GRANTING: Ten Years to the Day in Global Film Funding

Ten years ago today, GFI announced the recipients of the inaugural granting program, and look at us now…

granting

On April 10, The Global Film Initiative announced it’s most recent grant recipients from the Winter 2012 granting cycle. The list of grantees features 11 works from both emerging and established filmmakers, representing 10 different countries around the world, and each project demonstrates great promise and vision. As Susan Weeks Coulter, Founder and Board Chair, said in the announcement: “We are pleased to identify and support these eleven unique and powerful narratives.”

What makes this granting cycle particularly special, however, is that it is the most recent in GFI’s now decade-old granting program. Ten years ago to the day, the very first round of grantees were announced on May 16, 2003. In celebration of this milestone, we’re taking a look back on the films GFI has funded over the years.

Again and again, our grantees represent filmmakers who are not afraid to challenge convention–to make sometimes dangerous, but always fiercely truthful statements about the society, and the world, that reflect them. These films often represent new perspectives and voices in storytelling–voices which are too often silenced or misrepresented in the mainstream–and hold promise in heralding a new generation of filmmakers.

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FEATURE: The Conservation of SHYAMAL UNCLE TURNS OFF THE LIGHTS

Conservation pic2

A scene from SHYAMAL UNCLE TURNS OFF THE LIGHTS

As Earth Day approaches, GFI intern Isabella Lyle-Durham shares her thoughts on the global environmental landscape in both the Global Lens 2013 film SHYAMAL UNCLE TURNS OFF THE LIGHTS and reality…

On April 22nd, Earth Day, we dedicate 24 hours, as a global society, to thinking about our physical future. And sometimes that “thinking” means we step away from the rhetoric, and into films like SHYAMAL UNCLE TURNS OFF THE LIGHTS—shining a light not just on what we can do to preserve the earth, but also on how what we’re currently doing may not be working and may actually contradict the idea of ‘conservation.’

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NEWS: Ashim Ahluwalia @ San Francisco Film Society, February 23rd-March 9th

Ashim Ahluwalia

Ashim Ahluwalia

SF Film Society announces its newest Artist in Residence and it happens to be one of our filmmakers. How LOVELY…

After what seems to be the longest drum-roll ever, we’re pleased to announce that Indian director (and GFI grantee) Ashim Ahluwalia will be visiting the Bay Area next month as part of the San Francisco Film Society’s Artist in Residence program, February 23rd-March 9th!

The residency will feature the Bay Area premiere of MISS LOVELY–Ashim’s second feature, post Cannes, currently in Rotterdam, big stuff—on Thursday, January 28th (co-presented by GFI–tickets here), and a post-screening discussion moderated by Ivan Jaigirdar (of 3rdi). Also included in the residency will be visits to schools and universities, and in-classroom screenings of Ashim’s first film, JOHN & JANE (students only).

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NEWS: Global Lens 2013 @ MoMA!

Global Lens 2013: Change the Way You See the World

Our tenth anniversary opens with China’s Sixth Generation, Sebastián Silva, the biggest film you’ve ever seen from Brazil (literally), and a host of Global Lens alumnus.…

It’s our tenth year and we’re kicking off Global Lens 2013, January 10th-26th, with ten films at the Museum of Modern Art! It’s going to be some celebration…

BEIJING FLICKERS will open the series on January 10th with a week-run at MoMA and director Zhang Yuan and actor Li Xinjun in attendance, to launch the festivities (a must see: Zhang is the acclaimed director of Beijing Bastards, and part of the gritty Sixth Generation ethos—who in the ‘90s, pushed Chinese filmmaking out of an overly-romanticized lens into the alter-reality of its edgy, urban psyche).

Also in New York for the GL13 opening: Suman Ghosh for the North American premiere of SHYAMAL UNCLE TURNS OFF THE LIGHTS, on January 11th. This film is something to indeed be experienced with the director, as he runs his fingers through the tangled hair of Kolkata’s bureaucracy; an inspired and insightful work that carries a subtle charm, similar to another Global Lens standout.

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FESTIVALS & AWARDS: Asia Pacific Screen Awards, Fort Lauderdale IFF, Mumbai FF results and more!

THE MIRROR NEVER LIES at the Asia Pacific Screen Awards, NINAH’S DOWRY wins big in Fort Lauderdale and AMNESTY continues its European vacation…

The Thanksgiving holiday here in the U.S. has all but ended, but we’re thankful for our films and filmmakers year-round!

 

 

 

 

 

 

Continue reading FESTIVALS & AWARDS: Asia Pacific Screen Awards, Fort Lauderdale IFF, Mumbai FF results and more!

GRANTING: GFI Announces Summer 2012 Grant Recipients!

GFI’s newest grant recipients include four projects directed by women, and GFI’s first grants to the Dominican Republic, Guinea-Bissau and Serbia!

(Watch the video to view some production footage of new GFI grant recipient COLORED LIKE THE NIGHT (Dominican Republic)!)

Hear ye, hear ye: Today GFI announced the ten feature length narrative film projects selected to receive production funding in its Granting Program‘s Summer 2012 granting cycle (read the official press release here)! ­­­­

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SUPPORT: Live and Learn

Soul of Sand

A Serious Slice of Life: SOUL OF SAND (Global Lens Collection)

Interpreting an education via the sights, sound and sensibilities of daily life

“Summertime and the livin’ is easy”–isn’t that what Ella said? Days become longer, lazier. Clothes are looser. Planets hang low on the horizon, just above sunset…

I think it’s safe to say most people enjoy summer. And I’m no exception. For me, the ‘easy livin’ represents a better classroom, a time to take the world in, without rush; certainly that’s what happens at the Global Film Initiative, when we spend countless twilights, reviewing hundreds of films and scripts, to determine our next season of Global Lens and grant-recipients.

But work aside, summer does really seem to represent a time to pause. Schools are out, and most governments are not in session. And if I think back to childhood–and my annual, transcontinental summer experiment of living in India and Malaysia, courtesy of my parents–I certainly learned just as much from that season as I did in school…

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Lovely MISS LOVELY!

On the eve of its world premiere, Pardon My Hindi gives Un Certain Regard star MISS LOVELY a seductive new look for the red carpet at Cannes….

<– You saw it here—first! Designer Chiraag Bhakta’s cheeky-cum-risque rendering of Ashim Ahluwalia’s much-anticipated second feature, MISS LOVELY, just before it hits the fabled French Riviera at Cannes.

We can’t tell you where to get the poster, because it’s only a few hours old. But, we can show you a trailer for MISS LOVELY–because who doesn’t love a film about the Bollywood underground (certainly, we do—see credits).

As for Chiraag, some of you may remember him as the graphic hand behind GFI’s education experiment site, Bluescreen. And the rest of you might know him as iconic eye behind Pardon My Hindi (which words can’t describe—so visit the site).

And as for Cannes… You know who’s got our vote.

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SUPPORT: E Pluribus Unum

Thousands of stories in the evolution of one world

Nigerian writer Chimanda Ngozi Adichie and the Danger of the Single Story

In just a few days, we’ll be announcing our Winter 2012 grantees–ten films by ten filmmakers that, coincidentally, mark our tenth year of grantmaking.

It’s a significant milestone, and an auspicious occasion. And like all granting cycles, it affords a moment to reflect on the statement we’re making. Because in awarding these grants, we are of course saying that of the hundreds of projects we reviewed, these ten are “the best”… But are they?

A few years ago, Nigerian writer Chimamanda Ngozi Adichie gave a TEDtalk about the “danger of the single story.” Her essential point was that no one story, no singular history or perspective, is the only story—and believing otherwise is what leads to the inability of many people to be sympathetic, if not empathetic, toward other cultures.

It’s a simple and true analysis, most people do tend to only hear the story that’s within earshot—whether that comes from their government, history, religion, family or community. And it’s a sentiment that often echoes in mind, especially when we award grants to filmmakers or, choose films for Global Lens: Are we telling a single story?

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NOW PLAYING: Global Lens on Festival Scope

Programmers, curators and more–preview our 2012 lineup on Festival Scope!

Every January, just around the time we launch a new season of Global Lens, we get hit with multiple requests from curators and programmers for screening copies of our films. And we love it. The only problem: we can’t always keep up with the demand, especially when those films are making news (i.e. MOURNING, THE PRIZE, PEGASUS, AMNESTY…)

MOURNING (dir. Morteza Farshbaf, Iran) now available on Festival Scope

So, woe is us, such an exquisite difficulty and what’s a boutique nonprofit film organization supposed to do. Or rather, how do we keep the promise made to our filmmakers, of promoting their films to the widest and most geographically diverse audience possible? And how do you get to see Global Lens in your city, festival and theater…

Well, our longtime friend, Alessandro Raja, has an answer: Festival Scope

Festival Scope is our newest promotional partner for Global Lens. Launched in 2010 by Alessandro (formerly of Celluloid Dreams), it’s an online film viewing resource created exclusively for industry professionals who want to review films, immediately, from the wonderful world of festivals. Dubai, Busan, Torino, Toronto–name it and you’ll likely find it on Festival Scope.

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