By Ray Pride Pride@moviecitynews.com

FOCUS FEATURES’ AFRICA FIRST PROGRAM BEGINS SIXTH YEAR, ACCEPTING ENTRIES

Posted Tuesday, June 11th, 2013 - Comments Off on FOCUS FEATURES’ AFRICA FIRST PROGRAM BEGINS SIXTH YEAR, ACCEPTING ENTRIES
Be Sociable, Share!

$10,000 IN FINANCING APIECE EARMARKED FOR NEW FILMMAKERS

FOR IMMEDIATE RELEASE

NEW YORK, June 11, 2013 – To commence its sixth year, Focus Features’ Africa First Program will accept entries continuing through Monday, August 19, with applications needing to be received by Thursday, August 29. Focus CEO James Schamus made the announcement today.

The uniquely conceived initiative, with funds earmarked exclusively for emerging filmmakers of African nationality and residence, is for the sixth consecutive year offering eligible and participating filmmakers the chance to be awarded $10,000 in financing for preproduction, production, and/or post-production on their narrative short film made in continental Africa and tapping into the resources of the film industry there. The program also brings the filmmakers together with each other and with a renowned group of advisors, major figures in the African film world, for support and mentorship. Past short films to come out of the Program have been showcased at the Sundance, Toronto, London, and Berlin Film Festivals; on The Africa Channel; and with the Museum of the Moving Image and the Film Society of Lincoln Center, among other venues worldwide. Compilations of films completed through the Program are available on DVD and across VOD and EST platforms. Complete details on Africa First – including application information – can be accessed year-round through www.focusfeatures.com/africafirst.

Africa First is supervised by Executive Director and producer Kisha Cameron Dingle (…Sometimes in April), whose company, Completion Films, has a first-look and consulting deal with Focus, and who coordinates the Program’s submissions and evaluations with Focus director of development & production Christopher Kopp and production coordinator Jess Kwan. In addition to on-site work in Africa, the winning filmmakers of Africa First will visit New York City in the fall of 2013 for a weekend of one-on-one workshop discussions with each other; members of the advisory board of experts in African cinema; such Focus executives as Mr. Schamus and president of production Jeb Brody, covering topics like international distribution and the economics of studio financing; and Mrs. Dingle, Mr. Kopp, and Ms. Kwan.

Mr. Schamus said, “The Africa First Program’s commitment to short films and new filmmakers continues into a new digital age, when it is particularly exciting to be moving the program forward and to help get these storytellers’ works made and seen.”

In 2008, the Africa First Program selected these filmmakers and their respective films; Mr. Edouard Bamporiki (from Rwanda) for Long Coat, Ms. Jenna Bass (from South Africa) for The Tunnel, Mr. Jan-Hendrik Beetge (from South Africa) for The Abyss Boys, Ms. Dyana Gaye (from Senegal) for N’Dar (a.k.a.St. Louis Blues), and Ms. Wanuri Kahiu (from Kenya) for Pumzi [Breath]. The winning filmmakers for 2009 were Mr. Stephen Abbott (from South Africa) for Dirty Laundry, Mr. Matt Bishanga (from Uganda) for A Good Catholic Girl, Mr. Daouda Coulibaly (from Mali) for Tinye So, Mr. Matthew Jankes (from South Africa) forUmkhungo, and Ms. Rungano Nyoni (from Zambia) for The Adventures of Mwansa the Great. The 2010 filmmakers chosen were Ms. Chika Anadu (from Nigeria) for The Marriage Factor; Mr. Lev David (from South Africa) for Down; Ms. Jacqueline Kalimunda (from Rwanda) for Sky Burning Down; Ms. Ebele Okoye (from Nigeria) for The Legacy of Rubies; and Mr. Julius Onah (from Nigeria) for Nepa Don Quench. The filmmakers selected in 2011 were Ms. Oshosheni Hiveluah (from Namibia) for 100 Bucks; Mr. Cedric Ido (from Burkina Faso) for Twaaga [Invincible]; Mr. Mark Middlewick (from South Africa) for Late Night Security; Ms. Akosua Adoma Owusu (from Ghana) for Kwaku Ananse; and Mr. Zelalem Woldemariam (from Ethiopia) for Adamet [Listen]. The winning filmmakers for 2012 were Mr. Vincent Moloi (from South Africa) for Berea; Mr. Jeremiah Mosese (from Lesotho) for Mosongoa [The Mocked One]; Ms. Ekwa Msangi-Omari (from Tanzania) for Soko [The Market]; Ms. Samantha Nell (from South Africa) for One Way Ticket; and Mr. William Nicholson (from South Africa) for The Second Law.

For 2013, the submissions period begins on Monday, June 10 and runs through Monday, August 19, with applications needing to be received by Thursday, August 29. The five filmmakers selected will be notified by October and will retain the copyrights and the distribution rights to their completed shorts, with the exception of North American rights; Focus retains those, as well as the right of first negotiation to productions derived from the shorts, such as a feature-length expansion.

Completion is developing feature, documentary, and television projects. Its president, Mrs. Dingle, previously worked as director of development at Walden Media, and as an executive at New Line Cinema, where she oversaw the development and production of Spike Lee’s Bamboozled.

The Africa First Program advisory board members are Ms. Mahen Bonetti, founder and executive director of the African Film Festival; journalist and documentary filmmaker Ms. Jihan El-Tahiri; Ms. June Givanni, who for four years programmed the Toronto International Film Festival’s Planet Africa series; Ms. Sharifa Johka, film programmer and independent producer; Mr. Pedro Pimenta, producer and manager of training programs throughout South Africa; and Mr. Keith Shiri, founder/director of the Africa at the Pictures film festival in the U.K.

Focus Features and Focus Features International (www.focusfeatures.com) comprise a singular global company. This worldwide studio makes original and daring films that challenge the mainstream to embrace and enjoy voices and visions from around the world that deliver global commercial success. The company operates as Focus Features in North America, and as Focus Features International (FFI) in the rest of the world.

Current and upcoming Focus Features releases include Derek Cianfrance’s drama The Place Beyond the Pines, starring Ryan Gosling, Bradley Cooper, and Eva Mendes; The World’s End, the new comedy reuniting director Edgar Wright with actors Simon Pegg and Nick Frost; Closed Circuit, the suspense thriller directed by John Crowley and starring Eric Bana and Rebecca Hall; the true-life dramatic thriller Kill the Messenger, to be directed by Michael Cuesta and star Jeremy Renner; the comedic fable The Boxtrolls, the new animated feature from LAIKA, directed by Anthony Stacchi and Graham Annable with a voice cast that includes Ben Kingsley, Toni Collette, Elle Fanning, Isaac Hempstead-Wright, and Tracy Morgan; Black Sea, the adventure thriller to star Jude Law for Academy Award-wining director Kevin Macdonald; and Dallas Buyers Club, the fact-based drama directed by Jean-Marc Vallée and starring Matthew McConaughey, Jared Leto, and Jennifer Garner.

 

Focus Features and Focus Features International are part of NBCUniversal, one of the world’s leading media and entertainment companies in the development, production, and marketing of entertainment, news, and information to a global audience. NBCUniversal owns and operates a valuable portfolio of news and entertainment television networks, a premier motion picture company, significant television production operations, a leading television stations group, world-renowned theme parks, and a suite of leading Internet-based businesses. NBCUniversal is owned by Comcast Corporation.

 

#                                                                      #                                                                   #

 

Be Sociable, Share!

Posted in Movie City News, Press Releases | Comments Off on FOCUS FEATURES’ AFRICA FIRST PROGRAM BEGINS SIXTH YEAR, ACCEPTING ENTRIES

Comments are closed.

Quote Unquotesee all »

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