By Ray Pride Pride@moviecitynews.com

Kim Voynar, Mark Rabinowitz Named Programmers Of Oxford Film Fest

The Oxford Film Festival today appointed long-time staff member Melanie Addington as its Executive Director and named its programming team for the 2016 edition, to be lead by veteran industry fixtures Mark Rabinowitz and Kim Voynar as documentary and narrative feature head programmers, respectively. The 13th edition of the festival is set to unspool February 18-21, 2016.

Addington has been with the festival in various positions since 2005, working her way up from volunteer to volunteer coordinator, to assistant director and subsequently serving as co-director since 2008 before becoming the well-regarded organization’s Executive Director for the 2016 edition. “I have always been passionate about independent film, storytelling and Mississippi,” said Addington, “and this gives me a chance to really showcase all three. I’m excited to take on this new leadership position as we focus on growing the festival both during the February event and in terms of year-round programming.” Addington also serves as the President of the Mississippi Film & Video Alliance.

Kim Voynar, Narrative Features Programmer

Kim Voynar, Narrative Features Programmer

The festival is a key date on the busy Oxford cultural calendar, having hosted such notables as James Franco, Morgan Freeman, Jason Ritter, Elvis Mitchell, Mary Elizabeth Ellis, Ray McKinnon and Tim Blake Nelson.

Voynar comes to the Oxford Festival with over a decade of experience as a critic and industry analyst for Movie City News, Cinematical, Indiewire.com, Variety and others, adding director/producer to her resume in 2010, with current activities including live-action and animated projects with avant-garde musical group The Residents and an episodic TV series with Will Calhoun of hard rockers Living Colour.

Mark Rabinowitz, Documentary Features Programmer

Mark Rabinowitz, Documentary Features Programmer

Rabinowitz is a co-founder of the seminal indie film news service Indiewire.com and has been a journalist for twenty years, including service as a critic for CNN.com, Screen Daily, Paste Magazine and Alternative Press. He has attended over 175 film festivals as a critic, producer and staff, including serving as a programmer and industry liaison at the Hamptons International Film Festival and has served on festival juries in Edinburgh, Montreal, Denver, Nashville and Oxford. As a producer, he has projects in development with producer Darren Dean (TangerineKinyarwanda) and writers/producers Jon Cryer & Richard Schenkman and heads the film department at LA-based publicity & marketing firm PMG.

Today, OFF announces its call for entries for next year’s Festival in all programming categories. Entries are accepted through November 15, 2015 at Film Freeway (https://filmfreeway.com/festival/OxfordFilmFestival). Due to its calendar position following Sundance, Oxford has had the benefit of hosting the regional premieres of many notable films, including James Franco’s two William Faulkner adaptations (The Sound and the Fury and As I Lay Dying), Chad Hartigan’s This Is Martin Bonner, and Paul Saltzman’s Prom Night in Mississippi.

Oxford’s full programming team includes: Mary Margaret Andrews and Courtney Hall on documentary shorts, Newt Rayburn on music videos, Deborah Barker on Mississippi narratives, Maggie Woodward on Mississippi documentaries, Michelle Emanuel on animation and Brooke White on experimental films.

The incoming OFF Board of Directors is comprised of long-time festival supporters, including the executive director of the Yoknapatawpha Arts Council Wayne Andrews (President), former SVP of Production for MGM Television Hudson Hickman, and writer/producer Chris Offutt (True Blood, Weeds, Treme).

About the Festival

The Oxford Film Festival was founded in 2003 to bring exciting, new and unusual films (and the people who create them) to North Mississippi. The annual four-day festival screens short and feature-length films in both showcase and competition settings, including narrative and documentary features and shorts; Mississippi narratives, documentaries and music videos, and narrative, documentary, animated and experimental shorts. The festival is a 501c3 not-for-profit organization. For more information, visit www.oxfordfilmfest.com

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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?

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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