By MCN Editor editor@moviecitynews.com

HOT DOCS AWARDS TOP HONOURS TO THE WORLD BEFORE HER AND CALL ME KUCHU

Toronto, May 4, 2012 – Hot Docs is pleased to announce the winners of the Festival’s 2012 awards. The Hot Docs Awards Presentation, hosted by Jian Ghomeshi (host, Q CBC Radio One), took place on Friday, May 4, at the Windsor Arms Hotel in Toronto. Ten awards and $71,000 in cash prizes were presented to Canadian and international filmmakers, including awards for Festival films in competition and those recognizing emerging and established filmmakers. The Best Canadian Feature, Best International Feature, and the Inspirit Foundation Pluralism Prize winners will have encore screenings on Sunday, May 6.

The award for Best Canadian Feature was presented to THE WORLD BEFORE HER (D: Nisha Pahuja; P: Cornelia Principe, Nisha Pahuja, Ed Barreveld), a revealing looking at the clash between modernity and tradition faced by young women in India. Sponsored by the Documentary Organization of Canada, the award includes a $10,000 prize courtesy of Hot Docs. Jury statement: “For its brave and provocative exploration of the role of women at its two extremes in contemporary Indian society, the jury recognizes the exceptional storytelling of THE WORLD BEFORE HER. THE WORLD BEFORE HER will screen on Saturday, May 5, at 9:30 p.m. at the TIFF Bell Lightbox (350 King Street West) and on Sunday, May 6, at 11:00 a.m. and 6:30 p.m. at the Isabel Bader Theatre (93 Charles Street West).

The Special Jury Prize – Canadian Feature was presented to PEACE OUT (D: Charles Wilkinson; P: Tina Schliessler), which explores the high costs of energy development in Canada’s pristine Peace River. Sponsored by the Directors Guild of Canada and the DGC-Ontario, the award includes a $5000 prize courtesy of Hot Docs. Jury statement: “For its intelligent treatment of the environmental debate around the Peace River, an urgent Canadian issue with global implications, the jury recognizes PEACE OUT as a necessary call to arms.”

New this year, the Inspirit Foundation Pluralism Prize was awarded to a film in the Canadian Spectrum program that presents an accessible perspective (or perspectives) of one or more belief systems in such a way as to contribute to the development of mutual understanding, respect and inclusion among young people in society. Selected and presented by the Inspirit Foundation, the inaugural prize was awarded to THE BOXING GIRLS OF KABUL (D: Ariel J. Nasr; P: Annette Clark), the story of a courageous group of young Afghan women who risk persecution to become world-class boxers, training in a stadium where the Taliban once executed women. The award comes with a $10,000 prize courtesy of the Inspirit Foundation. THE BOXING GIRLS OF KABUL will screen again on Sunday, May 6, at 1:30 p.m. and at 6:15 p.m. at the Cumberland Cinemas (159 Cumberland Street).

The award for Best International Feature was presented to CALL ME KUCHU (D: Malika Zouhali-Worrall, Katherine Fairfax Wright; P: Malika Zouhali-Worrall; USA), which looks at the formidable efforts of Ugandan activist David Kato to fight his country’s Anti-Homosexuality Bill and liberate his fellow LGBT citizens. Sponsored by A&E, the award includes a $10,000 prize courtesy of Hot Docs. Jury statement: “CALL ME KUCHU explains a great injustice with life-and-death consequences and accomplishes the rare achievement of showing both the human tragedies and the triumphs of the struggle. Combining directorial intent with the prescience and persistence that enables a documentary’s crew to be in an important place at an important time, we the Jury recognize CALL ME KUCHU for its wrenching yet inspiring depiction of people trying to succeed as humans and as activists in the face of hatred.” CALL ME KUCHU will screen again on Saturday, May 5, at 9:00 p.m. at the Isabel Bader Theatre (93 Charles Street West) and on Sunday, May 6, at 6:00 p.m. at the Bloor Hot Docs Cinema (506 Bloor Street West).

The Special Jury Prize – International Feature was presented to THE LAW IN THESE PARTS (D: Ra’anan Alexandrowicz; P: Liran Atzmor, B.Z. Goldberg; Israel), in which the legal minds who worked in the Occupied Territories in the Gaza Strip speak candidly about creating a framework that has had a profound global impact. Sponsored by the Ontario Media Development Corporation, the award includes a $5000 prize courtesy of Hot Docs. Jury statement: “We the Jury recognize THE LAW IN THESE PARTS for its brilliance and simplicity, turning the issues of history in Israel and the Palestinian Territories into a broader and more direct question: How precisely do civilized democracies process legally and morally complex actions in the name of survival? Viewing legislation through the lens of the people who enacted it long ago with a modern and forward-looking sense of filmmaking as art, THE LAW IN THESE PARTS reveals the fragile nature of international law in contemporary conflict.”

The HBO Documentary Films Emerging Artist Award was shared by the directors of two films: Bill Ross and Turner Ross for TCHOUPITOULAS (P: Bill Ross, Turner Ross; USA), and Benjamin Kahlmeyer for MEANWHILE IN MAMELODI (P: Boris Frank; Germany, South Africa). The HBO Documentary Films Emerging Artist Award is sponsored by HBO Documentary Films. Jury statement: “We the Jury recognize these films because they have an indelible sense of place while speaking to universal concerns of community. We also recognize these films as they represent a superb combination of both the constructed and the found. While each film shows us places we think we know, whether New Orleans or Pretoria, both use the tools and craft of non-fiction storytelling to give the viewer different perspectives and new insights. The Jury awards these prizes in recognition of the merits of these films, but also to note how strongly and sincerely we look forward to the future works from these filmmakers as they continue to push the medium forward.”

The award for Best Mid-Length Documentary was presented to MY THAI BRIDE (D/P: David Tucker; Australia), the story of a Welshman’s complicated marriage to an attractive younger Thai woman. Sponsored by Canada Council for the Arts, the award includes a $3000 prize courtesy of Hot Docs. Jury statement: “MY THAI BRIDE is a film that takes the story of an unlikely couple and through subtle analysis extends their human dramas into a moving examination of political, cultural and economic power dynamics. It is a film that destabilizes its viewer’s empathy through a nuanced and even-handed portrayal of charged, contradictory terrain, and reframes who exactly is the conqueror and conquered.” The Shorts and Mid-Length Jury also gave an honourable mention to NESSA (D: Loghman Khaledi; P: Katayoon Shahabi; Iran).

The award for Best Short Documentary was presented to FIVE FRAGMENTS OF THE EXTINCT EMPATHY (D: Anna Nykyri; P: Joonas Berghäll; Finland), which lays bare Finland’s antipathy towards dealing with domestic violence. The award includes a $3000 prize courtesy of Hot Docs. Jury statement: “In just seven minutes this film creates a poetry of contraction between its stunning black and white imagery and grandiose music, to illustrate how cycles of violence persist and are imprinted upon the faces of Finnish women.” The Shorts and Mid-Length Jury also gave an honourable mention to FAMILY NIGHTMARE(D/P: Dustin Guy Defa; USA).

The Hot Docs Board of Directors acknowledged Michel Brault as the recipient of the 2012 Hot Docs Outstanding Achievement Award, which was presented to the influential Canadian filmmaker at an event earlier in the day.

documentary’s Don Haig Award, presented annually to a Canadian documentary filmmaker whose work demonstrates a unique voice and talent, was awarded to Montreal-based director Mia Donovan (INSIDE LARA ROXX, Hot Docs 2011 Official Selection). Awarded by the Don Haig Foundation, the prize includes a $20,000 cash prize courtesy of documentary. Director Charles (MIGHTY JEROME, Hot Docs 2011 Official Selection) received an honourable mention.

The Lindalee Tracey Award, which honours an emerging Canadian filmmaker with a passionate point of view, a strong sense of social justice and a sense of humour, was presented to Halifax filmmaker Jasmine Oore. As part of the award, the winner will receive a $5000 cash prize from the Lindalee Fund and $5000 in equipment rental donated by SIM Video International.

The 2012 awards for films in competition were determined by three juries.

The Canadian Feature Documentary Jury: Borislav Andjelic (film journalist; director of International Film Festival Belgrade), Maya Gallus (director, THE MYSTERY OF MAZO DE LA ROCHE), Dana O’Keefe (senior executive, Cinetic Media), Basil Tsiokos (programming associate, Sundance Film Festival; film journalist).

The International Feature Documentary Jury: Matthew Akers (director and cinematographer), Avril Benoît (director of communications, Doctors Without Borders – Canada), James Rocchi (film journalist), David Wilson (co-founder and co-director, True/False Film Fest).

The Shorts and Mid-Length Jury: Luis Ceriz (owner, Suspect Video), Marcelle Lean(executive director, Cinéfranco), Chi-hui Yang (film programmer, lecturer and writer).

The Hot Docs People’s Choice Award and audience top ten favourite films of the 2012 Festival, determined by audience ballot, will be announced on Monday, May 7. The public can contribute to a cash prize for the People’s Choice Award on Hot Docs’ crowd funding service Doc Ignite. Also announced on this day is the Filmmaker Award, determined by ballots cast by Hot Docs 2012 filmmakers.

Hot Docs (www.hotdocs.ca) is North America’s largest documentary festival, conference and market. From April 26 to May 6, Hot Docs’ 19th edition will present an outstanding selection of 189 documentaries from Canada and around the world to Toronto audiences and international delegates. Hot Docs will also mount a full roster of conference sessions and market events and services for documentary practitioners, including the renowned Hot Docs Forum, May 2 and 3, and The Doc Shop. In partnership with Blue Ice Group, Hot Docs operates the Bloor Hot Docs Cinema, a century-old landmark located in Toronto’s Annex neighbourhood.

The Hot Docs documentary Box Office, newly located at 783 Bathurst Street, is open for advance ticket and pass sales. Tickets can be purchased in person, online at www.hotdocs.ca, or by phone at 416-637-5150. Single tickets to screenings are $14.50 each. Late night screenings (after 11 p.m.) are $5 each or $10 for an All-You-Can-Eat Late Night Pass (one ticket to each of the nine screenings). A Festival 10-Pack is $115, a Festival 20-Pack is $205, and a Bloor Cinema All Access Pass is $115. Courtesy of Scotiabank, Hot Docs offers free tickets for all screenings before 6 p.m. to seniors (60+) and students with valid photo I.D. at the venue box offices on the day of the screening (subject to availability)

Hot Docs is proud to include Scotiabank, Rogers Group of Funds, Telefilm Canada and documentary as its Presenting Partners.

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It shows how out of it I was in trying to be in it, acknowledging that I was out of it to myself, and then thinking, “Okay, how do I stop being out of it? Well, I get some legitimate illogical narrative ideas” — some novel, you know?

So I decided on three writers that I might be able to option their material and get some producer, or myself as producer, and then get some writer to do a screenplay on it, and maybe make a movie.

And so the three projects were “Do Androids Dream of Electric Sheep,” “Naked Lunch” and a collection of Bukowski. Which, in 1975, forget it — I mean, that was nuts. Hollywood would not touch any of that, but I was looking for something commercial, and I thought that all of these things were coming.

There would be no Blade Runner if there was no Ray Bradbury. I couldn’t find Philip K. Dick. His agent didn’t even know where he was. And so I gave up.

I was walking down the street and I ran into Bradbury — he directed a play that I was going to do as an actor, so we know each other, but he yelled “hi” — and I’d forgot who he was.

So at my girlfriend Barbara Hershey’s urging — I was with her at that moment — she said, “Talk to him! That guy really wants to talk to you,” and I said “No, fuck him,” and keep walking.

But then I did, and then I realized who it was, and I thought, “Wait, he’s in that realm, maybe he knows Philip K. Dick.” I said, “You know a guy named—” “Yeah, sure — you want his phone number?”

My friend paid my rent for a year while I wrote, because it turned out we couldn’t get a writer. My friends kept on me about, well, if you can’t get a writer, then you write.”
~ Hampton Fancher

“That was the most disappointing thing to me in how this thing was played. Is that I’m on the phone with you now, after all that’s been said, and the fundamental distinction between what James is dealing with in these other cases is not actually brought to the fore. The fundamental difference is that James Franco didn’t seek to use his position to have sex with anyone. There’s not a case of that. He wasn’t using his position or status to try to solicit a sexual favor from anyone. If he had — if that were what the accusation involved — the show would not have gone on. We would have folded up shop and we would have not completed the show. Because then it would have been the same as Harvey Weinstein, or Les Moonves, or any of these cases that are fundamental to this new paradigm. Did you not notice that? Why did you not notice that? Is that not something notable to say, journalistically? Because nobody could find the voice to say it. I’m not just being rhetorical. Why is it that you and the other critics, none of you could find the voice to say, “You know, it’s not this, it’s that”? Because — let me go on and speak further to this. If you go back to the L.A. Times piece, that’s what it lacked. That’s what they were not able to deliver. The one example in the five that involved an issue of a sexual act was between James and a woman he was dating, who he was not working with. There was no professional dynamic in any capacity.

~ David Simon