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A thousand generations live in you now. See Star Wars: The Rise of Skywalker in theaters December 20.

James Bond 007 No time to die 2020 Daniel Craig, Rami Malek

Trailers in 2020

feminism

"terroir to play Athens, Greece with 8th International Video Poetry Festival!

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"terroir" has just been accepted to the 8th International Video Poetry Film Festival in Athens, Greece for December 13-14, 2019. This is the 7th selection for this brand new musical, feminist film helmed/written/produced by Dawn Westlake under her Ron de Cana Prods, Inc. shingle. "terroir" was filmed on location in Wheaton & Peru, IL, USA, Font Romeu, France and Vilafranca del Penedes, Catalunya, Spain by Pol Carrizo Vilarroig of Imatge Barcelona. Pol also did the editing...

THREE Ron de Cana Films Selected to Ateneo Ferrolan in Spain for December!

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Three of Dawn Westlake's films made between 2017 and 2019 under her Ron de Cana Prods, Inc. shingle have been chosen to play at this year's Ateneo Ferrolan, Muestra de Cortometrajes. "From On High", "Pooling" and her latest, "terroir", will be presented on December 11th, 2019 in Ferrol, Galicia, Spain. The three films have played on 6 continents and won a total of 15 awards. All were made with Pol Carrizo Vilarroig of Imatge Barcelona behind the camera and ...

"terroir" to have South American premiere in Bogota!

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"terroir" will have its South American premiere with Independent Film Festival de Villa de Leyva in Bogota, Colombia from November 8-11, 2019. Written/directed/produced and sung by Dawn Westlake, "terroir" was orchestrated by multiple award-winning composer GC Johnson of Acoustic Labs. It was shot on location by Pol Carrizo Vilarroig of Imatge Barcelona in Wheaton & Peru, Illinois, USA, Font Romeu, Francia and Vilafranca del Penedes, Catalunya, Spain. Pol also edited and ...

"terroir" to have World Premiere at Goa Short Film Festival!

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"terroir", the brand new musical film by Dawn Westlake with orchestration by GC Johnson of Acoustic Labs, will have its world premiere at the Goa Short Film Festival in India in November! "terroir" was shot by Pol Carrizo Vilarroig of Imatge Barcelona in Wheaton & Peru, Illinois, USA, Font Romeu, France and Vilafranca del Penedes, Catalunya, Spain. Pol edited and did visual effects as well. The film marks the professional acting debut of four-year-old Lilly Johnson, the g...

"terroir" is born!

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"terroir", a new musical film from Dawn Westlake of Ron de Cana Productions, Inc. was finished on 9.9.2019! Written as a poem by Westlake, "terroir" was orchestrated by GC Johnson of Acoustic Labs, and then sung by Westlake who also plays herself (in the present day) and her mother (in 1969 and the 1990s) in the film. Lilly Johnson, her cousin's granddaughter, plays Westlake as a four-year-old and her mother as a three-year-old, in 1969 and 1930, respectively. Pol Carriz...

terroir

Director: Dawn Westlake.

The French word terroir is used across many languages and cultures to describe the soil and climate factors that give wine its character. Metaphorically, we can look at our human upbringing and the resulting character of various world cultures as ‘terroir’. Factually, we all originate from women, but it is the rare culture that respects or honors this truth. Why do we pervert the vessel of life to its own self-denial?
 

Feminist Thriller 'The Bellwether' Opens in LA

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Los Angeles, CA - (January 21, 2019) - Giant Pictures, the digital film distribution division of Giant Interactive, has acquired North American digital rights for The Bellwether writer/director Christopher Morrison's elevated feminist thriller shot in an ancient church in Brussels, Belgium. The Bellwether, a deeply character-driven genre piece, a horror and thriller film which addresses women's issues, features a captivating virtuoso perfor...

The Bellwether

Director: Christopher Morrison.

In The Bellwether, to the outside world Joanne (Reid) is just a bookstore owner, but The Conspiracy knows different. She is dangerous. She is a bellwether: a quiet leader who is well on her way to being her whole self. When they kidnap her to break her, to make her conform, they discover that Joanne is something so much more than even she ever knew. The Conspiracy locks Joanne in a 13th century chapel and she communicates with her 'operator' only through text and images shown a television. In order to break her, they work on her hidden pain, the fact that she had an abortion four years ago. After standing up to the mental torture, the Conspiracy goes even farther; impregnating her and trying to force her to have the baby. At the moment when she is about to give in she will either break, or everything will change, for herself and for the Conspiracy.

Dublin Feminist Film Festival 2018

Dublin Feminist Film Festival has established firm roots on Dublin’s cultural calendar, shining a spotlight on women in film. DFFF promotes and celebrates female filmmakers, hoping to inspire and empower others to get involved in filmmaking.

This involves considering women on-screen, but also behind the camera, through the dual-aspect of celebrating and showcasing fantastic female filmmaking, as well as demonstrating that women make compelling and complex characters and subjects.  DFFF is a celebratory couple of days and our commitment to inclusive art is reflected in the programme each year, showcasing a range of work, from documentary to drama, short form to feature, films from different places and representing different perspectives, as well as work by women-of-colour.

ABOUT 2018'S FESTIVAL

The theme for #DFFF2018 is REFRAME/REFOCUS. Rather than foreground particular topics, our programme this year will feature films not only directed by women, but also shot by female cinematographers. In emphasising the role of the cinematographer, we aim to expand the notion of who 'makes' a film and what 'Films by Women' means, while also raising questions about whether and how films shot by women feature a different or other gaze.

WHY CINEMATOGRAPHY?

In 2018 something remarkable happened: Rachel Morrison garnered an Academy Award nomination for Cinematography for her work on the film Mudbound. At first glance, this might not seem so out of the ordinary. Over the last four decades, women have regularly and increasingly been nominated for and won international awards for production roles that had previously been male-only domains. Not so with cinematography, however. Morrison was the first woman ever to be nominated for her work behind the camera in ninety years of Oscars! Awards aren’t everything of course. But historically speaking, cinematography has been the most difficult filmmaking role for women to break into.

And yet for the past several years, some of the most visually exciting films in world cinema have been shot by women. Long-standing talents like Ellen Kuras, Agnés Godard, Caroline Champetier, and Mandy Walker have in recent years been joined by a huge influx of international cinematographers like Quyen Tran, Nanu Segal, Reed Morano, Morrison, and many more.

For the Fifth Dublin Feminist Film Festival, we have decided to highlight the role of the female cinematographer. In coming to this decision, we thought about it from several different angles. Does a woman’s camera “see” differently? If much of what makes film so compelling is the visual, can a film be “by” its cinematographer as much as its director? And institutionally and structurally speaking, why has the field of cinematography in particular been so reluctant to accept women into its ranks?

Thus we present REFRAME/REFOCUS, wherein we hope to reconsider, not simply the role of the cinematographer in general, but very specifically the role of the female cinematographer and how she lights, frames, and moves through the onscreen space that constitutes our visual filmic experience.

To that end, all the films we screen this year – features and shorts – were directed and shot by women. As part of the festival, we’re also featuring a talk by an esteemed academic on female cinematography, and a roundtable discussion with two Dublin-based female cinematographers.

It’s important to celebrate the work of Rachel Morrison, and we heartily congratulate her on her achievement. However, as we continue to reconsider the fantastic work that female cinematographers are doing around the world, we hope it will become increasingly clear that one nomination in ninety years simply isn’t good enough.

Colossal, Review by Siraj Syed: Loss all

Colossal, Review by Siraj Syed: Loss all Colossal loses big on two counts: It appears to have several allegorical, illusionary hidden agendas, and it goes about framing them in minimalistic, over-simplified montage. There is always a grave risk in making a socio-political commentary using metaphors like video games and giant monsters/robots, and the risk involves alienating (pun intended) both classes of audiences—the superhero aficionados, and the intelligentsia film-goers. Colossal no...

Call for 2017 Film Submissions

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The 2017 Women's Voices Now (WVN) Online Film Festival Submissions Open: October 17, 2016, 9AM PST Submissions Close: February 6, 2017, 11:59PM PST Official Selections Notified: February 10, 2017 Online Film Festival: March 8, 2017- April 5, 2017, 11:59PM PST Award Winners Notified: April 12, 2017   Contact: wvnff2017@womensvoicesnow.org $10,000 IN CASH PRIZES Submit your film here: https://filmfreeway.com/festival/WomensVoicesNow The 2017 Women's Voices Now (WVN) Onl...

Women's Voices Now Online Film Festival

The 2017 Women's Voices Now (WVN) Online Film Festival

 

Submissions Open: October 17, 2016, 9AM PST

Submissions Close: February 6, 2017, 11:59PM PST

Official Selections Notified: February 10, 2017

Online Film Festival: March 8, 2017- April 5, 2017, 11:59PM PST

Award Winners Notified: April 12, 2017

 

Contact: wvnff2017@womensvoicesnow.org

 

$10,000 IN CASH PRIZES

 

Submit your film here: https://filmfreeway.com/festival/WomensVoicesNow

 

The 2017 Women's Voices Now (WVN) Online Film Festival is an opportunity for films and filmmakers interested in exposure and advocacy for women’s rights, and teaming up with WVN to have your films seen around the world. Films must be about women’s social, economic, and political issues. Films by women and men are accepted into the festival. This is the fourth WVN Online Film Festival.

 

Women’s Voices Now seeks to amplify the voices of all women. We believe in the power of free expression to realize the aspirations of women's rights. At WVN, we look for compelling films in the documentary, narrative, and experimental genres that push boundaries and subvert expectations. We are looking for films that are relevant to our global community and which tell unique stories and amplify voices of women from around the world. We judge all film submissions based on relevance of subject matter to our film festival, strength of a film’s storytelling (use of structure and image to communicate a compelling story), and the technical aspects of filmmaking.

All films in any language other than English are encouraged to submit; however, all films must include English language subtitles. There is a $20 submission fee for each film submission. Submissions are incomplete until we receive a high resolution, screening-ready, digital download.

By submitting your film to our festival, you agree to our Rules & Regulations and Licensing Agreement.

 

For more information on Women’s Voices Now: www.womensvoicesnow.org.

 

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Mad Max Review

  “Mad Max” Immediately hits the audience with heavy social commentary, assuring the audience knows that this is not going to be your average blockbuster action flick.    "I don't want to speak for George but what I took from all the Mad Max films is it was very grounded with what a lot of scholars talk about with globalization and global warming, leadership getting out of hand and the control of people,” Charlize Theron said in the “Mad Max&r...

Notable Quotes from the Mad Max Press Conference

                                                                          https://youtu.be/vjBb4SZ0F6Q “Mad Max” opened todays events with an evaluative bang. The stars of the film, Tom Hardy, Charlize Theron and Nicholas Hoult joined Director George Miller on stage for a press confere...

Programme for London Feminist Film Festival 2012 announced!

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The programme for the first year of the London Feminist Film Festival has been announced! We'll be showing short and feature length films by women directors from around the world. Dates are 29 Nov - 2 Dec 2012. See here for the full programme: http://londonfemini stfilmfestival. com/programme/ Highlights include: Lesbiana: about lesbian feminism and women-only communes in the 1980s. Followed by our opening night party! Audre Lorde - The Berlin Years: about Audre Lorde's contributi...

Wariazone poster

Wariazone

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Director: Kiwa & Terje Toomistu.
Wariazone explores the notion of transgender in Indonesia and relations between gender identity and freedom. It raises questions about the politicization of morality and religion after the reform era. The male-to-female transsexuals who are known by the artificial word ‘waria’ (wanita, woman + pria, man) are a well-known phenomenon in the cultural mosaic of the country with the world’s largest Moslem community. The warias are often described in the local context as a combination of masculinity and femininity, a third sex, or a woman’s soul born in the body of a man. Traditionally, variations in gender identity have been considered to be holy in many Indonesian cultures, but today the warias have been relegated to an outlaw zone on the outskirts of society. The consequences of the stigmatization based on the rigidity of social constructions (morals, religions, hetero-normativity, etc.) include non-recognition of their gender identity, discrimination, limited work opportunities, the sex industry, and HIV/AIDS. Wariazone not only situates itself within the context of gender and sexuality, but also points out how the expression of gender identity is ruled by ideology: the ‘truth’ is related to the power. Among many activists (Yulianus Rettoblaut, Merlyn Sopjan, Lenny Sugiharto, Ienez Angela, Shinta Ratri, to name a few) and sex workers, Dédé Oetomo (a leading activist for LGBT rights), Julia Suryakusuma (Indonesia's own feminist fatale) and Didik Nini Thowok (legendary cross-dressing performance artist) also appear in the film. Visits are made to several waria gathering places in Jakarta, Yogyakarta, Malang and Surabaya, and to the world's only Koranic school for transgendered people. 
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