$h!tstorm. snafu. fubar. clusterfu ©k. masterjam. The fallout of a sibling’s suicide on a family, the accelerated deaths of the parents and the investigation into the root cause.
Check out an excerpt of the film below:
$h!tstorm. snafu. fubar. clusterfu ©k. masterjam. The fallout of a sibling’s suicide on a family, the accelerated deaths of the parents and the investigation into the root cause.
Check out an excerpt of the film below:
“Without a doubt one of the funnest and most entertaining documentaries in years” filmdienst.de
Congratulations to current VCFA MFA in Film faculty member Mike Day whose film, THE ISLANDS AND THE WHALES, has been awarded a 2017 Peabody Award!
An exquisitely photographed documentary that explores the inextricable links between oceans poisoned by coal burning power plants and the direct impact they have on people of the remote Faroe Islands in the North Atlantic Ocean, who struggle between maintaining their traditional way of life and the long-term health repercussions of mercury poisoning.
Day says of the film, “THE ISLANDS AND THE WHALES shows the unique Faroese community wrangling with the environmental problems we face. I hope the film gives us a chance to take stock of how we interact with the natural world and encourages us not to ignore the clear signs of the damage we are causing. There is a chance to act now before it’s too late. If we don’t, like the Faroese, we all risk putting contaminated food on the table.”
To read more about the film, and to watch some great interviews with Day, visit the PBS POV site.
The Peabody Awards recognize 30 stories each year in television, radio, and digital media that depict important societal problems. The awards are based at the University of Georgia’s Grady College of Journalism and Mass Communication. The Peabody board of jurors is an assembly of critics, journalists, media scholars, and industry professionals.
The full list of documentary winners are:
“America ReFramed: Deej”
“Last Men in Aleppo”
“Maya Angelou: And Still I Rise”
“The Islands and the Whales”
“Time: The Kalief Browder Story”
The 77th Annual Peabody Awards Ceremony will take place on May 19th, 2018 in New York.
Mike Day is a Scottish director and cinematographer. Formerly a lawyer, Day founded Intrepid Cinema in 2009 before heading out into the North Atlantic on a boat to make his first documentary, THE GUGA HUNTERS OF NESS, commissioned by the BBC. While at sea filming, Day met a group of Faroese sailors, which lead to the creations of his next film, THE ISLANDS AND THE WHALES. The film went on to win multiple awards and picked up the 60th CINE Golden Eagle Award, a BAFTA nomination, and a Peabody Award (2017).
Day was listed as one of “10 Filmmakers to Watch” by Filmmaker Magazine, with films funded and supported by the Sundance Institute, San Francisco Film Society, The Filmmaker Fund, Creative Scotland, and Danish Film Institute and many others his films have screened with broadcasters worldwide including the BBC, ARTE, ZDF, NRK, DR and POV on PBS with theatrical releases in the US, UK and around Europe and Australia.
Award-winning filmmaker, and VCFA MFA in Film faculty member, Till Schauder has been traversing the globe with his film WHEN GOD SLEEPS. In addition to its bustling festival showing, we are excited to announce WHEN GOD SLEEPS will have its US broadcast television premiere on this season of Independent Lens on PBS on April 2, 2018, at 10:00 PM EST.
Additionally, be sure to have a listen to Schauder’s conversation with Art More Than Ever podcast host Erica Heilman where Schauder discusses the process of creating documentary films and how he handles working with challenging subjects.
“I’m very greedy as a filmmaker…I’m a hunter-gatherer. I know from experience that with this massive amounts of footage you get nuggets…that people think are too good to be true almost.”
About the film:
“ ‘My songs didn’t make me famous. The fatwa did.’ WHEN GOD SLEEPS unfolds against the backdrop of the 2015 Paris terrorist attacks in the Bataclan concert venue and European right-wing backlash against Middle-Eastern refugees. It deftly weaves the journey of exiled Iranian musician Shahin Najafi with historical context and intimate biographical detail, rooting the narrative in Najafi’s immediate and unavoidable reality, living under a fatwa issued against him by hardline Shiite clerics. As Najafi juggles a personal life and budding romance in Cologne, far from loved ones, with a professional career whose high profile may cost him his life, he spars with bandmates who are ambivalent about the peril his status places on their lives, and battles German police who refuse to see the death threat on his head as a legitimate danger. With camerawork that underlines the intimate aspect of this film, we bear witness to the life of an outspoken artist defying powerful men intent on silencing him.”
More about the filmmakers:
TILL SCHAUDER’s feature debut SANTA SMOKES which he wrote, co-directed and starred in, won several awards, among them Best Director at the Tokyo International Film Festival and the Studio Hamburg Newcomer Award. In 2012, Till completed his critically acclaimed first documentary THE IRAN JOB, which was released worldwide, mentioned as an Oscar contender and shortlisted for a German Academy Award in 2014. His latest documentary WHEN GOD SLEEPS premiered at the Tribeca Film Festival 2017 and is currently playing at film festivals around the world. WHEN GOD SLEEPS won the “Cinema for Peace Award” for Most Valuable Documentary of the Year during this year’s Berlinale, and the “Golden Heynal Award” in the International DocFilmMusic Competition at this year’s Krakow Film Festival. WHEN GOD SLEEPS opened theatrically in Germany and Japan in October. The U.S. theatrical release is scheduled for early 2018, followed by a nationwide broadcast on PBS/Independent Lens and a North American online release on Amazon. Till also recently completed WARRIORS OF FAITH, a feature documentary about Iraqi refugees in Germany combating ISIS through performance arts for which he just won a German Emmy. The film also won the “ARD Top of the Docs” Award and was a nominee for the Prix Europa. Till has a side career in acting. He appeared with Kate Winslet in the HBO Series “Mildred Pierce” and in Martin Scorsese’s HBO Series “Vinyl”. His production company, which he runs with his producing partner and wife Sara Nodjoumi, is based in Brooklyn.
SARA NODJOUMI is an independent film producer and film festival programmer. She and Till Schauder most recently collaborated on WHEN GOD SLEEPS, which is co-produced by ITVS, executive produced by Motto Pictures, Catapult Film Fund, and Fork Films, and supported by numerous foundations including the Sundance Institute, Jerome Foundation, and NYSCA. The film premiered in competition at the 2017 Tribeca Film Festival. It later went on to win the Golden Heynal award for Best Music Documentary at the Krakow Film Festival, as well as the Most Valuable Film of the Year award at Cinema for Peace in Berlin. Nodjoumi and Schauder are currently working on the feature documentary REGGAE BOYZ, which is in post-production. From 2004-2009, Nodjoumi worked at the Tribeca Film Festival as an Associate Programmer and is currently the Artistic Director of the New York Sephardic Film Festival. She also produced the feature documentary THE IRAN JOB, which was released theatrically and on Netflix worldwide. In Germany, the film was shortlisted for a German Academy Award. For THE IRAN JOB, Nodjoumi managed two of the most successful Kickstarter campaigns of all time. In 2016, she was invited to attend the Sundance Creative Producer’s Summit and in 2017 she was an IFP Cannes Producer’s Network Fellow.
THE MOST UNKNOWN, a documentary film directed by current VCFA MFA in Film student Ian Cheney, premieres today (March 16, 2018) at CPH:DOX in Copenhagen. THE MOST UNKNOWN, is a “scientific exploration of the unknown, where the greatest mysteries of physics and nature can be found at the bottom of the ocean and in outer space.”
Ian Cheney’s film demonstrates how a meeting of researchers can take place across disciplines, and it is a magnificent portrait of the desire of modern research to understand the unknown and make it tangible. A project, which brings us all the way where research is not about results and peer reviews, but about approaching adventure. -CPH:DOX
Check out the trailer below and this Motherboard write up to learn more!
Ian Cheney is an Emmy-nominated and Peabody Award-winning documentary filmmaker. His most recent films include THE SEARCH FOR GENERAL TSO, released by IFC Films / Sundance Selects, and the forthcoming documentary film BLUESPACE, which explores the terraforming of Mars and the waterways of New York City. Ian is in his final year here at VCFA, and we are thrilled to see his thesis work, as well as his future endeavors!
Current VCFA MFA in Film student, George Nicholas’s short experimental documentary ANTIGONE, a twelve minute meditation on life, death, presence, religion, family, emptiness, and light centered upon the death of the filmmaker’s beloved Mother, has several scheduled screening this Spring (2018). Nicholas created this film while here at VCFA, and writes,
I spent the first two semesters working on an experimental documentary about my mother’s death from cancer in 2014. I had made brief overtures at starting the film before I arrived at VCFA, but I’m glad that I continued it while here, or I would have given up on it for the potential scale of it and the gut-wrenching emotional journey that met every editing session. With the good advisement of some truly wonderful faculty, and the keen insight of a fellow student… I was committed to finishing it, and it had its world premiere at the Cyprus International Film Festival in Paphos, Cyprus in June (2017), where it received the Nostimon Imar Award, an award given to the film that best embodies the sense of “nostimon imar,” from a passage in Homer’s Odyssey, loosely translated as “the day of the sweet return to one’s homeland,” a film for the Greek and Cypriot diaspora.
Horror Society writes of the film, 7 SPLINTERS IN TIME is an intricately constructed, visually arresting, graphically exotic and groundbreaking lo-fi sci-fi detective story that mashes up Phillip K. Dick and Raymond Chandler.
Congrats George, we are thrilled for you!
George Nicholas is an award-winning New York – based filmmaker and director of photography. He was born in Pittsburgh, Pennsylvania to first-generation Greek immigrants, picked up his father’s love for photography at age 7, and wrote and directed his first play at 11. He studied drama at the University of Texas, Arlington, moved to NYC in 1998, worked as a sound technician for Off-Broadway Theater and as a roadie, working with bands like the Rolling Stones, before moving a bit north to attend the Conservatory of Film at the State University of New York at Purchase, where he graduated with a BFA in Film Production. He has worked as a cinematographer professionally since 1992, and his work has been shown worldwide on air and in festivals. George has produced and directed music videos, including Elizabeth Cook’s “Sunday Morning,” which aired on VH-1, GAC, and CMT. His 2004 short film, “Exact Fare,” won the CINE Golden Eagle Award, and his most recent film, “Antigone” won the Nostimon Imar award (for films of the diaspora) at its premiere at the 2017 Cyprus International Film Festival. He is currently an Assistant Professor of Radio, Television, Film at Hofstra University in Hempstead, New York, and prior to that taught at and was the Technical Director of Film and New Media at Sarah Lawrence College in Bronxville, New York. He currently resides in Mamaroneck, New York with his wife, Marie, their son Peter, and two cats. He is a bassist and vocalist for the J.D. Southard Band and the upright bassist for The Quarter Moon. Nicholas will graduate from VCFA MFA in Film April 2018.
LIFE AFTER LIFE, a film directed and produced by current VCFA MFA in Film student Tamara Perkins, will screen at the Green Mountain Film Festival this March (2018). LIFE AFTER LIFE will screen twice at the GMFF, once in Essex Junction (March 18th, 6:45-9:00pm) at the Essex Cinemas, and a second time in Montpelier (March 18th, 12:00-2:30pm) at the Pavilion. GMFF has partnered with the Community Justice Center of Essex and the Community Justice Center of Montpelier. At both venues, a q&a discussion is planned after the film with the filmmaker along with several other local voices with insights into the topic of re-entry post-incarceration, including: a Reentry Coordinator from the local Community Justice Center (CJC), a Parole Officer from the Department of Corrections, Formerly incarcerated person(s), Circles of Support and Accountability (CoSA) Volunteer from the local CJC, and (at the Montpelier screening) the Deputy Defender General of the State of VT.
We are so excited that LIFE AFTER LIFE will be here in Vermont at the GMFF, and look forward to the important and impactful dialogue the film and subsequent talks will bring to our local community.
Additionally. Tamara’s new film, THE WAITING LIST (working title), is getting under way. Check out the teaser below! More footage and info will be coming soon.
More about Tamara:
Current VCFA MFA in Film faculty member, Annie Howell, along with her co-writer and co-director Lisa Robinson, discuss their film CLAIRE IN MOTION (now available to stream on Showtime), their co-writing process, character development, and how film can be vehicle for change.
Aja Zoecklein: How did you first meet and when did you begin your collaborative teamwork?
Lisa Robinson: We met at NYU grad school, but didn’t actually make any films together there. After we finished school we had both written our own features and were trying to get them made but financing was taking a while…we had a conversation about an idea and decided we should make a web series together. It was called SPARKS and was eventually syndicated by the Sundance Channel, which was great. We had fun with it. We would each write an episode and kind of piggyback off each other. From there, it kind of naturally evolved into making a feature, SMALL, BEAUTIFUL MOVING PARTS, which was partly based off the series.
Annie Howell: When we made CLAIRE IN MOTION, I was living in Athens, Ohio and teaching film full time at Ohio University. As soon as I landed I was like “oh, this could be a really interesting place to make a film.” Lisa visited, and I would send her pictures, and that was one of the jumping off points, just thinking about this interesting town that is not as often seen on screen.
AZ: What is your writing process like? How do you structure your writing as collaborators—together in a room, separate, both?
AH: We typically write independently, swapping and sharing ideas. For the two features, for example, we would have this really long running text/blast email conversation that never stopped! (laughs) Which is great because it’s what the writer’s brain does anyway, but you are just sending it off to another person. We both like having our assignments, agreeing on what that is, and then coming back together with the results. We had a couple of times when we would sit in front a whiteboard together to figure out whatever challenge was in front of us.
AZ: Do you write differently knowing that you will be directing the work?
LR: I don’t think we write differently because we’re directing. The script has to communicate to not just us, but to our actors and to the rest of the crew. It needs to be just as transparent in terms of what we’re trying to do as it would be otherwise. The prep is actually the really important part—where the writing is changing—because you are starting to manifest the stuff, physically: you’re picking locations, costumes, actors… It’s such a crucial part of the translation; it’s at that moment the writing gets pulled into the directing space.
AH: I agree, the writing doesn’t defer—writing is writing. We probably have our producer’s hat on a bit: Is this possible? Can we write for a location that we already have? But, consistently, the writing has to work first.
AZ: The characters in CLAIRE IN MOTION are so well-fleshed out. I never felt like anyone was behaving inauthentically or outside of their spectrum of responses. As writers you get the fun task of people-ing your world, how do you go about writing your supporting characters?
AH: For this film, again, it was really informed by this particular town, and also our shared knowledge of the world of academia—a lot of that world is the personal and the professional mixed together—and so we brought those instincts, impressions, and experiences to the table. Often it’s so challenging and difficult to understand your protagonist and to keep searching for that thread or theme. Supporting characters can often come much quicker, which helps to build that confidence in the writing. In this case the place that she is in and the people around her are just such an important part of the story…
LR: Since Annie was teaching and living there she had a lot of interesting encounters and specifics to bring to it. Since I was further away, I brought a more abstract mental state to it, more along the lines of, what is Claire going through and what kinds of characters would trigger her or bring out parts of her psyche? Those two things combined helped create some of these character.
AZ: While part mystery/thriller, CLAIRE IN MOTION really tells the story of a woman who is faced with the reality that, in truth, you never can know somebody entirely, and that, perhaps even more importantly, that lack of recognition extends to yourself as well. What prompted you to explore this subject matter in the way you did? Did you know going in that you wanted Claire’s evolution to start at x and end at y?
LR: We knew we wanted her to go through a tragedy and have to grapple with that uncertainty, and letting the viewer grapple with it as well. We weren’t quite sure how we were going to do it, or even what the tragedy was going to be, but we were interested to see how that uncertainty shifted her identity. We set out to explore a character in a place in her life where she is comfortable—she’s a little bit older, not in her 20s anymore, has a sense of who she is and what her life is going to be—and we wanted to upset that, let that run out, and see how she shifts and changes.
AH: We also had some time in the writing process to really chew on a number of different scenarios—we played quite a bit with it in terms of plot, running a lot of what-ifs. We have a strong shared value that we want our audience to have their own experience, so we weren’t going to wrap everything up neatly. The persistent interest in theme being: the not knowing of life and how that can surprise you; what you learn from it and how you might be damaged by it; and inevitably, how you have to just keep going.
AZ: In light of the current state of the world, how do you see filmmaking as an art form shaping and/or informing us as humans?
LR: There’s a lot of exciting films out there right now. GET OUT is a really amazing example of a film that is surprising and exciting in terms of genre, subtext, and choices…So, I’m still really excited about stuff I’m seeing every year. Film is such a powerful medium because it hits people on multiple levels at once. Unfortunately, that means film is related to propaganda, to Facebook, and to all this discussion about fake news. It is just such a powerful force that spreads out in all these different mediums, but, I still think it’s a great tool for change. We see films like MOONLIGHT or LADY BIRD, these are very particular voices that are getting widespread attention. It’s so great.
AH: A well-crafted visual story provides this opportunity for identification, empathy, complication of stereotypes, and personal introspection that’s unlike or dissimilar from the other other ways in which those things happen—which is, through actual physical relationships with other human beings. When you have the ability to silently interact with others—by that I mean, the characters—it’s a totally different process of growth. These stories are important for any person who is interested in evolving, and I am glad we can do that in different types of ways—through literature, through cinema, through just observing and watching.
AZ: Thank you Annie and Lisa!
Annie J. Howell is an award-winning screenwriter and director. Howell’s first film, co-written and co-directed with Lisa Robinson, was SMALL, BEAUTIFULLY MOVING PARTS, followed by the duos second feature, CLAIRE IN MOTION. In 2016, LITTLE BOXES, a film written by Howell and directed by Rob Meyer premiered at the Tribeca Film Festival, where it sold to Netflix. The script for LITTLE BOXES is the recipient of an IFP Emerging Narrative Award for Best Feature and a San Francisco Film Society/Kenneth Rainin Foundation grant. Howell’s other credits include a short for the vanguard ITVS series FUTURESTATES, as well as the web series SPARKS, also created with Robinson and licensed to the Sundance Channel.She teaches in the MFA in Film program at Vermont College of Fine Arts, as well as City College, and has also been a member of the faculty at Duke University’s Center for Documentary Studies, Ohio University’s MFA in Film, and at The New School, where she was the Founding Director of the Graduate Certificate in Documentary Media Studies Program.
Lisa Robinson is an award-winning screenwriter and director. Her credits include the feature films CLAIRE IN MOTION and SMALL, BEAUTIFULLY MOVING PARTS, both written and directed with Annie Howell. Robinson has directed several episodes of television, including the Emmy award-winning A CRIME TO REMEMBER and the series FUTURESTATES, that had its series premiere at the Tribeca Film Festival. Robinson has written and directed several award-winning short films. She also works as a screenwriter and wrote MIND BLAST, an IMAX film for the Blue Man Group. She is the recipient of the Martin E. Segal Prize, the Mitsubishi Digital Media Lab Award for Excellence, and a New York Foundation for the Arts Fellowship. Robinson is currently Associate Professor of Film at LIU. www.lisarobinsonfilm.com
Current MFA in Film student, Lex Lybrand, just dropped the trailer for his thesis film project, MAYBE SHOWER. Written and directed by Lybrand, MAYBE SHOWER stars Kelsey Thomas (SUMMER LEAGUE), Rachel DeRouen (GLASS), and Megan Simon (INDOOR CAT). With Carlos O’Leary (THE TROLLS), Jeff Pearson (HOME REMEDY), Nathan Ehrmann (THE TROLLS), and Caitlin French.
Ash, Shannon, and Wendy are all late. You know… LATE. As their collective anxiety grows, they band together to face their fears, confront the potential fathers, and egg a car or two. All part of the world’s first MAYBE SHOWER.
On October 26th, 2016, Lybrand wrote the following on the “Maybe Shower” blog, and we just had to share it here because, well, it brings us great pride:
I’m sitting in a dorm room in Montpelier, Vermont just a couple of days before Halloween. There’s snow on the ground, I can see my breath in my room, and I’m almost out of coffee. I haven’t been this happy in a very long time.
This is the last day of my first week at VCFA’s MFA in Film residency. I entered this program with no idea what I would work on while I’m here… but now I know. I’m excited to announce that I have begun work on my next feature screenplay, and I plan to take it from conception to reality during this 2 year program… This is gonna be fun.
MAYBE SHOWER will screen this April at our spring residency and will be hitting the festival circuit soon. Visit the MAYBE SHOWER site to learn more. We can’t wait to see this one! Congrats Lex!
Check out the trailer below. (See if you can spot another one of our talented students in the film, Mr. Kris Atkinson. We love to see our people crewing for each other!)
Current MFA in Film student, Mark Schimmel, just dropped the trailer for his new 22 min. narrative short film, KILL THE LIGHT. Check it out below!
Cheryl, a mysterious woman left for dead on the side of the road is found by Ray, a county sweep who picks up road kill. Together they unravel the mystery of Cheryl’s haunted past.
Directed by Schimmel (The Originals, Operation Snowplow, Geppetto’s Secret), KILL THE LIGHT features Coburn Goss (Man of Steel, Superman vs. Batman).
Other credits for KILL THE LIGHT include:
Written by Lee H. Ross (Downloading Nancy, Benjamin Troubles)
Cinematography by William R. Nielsen (Chicago Fire, Sirens, Sex & Drugs & Rock & Roll)
Music by Angelo Panetta (Creedmoria, Mad Town)
We look forward to seeing where KILL THE LIGHT screens, and of course, what’s next for Mark!