Film commissions

Cappuccino with the Italians


Sunday, 23rd February – 9.00-1030 am
Italian Pavilion, MGB, Stand 03/C7

cappuccino_with_the_italians_23_Feb (002)

Oscar Nominations 2020

Todd Phillips’ “Joker,” a comic-book origin story about Batman’s biggest foe, scored a leading 11 Oscar nominations on Monday, including best picture, best director for Phillips and best actor for Joaquin Phoenix.

Martin Scorsese’s mob epic “The Irishman,” Quentin Tarantino’s ode to Los Angeles “Once Upon a Time in Hollywood” and Sam Mendes’ war drama “1917” followed close behind with 10 nods a piece. Those films, along with “Ford v Ferrari,” “Jojo Rabbit,” “Little Women,” “Marriage Story” and “Parasite” will compete for best picture.

Female filmmakers were entirely shut out of the best director race. Along with Phillips, the nominees include Scorsese for “The Irishman,” Mendes for “1917,” Tarantino for “Once Upon a Time in Hollywood” and Bong Joon Ho for “Parasite.”

The Academy Awards will air live Feb. 9 on ABC.

Here is the full list of 2020 Oscar nominations:

Best Picture:
“Ford v Ferrari”
“The Irishman”
“Jojo Rabbit”
“Joker”
“Little Women”
“Marriage Story”
“1917”
“Once Upon a Time in Hollywood”
“Parasite”

Lead Actor:
Antonio Banderas, “Pain and Glory”
Leonardo DiCaprio, “Once Upon a Time in Hollywood”
Adam Driver, “Marriage Story”
Joaquin Phoenix, “Joker”
Jonathan Pryce, “The Two Popes”

Lead Actress:
Cynthia Erivo, “Harriet”
Scarlett Johansson, “Marriage Story”
Saoirse Ronan, “Little Women”
Charlize Theron, “Bombshell”
Renee Zellweger, “Judy”

Supporting Actor:
Tom Hanks, “A Beautiful Day in the Neighborhood”
Anthony Hopkins, “The Two Popes”
Al Pacino, “The Irishman”
Joe Pesci, “The Irishman”
Brad Pitt, “Once Upon a Time in Hollywood”

Supporting Actress:
Kathy Bates, “Richard Jewell”
Laura Dern, “Marriage Story”
Scarlett Johansson, “Jojo Rabbit”
Florence Pugh, “Little Women”
Margot Robbie, “Bombshell”

Director:
Martin Scorsese, “The Irishman”
Todd Phillips, “Joker”
Sam Mendes, “1917”
Quentin Tarantino, “Once Upon a Time in Hollywood”
Bong Joon Ho, “Parasite”

Animated Feature:
“How to Train Your Dragon: The Hidden World,” Dean DeBlois
“I Lost My Body,” Jeremy Clapin
“Klaus,” Sergio Pablos
“Missing Link,” Chris Butler
“Toy Story 4,”  Josh Cooley

Animated Short:
“Dcera,” Daria Kashcheeva
“Hair Love,” Matthew A. Cherry
“Kitbull,” Rosana Sullivan
“Memorable,” Bruno Collet
“Sister,” Siqi Song

Adapted Screenplay:
“The Irishman,” Steven Zaillian
“Jojo Rabbit,” Taika Waititi
“Joker,” Todd Phillips, Scott Silver
“Little Women,” Greta Gerwig
“The Two Popes,” Anthony McCarten

Original Screenplay:
“Knives Out,” Rian Johnson
“Marriage Story,” Noah Baumbach
“1917,” Sam Mendes and Krysty Wilson-Cairns
“Once Upon a Time in Hollywood,” Quentin Tarantino
“Parasite,” Bong Joon-ho, Jin Won Han

Cinematography:
“The Irishman,” Rodrigo Prieto
“Joker,” Lawrence Sher
“The Lighthouse,” Jarin Blaschke
“1917,” Roger Deakins
“Once Upon a Time in Hollywood,” Robert Richardson

Best Documentary Feature:
“American Factory,” Julia Rieichert, Steven Bognar
“The Cave,” Feras Fayyad
“The Edge of Democracy,” Petra Costa
“For Sama,” Waad Al-Kateab, Edward Watts
“Honeyland,” Tamara Kotevska, Ljubo Stefanov

Best Documentary Short Subject:
“In the Absence,” Yi Seung-Jun and Gary Byung-Seok Kam
“Learning to Skateboard in a Warzone,” Carol Dysinger
“Life Overtakes Me,” Kristine Samuelson and John Haptas
“St. Louis Superman,” Smriti Mundhra and Sami Khan
“Walk Run Cha-Cha,” Laura Nix

Best Live Action Short Film:
“Brotherhood,” Meryam Joobeur
“Nefta Football Club,” Yves Piat
“The Neighbors’ Window,” Marshall Curry
“Saria,” Bryan Buckley
“A Sister,” Delphine Girard

Best International Feature Film:
“Corpus Christi,” Jan Komasa
“Honeyland,” Tamara Kotevska, Ljubo Stefanov
“Les Miserables,” Ladj Ly
“Pain and Glory,” Pedro Almodovar
“Parasite,” Bong Joon Ho

Film Editing:
“Ford v Ferrari,” Michael McCusker, Andrew Buckland
“The Irishman,” Thelma Schoonmaker
“Jojo Rabbit,” Tom Eagles
“Joker,” Jeff Groth
“Parasite,” Jinmo Yang

Sound Editing:
“Ford v Ferrari,” Don Sylvester
“Joker,” Alan Robert Murray
“1917,” Oliver Tarney, Rachel Tate
“Once Upon a Time in Hollywood,” Wylie Stateman
“Star Wars: The Rise of SkyWalker,” Matthew Wood, David Acord

Sound Mixing:
“Ad Astra”
“Ford v Ferrari”
“Joker”
“1917”
“Once Upon a Time in Hollywood”

Production Design:
“The Irishman,” Bob Shaw and Regina Graves
“Jojo Rabbit,” Ra Vincent and Nora Sopkova
“1917,” Dennis Gassner and Lee Sandales
“Once Upon a Time in Hollywood,” Barbara Ling and Nancy Haigh
“Parasite,” Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee

Original Score:
“Joker,” Hildur Guðnadóttir
“Little Women,” Alexandre Desplat
“Marriage Story,” Randy Newman
“1917,” Thomas Newman
“Star Wars: The Rise of Skywalker,” John Williams

Original Song:
“I Can’t Let You Throw Yourself Away,” “Toy Story 4”
“I’m Gonna Love Me Again,” “Rocketman”
“I’m Standing With You,” “Breakthrough”
“Into the Unknown,” “Frozen 2”
“Stand Up,” “Harriet”

Makeup and Hair:
“Bombshell”
“Joker”
“Judy”
“Maleficent: Mistress of Evil”
“1917”

Costume Design:
”The Irishman,” Sandy Powell, Christopher Peterson
“Jojo Rabbit,” Mayes C. Rubeo
“Joker,” Mark Bridges
“Little Women,” Jacqueline Durran
“Once Upon a Time in Hollywood,” Arianne Phillips

Visual Effects:
“Avengers Endgame”
“The Irishman”
“1917”
“The Lion King”
“Star Wars: The Rise of Skywalker”

(cit. Variety)

CINEMA AND AUDIOVISUAL INDUSTRY IN CALABRIA

There are many financing opportunities available for the film and audiovisual industry in Calabria. Information can be found online, on site of the Calabria Film Commission website. Thanks to the Regional Law 21/2019 “Interventi regionali per il sistema del cinema e dell’audiovisivo in Calabria (Regional interventions in support of the cinema and audiovisual industry in Calabria)”, these opportunities offer grants for:

  • The establishment of film festivals, exhibitions and screenings, and awards in the territory of the Region of Calabria;
  • Support for cultural associations and film clubs in the territory of the Region of Calabria;
  • Support for programming of art films in the territory of the Region of Calabria;
  • Support for the creation of networks to connect cinema theatres in the territory of the Region of Calabria.

Resources earmarked for the establishment of film festivals, exhibitions and screenings, and awards in the Region of Calabria amount to €357,500. The maximum grant available for festivals is €30,000; for screenings and reviews €15,000, and for awards €10,000. The amount assigned must not exceed 70% of the total cost of initiative.

Financial support for cultural associations and film clubs amounts to €192,500, with a maximum grant of €19,250 that must not exceed 80% of the overall cost of the initiative.

Contributions to support the programming of art films in the area amount to a total of €70,000: those organizing may receive up to a maximum of €3,500.

Support for the creation of networks between cinema theatres in the Region of Calabria amounts to €30,000 with a maximum grant of €10,000 per initiative.

The application deadlines are: 8 March for Festivals, Screenings and Awards and 6 February for all other sections.

(cit. Italy For Movies)

Submissions for the 2020 Hot Docs Festival are open.

Hot Docs, North America’s largest documentary festival, offers an outstanding selection of over 200 films from Canada and around the world to Toronto audiences of more than 200,000.

ELIGIBILITY

All submissions:

  • must have been completed after January 1, 2019
  • features and mid-length films must be at minimum Ontario premieres (i.e. cannot have been screened publicly in Ontario prior to the 2020 Festival, including broadcast versions of any length or in any language)
  • short films must be at minimum Toronto premieres (i.e. cannot have been screened publicly in Toronto prior to the 2020 Festival. Short films available online are considered Toronto premieres.)
  • must not be available online in any form or VOD in any region (this includes DVDs for purchase in any region). Not applicable for short film submissions.
  • must be in English, subtitled in English or English versioned (non-English language films may be submitted with an English transcript; however, if selected for Hot Docs, it must be subtitled or dubbed into English at the applicant’s expense)
  • may not have submitted to the Festival previously in any stage of completion (i.e. films that were submitted as rough cuts will not be reconsidered)

PROGRAMMING CONSIDERATION

Hot Docs accepts Canadian and international documentaries of all lengths and subject matter.

All Hot Docs screening programs are curated and all submissions will be considered by Hot Docs’ programming team.

For the purposes of eligibility and awards consideration, Hot Docs uses the following definitions:

Film Length

  • Feature-Length: 65 minutes or longer
  • Mid-Length: 40 to 65 minutes
  • Short: under 40 minutes

Country of Production and Submission Categories
Submissions to the Festival are divided into two categories:

  • Canadian Submissions: All films produced in Canada and/or directed by Canadian filmmakers. The director must currently reside in Canada with permanent resident status or be able to provide proof of Canadian citizenship. If the film is co-directed, at least one of the directors must meet this criteria.
  • International Submissions: All films produced outside of Canada and directed by non-Canadians

Hot Docs reserves the right to determine which submission category the film will reside in if selected.

Country of Production
The origin of the majority of the film’s financing and/or the film’s key crew members, which can also include the location of significant production support.

Rough Cuts/Fine Cuts
Rough/Fine Cuts: The Festival will only accept one cut of each film for programming consideration. If needed, Hot Docs will request an updated version and will contact those applicants directly.

More information at link:
https://hotdocs.ca/i/submit-a-film?utm_source=eBulletin&utm_medium=2019.12.04ind&utm_content=Film&utm_campaign=FestivalSubmissions

Film Commission Regione Campania

The present announcement actuates the intervention for “support to businesses in the entertainment sector aimed at creating products that will contribute to the diffusion of knowledge about the culture and tourism offer in the Region” contained in Azione 3.3.2 which outlines financing grants for the creation of cultural productions in the following categories:

  • A) TV and web series
  • B) Films

The total budget, of €3,000,000, will be disbursed as follows:

  • Category A - TV and web series: €2,000,000
  • Category B – Films: €1,000,000

Deadline:
24.01.2020 Categoria A – Opere seriali televisive e web
02.03.2020 Categoria B – Opere Cinematografiche

Film industry branch

Production

Budget for current year

€3,000,000

Eligible projects

Feature Film
TV series
Documentary
Animation
Web product

Beneficiaries

Italian production company
European production company
Italian executive production company

Contribution

Maximum contribution:Category A – TV and web series

  • €500,000 for projects planned in the region for a period no shorter than 120 days of shooting, or production when referring to animation series (excluding post-production) whose production cost is no less than € 12 mn for live-action and no less than € 3 mn for animated works;
  • €300,000 for projects planned in the region for a period no shorter than 60 days of shooting, or production when referring to animation series (excluding post-production) whose production cost is no less than € 6 mn for live-action and no less than € 1.5 for animated works;
  • €150,000 for projects planned in the region for a period no shorter than 30 days of shooting or production when referring to animation series (excluding post-production) whose production cost is no less than € 3 mn for live-action and no less than € 0.75 for animated works.

Category B – Films

  • €200,000 for projects planned in the region for a period no shorter than 36 days of shoot or production when referring to animation series (excluding post-production) whose production cost is no less than € 2.5 mn for live-action and no less than € 1.5 for animated works;
  • €120,000 projects planned in the region for a period no shorter than 24 days of shoot or production when referring to animation series (excluding post-production) whose production cost is no less than € 0.8 mn for live-action and no less than € 0.5 for animated works.

 

Maximum quota of production cost

160%

Type of contribution

Non-repayable grants

FOCUS: The meeting place for international production

The 2019 FOCUS programme will feature a record number of keynotes, panels, masterclasses, workshops and presentations and remains completely free to attend for delegates. 70+ sessions featuring 150+ speakers from film, TV, advertising, animation and games will be on offer over the two days.

The over-arching theme of this year’s FOCUS is “Forces of Change – What’s next?”, looking at the impact of change on what we already know and also the potential impact of the changes we know are coming.

To make sure that it is completely relevant to the industry, the FOCUS programme is developed in consultation with a Content Advisory Board featuring representatives from leading industry bodies, including Pact, The Production Guild, Directors UK, BFI, BFC, UK Screen Alliance, Creative Europe UK, ScreenSkills, Advertising Producers Association and Women in Film & TV. It is curated by Sue Hayes and presented in association with our media partner Variety.

Join the exhibitor presentation ‘Italia:The Place to Film’ with Stefania Ippoliti – President, Italian Film Commissions, Andrea Spagna – Advisor for Marketing, Brand and Business Development, Istituto Luce Cinecittà & Iole Maria Giannattasio – Coordinator, DGCA – MiBACT, at 11:30am on 3 Dec.

To attend this, plus 70+ sessions featuring 150+ speakers, and lots of networking events on 3/ 4 December, register for a FREE delegate badge at  bit.ly/FOCUS19Reg1
Discover the many opportunities Italy offers to international audio-visual productions.

 

Trieste Science+Fiction Festival 2019

The 19th edition of the Trieste Science+Fiction Festival, taking place from 29 October to 3 November, will open with the hypnotic happiness plants of Jessica Hausner’s Little Joe (award for best actress for Emily Beecham at Cannes 2019), and will close with the hotly anticipated Zombieland – Double Tap by Ruben Fleischer, starring Woody Harrelson, Jesse Eisenberg and Emma Stone ten years after they first appeared in the cult film Zombieland. The event will feature over 80 films including features and shorts, accompanied by producers, directors and actors from all over the world.

Among the most eagerly expected guests is Phil Tippett, winner of two Academy Awards and celebrated for his visual contribution to The Return of the Jedi and Jurassic Park, who will receive the life achievement Asteroide Award recognising his career. Famous Swiss documentary filmmaker Alexandre O. Philippe will present Memory: The Origins of Alien, which recounts the origins of Ridley Scott’s masterpiece. Brian Yuzna, cult director of scifi/horror cinema of the 1980s, will celebrate the 30th anniversary of his film Society and will head the jury giving out the Asteroide Award. Also in Trieste, Italian director Aldo Lado will celebrate the 40th anniversary of his sci-fi film The Humanoid (screened from a restoration).

Neon, the official selection of the festival, will present features from the genres of science-fiction, horror and fantasy, in competition and out of competition. The first, second and third works from emerging authors will be competing for the Asteroide Award. European sci-fi films, meanwhile, will be vying for the Méliès d’argent award. Among the titles, Canadian film Steampunk Connection by Annie Deniel; Time Perspectives by Ciro Sorrentino; Rabid, a remake of the classic David Cronenberg film, directed by the “twisted twins” Jen and Sylvia Soska; Iron Sky: The Coming Race [+] from Finnish director Timo Vuorensola, following his film Iron Sky; Italian films Blood Bags by Emiliano Ranzani and In the Trap by Alessio Liguori, in world premiere; Chinese film Last Sunrise by Wen Ren; Breakpoint. A Counter History of Progress by Jean-Robert Viallet; Sea Fever by Neasa Hardiman, a co-production between Ireland, Switzerland and Belgium, starring Danish star Connie Nielsen; Midday Demons by Rossella De Venuto, an Italo-Irish co-production; French film Blind Spot by Pierre Trividic and Patrick Mario Bernard; Slovenian film The Curse of Valburga by Tomaž Gorkič; Bullets of Justice from Bulgarian director Valeri Milev; Jesus Shows You the Way to the Highway by Miguel Llansó (a co-production between Spain, Estonia, Ethiopia, Latvia, Romania, United Kingdow); Norwegian animated film Louis & Luca – Mission to the Moon by Rasmus A. Sivertsen; Extra Ordinary by Mike Ahern and Enda Loughman (Ireland, Belgium); ANIARA, the first feature from Swedish duo Pella Kågerman and Hugo Lilja.

Artificial intelligence and its effects on our lives is certainly a recurring theme at Trieste S+FF. Standing out in the programme are the documentary Hi, AI from German director Isa Willinger; French film Blood Machine by Seth Ickerman; I Am Human by Taryn Southern and Elena Gaby; Polish film I Am REN by Piotr Ryczko. The other sections include European Fantastic Shorts, competing for the Méliès d’argent award; Spazio Italia / Corto; Sci-Fi Classix, with films screenings from restorations or from vintage reels.

MEDIA SUB-PROGRAMME OF CREATIVE EUROPE

Consult the specific pages of the Creative Europe portal for the new calls for proposals available from the MEDIA sub-programme which supports the European film and audio-visual industry in the development of audio-visual projects and videogames, the production of television shows, distribution, training and promotion.

With a total budget of € 103.4 million, the measures are intended to strengthen the capacity of the audio-visual sector to work at the transnational and international level and to promote transnational circulation.

Currently, the terms of the following call for proposals have reopened:

  • EACEA 17/2019 – Support for Development of Audio-visual Content – Single Project (€5.4M) with the objective of increasing the development of European audio-visual works with the potential for circulation throughout the European Union and worldwide.
  • EACEA 29/2018 – Support to Sales Agents, with the objective of encouraging and supporting the transnational distribution of European films by providing funds to sales agents (€3.5M).
  • EACEA 26/2019 – Support for Festivals, for organisations that hold audiovisual festivals in countries participating in the MEDIA sub-programme (€3.7M).
  • EACEA 23/2019 – Promotion of European Works Online, with the objective of supporting digital promotion, collaboration between European VOD services and innovative strategies for distribution (€10.1M).
  • EACEA 25/2019 – Support to Film Education, aimed at promoting film literacy and at increasing audiences’ knowledge (€1.9M).
  • EACEA 19/2019 – Support for Development of European Video Games, with the objective of developing a concept and project of highly innovative and creative narrative storytelling video games (€3.78M).
  • EACEA 29/2019 – Support to International Co-production Funds with the objective of helping European and international co-production partners to come together and/or providing indirect support for audiovisual works co-produced (€500,000).
  • EACEA 20/2019 – Support for TV programming, with the objective of encouraging the broadcasting of television works (€13.5M).
  • EACEA 21/2019 – Support for the distribution of non-national films – Distribution Selective Scheme, to facilitate the cross-border distribution of recent European films by encouraging film distributors to invest in the promotion and suitable distribution (€9.85M).
  • EACEA 18/2019 – Support for Development of Audiovisual Content – Slate Funding, for proposals with a view to developing a Slate of minimum 3 to maximum 5 projects (Slate Funding) for commercial exploitation (€12,5M).
  • EACEA 24/2019 – Support to Cinema Networks, open to cinema network that represent at least 100 cinemas situated in at least 20 countries participating in the MEDIA sub-programme (€10,9M).
  • EACEA 22/2019 – Support for distribution and sales agents – Automatic distribution support, with the objective of supporting the transnational distribution of recent European films by to actions for distributors and sales agents (€27,8M).

(from Italy for Movies)

MIA 2019

MIA is the first Italian market converging all the segments of the audiovisual industry (Film | Drama Series | Doc). With over 1500 professionals from 58 countries participating to each edition, MIA is a valuable platform for the top players of the national and international film industry such as producers and distributors of high-end content: a hub where theatrical deals and transnational TV series start, and a place where to establish and reinforce business relationships between global market leaders.

A project created and produced by ANICA (National Association of Cinema and Audiovisual Industries) and APA (Association of Audiovisual Producers), MIA is supported by the Ministry for Economic Development, ICE (Italian Trade Agency for the global promotion and internationalization of Italian companies), the Ministry of Cultural Heritage and Activities, MEDIA Programme of the European Union, EURIMAGES of the Council of Europe and Regione Lazio.

Programme:
MIA_PROGRAMMA_2019

ACE Animation Special

The ACE Animation Special is a hands-on workshop for experienced producers who want to diversify their activities to include, and/or deepen their knowledge of, developing and producing long form/feature film animation production for an international audience (cinema, broadcast or streaming). In close collaboration with Screen Skills Ireland and Animation Dingle and support from other key Irish partners – Screen Ireland, BAI, Animation Skillnet, IDA and Animation Ireland – the 4-day workshop will be held in March 2020.

16 producers will be selected for the workshop, preferably with a long form/feature length animation project at concept stage. Focusing primarily on the creative and financial aspects of animation production, the ACE Animation Special will also offer sessions on the development process, co-producing, international distribution, audiences and business strategies. The workshop will also include one or more sessions on the different approaches needed for animated TV series as well as offering the producers a chance to work on their projects, have meetings with animation experts and network with their peers.

More information:
https://ace-producers.com/animation-special/