Tico Romao’s Post

After 3 years, this piece is finally out! Reshaping production practices: European film festivals, new Indonesian cinema, and the creative producer in New Review of Film and Television Studies  https://lnkd.in/gZ57eWzq Here I discuss how the 'creative producer' has became an important new role and figure in Indonesian filmmaking, partly through the interaction with European film festivals. Over the past 20 or so years, these festivals have changed how they engage filmmakers. With much greater emphasis on industry outcomes and accountability, festivals are beginning to demand the same from filmmakers. This means that the previous auteur model, which relied on the genuis of the director, is being complimented by creative producers who ensure accountability and viability for film projects. Creative producers work hand-in-hand with directors, and are now as prominent in events and project development, and have often become important commentators in their own right. In the piece I look at Meiske Taurisia and her contribution to Indonesian filmmaking. But there are many more like her making an imprint on Indonesian cinema, and helping to engage new funding bodies like streaming platforms.

“I always like to tell any new filmmakers that making the film is just half the battle, now it’s time to get people, not just your family and friends, to see your work, And that’s up to you. Now you’ve become the salesman. Get them in the door." -Joe Carabeo Why do Film Festivals matter for the independent filmmaker? The landscape is changing fast. Brands can also make use of the awareness that festivals provide. Check out this article penned by our Founder, Cameron Kit, posted on Short Movie Club. #filmfestival #festivalstrategy #filmfestivals #independentfilm #brandawareness #earnedmedia

Concerns About the Zambian Film Industry A concerning trend is taking root in the Zambian film industry, one that many are reluctant to address openly. As George Chirwa Jr II aptly highlighted in his recent article, our industry is plagued by internal conflicts that are undermining its potential. I want to clarify and support his observations, though my article aims to be more direct. The date 27th July is shaping up to be a critical and chaotic day for the Zambian film industry. With only a small but passionate audience for films, it's disheartening to see multiple movie premieres scheduled for the same date. This clash does more harm than good, fragmenting our already limited viewership and resources. ____________________ On 27th July, the Short Film Exhibition will take place at Nu Metro Cinema at Arcades Mall in Lusaka. This event is crucial as it showcases a variety of works from different producers, offering diverse entertainment options in one place. _____________________ Simultaneously, "City of Goons" by Raphael Nyirenda will premiere at Lowenthal Theatre in Ndola. This recent feature film deserves its moment to shine and generate income, with cinema being a primary avenue for such revenue. _____________________ Additionally, "The Mwizukanji Feature Film" by Cosmas Ngandwe will premiere at Kitwe Little Theatre in Kitwe on the same day. _____________________ This scheduling conflict makes it difficult for film enthusiasts to support all these events. While competition is healthy, the manner in which it is being pursued—by vying for audiences on the same day in different locations—is detrimental. Our industry should compete in terms of production quality, not by forcing audiences to choose between events on the same day. Reasons to Avoid Multiple Premieres on the Same Day 1. Audience Fragmentation: With our young industry, having multiple premieres on the same day splits the limited audience, reducing the impact and success each event could have if held separately. 2. Media Coverage: Staggered premieres would allow for better media coverage and publicity for each film, giving them individual attention and the chance to shine. 3. Economic Impact: By spacing out premieres, we can maximize ticket sales and revenue, which is crucial for the financial health of our fledgling industry. 4. Community Building: Staggered events allow filmmakers and audiences to support each other, fostering a stronger, more united film community. Building a Better Industry We need order in how we launch our films. Let's stop trying to prove a point by scheduling premieres on the same day. The time for competing over audiences will come, but for now, we must focus on building a solid foundation for our industry.

The history of film both as an art form and an industry in Kuwait has been characterized by resilience amidst turbulence. Since the groundbreaking release of “Bas Ya Bahar” (The Cruel Sea) in 1972, which catapulted Kuwaiti cinema into the limelight, the industry experienced steady growth until the brutal Iraqi invasion in 1990. However, today, emerging from the long shadow of the invasion, Kuwait’s film industry is experiencing a renaissance. Filmmakers are venturing into the field armed with the power of imagination, creativity, original content and new technology, signaling a promising era of revival.

By selectively favouring certain films, programmers can demonstrate to others that they hold the power to grant favours, thereby creating a self-sustaining system influence. This dynamic not only undermines the integrity of the film selection process but also discourages merit-based recognition, leading to a homogenized and less innovative film landscape. https://lnkd.in/g2AVRY39

#Cannes2024 | Co-productions have become increasingly common in the film industry due to their potential to combine resources, expertise, and creative talent from multiple countries, resulting in diverse and culturally rich content. This roundtable will serve as a valuable platform for fostering collaboration, sharing expertise, and building partnerships to promote co-productions between India and other regions in the global film industry. Lohita Sujith FICCI https://lnkd.in/dNbQeG_X

Navigating Vietnam's Film Industry Revolution: New Rules for Digital Distribution Vietnam's film industry is experiencing a digital transformation with the enforcement of Decree 131, effective from January 1, 2024. This regulatory shift introduces key changes for films circulated in the online space, focusing on ratings, warnings, and overall compliance. As Vietnam embraces these cinematic changes, it reflects the nation's commitment to aligning its film sector with both local values and global standards. Stay tuned for updates on Vietnam's evolving film landscape➡️https://ow.ly/zr3x50QtR0H #AsiaBriefing #VietnamCinema #DigitalFilmDistribution #FilmRegulations #CinematicEvolution

“DOC NYC touts itself as “America’s Largest Documentary Film Festival,” as its tagline states. But for some, bigger isn’t always better.” Read the full article by Anthony Kaufman on #DocumentaryMag.

"Global Nollywood" offers a nuanced exploration of the Nigerian film industry, commonly referred to as Nollywood, within the context of transnational dynamics. The authors, Matthias Krings and Onookome Okome, meticulously trace the historical trajectory of Nollywood, shedding light on its origins and subsequent development. This historical context sets the stage for a comprehensive analysis of the industry's transnational dimensions. A central theme of the book revolves around the transnational circulation of Nollywood films. The authors investigate how these films are not confined to the borders of Nigeria but instead traverse international boundaries. This exploration encompasses the production processes, distribution networks, and consumption patterns of Nollywood movies on a global scale. The global appeal of Nollywood takes center stage in the book, as Krings and Okome dissect the factors contributing to its widespread popularity. They delve into the role of diaspora audiences, examining how the Nigerian diaspora, in particular, plays a crucial part in the international success of Nollywood. This analysis extends to the ways in which technology, such as digital platforms and social media, has facilitated the global dissemination of Nollywood content. In addition to examining the industry's triumphs, the book does not shy away from addressing the challenges faced by Nollywood filmmakers in the global arena. Economic, cultural, and structural obstacles are scrutinized, providing readers with a well-rounded understanding of the complexities inherent in the transnational dimensions of Nollywood. "Global Nollywood" stands out as a seminal work in the field of African cinema studies, offering a rich and insightful exploration of how Nollywood has transcended national boundaries to become a significant player in the global film landscape. It is a valuable resource for scholars, students, and enthusiasts seeking a deep understanding of the cultural, economic, and social aspects of Nollywood's transnational journey. [FREE DONWLOAD]

Everyone’s talking about where the Sundance Film Festival will live in the future, but a more compelling question may be this: How do independent filmmakers plan to distribute their films and create real careers when even Sundance — wherever it may be based — is not enough? That’s not a knock on Sundance, or on any festival; it’s recognizance that the world has changed. Many films don’t sell, even at Sundance. The decline in theatergoing, the change in streamers’ strategies, the rise of arthouse events: No one knows what the new normal is, but today putting faith in selling a movie at its premiere and living happily ever is not even a fairy tale; it’s a toxic myth. #IndependentFilmmaking #FilmDistribution #SundanceFilmFestival