Durban FilmMart SA’s Post

Between 2013 and 2023, only Nepali fiction films that address socioeconomic challenges have been selected for A-list international film festivals such as Sundance, Cannes, Berlinale, Venice, and Toronto International Film Festival (TIFF). While highlighting these pressing social issues acts as a window into the country’s diverse and complex societal dynamics, it also leads to imply if this is a set formula to make it into the A-list festivals. It also raises questions about the broader implications for creativity and the portrayal of the nation’s cinematic landscape. A small reflection piece I wrote, let me know what you think! #internationalfilmfestivals #socialstorytelling #creativeeconomy #nepalicinema

A letter from the UK Doc Film Council signed by many UK doc makers noting that doc filmmaking in the UK is facing an "existential threat." The letter goes on: “Production funding for independent docs is chronically low and support for development, let alone distribution and exhibition, is practically non-existent. Sustaining careers in these conditions is all but impossible aside for a relatively privileged few, which has direct implications for filmmaker wellbeing and the docs sector’s devastating lack of diversity.” The good news aspect of this is that it is from an organization formed last year to help deal with this threat: the UK Doc Film Council. It received government funding in the UK to do so. Govt funding for this is unlikely in the US but I would suggest that it is time for organizations and philanthropists with interests in this area to do something similar here (and I'm looking to be involved in these initiatives). These new entities then need to connect on a global level. The tech giants are certainly functioning on a global level. Read the rest of the article here: #distribution #documentaryfilmmaking #documentaryfilm #independentfilm #filmmaking #filmstrategy #uk

In 2019, I made an ultra low budget indie film called FAQIR. I had neither made anything that professional, nor did I have experience with film festivals. Rushing to submit the film, I sent it to a couple of film festivals without verifying if they were legit. Plus, the film was barely complete, with awful sound due to background noise. Looking back, I should have made a silent film, or a short sound film instead with the same amount of money. After that whole ordeal, I lost confidence in traditional methods of filming and going into festivals as it seemed too difficult for someone who doesn't have the resources. I made experimental films and music videos until I realized the itch has to be scratched. I can't just go on like this, neither can I give up. At the end of 2023, I decided to embark on an effort to make a new film that would fix the issues I had in my previous films (sound, confusing storyline, lacklustre acting, overly dark and noisy cinematography etc.). I wanted my new film to actually be good and presentable. I also wanted to not hold back with dialogues and story ideas, and just show and say things that I wanted to say. After writing the script, I spent a month gathering different actors and crew members to take part in the film. It makes a world of difference between when you start off and when you have already put out different pieces of work, and have networked with industry enthusiasts over the years. Afterwards, I spent 4 months rehearsing with the actors, letting them get into their roles, even if it was their first time in front of the camera. We began rolling on April 2024, shooting on weekends, and public holidays. I edited the footage almost everyday after filming so that we can get a rough cut as soon as possible. Although the filming started off smoothly, on the last few main shooting days, it definitely got stressful and mistakes were made. People forgetting lines, forgetting clothes, hitting the time limit for the day due to unexpected delays. The one-man crew which I knew from the start I would have to take part in took a toll, but thankfully we finished the filming relatively smoothly. Originally, I didn't intend to submit to any festivals due to the bad experience from before. But after watching the rough cut, I decided to give it a try, but only for festivals that don't bankrupt me. So, without expectations, I submitted to Rameshwaram International Film Festival, after verification. I'm so glad I did, and I'm so glad I submitted right before the deadline. Whether our film wins or not, I wouldn't be too bothered. Just the fact that we were able to complete something is already something I'm proud of and I can't thank my team enough! Just gives me more hope to make more projects, keep submitting, and potentially get to Cannes Film Festival to be nominated for a Palme d'Or.

Don't miss out on this free and virtual conference, demystifying distribution! Topics Include: - What are “all rights” buyers looking for? - Is a hybrid/bifurcated distribution strategy that includes the EU possible, and for which films? - What does it mean when festival “hits” are not receiving correspondingly “meaningful” distribution sales offers? - Can clinging to the potentially unrealistic dream of a big streaming or all rights deal risk your film’s ability to secure other meaningful distribution? - What should you look out for when signing a distribution agreement?

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Did you know that production incentives became – for the first time – the second most important #financing source of #European #fiction #films, right after direct public funding? Find out more about fiction film financing in Europe in the report by my colleague Martin Kanzler published by our organsiation, the European Audiovisual Observatory | Observatoire européen de l'audiovisuel

Pleased to announce our new report on film funding in Europe! Download it here: https://go.coe.int/zF96O Authored by Martin Kanzler of the European Audiovisual Observatory | Observatoire européen de l'audiovisuel this new report investigates the main sources of film funding in Europe! Who is putting the most money into the financing pot? And what's the average budget of a European film? Read our report and find out! #filmfunding #Europeancinema

The top 3 highest-grossing animated films in China's box office history are now all domestic films 🎞 🥇 Ne Zha (2019) - $700M 🥈 Chang An (2023) - $253M 🥉 Jiang Ziya (2020) - $225M These 3 films are all adaptations of Chinese historical or mythological figures. Ranked 4th is Zootopia (2016) from Disney🇺🇸. Before 2018, the animated film box office was almost dominated by international films. 

Pleased to announce our new report on film funding in Europe! Download it here: https://go.coe.int/zF96O Authored by Martin Kanzler of the European Audiovisual Observatory this new report investigates the main sources of film funding in Europe! Who is putting the most money into the financing pot? And what's the average budget of a European film? Read our report and find out! #filmfunding #Europeancinema

After a period of studying the film ecosystem to its niceties; in this segmented interview I shed light into the Kenyan film industry, highlighting issues and offering practical solutions that seek to realise a sustainable and independent industry, not just for CHIEF PRODUCTIONS. #NeverStopBelieving #WeDoItForYou #thenewkenyan