de Allende, Gto.
CP37700 México
phone +52(415)1527264
fax +52(415)1528899
nina@expresionencorto.com
www.expresionencorto.com

::::::::::::::::::::::::::::::::::::::::::::::::::::::::...

Y yo digo que muchas gracias y muchos saludos a Nina también.

TOP 25 DE FESTIVALES PARA DOCUMENTALES

Ok raza, declaro SOLEMNEMENTE que me estoy robando esta información del blog de AJ Schnack. A la par, sostengo que la estoy robando con mucho respeto, pues esta lista me ha servido MUCHÍSIMO. Tuve el gusto de agradecerle a AJ en persona la creación de las siguientes líneas, así que espero que no me odie. Pero si lo hace, sigue valiendo la pena compartir la info con todos los documentalistas que vean este blog (así que pasen la voz).

Aquí les pongo el link del blog de AJ para que lo lean de primera mano: http://edendale.typepad.com/weblog/2008/02/in-depth-the-25.html

A continuación se presenta la lista de los mejores 25 festivales del mundo PARA DOCUMENTALES (nótese Morelia en el no. 23) de acuerdo a la investigación de AJ, que cuenta con datos oficiales de los festivales, su opinión y los comentarios de cineastas y gente de la industria que ha asistido.

SALUD.

PD. Sí, está en inglés.

1. Sundance Film Festival

Our take:
No other festival of its scale presents a documentary slate as equal to its narrative films. Getting accepted at Sundance automatically means that you have entree to buyers and national press attention that far outpaces any other fest. Also nearly automatic is a healthy festival run, even if things don't go your way, distribution-wise. Everything else you've heard is true, too - the nonstop parties, the swag, the occasional difficulty getting heard. But the press and industry folks are here to see movies, which is not always the case elsewhere. The downside: expectations are super high. If you can't make a splash at Sundance, you may find that your film's life is as thin as the air in Park City.

Others:
Industry:
"Brutal, hierarchical, difficult to connect. Sadly essential for US because it's a magnet."

Filmmaker:
"Out of bitterness I'd love to chime in with criticisms of the festival, but let's face it -- it's the best and most visible forum for American documentary film. There's no better way to sell a film than to be in Sundance, and documentary filmmakers there are treated neck and neck with narrative filmmakers. Who wouldn't want to be at Sundance?'

Industry:
"Has the best + most consistent doc line up (20 yrs of doc support makes them #1 in my book) + programs a world doc section that's pretty kick ass."

Filmmaker:
"Getting into Sundance is a "dream come true". It is a historic festival and it makes you proud to be selected. Also a sudden energy comes from mixing fiction and documentaries and here you have the chance to meet A LOT of interesting people. Sundance is really a "market" and here it also becomes clear to you that you have made a "product" to sell. That is not entirely bad, you just need to realize that. The festival is big and you use a lot of time on transportation but it is set in the most beautiful area in Park City. You would like to bring some friends or co-workers. You would feel alone otherwise. GREAT Parties and very well organized in spite of the size of the festival!"

Filmmaker:
"Despite all the political bullshit that everyone whines about (which is usually just sour grapes), and despite the fact that for many years Sundance has hypocritically celebrated lots of films that were anything but "independent" (HBO is indie?), and despite the fact that celebrities suck, Sundance is STILL king. There is simply no better festival to premiere your feature doc at, in terms of press, distributor attention, hype, celebration and long term career benefits. They've put docs right up on par with all the dramatic features ever since the very beginning of this festival and you just have to give them praise for that. (and c'mon, most of those indie dramatic features are horrible anyway). But beware: don't think just because you were one of the 16 anointed docs that you've "made it." You still have to get a rep and work the system in the worst way to make it truly beneficial. At least 90% of all Sundance filmmakers go home after the event and get fantastically depressed because they still have no distribution. It is a myth that you "get distribution" at Sundance. You have to MAKE that happen, wherever you are. If nothing else, just by premiering at Sundance, you'll get invited to dozens of other good festivals. The awards show is stupid, but what one's aren't?"

2. Toronto International Film Festival

Our take:
The second biggest stage for documentary filmmaking, but caution, getting the attention of press and buyers is not automatic like in Park City. There are lots of other fish to fry in Toronto, including a raft of Oscar hopefuls in the big narrative premieres, and most critics and film writers are inclined to focus on those films than on the doc lineup, particularly when there's not a competition element to the nonfiction titles. Still, everyone in indie film (and then some) are in Toronto for the fest, and the industry contingent can actually be bigger than Sundance, particularly in opportunities for foreign sales. Just know that you're going to have to work double hard for less results.

Others:
Filmmaker:
"Proud to have been there and of course would go again in a heartbeat, but felt overshadowed by bigger films. The audiences are smart and very respectful of docs. It would be great if they created a "House of Docs" type of forum to nourish their documentary filmmakers."

Industry:
"Too much of a market to make it worthwhile for a doc premiere unless the only goal is to sell the film to an international distributor."

Filmmaker:
"Obviously, Toronto is a great place to premiere your film because it's just so huge and internationally-prominent. But despite Thom Powers proactive championing of great docs, and his efforts to give them a bigger presence there (like they have always been at Sundance), make no mistake: Toronto is better suited for big dramatic films, stars, press, and red carpets. If you're going into town with a full-power invasion, it's great. If you're just lucky enough to premiere your doc there, but don't have a lot of money backing your arrival, you'll feel neglected. The festival is spread out all over Toronto (great city) but that discourages community. If it weren't for Thom Powers' social skills, I never would have met another filmmaker the whole time. The staff are also too overwhelmed by the sheer number of films to really care about you and yours. Welcome to the big city."

3. IDFA

Our take:
The 800 lb. gorilla of international documentary festivals. IDFA is a fantastic place to meet other filmmakers, screen lots of international films that may never make it to the US and potentially meet commissioning editors. But make no mistake, it's huge. You may spot HBO's Nancy Abraham in the smoky cocktail hour that the festival hosts each day, but so have more than 200 other filmmakers. Get in line. Or maybe don't, since she's already running for the exit. The pitching forum is legendary and often brutal. The mandate to focus on films from around the world can lead to some painful viewing experiences. And the fest tends to leave you alone, which can be good or bad, depending on whether you want the festival to help you make contacts (if so, you'll need to ask). But there's a comaraderie and bonhomie that is often lacking at other fests. Plus, it's Amsterdam.

Others:
Filmmaker:
"Pretty fun, great films. Too many though. Excellent for selling to TV. North American theatrical buyers don’t come. They should. Doesn’t take itself to seriously which I like. Most amazing setting for a film festival in the world (in my opinion). They’re tight towards filmmakers and don’t look after them too well."

Industry:
"Big Kahuna of doc fests, very friendly (if smoky), extremely convenient setting, many opportunities to connect, extremely gracious and helpful staff to facilitate connections."

Filmmaker:
"I was very well taken care of when it comes to accommodation. Amsterdam is a fantastic city and lots of opportunities to party! The festival is so big that you will benefit from being a group of people there or else you might feel a little alone. The Audience is fantastic and very passionate. They love documentaries in Amsterdam. All in all do not miss this festival if you want to know what is "going on" in documentary."

Filmmaker:
"The audiences speak better English than the American filmmakers presenting their docs."

4. SXSW Film Festival

Our take:
One could watch the doc lineups from Sundance and SXSW and get a pretty comprehensive idea of what's happening in the world of nonfiction filmmaking. But whereas Sundance may weigh more heavily on the side of serious topics, SXSW lets its hair down with what is probably the most diverse line-up of all the major full spectrum festivals. Huge industry presence, but don't necessarily expect them to show up for your film, not when the weather's this nice and the margaritas and queso are so nearby. The biggest gripe against SXSW is that is by far the most stingy amongst the major fests. You can expect to pay your own way with little to no support from the fest. But if you decide to go anyway (and you should), it's one of the most fun of all the festivals and the opportunities to meet other filmmakers and the occasional industry contact are plentiful.

Others:
Filmmaker:
"Great audiences at 10am on Sunday morning. I seriously thought nobody would show up and then the theater was almost full. Austin is great, too."

Filmmaker:
"After seeing such mediocrity (and worse) in Park City, my esteem for SXSW has been raised immeasurably."

Industry:
"Has super fun americana + music themed docs but lack of press + industry coverage on a broad scale makes them less enticing for filmmakers to have a world premiere there. They also don't take care of their filmmakers the way other fests do (flights + accomo) which is a problem."

Industry:
"I've been impressed with sxsw's doc line-up. it's brave and bold and fits in well with their narrative programs."

Industry:
"As awesome as it was, I felt it was a little too "nichey", almost as if they went out of their way to exclude certain doc' films and filmmakers. I appreciate their angle of Ameri-specific/ alt-american
docs' though. I think it's a formula that works extremely well but perhaps a little more would go a long way."

Filmmaker:
"SXSW is nice mix of business and pleasure... which I think has bled over from the long-running music festival. The programming here seems to be getting stronger and stronger. My only gripe would be lack of resources from the festival to travel invited filmmakers there (i.e., no airfare or hotel money). And it would be great if the music and film fests were more integrated."

Filmmaker:
"Out of all the festivals this is the one i had the least contact with the organizers, publicists etc... i guess we were lucky that the people responded otherwise i may have been frustrated."

Filmmaker:
"I like the laid back environment of sxsw. Lots of interesting and innovative filmmakers."

Filmmaker:
"Love everything about this festival except for the fact that they don't pay for nuthin'. No airfare, no hotel, and this is because it's all tied in with the far bigger SXSW convention, so you always feel like the film festival is the little brother to the mega music festival. Whatever you do, don't make the mistake of showing up to promote your film near the end of the film fest, when 30,000 black-n-flannel wearing guitar-wielding alt rockers descend on Austin for the music fest. You'll stand in line for 4 hours for a bag and a badge that might not exist and suddenly nobody's ever even heard of a film festival. HOWEVER-- I still love the SXSW FILM festival. Despite the convention-like atmosphere, Matt Dentler is building a great thing. The atmosphere (during the fest itself) is supportive, very laid back (in a good way), and there are plenty of distributors running around and drinking tequila. Best mexican breakfasts of any festival on the planet. Great vibe."

5. AFI Silverdocs

Our take:
Has quickly become the most important US doc-centric festival, particularly in an age that puts a premium on theatrical potential. Has a wide and diverse line-up, notably shining a spotlight on both social issue films as well as "less serious" topics. There is a large and important conference that takes place simultaneously with the festival that can appear daunting from a distance and even more baffling up close. Filmmakers are not necessarily encouraged to know, understand or effectively utilize this aspect of the fest, which can be problematic as although there is a huge industry presence, you may not have any idea on how to find them. The AFI Silver Theatre, which hosts the fest, is one of the best theatres in the country. Your film may never look this good again. Lots of social events at which one can meet and hang out with other filmmakers. Shockingly convenient to get around. The hotel is a block from the main venues. Great opportunities to meet other filmmakers.

Others:
Industry:
"Great connections with industry growing by the year. Good conference (she said objectively, having been on panels there). Love the programmer Sky Sitney. Convenient location, lotsa restaurants around good theaters and conference facilities at Discovery."

Filmmaker:
"It was great. There's a real respect for documentaries, and it feels like a community, while at the same time there's enough visibility to not feel ghettoized."

Filmmaker:
"A bit boring really. Doesn’t seem to offer anything original. The festival basically has no personality. I was disappointed by it. Good films generally. It’s carefully programmed by people that certainly know about docs by I kind of expect that from a premiere docs fest anyway."

Industry/exec:
"Silverdocs is really taking the charge in nurturing relationships with filmmakers and industry alike. i'm intrigued to see what they will pull out this year for their festival. I think they are poised to really do something special now that (longtime sponsor and next door neighbor) Discovery may be tightening those purse strings."

Industry:
"Although I missed it in '07, '06 was really good. It felt like a true doc festival in the sense that filmmakers arrived from all over the world, industry folks came from all over the nation and it was close to the topical imposing presence of our capital city. The town was big enough to offer some sense of 'getting away from it all' (if required) - unlike Full Frame where you see the same faces around every corner."

Filmmaker:
"Has a huge community built up around it and boasts what has to be the most beautiful theatre in America -- the amazing AFI Silver Theatre. I think the fact that it takes place in the nation's capitol also adds quite a bit of heft to the proceedings."

Filmmaker
"Not a very good experience. Great hotel though. Not very well organized and not personal at all. I was fortunate to have friends there or else I would have been very bored. The parties where not that great and all in all it is a shame, beacuse it is a big festival and it is set in the capital and that should rub of on the mood of the festival, but it never does."

Filmmaker:
"We premiered at SilverDocs as their Opening Night Film, so they pulled out all the stops and went the extra mile for us. Very, very generous in flying us out, and putting us up for 5/6 days. Screenings are amazing - theater is top notch, festival staff are great, very convivial, lots of easy hotel partying since most folks are in one place. Really well organized, well run, well programmed, well funded festival. Only wish is that their "industry" stuck around a little more. Festival programmers and some US tv people stayed a day or three, but the European commissioners were in and out of there in the blink of an eye. Literally flew in for their panels and left straight from the panel venue. Other than that, two thumbs way up."

Filmmaker:
"Wonderful festival, very supportive. Intelligent audiences-- great Q&A sessions, fun parties. The perfect size and number of days to celebrate docs. SO awesome to be with only doc filmmakers (no publicists and famous-actor sightings to suck the life out of you). Programmer Sky Sitney fully gets it. Here docs are allowed to have fun and the filmmakers don't have to be pretentious and self-serious, even if their subject is heavy. The tech factor is big, too: awesome theaters, great sound, and a staff who is friendly and cares about every detail. Highest recommendation."

6. Hot Docs

Our take:
One of the oldest and most respected documentary festivals in the world. Hot Docs is also a conference and features a pitch session that rivals IDFA, but without the same level of acrimony that you often find in Amsterdam. Heavy industry presence, particularly on the international front, but as in Amsterdam, if you aren't selected for the pitching forum it can be difficult to connect with commissioning editors. Being a Canadian festival, Hot Docs has an affirmative action policy as it relates to Canadian nonfiction, which can lead to some disappointing screenings. As at the Toronto fest, the local audiences support Hot Docs with something bordering on mania and the festival is exceptionally well run and organized with a breadth of topic and style on display.

Others:
Industry:
"Canadian-centric, not a bad thing! Good forum/pitch session. Friendly, easy, well-managed, nice setting."

Filmmaker:
"Very, very cool. The Festival literally takes over the entire city (Toronto) and the audiences are fantastic. They go crazy for documentaries there."

Filmmaker:
"The film lineup is fantastic, and the Toronto audiences are very engaged. I really I liked this festival, the only drawback in my opinion is that it's decentralized, there's no meeting/hangout place for filmmakers."

7. Los Angeles

Our take:
Like its parent organization, Film Independent (and also like Sundance), LAFF treats the documentary lineup with the same care that it does its narrative strand. The richest competition prize of any festival - $50K for the winning filmmaker - and a decent amount of attention from LA-based press and national buyers. Films actually get bought here. The focus on premieres can make for a somewhat uneven line-up at times, although recent winners like DELIVER US FROM EVIL, TARNATION and BILLY THE KID showcase a range of styles and tastes without losing focus on quality. The fest is notorious for its hospitality - filmmakers are flown to a pre-festival retreat at Skywalker Ranch - and its 2006 move to Westwood has been a huge success, both in creating a community and in differentiating LAFF from LA's other huge film festival, AFI Fest.

Others:
Filmmaker:
"I can’t say enough about the The LA Film Festival. I’m always encouraging people to screen there. It was the most filmmaker-focused festival on our run. They truly wanted to make sure that each filmmaker was having a good time, meeting the right people and getting the most out of the festival. Even though it's a fairly large festival you don't feel like you get lost in the shuffle. The Filmmaker Retreat before the festival was amazing and sets the tone for the festival. To me, it’s incredible that they even offer it. The festival also had a great industry presence. We had distributors at all of our screenings and sold our film out of this festival."

Filmmaker:
"Filmmakers are treated very well, and lots of opportunities to meet other filmmakers at the retreat."

Filmmaker:
"The best treatment towards the directors!!! more then just a film festival but almost like a film retreat. The lucas ranch, directors guild lunch, meeting and spending quality time with the other directors away from the festival, meeting and connecting with established directors/producers in the industry."

Filmmaker:
"I don't think LAFF gets enough PROPS! Even though I like NYC better then LA as a place to live i would choose LAFF way before TRIBECA film festival."

Filmmaker:
"Didn't think the selection of films was so great. At least in my category but i guess that's what happens when you are more concerned with world premieres then quality films."

8. Full Frame

Our take:
Normally, the granddaddy of US documentary festivals would rank higher on this list, but there's a huge wait and see attitude in 2008 with many wondering how the fest will survive this year's departure of Full Frame founder Nancy Buirski. One veteran filmmaker wrote that the fest was one of his favorites, "though I'm afraid with Nancy gone". There's no denying that since the fest is no longer "the only game in town", it's lost some of its luster. Still, it's hard to argue with success. An essential spring weekend for nearly everyone in the NYC documentary community (and an easy hop down to Durham) and a huge line-up of many of the best docs of the year. The proximity of Duke (and a selection board littered with academics) focuses Full Frame on serious social issue films and has an awards line-up that almost exclusively focuses on topic, but it still finds room for a movie like HELVETICA. Plus, it's an easy place to meet lots of folks, from first timers to legends, and it has a strong, doc-centric industry presence.

Others:
Industry:
"Gorgeous location, good films, gracious living, good celebs, not so much industry."

Filmmaker:
"Out of all the festivals I attended, I made more new friends and had more face-to-face contact with the other filmmakers at Full Frame."

Industry/exec:
"It seems the the power and prestige that full frame once had is evaporating. they've lost their gusto. critical support seems to be vacant as well. they seem more concerned with promoting their brands and nancy b's projects than helping doc filmmakers and filmmaking."

Industry:
"Perhaps due to the weather, perhaps due to over exposure in the market, the whole time I was there it felt like the festival was trying too hard to be something. I guess they had to match the previous years' successes. And in the end is too much success the downfall of a potentially great festival? Filmmakers, industry, writers all appeared to be waiting for something more. And all it did was rain some more."

9. Tribeca Film Festival

Our take:
After a much-needed staff shake-up, new initiatives like the Gucci Doc Fund and enhanced web presence and the promotion of doc programmer David Kwok, Tribeca is looking to right a wayward ship in its 6th incarnation. Last year's fest was much derided, what with increased ticket prices, far flung screening venues, lackluster titles and lack of communication with press, but Tribeca seems to be trying to right past wrongs, including lowering prices, scaling back venues and reaching out to bloggers. This year could prove key. While it gives a documentary competition prize, the prize money (25K) is half that of the narrative competition. Still, it can boast this year's Oscar winner - TAXI TO THE DARK SIDE - and that's not nothing.

Others:
Filmmaker:
"We premiered at Tribeca and they did a lot during the fest to get us exposure, but since the festival ended they’ve pretty much fallen off the map. I (get) the impression that other programmers do a lot more to promote the films they like and refer them to other fests."

Filmmaker:
"Big, bold, too many films really. Not a great market place and all spread out like a nightmare. If you’ve got a high profile film and A-list celebrities to work with, it’s incredible. Otherwise, don’t bother."

Filmmaker:
"Our experience was fantastic, but I do see how documentary filmmakers get lost in the big schedule, multiple venues, etc."

Industry/exec:
"OK but their enormous line up + confusing sections relegate docs to "red headed step child" status."

Filmmaker:
"Loved playing at Tribeca and were blown away by the sheer mass of humanity that come out for docs (our first screening there played to over 700 people)."

Industry:
"2007 sucked for docs IMHO. 2006 was a much better year. With industry wide general backlash against the festival in '07 I hope they pull their socks up and get back to grass roots. Tickets were over priced, the festival screenings were all over town, there was nowhere for filmmakers to mingle and relax, it felt like an American Express elitist event."

10. True/False Film Festival

Our take:
The most convivial and intimate of the big US documentary festivals. Puts a premium on quality and diversity over premiere status. Most of its films have played elsewhere (although primarily films have come from Sundance or Toronto or IDFA) or are about to play SXSW or Tribeca and screen here as secret screenings. The community (Columbia, MO) supports the fest in a way that shocks newcomers - this may be the biggest audience you'll ever have. This year is a transitional one for the fest as it experiements with new venues and copes with the temporary closing of its largest theatre, but already the fest is on pace to shatter previous attendance records. One of the most generous of all major festivals - everything, including food, is paid for. An incredible opportunity for meeting other filmmakers but not much of an industry presence (although that may be changing).

Others:
Filmmaker:
"Great films, a tight little program of unusually high quality stuff. Great parties. Fantastic atmosphere and they really take care of all their filmmakers."

Filmmaker:
"Only been once but they have the most interesting line up of docs often it seems that the same stuff swirls around the same handful of festivals - thats not the case at true / false plus its a manageable size and feels much like family."

Industry:
"Loved it. But I don't want to tell everyone how great it was(!) for fear of it turning into another Full Frame. There is every reason why it will remain the boutique festival that it is. As an 'industry' person I felt guilty just being there last year. All the filmmakers spent so much time together I felt like a gooseberry intruding on artists and visionaries talking!"

Filmmaker:
"My personal favorite. This is a very small and intimate festival compared to IDFA and Sundance. Paul and David take you by the hand and leads you through the most amazing days. Parties every noght and thetres filled with enthusiastic audiences. It is truely amazing to have you film screening it the Missouri theatre infront of 1200 clapping people from the town. And the whole town really backs up this festival and you can feel that very much. You become the local celebraty within days. This festival is personal and intimate. It is the best festival I have been on thhis year. Do this for your own sake - and the food is free. I love True/False!"

11. Berlin

Our take:
Berlin screens a limited selection of documentaries each year, so those that do get in have a unique spotlight on them. Still, the same issues at play in Toronto count here as well. The focus tends to be elsewhere. One of the best organized festivals in the world and surprisingly easy to navigate, plus a huge industry presence from around the world. But one wonders what the Berlinale's POV on docs is. This year, for the first time, a doc screened in competition (granted it was Errol Morris) and a doc screened as the opening night film (granted it was Martin Scorsese), so maybe things are changing. But it's criminally easy to premiere at Berlin and have no one stateside take much notice.

12. BritDoc (ESTE FESTIVAL ACABA DE CERRAR. ANUNCIÓN SU UNIÓN CON SHEFFIELD DOC/FEST, pero dejo los comentarios de todas maneras)

Our take:
A kind of English cousin to True/False, BritDoc is often compared to its American relative in terms of fun, intimacy and opportunities for connecting with others. Plus, it has a pitching forum, although bear in mind that it is exclusively reserved for Brit filmmakers. Only 10 international films are screened, but worth attending even if you don't have a film in the festival as the pitching forum draws a stellar line-up of major international doc players and there's none of the crush that greets them in Amsterdam. Plus, there's the summer camp vibe - staying in the Oxford dorms, eating in the Harry Potter dining hall and drinking late into the morning at the on campus bar. Working out some funding issues and newcomer kinks (this will be its 3rd year), but hard to beat on lots of levels.

Others:
Filmmaker:
"Great films, a tight little program of unusually high quality stuff. Great parties. Fantastic atmosphere and they really take care of all their filmmakers. Has all of the above plus it’s a bit more serious about being an industry event too (which is good if that’s what you’re wanting). Great networking, also great atmosphere and a lot of fun."

Industry:
"The most fun of any doc fest i've been too - they make it so open and inviting, and the pitch panel is the best going. Plus i love the open mic punk rock karaoke."

Filmmaker:
"My favorite is BritDoc, am so proud of what they've achieved and think they are just awesome on the doc-only front."

Filmmaker:
"I love great settings and if this is not the greatest.... Imagine spending a couple of days at the Harry Potter Castle. This is it! This is a great oppotunity to meet other filmmakers, but what this festival lacks compared to True/False is audience. Not the most visited screenings I have been to. Parties are great especially do not miss the "live" karaoke."

Filmmaker:
"The Harry Potter-esque setting is a little strange, and the emphasis is definitely not on the films being screened. It felt like a television pitch session with films and panels arranged around it. I've heard that this year's event will be improved on that front. I hate pitch sessions... I just don't like to see artists begging for money, I guess. But the social interaction here is great. Brit Doc attracts the cream of the British film and TV brass, and the punk rock karaoke is top notch!"

13. Telluride

Our take:
The prestigious fall fest in the Colorado mountains only screens a handful of documentaries each year and those that do are often on their way to Toronto. Yet for those that do get in, it's a spotlight like none other. You will get reviewed by nearly every major outlet just by virtue of your presence here. But warning, it's invitation only, so maybe you should know someone who knows someone to get them to make an inquiry. Tough to beat the setting and the warm, intimate environment.

Others:
Filmmaker:
"All around best fest"

14. Thessaloniki Documentary Film Festival

Our take:
Despite the presence of its legendary sister festival in the fall, Thessaloniki Documentary is quickly gaining a reputation as one of the best documentary festivals in Europe. Less of an industry fest and more focused on connecting with other filmmakers. Supportive audiences, easy to navigate, extremely social and a focus on films from oft-neglected regions of the world. The latter can lead to some spotty programming choices but also some gems that may never have a presence outside the Balkans.

Others:
Filmmaker:
"A great fest for the visiting international filmmaker. Though the programming isn't uniformly great, there are a lot of gems to be discovered, and their retrospectives are both surprising and very strong. Audience turnout tends to be good (not great) and Q&A's can be lively.

Their hospitality is superb. You can look forward to nightly dinners at a rotating group of great Greek restaurants, beautiful views of theharbor, and the occasional late night adventure to a smoky disco. The
dinners (and their famous Ouzo lunch) are as good as any fest, and the intimacy of them (most will involve 8 - 16 people) makes for great, and relaxed, conversation.

Screening rooms are relatively close together, films are almost always subtitled in English, and their discussions, which delve much deeper into social issues than most fest panels, come with headphones and a translator."

Filmmaker:
"Great films, great guests, all very easy to have a good time at."

Industry:
"Great because they're getting regional perspectves--European, Balkan, Chinese, Middle Eastern--and grouping thematically--in a way that's unlike north American curating/grouping."

Filmmaker:
"The Thessaloniki Film Festival I am told, attracts A-list stars and directing talent from across the international spectrum of filmmaking and hundreds of film journalists, executives and fans for the biggest film fest in the Balkan Peninsula. The Thessaloniki Documentary Film Festival (held in mid-March) attracts....documentarians! And hallelujah for that. Freed from the blinding glitz and glam of major film festival, with no red-carpets to navigate and no VIP hierarchy to worry about, Thessaloniki Doc Fest gathers some of the best international docs and an impressive roster of filmmaker guests for an intimate celebration of the form. The market arm is pretty low-key as well, but it does exist, yet it's not a high-pressure sales & pitch forum like HotDocs or IDFA. Thessaloniki is about discussions & dialogues - whether over some of the most sumptuous lunches & dinners I have ever encountered on the fest circuit or at moderated panels & workshops. And it gave me a chance to meet some other filmmakers in a very relaxed and nurturing setting - and they bring in some real stellar documentary talent; both legends and newcomers. The city isn't much to look at, it was mostly gray and wet, but the students were on strike, so screenings were heaving and the hospitality was top-notch. If you can make it a stop on your tour - it's a pretty busy time on the fest calendar (we went from there to Copenhagen for NatFilm Festivalen) - I'd highly recommend it."

15. Festival de Cannes

Our take:
Good luck getting in, but if you do land a spot as one of the only documentaries in what is arguably the biggest festival in the world, be prepared to fight for attention like nowhere else. There are just too many anticipated films to see, and critics and buyers put first priority on those in competition for the Palme d'Or. Further, it can be by far the most expensive festival to screen at - it is the French Riviera after all. Still, if lucky, you can get attention and the prestige of having played on La Croisette.

16. AFI Fest

Our take:
Usually has an extremely strong competition line-up (treated on par with narrative) and other nonfiction titles are sprinkled throughout the festival. Great venue in the Arclight Cinema complex, with amazing sound and picture. Treat filmmakers exceptionally well with lots of parties and chances for interaction. Industry presence in LA is huge - HOWEVER, most stay in Santa Monica for the concurrent AFM market and are not willing to trudge over to Hollywood for screenings. The fest has attempted to bridge the gap between the festival and the market but hasn't yet come up with a winning combination. If you go with no expectations (i.e. sales), you'll have a great time.

Others:
Filmmaker:
"Hats off to anybody who can figure out how the hell to have a great, dynamic festival in the middle of the city that has no middle. By the sheer genius of co-opting the ArcLight theaters and having just ONE center for all activities, AFI Fest rocks. It's also staffed by total film-loving AFI types who are very helpful and kind. Just a fun vibe overall, and you absolutely can't beat the quality of the projection. What other festival schedules a specific appointment for you to meet with the projectionist a half-day before your screening, where he will allow you up to a half-hour to tweak and listen and adjust the details of your screening? I thought I'd died and gone to heaven. AFI Fest is better than the other LA Festival. And even though AFI plays the celeb card and bring out the stars for their gala events, the docs do not get buried there. They play in the same theaters as everyone else (and do just as well)."

17. San Francisco International Film Festival

Our take:
The venerable Northern California fest has long put a big spotlight on its nonfiction line-up and provides an excellent introduction to the well-established bay area documentary community. Tends to lean toward serious, social issue topics (as does the community) and you might find a warmer reception if that's your bent. A screening here often disqualifies you from playing at LAFF.

Others:
Filmmaker:
"Very nice hotel and great shopping, but I felt very alone there. The festival was not very good at "putting" filmmakers together, and that is often important for the impression of the festival. I used a lot of time on transportation and it was not a very "festive" festival even though I had a lot of expectiontions from this city I have heard so much about."

18. Seattle International Film Festival

Our take:
The biggest (in terms of length alone) of all North American festivals, Seattle's month long cinema pilgrimage is also screens more docs than nearly any other fest. But the length and size can also be a detriment. Filmmakers are often only in town for a couple days, making it difficult to connect with others (despite the presence of a fully furnished hospitality lounge inside the host W Hotel). Audiences are notoriously superb, with many screenings selling out within hours of going on sale. The size and sheer logistical issues can tend to daunt the staff, leading filmmakers to sometimes feel on their own.

Others:
Filmmaker:
"Always has great response to docs but it's huge."

Filmmaker:
"Those people are absolutely fanatical about movies (and books, and music of course). They definitely win the contest for "Most People Willing To Stand in the Cold and the Rain to see your Film". And again -- they're an incredibly smart audience. The festival really makes the filmmakers feel special and throw great parties too (also a nice bonus)."

Filmmaker:
"Great for locals, but too long, too unfocussed and not a good festival for "working" your doc (unless you're premiering on opening weekend, or have a locally-produced film). The press is erratic (well, it's a 100% guarantee that the Seattle Weekly will fucking hate your movie and tell the whole city before you arrive), the technology in the theaters is subpar. This is a filmgoer's festival, not a filmmakers festival. Go there to watch."

19. Sheffield Doc Fest

Our take:
While BritDoc is the UK's documentary summer camp, Sheffield is quickly becoming the UK's rival to IDFA, complete with market, pitch sessions and lots of opportunities to connect with European commissioning editors. Schedule-wise, it's not always convenient for Americans, coming as it does just a couple weeks before IDFA, but it's reputation is growing quickly as an important place to premiere and screen nonfiction work on the continent.

Others:
Filmmaker:
There weren't that many US filmmakers there, but it's the center of the UK doc scene & the UK doc scene is really fascinating & diverse (in style & content) & the programming is fascinating & there are good panels, and a great pitch market (the 'meet market' - one on one meetings with commissioners). Good audiences, everything very close together & easy to manage, good events, well organized... I'm a big fan. It's a great way for US people to meet European funders & filmmakers, smaller & more manageable than Amsterdam. One of my favorite fests.

Filmmaker:
Sheffield is all about the networking and meetings and they have some pretty good films too. Not very generous to filmmakers. The parties and decent I suppose.

20. Denver Film Festival

Our take:
One of the best regional film festivals in the US, with audience support that almost rivals Seattle and filmmaker hospitality that is second to none - flights, hotels, food, drinks, more drinks are all on the house. Certainly one of the best social festivals - you will get ample, ample time to meet and mingle with other filmmakers and make new friends - it has a surprising strong and curated line-up of documentaries. Its placement late in the year means that it can sometimes serve as a summary of the year's best - from Sundance all the way through Toronto and is often a champion of films that might otherwise go unnoticed, like this year's Spirit Award nominee RUNNING STUMBLED. Not heavy on industry, but recent efforts to draw more press were largely successful in the 2007 edition.

Others:
Filmmaker:
"It was really intimate. It felt like a family atmosphere."

Filmmaker:
"Meaningless in terms of visibility, but just a fantastic, well-organized festival where you feel appreciated and have fun."

Filmmaker:
"Like the secret bar for filmmakers that's open until 4am every night-- that's smart. Denver felt like a smaller festival, and it is, but the audiences were good, the theaters were good, and the staff was attentive to filmmaker needs."

21. Edinburgh International Film Festival

Our take:
Edinburgh began more than 60 years ago as a documentary-only film festival and it still treats nonfiction with a lot of love in its Document section as well as elsewhere throughout its program. The festival takes place in the midst of a city-wide arts fest that transforms Scotland's beautiful capital city into a late summer haven for artists of all stripes. Extraordinarily well curated and a near-perfect introduction to UK audiences.

Others:
Filmmaker:
"A classy and serious film festival but I didn’t get a sense of how it was as a market. Not much I presume. They were great to the filmmakers and it was a lot of fun too. Great city, that helps."

Filmmaker:
"So many great films and wonderful TALKS with major people in the industry! I LOVE EDINBURGH!!!!!!!! A really supportive staff."

22. Slamdance Film Festival

Our take:
Makes this list by virtue of the fact that it occasionally hosts a high profile film like MAD HOT BALLROOM and KING OF KONG. But don't be deluded - these films came into the fest with high-powered teams behind them. A typical doc at the fest will be hard-pressed to attract buyers or press to screenings, as they are too busy further down Park City's Main Street to make it up to the Treasure Mountain Inn. But if selling to a distributor is not your main priority, you are still in Park City with a film and are free to mix and mingle with everyone who's come to town for the bigger 'dance. You'll just have to have your own coming out party somewhere else.

23. Morelia International Film Festival/Ambulante

Our take:
An exquisite fest in Mexico has been steadily increasing industry and press presence over the past few years while simultaneously supporting Ambulate, Mexico's traveling documentary film festival. The combination is creating a true documentary culture in Mexico, supporting both homegrown as well as international talent. Strong crowds and a beautiful setting make Morelia a festival in ascent.

Others:
Filmmaker:
"FANTASTIC. Docs are programmed by Shannon Kelley formerly of Sundance, who is lovely and thoughtful and brings an amazing selection. But the place and the film selection and the hospitality and the other guests blew my mind, an absolute life-highlight."

24. Sarasota Film Festival

Our take:
One of the US' top regional festivals, Sarasota usually boasts a strong documentary competition slate. While the films almost always premiere elsewhere, the programming choices reflect a truly broad cross-section of stylistic approaches, with an emphasis on films that are visually strong. Add to this a growing industry and press presence and one of the top social environments of any festival and Sarasota is positioning itself as the top festival in the state for nonfiction.

25. Copenhagen DOX

Our take:
The largest documentary film festival in Scandinavia has proved impressive in its first five years. For some reason, it goes head to head with Sheffield, which creates a kind of doc marathon in November. Screens more than 100 films and is building its own pitch market (what European doc fest is complete without it?).

So that's this year's top 25, but here's a look at some festivals that we think are promising and should be watched carefully...

FESTIVALS TO WATCH - IN TRANSITION

CineVegas

Our take:
CineVegas would make the top 25 if it screened more docs. It gets a strong press turnout and decent audiences and has a setting that offers a hilarious and striking alternative to nearly every other festival around. There's talk that the festival - which boasted a full documentary line-up a few years ago and then started to cut back - may once again start beefing up its nonfiction slate. If you get in, it's a must to attend and unless you spend a lot of time at the roulette wheel, you won't spend a dime.

Cleveland International Film Festival

Our take:
Long a favorite of visiting filmmakers, Cleveland moves up the calendar this year and now faces off against SXSW and Thessaloniki. Gets strong support from the community and pays for most everything (although there can be a big and sometimes unexplainable difference in accomodations).

Hamptons Film Festival

Our take:
The industry-heavy October fest has recently brought in David Nugent, who most recently programmed a strong doc line-up at Newport. While Hamptons has always had a sizable documentary component, the sometimes hierarchical feel (with the NYC indie film royalty on the very top) has in the past led some nonfiction filmmakers to feel left out.

Hot Springs Documentary Film Festival

Our take:
The venerable Arkansas documentary festival has none of the sparkle or prestige of Silverdocs, Full Frame or True/False, and the line-up can be pretty musty at times, but the local crowds turn out strong and shorts are given a fair amount of respect. The setting is lovely and you can take full advantage of the local baths, but don't expect much in the way of financial support. Would be interesting to see what a fresh infusion of young programming talent could bring to the table.

FESTIVALS TO WATCH - RISING

Big Sky Documentary Film Festival

Our take:
Awkwardly positioned between Sundance, Rotterdam, Berlin, the Oscars and True/False, Big Sky has nonetheless drawn strong crowds and a minor industry/press presence with its mix of new films (including many from locals) and fest veterans that may play Big Sky even after a theatrical run (provided the film never reaches Montana).

Festival Internacional de Cine de Gijon

Our take:
The fest on the northern coast of Spain is geared toward a younger audience and the nonfiction line-up accentuates the point. Still relatively unknown, the fest has been growing in recent years by reaching out to and inviting North American filmmakers who may already be on the continent for IDFA. Word is starting to get out.

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Cool. Gracias de nuevo a AJ