Pro Tools
•Register a festival or a film
Submit film to festivals Promote for free or with Promo Packages

FILMFESTIVALS | 24/7 world wide coverage

Welcome !

Enjoy the best of both worlds: Film & Festival News, exploring the best of the film festivals community.  

Launched in 1995, relentlessly connecting films to festivals, documenting and promoting festivals worldwide.

A brand new website will soon be available. Covid-19 is not helping, stay safe meanwhile.

For collaboration, editorial contributions, or publicity, please send us an email here

User login


RSS Feeds 

Martin Scorsese Masterclass in Cannes services and offers



Established 1995 serves and documents relentless the festivals community, offering 92.000 articles of news, free blog profiles and functions to enable festival matchmaking with filmmakers.


Share your news with us at to be featured.  SUBSCRIBE to the e-newsletter.  

MEET YOUR EDITOR Bruno Chatelin - Check some of his interviews. Board Member of many filmfestivals and regular partner of a few key film events such as Cannes Market, AFM, Venice Production Bridge, Tallinn Industry and Festival...Check our recent partners.  

The news in French I English This content and related intellectual property cannot be reproduced without prior consent.


What is a Maverick?

In the moments before the press conference kicked off on Saturday, Jens Hussey spoke a little about the term 'maverick'. He explained that the word originated from a Texas cattleman named Sam Maverick, who refused to brand his cattle, preferring instead to let them roam free, not 'following the herd'. This is the main principle of the Cinequest Film Festival, to embrace the maverick filmmaker, to promote new innovations and artistry in film and to present the visions of filmmakers who choose not to follow the herd.

With this in mind, I would like to write about two films which have garnered polar opposite reactions, John Jeffcoat's Outsourced and Steve Staso's Celluloid #1, and argue why I believe that Celluloid #1 deserves to be in the festival, and why Outsourced does not.

Trust me, my opinion on this matter has gotten me into a whole heap of trouble, and don't get me wrong, Outsourced is a nice movie, well crafted and extremely crowd pleasing. However, in the maverick spirit of originality, I found it hollow and lacking. The clichés were flying thick and fast, reinforcing every tired old stereotype and allowing a comfortable audience in a comfortable theater an opportunity to laugh at the funny ways of Johnny Foreigner. Of course, our everyman hero learns to accept this new culture even though, despite his 'awakening', he still seems mighty pleased to rush back to Seattle. I sat in a packed theater, with an audience roaring with laughter every time someone got the runs from eating the food, and laughed once. The rest of the time I spent counting the minutes until the next, predictable, plot point.

Does this make Outsourced a bad movie? Hell, no. It is a pleasant, colorful, non-threatening romantic-comedy, and is about as maverick as a sheep – forget the cows.

Then I watched Celluloid #1, during which a good third of the audience walked out after twenty minutes. From the screeching opening to the grating camera work, this film is hard work, and it is meant to be. Staso allows the 16MM film to run out during scenes, switching formats and challenging the audience to accept what they are seeing; he refuses to follow a conventional narrative and throws images at us like barbed-wire snowballs. Of all the self-reflexive movies I have ever seen, this is the first where the DoP puts the camera down and makes out with the lead actress in frame. Julie Atlas Muz is luminous as a fragile ball-breaker, and Steve Buckley looks like he has just stepped out of one of Jim Jarmusch's nightmares. The film is intense, not audience friendly and different. And that's what makes it maverick.

For every ten Outsourced's, there is maybe one Celluloid #1, and although conventional audiences may breathe a sigh of relief, I welcome the work of artists like Staso like a breath of deliciously ripe air.

This is what gets me in trouble.

Neil Baker

User images

About Editor

Chatelin Bruno

The Editor's blog

Bruno Chatelin Interviewed

Be sure to update your festival listing and feed your profile to enjoy the promotion to our network and audience of 350.000.     

Follow me on Facebook
Follow me on Twitter
Follow me on Instagram
Follow me on Youtube




View my profile
Send me a message