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The Festival of Mexico's 'City of Open Doors'

Posted Thursday 16 November 2017 by Jo Duncombe in Festival Reports, General, Training & Conferences

Since 2003, Mexico's Morelia International Film Festival (FICM) has become a unique meeting point for the country's cinematographic community, the people of the state of Michoacán and international filmmakers; promoting new Mexican talent and immeasurably enhancing the cultural life of the state. Ahead of our upcoming Developing Your Film Festival course, ICO Film Programmer Jo Duncombe was delighted to visit Morelia, one of the country's most beautiful, historic and artistically vibrant cities, to take part in the festival's 15th edition earlier this autumn.

Morelia Film Festival
An audience gathering before a screening in Morelia's beautiful main square

Four hours by bus north west from the centre of Mexico City is the town of Morelia, Michoacán. Far from the dense and frenetic metropolis of CDMX, Morelia’s cool mountainous air and elegant boulevards are a welcome tonic for the stresses of urban sprawl. But do not be fooled by Morelia’s relaxing charms. Beneath the beauty of the town’s grand and impressive colonial architecture is a historical spirit of humanism, liberty, action and openness. The town is named after José María Morelos – a revolutionary rebel leader who led the Mexican War of Independence movement. Morelos’ campaign called for the abolition of slavery, racial equality and a fairer distribution of wealth and power, favouring the poor over church and state.

Of Morelia’s many nick-names (including 'the Rose of the Winds', in reference to the pink rock of the surrounding Guayangareo Valley), 'the City of Open Doors' is perhaps the most apt. It's a sentiment befitting of a town which for the last 15 years has played host to Mexico’s leading festival of national and international cinema. The Festival Internacional De Cine De Morelia (FICM) takes over the town for ten days each October, welcoming large local audiences and guests from around the world to showcase the very best of new and archive Mexican film, alongside a smaller programme of international titles. Special guests at this year’s festival included Mexican cinematic superstars Diego Luna and Gael Garcia Bernal, and filmmakers Guillermo del Toro (The Shape of Water), Alfonso Cuarón (Y Tu Mama Tambien) and Carlos Reygadas (who is currently shooting his new feature Where Life Is Born). International guests included Al Gore, Michel Hazanavicius, Bob Rafelson (whose Five Easy Pieces was presented in full restored glory by Criterion), Barbet Schroeder and Cristian Mungiu.

Morelia Film Festival
L-R: Carlos Reygadas, Bob Rafelson and Cristian Mungiu

Despite this high profile hospitality, the festival never loses sight of its cultural and social importance on the ground. Local crowds are numerous in the town’s Cinépolis (a giant multiplex chain, founded in Morelia – of which Alejandro Ramirez Magana, president of the festival, is CEO) and the festival works with local schools and community groups to ensure the programme of films is accessible to all.

The town’s generosity and openness is reflected in a festival programme that aims to champion new and diverse talent from all professional avenues of the industry. Each foreword in the festival’s brochure references an ethos of celebrating new energies, talents and ideas, particularly from Mexico. Alfonso Martinez Alcazar, the Mayor of Morelia, says that “FCIM serves as a showcase for young filmmakers to break into this great profession that stimulates the senses and transports us all." The festival has a special programme dedicated to emerging talent from the state of Michoacán, “Hecho en Michoacán” and a sexual diversity programme, now in its 2nd year, comprising new Mexican shorts themed around sexuality, programmed in collaboration with XPOSED: Queer Film Festival Berlin. Charles Tesson, director of the Critics’ Week at Cannes Film Festival also presents a “Worlds & Journeys” selection, which is replayed each year on the Riviera with a spotlight on Mexican shorts presented by FICM.

Viva Zapata!
Elia Kazan's Viva Zapata! (1952)

Retrospectives & Mexican classics

This year, there was a special programme From Mexico to Hollywood to The Oscars© which aimed to highlight the contributions of Mexican filmmakers and artists to Hollywood & Oscar© history. Titles included William Wyler’s The Heiress (1949), for which set director Emile Kuri was one of the first Mexican-born Oscar© recipients, and Elia Kazan's Viva Zapata! (1952), which  tells the story of a young peasant from the state of Morelos and stars Marlon Brando and Jean Peters. Co-star Anthony Quinn was the first Mexican-born star to win the Oscar© for Best Actor in 1953. Alfonso Cuarón’s Y Tu Mama Tambien (2001) and Guillermo Del Toro’s Pan's Labyrinth (2006) were among the more recent titles on the programme. These classics were shown for free in the town’s beautiful open air plaza and attended by hundreds of locals and festival guests.

Other Mexican classics in the “Cinematográfica Marte” programme aimed to explore the new wave of state funded Mexican productions in the 1960s and 1970s, defined by their maverick, auteur approach to film craft. Patsy Mi Amor (1969) and Paraíso (1969) were two stand-outs.

New work

Whilst the festival affectionately celebrates the heritage of Mexican filmmaking, its programme is unreservedly forward-looking. New talent is spotlighted at FICM not only through a large portion of the scheduled programme, but also by the festival’s “Ojo” awards which place a heavy emphasis on rewarding ambition and talent with practical access to equipment, mentoring and advice.

Chavela
Chavela, by Catherine Gund and Daresha Kyi

Documentary

I was struck by new works, particularly in the documentary strand, which aimed to interrogate, re-assess and reframe Mexican identities on a global stage. Notably, nearly all of the award-winning documentaries at the festival were directed by women, and told the stories of women whose lives have been impacted by political posturing and corruption in both Mexico and the US. Daniela Rea Gómez’s No Sucumbió La Eternidad (Eternity Never Surrendered) provides a painful portrait of two Mexican women awaiting their missing ones; Liliana,who lost her husband to organised crime in 2010, and Alicia, whose mother disappeared to the Mexican State during the country's Dirty War. Artemio, by Sandra Luz López Barroso tells the story of a young boy who was born in US and lives in a small town in Guerrero with his mother and his new family. Chavela, directed by Catherine Gund and Daresha Kyi,was another stand-out, offering an evocative and lyrical portrait of artist and performer Chavela Vargas.

Fiction

The fiction strand also offered many fascinating insights into Mexican cultural history, with numerous titles reclaiming narratives that have been neglected or misrepresented. The festival’s Audience Award for Best Fiction Feature went to Los Adioses (The Eternal Feminine) by Natalia Beristáin, a film depicting the life of the famous Mexican poet Rosario Castellano who, in the early 1950s in Mexico City, fought to have her voice heard in a society run by, and for, men. And Sueño en Otro Idioma (I Dream in Another Language) by Ernesto Contreras was a beautiful depiction of Mexico’s fading linguistic tapestry – telling the story of two elderly men, the last two remaining speakers of the Zikril language.

Impulso Morelia

The encouragement of new talent at FICM is further extended by its Impulso Lab – a workshop spotlighting 5 films in development by Mexican directors. The Lab aims to offer Mexican filmmakers a unique space for international visibility, based on a fruitful exchange of ideas among professionals from the global film scene. Each of the participating filmmakers were remarkably generous in sharing their work and brave to open themselves up, during the creative process, to feedback, ideas and questions from strangers. La Negrada, a feature about the Afro-Mexican community by first-time filmmaker Jorge Pérez Solano, won two awards (from Tribeca Film Institute and Impulso Morelia) for post-production support.

La Negrada
Double award-winner La Negrada by first-time filmmaker Jorge Pérez Solano

Locarno Industry Lab

The festival’s talent development programme isn't limited to filmmakers. Each year, FICM collaborates with Locarno Film Festival to run a workshop for young professionals working in Latin-American independent film. This year, there were 8 professionals working or developing their own distribution & exhibition projects, film festival programming and alternative distribution. I took part in a panel discussion on How to Improve Circulation of Indie Films with Renato Galamba (Figa Films) and Michelle Hamada (Tribeca Film Institute). It was fascinating to explore cultural differences and similarities across the industry and share best practice and learnings.

Morelia welcomes all guests with open arms. There is a very particular energy of excitement, innovation and openness running through the town and the festival. In this spirit, we hosted a drinks reception for film festival professionals to promote the launch of our upcoming training programme Developing Your Film Festival and were excited by the many talented and interesting people we met. Morelia creates a fantastic environment for the exchange of ideas, both on screen and off, and it is one we hope to share and discuss with participants on the course next year.

Gracias Morelia!

Cinemas, community and culture in Northern Ireland: Allen's role at #filmFEDS

Posted Thursday 5 October 2017 by Duncan Carson in Cinema Careers, FEDS scheme, Training & Conferences

FEDS Allen Maria Anthony
Allen (centre) debates with his fellow FEDS Maria (left) and Anthony (right) 

We're currently looking for the next generation of talent on our FEDS scheme, which offers eight months of paid training with a major film festival or cinema. But what's it like being a FED? Here, one of our current trainees Allen Loyola tells us about his role at Queen's Film Theatre in Belfast.

When I applied for the FEDS traineeship I’ve never had any experience in film distribution. I had some experience in film production by helping friends on their short films, etc but never in the exhibition or distribution side. My background is in science, I remember applying to the scheme just a few weeks after I finished three very long years of studying Physics in the same university that would be my host venue: Queen's Film Theatre in Queen’s University Belfast.

I knew I loved films and I loved going to QFT so when I read about the FEDS scheme I had to apply. It was a marketing position, so I thought, worst comes to worst, I’ll get to see films before anyone else!

It’s now been seven months since I started as a trainee for Queen’s Film Theatre (QFT), a cinema that’s part of Queen’s University Belfast. It’s origins can be tracked back all the way to the 1930s when a number of university societies decided they wanted to show films that weren’t in commercial cinemas. Eventually, this led to the QFT being officially founded in 1968.

QFT today
QFT today

As I mentioned above, the placement is based in the cinema’s marketing department so what exactly have I been doing for the last seven months? Well, a lot of social media “stuff” and a lot of time on Photoshop designing posters, banners etc. It may sound like a normal placement in an office, but in reality working in an independent cinema is always different. Working with a small team, you can expect to be involved in a lot of things: the programming, the website, community outreach and lots more. In my seven months here at QFT, it’s become very clear that a lot of work has gone into making QFT a haven for all film lovers in the city.

Recently QFT celebrated Cinema Day, a country wide initiative, presented by Film Hub Northern Ireland, that celebrates the diversity of film exhibition in Northern Ireland. As QFT is celebrating its fiftieth anniversary next year, we decided to invite the very loyal QFT audience and past employees to get to know what they’d like to see in the future and discuss what QFT means to them. One of the things that stood out to me was something that the former head of QFT Michael Open said during the discussion. He said that during the time of “The Troubles”, QFT was one of the few places that people could gather to socialise, feel welcome and not feel in danger. In fact very recently a few people have commented that QFT was one of the “few shining lights during a dark period”. These things have made me slightly re-think what I view an independent cinema should be.

QFT Cinema Day
Cinema Day 2016 was a national celebration of films and move going in Northern Ireland

Of course, the most important thing that an independent cinema should focus on is the programme. Being separated from mainland UK and also by a border in the south, a diverse cultural programme is arguably the most important quality of an independent cinema like QFT, even more so in a city that’s been through so much political conflict. There is always a sense of duty to show films that are of local interest. Not just movies that were made in Northern Ireland/Ireland but also films that would challenge the divide in the Northern Irish community. Of course, being an independent cinema there is the need to show films that wouldn’t be picked up by the big chain cinemas in Northern Ireland, which is a huge problem. Northern Ireland has the most screens per head in the whole of the UK, yet you’ll find that QFT is one of the few places that would show foreign language films like Borg McEnroe or After the Storm. As much as I love watching the yearly release of a Transformers or Marvel film, I’d always prefer something original, especially in an era of remakes and sequels.

QFT vintage
QFT back in the glory days: the cinema has always proved a safe haven at times of strife

If you ask a regular visitor why they like QFT you’ll hear the phrase, “I feel at home here” a lot. I remember the first time I walked into QFT and feeling a little intimidated but after going to the box office, buying a ticket and having an in-depth conversation with the person behind the glass about the film I was about to see that I felt rather silly about being intimidated. Independent cinemas always strive to try and welcome all communities. For instance, there is a desire to improve the cinema experience for people who suffer from autism or dementia. Making the cinema a friendlier environment for people with these conditions is a great way to make people “feel at home” and “welcomed”. In the time that I’ve been here, I’ve been fortunate enough to have been involved in training sessions that made me see what it’s really like to be in a situation that would impair my day to day life. For example in my first month most of the QFT staff took part in the ICO’s Deaf Awareness training. A great exercise where I learnt about the community, the correct etiquette and even some simple sign language to gain valuable insight on how we can improve the cinema experience for the Deaf. More recently, we had some vision awareness training which, as you might expect, gave the same valuable knowledge as the Deaf awareness training, but for the visually impaired community.

With the traineeship being based in marketing, these are things I didn’t expect I’d be involved in. Things that I’m glad I got the chance to take part in and learn from. It’s refreshing, not only to see the work that happens behind the scenes but also being involved in it. With only a few weeks left, some big changes in QFT, Halloween and Christmas just around the corner, it’s going to be a busy few weeks and I look forward to it!

PS. Yes, I absolutely did get to watch films early before they officially came out...

If you would like to apply for FEDS yourself, you have until 18 October to do so. You don't need past experience, only passion, so get your application in.

Round up: Cultural Cinema Exhibition 2017

Posted Thursday 30 March 2017 by Ellen Reay in General, Training & Conferences

CCE 2017

After 8 days jam-packed with films both old and new, panels, presentations, discussions and workshops, we wrapped up our flagship training course, Cultural Cinema Exhibition, earlier this month.

We've brought together all of the news and learning points from across the week, touching on everything from PR to inclusion to programming in all its forms, be it specialist, curatorial or commercial. If you're a budding film exhibitor or interested in expanding your offer, this is a great place to start.   

Ask a #DYFFexpert with Wendy Mitchell

Posted Thursday 23 March 2017 by Ellen Reay in General, Training & Conferences

WM

Last week we were joined by Wendy Mitchell, Contributing Editor at Screen International, for a live Twitter Q&A on how you can ensure your film festival is as press-friendly as possible to really boost its reputation. In case you missed it, we've gathered together all her great insights from the session below. Wendy will be joining us again as a speaker at this year's Developing Your Film Festival, our intensive training programme for film festival professionals, taking place in Edinburgh from 19 - 24 June 2017 alongside this year's Edinburgh International Film Festival.

Applications for DYFF are open until 24 April 2017.

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