BAJA INTERNATIONAL FILM FESTIVAL

Cabo – MEXICO
November 14 to 17, 2012
Upcoming Deadline: August 13, 2012

 

The BAJA INTERNATIONAL FILM FESTIVAL (BIFF) invites filmmakers from across the globe to the beautiful Pacific resort of Cabo for a four-day celebration of community, cinema, and international flavors. BIFF showcases a diverse and tightly curated film program including U.S., Mexican, and international cinema, and underscores the ability of art to transcend geography, cultures, and languages. Academy-Award nominated actor Edward Norton will serve as Official Festival Advisor in the inaugural season.

As host of the 2012 G20 summit, and as a popular vacation destination for stars including George Clooney, Leonardo DiCaprio, and Jennifer Aniston, Cabo is poised to welcome its festival guests with luxury and unsurpassed hospitality. The festival provides complimentary round-trip flights from L.A. to Cabo, or from Mexico City to Cabo, for all accepted filmmakers. BIFF encourages public participation through community events and educational filmmaking programs; leading filmmakers from the United States and Mexico will be on-hand to provide mentorship to film producers, directors, screenwriters, and actors of all backgrounds. Submit to the Baja International Film Festival today and celebrate cinema in the lap of luxury!

MOVING IMAGE FILM FESTIVAL

Toronto, Ontario – CANADA
November 2 to 4, 2012

Upcoming Deadline: August 10, 2012

Taking place in vibrant Toronto, Canada, the 5th Annual MOVING IMAGE FILM FESTIVAL (MIFFest) is a quickly-growing event that showcases mainstream and art house cinema on an equal platform, uniting diverse audiences while providing maximum exposure for each selected film.

Offering filmmakers exposure to the Canadian film and television industry and a variety of distribution opportunities, MIFFEST sports a guest list of industry partners including Raindance Canada, Channel Zero, Movieola Short Film Channel, and Silver Screen Classics. In addition to enjoying great networking opportunities, participants receive passes to all gala events and screenings. The winner of the Best Feature Film Award can choose between a RED CAM production prize pack or a fully-paid trip to the American Film Market valued at $5,000 CAD. The Best Short Film Award-winner receives a $1,500 voucher toward post-production services at SPOTZ. Submit your work to the Moving Image Film Festival today for the chance to nab a great prize package and some career-launching industry exposure!


CHICAGO INTERNATIONAL REEL SHORTS FILM FESTIVAL

Chicago, Illinois – USA
September 20 to 23, 2012

 

The 9th Annual CHICAGO INTERNATIONAL REEL SHORTS FILM FESTIVAL (CIRSFF), is a celebration of short-form filmmaking that tailors its program to the filmmakers and audiences it serves. CIRSFF ensures that each film is part of a curated showcase that complements and accentuates each film’s themes, resulting in a highly personalized and always-captivating festival that truly respects and celebrates the uniqueness of each filmmaker.

Each competitive category at CIRSFF – including Short Film Narrative, Short Film Documentary, Short Film Youth, and Music Video – will present both an Audience Award and a Panel Award to filmmakers who make a strong and memorable impact. A Best of Fest Award will also be bestowed on the project that best exemplifies the power of the independent spirit. Rather than emphasize competition, however, CIRSFF seeks to create relationships and networks that will extend far beyond the festival itself and will help spark fantastic careers that go on to inspire others.

Last year’s CIRSFF hosted an exclusive selection of short films featuring Chicago’s own Joe Mantegna (“Criminal Minds”), including his directorial debut. The success of this event has prompted CIRSFF to develop an annual program featuring other Chicago-native celebrities and their creative works.

UPCOMING DEADLINE
August 12, 2012 – Regular Deadline

MISSION AND OBJECTIVE
The Chicago International Reel Shorts Film Festival seeks to provide opportunities for filmmakers around the world by showcasing their work to “reel” people in and around Chicago. The festival seeks to provide a supportive atmosphere with low entry fees, low ticket prices, and high reward.

MORE ABOUT THE FESTIVAL
Offering participating filmmakers a pre-festival screening event and a networking gala at a beloved Chicago hotspot, CIRSFF takes full advantage of the sights, sounds, and flavors of one of America’s most exciting cities. Home to renowned musicians, diverse and memorable storytellers, and premier culinary artists, Chicago offers something for everyone.

CIRSFF guests will enjoy fantastic films at Columbia College’s Film Row Cinema, a venue featuring one of the best digital projection theaters in the Midwest. The festival also includes a lecture series that explores the experiences and insights of well-established independent filmmakers from Chicago and abroad; award-winning producer and director Julian Grant will be this year’s special guest presenter.

For the chance to explore the great city of Chicago and discover this top-notch event for yourself, submit to the Chicago International REEL Shorts Film Festival today!

 


Santa Barbara International Film Festival

28 Annual January 24, 2013 to February 03, 2013

The SIBFF

 

MISSION & OBJECTIVE
Now in its 28th year, The Santa Barbara International Film Festival (SBIFF) is a nonprofit organization dedicated to enriching local culture and raising consciousness of film as an art form. It presents quality American Independent, Spanish and Latin American, European, World and Documentary cinema within the beautiful setting of downtown Santa Barbara, a perfect backdrop and premier tourist destination in its own right. SBIFF will continue to build its acquisitions program with Traction Media, which highlights films for some of the world’s most viable distribution companies. SBIFF is also committed to educating our youth through the “10-10-10” youth filmmakers project and the unique “Field Trip to the Movies” program. With a projected audience of over 70,000, The Festival will screen more than 200 films over an eleven day period. SBIFF attracts an affluent, local, national and international consumer base, while maintaining strong ties with the entertainment industry in Los Angeles.

ABOUT THE FESTIVAL
The Santa Barbara International Film Festival (SBIFF) is an eleven day event held in the seaside resort city of Santa Barbara, California (90 minutes north of Los Angeles). SBIFF is proud to present a diverse slate of more than 200 films to over 70,000 film enthusiasts. Our audience is a unique combination of film industry professionals, local, regional and International attendees, and a large student population.

In addition to showcasing a diverse spectrum of films, tributes and galas. SBIFF also offers seminars with industry professionals including Directors, Screenwriters, Producers and Women’s Panels, as well as provocative Q&A sessions with a diverse selection of filmmakers.

SBIFF has established itself as one of the premier international film festivals and we look forward to building on that success in 2013 and creating opportunities for participants to network with some of the world’s leading independent distributors and filmmakers. In addition to expanding our slate each year to highlight emerging genres, styles and regions, SBIFF is growing our free educational and community outreach programs with the “10-10-10” youth filmmakers project, “Field Trip to the Movies” and “Applebox” which cumulatively served over 12,000 students and families during our last festival. Please visit our Website for more information on these and other SBIFF programs. http://www.sbfilmfestival.org

ORGANIZERS
Michael Albright (Programming Manager) ; Michal Wiesbrock (Director of Development) ; Mickey Dudevich (Programming Coordinator) ; Rodney Gould (Director of Operations) ; Rodney Gould (Director of Operations) ; Roger Durling (Executive Director) ; Sean Pratt (Operations Manager) ; Steve Blain (Managing Director)

GENERAL RULES
Each tape for projection must be labeled with name, filmmaker, Contact info, Running time and aspect ratio (4*3 or 16*9)

FILM ENTRY RULES

The accepted exhibition formats for our festival are :
35 mm – Optical, Dolby A, Dolby Digital only
Digibeta – 29.97 fps, Stereo
Sony HDCam – Sony HD cam only 23.98 fps and 59.94 fps, Audio is STEREO only

NOTE: These formats may vary depending on the category. Please check the submissions guidelines or contact programming@sbfilmfestival.org

All films must be in NTSC format. PAL is not accepted. It is the filmmakers responsibility to convert PAL to NTSC.

**FEE WAIVERS NOT AVAILABLE **

-Entry fee is non-refundable.

-For preview purposes, DVD (NTSC only) is preferred.
-DVDs MUST BE CLEARLY labeled on the spine with film title.

-Please do not send press kits with your screener unless requested.
-DVDs will not be returned.

-Films/videos that have received national U.S. network television (including cable) or theatrical release prior to Festival are not eligible.

-No music videos or commercials.

-More than one entry may be submitted. Each entry must be accompanied by its own online entry and entry fee.

-If your film is selected, original format prints will be due at the Festival offices no later than January 13th, 2012.

-The filmmaker will assume shipping costs of materials and print to SBIFF.

-Please DO NOT send in a press kit until AFTER you have received notification from SBFF.

-Upon acceptance, Filmmakers must agree to send no less than two high resolution digital screen shots to be used at the SBIFF’s discretion. Film posters will not be accepted.

-If your film is selected, you will be asked to provide: digital stills from the film; press materials; video trailer and digitized trailer for website (if available); posters and flyers.

-Titles produced in languages other than English must have legible English subtitles.

-Not all invited films officially selected will be eligible for competition.

-The selection committees’ and juries’ decisions are final.

-If selected, filmmaker gives SBIFF permission to audio-describe film for the sight-impaired.

-Title of work, WAB ID #, and name of entrant must be on all mailing containers and mailing labels, video boxes, photographs, videocassettes, film containers, cans, reels, and film leaders. Video boxes, film reels and cans must be numbered (1 of 2, 2 of 2, etc.).

-If paying by check, the check MUST include the film title and WAB ID #

-Import declaration statements: all non-U.S. entries must be sent via air mail registered with the declaration:

A) for 35mm films: “Free entry claimed under #724.10 (960.55) U.S. Tariff Act. To be returned following the Festival.”

B) for videotapes: “Free entry claimed under #724.12 (960.60) U.S. Tariff Act. To be returned following the Festival.” Entrants must assume all responsibility for clearing films and videotapes through U.S. and/or foreign customs officials.

-SBIFF reserves the right to make any necessary changes in regulations or Festival scheduling.

Warsaw Film Festival

28 Annual October 12, 2012 to October 21, 2012

The Warsaw Film Festival

 

MISSION & OBJECTIVE
The Warsaw Film Festival (WFF) is organized by the Warsaw Film Foundation in Warsaw, Poland. Its aim is to present the best films from all over the world to Polish and international audience, and to encourage better communication and understanding between people living in different countries and of different cultural backgrounds. WFF is accredited by FIAPF (www.fiapf.org) as a competitive non-specialized film festival. At WFF we present films made to be screened at cinemas.

ABOUT THE FESTIVAL
The Warsaw Film Festival has a history going back twenty-five years. We have travelled a long way – from a modest though ambitious student event to a genuine film festival that can rival even the best competitions.

The WFF differs from other festivals in its programme, just as Warsaw differs from other cities. Selecting the films, we always remember about our audience, the Varsovians – the city’s native residents, those working or studying in Warsaw, and those in town for a short while, for instance only for the Festival.

The cultural backwardness inherited from the previous system, a system that cut us off from our original civilization for half a century, is not getting smaller. The world is rushing forward faster and faster. That makes us try even harder to make sure that our audiences get to know the latest and most interesting trends in world cinema as soon as possible, often in the form of national and regional presentations. In this way, WFF audiences – usually as the first people in Poland – could discover American independent cinema as well as Asian, Latin American, Iranian, Russian, and Romanian cinema. Time has always been a major consideration: capturing the moment of the greatest success, the peak. Our aim is to show a film before it wins an Oscar, to introduce a director to Warsaw audiences before he or she wins an award at the Cannes festival.

We have been expanding the professional part of the WFF for the past ten years. We realize that film festivals are part of a giant mechanism that is the global film industry. We do our best to make sure that the world takes note of Polish films, that they get screened at leading festivals, that they find their way into international distribution.

We started off modestly – with screenings of new Polish projects for barely a dozen foreign guests. Five years later, we held the CentEast Market for the first time: a meeting place for professionals interested in films from Eastern Europe. Last year, The Hollywood Reporter had this brief remark to offer about the CentEast Market: “[it] is the go-to event”.

I am confident there is a bright future before the Warsaw Film Festival.

Stefan Laudyn
Director of the Warsaw Film Festival
ORGANIZERS
Bartek Pulcyn (Head of Short Films Competition) ; Stefan Laudyn (Director)

GENERAL RULES
1. ORGANISATION, AIMS, DATES
The Warsaw Film Festival (WFF) is organised by the Warsaw Film Foundation in Warsaw, Poland. Its aim is to present the best films from all over the world to Polish and international audience, and to encourage better communication and understanding between people living in different countries and of different cultural backgrounds. WFF is accredited by FIAPF (www.fiapf.org) as a competitive non-specialised film festival. At WFF we present films made to be screened at cinemas.
The 28th Warsaw Film Festival will take place October 12-21, 2012.

2. SECTIONS
The Festival programme is divided into the following sections:
2.1. International Competition – for feature films from all over the world.
2.2. Competition 1-2 – for first and second feature films by the directors from all over the world.
2.3. Free Spirit Competition – for independent, innovative, rebellious films from all over the world.
2.4. Documentary Competition – for feature length (over 60 mins.) documentaries from all over the world.
2.5. Short Films Competition – for short films from all over the world (30 mins. or less).
2.6. Special Screenings (non-competitive section).
2.7. Discoveries – visions of contemporary world (non-competitive section).
2.8. The World Today (non-competitive section).
2.9. Critics Selection (non-competitive section).
2.10. Family Cinema Weekend – films for children and their parents (non-competitive section).
2.11. Polish Short Films Panorama (non-competitive section).

3. ELIGIBILITY
Except in special circumstances, accepted by the festival director, only films meeting the following criteria can be presented at the Warsaw Film Festival:
a/ films which had their first public screening no more than twelve months before the Festival;
b/ films that have not been presented during any motion picture event in Poland; the only acceptable exception are Polish feature films, which can be presented at the Polish Feature Films Festival in Gdynia and at the Festival of Film Debuts in Koszalin;
c/ films that have not been distributed, exhibited or broadcast in Poland;
d/ films screening from the following formats: 35 mm, DCP, HDCAM, DigiBeta, Betacam SP.
World, international, and European premieres have priority in competitive sections.

4. SELECTION
4.1. The Director of the Festival selects and invites the films participating in the Festival.
4.2. Films sent on time on DVD with English subtitles (if the language of dialogues is not English or Polish), accompanied by duly filled entry forms and documentation are accepted for selection.
4.3. DVDs remaining in Poland will be destroyed six months after the end of the festival.

5. DEADLINES/IMPORTANT DATES
March 15 – selection process commences
June 15 – deadline for submissions of feature length films
July 31 – deadline for submissions of short films
August 15 – selection results announced to the entrants; sorry, but due to an enormous number of entries we will only inform the entrants whose films were selected; if you do not receive from us an invitation by August 15, it means that your film has not been selected for the WFF programme;
September 26 (Wednesday) – official press conference of WFF
October 5 – deadline for delivery of screening materials to the Festival Office
October 12-21 – dates of the Festival
October 19-21 – dates of CentEast Market Warsaw, which accompanies the WFF
Saturday, October 20 – Awards Ceremony
October 31 – film prints returned (at the latest).

6. LANGUAGE VERSIONS AND SUBTITLES
6.1. All films will be screened in their original languages with English subtitles, except for films with dialogues in English. The English subtitles are obligatory for Polish films.
6.2. Polish Distributors must provide the prints of foreign films with Polish subtitles at their own expense.
6.3. If the film does not have a Polish Distributor, the Festival Organisers will provide electronic subtitles (under the screen) in the Polish language at their own expense.
6.4. Polish films presented at the WIFF must be subtitled in English at the expense of the Producer.

7. SCREENINGS
7.1. Each film will be presented no more than four times, including press & industry screenings.
7.2. The Festival Director makes the screenings schedule.
7.3. During the Festival no public screening of any of the films participating is permitted before the official screening organised by the Festival.

8. JURIES, AWARDS
The Juries and their Presidents are appointed by the Festival Director, who has the right to attend the jury proceedings, but does not take part in the voting. The decisions of the Juries are taken by open ballot, with simple majority. Persons who have any connection with films presented in the competition cannot be on the Jury.
IMPORTANT INFORMATION regarding cash awards:
a/ payments will be made by bank transfer only; the winners are requested to provide us with their banking details;
b/ the entire sum of prize money will be transferred to one account of the winner;
8.1. International Competition awards:
a/ the main award – Warsaw Grand Prix
The financial part of the award: 100,000 zlotys *). 50% of the prize money goes to the Director (or Directors) and 50% to the Producer (Producers).
b/ Best Director
The financial part of the award: 20.000 zlotys *). The award goes to the Director (Directors).
c/ Special Jury Award
The financial part of the award: 8.000 zlotys *). The award can be given to an actor, composer, editor, director of photography, producer, scriptwriter or set designer.
There can be only one winner of each of the awards in the International Competition (no ex-aequo).
8.2. Awards in Competition 1-2
Winner of Competition 1-2
The Jury can give one or two equally important awards. The financial part of each award: 20.000 zlotys *). The award goes to the Director (Directors).
8.3. Free Spirit Competition award:
Free Spirit Award
The financial part of the award: 12.000 zlotys *). The award goes to the Director (Directors). There can be only one winner of the Free Spirit Competition (no ex-aequo).
8.4. Documentary Competition award
Best Documentary Award
The financial part of the award: 12,000 zlotys *). The award goes to the Director(s). There can be only one winner of the Documentary Competition (no ex-aequo).
8.5. Short Films Competition
a/ Grand Prix
The financial part of the award: 4,000 zlotys *). The award goes to the Director(s) of the winning film. There can be only one winner of the Grand Prix (no ex-aequo).
b/ Best Animated Short Film Award
The financial part of the award: 2,000 zlotys *). The award goes to the Director(s) of the winning film.
c/ Best Live Action Short Film Award
The financial part of the award: 2,000 zlotys *). The award goes to the Director(s) of the winning film.
8.6. The Audience Award: The audience votes for the best film from any section of the Festival. The winner gets the Audience Award. No financial part of this award.
*) all financial awards are subject to tax, to be paid in Poland, according to the Polish Law; for current exchange rates please consult http://www.nbp.pl;

9. TRANSPORTATION AND RESPONSIBILITY FOR PRINTS
9.1. The prints should reach the Festival Office in Warsaw (in accordance with Shipping Instructions) by October 5, at the latest.
9.2. Polish Producers and Distributors deliver the prints to the Festival Office at their own expense.
9.3. For films without Polish Distributor, the cost of prints’ transportation, if not agreed otherwise, is covered by WIFF:
a/ to and from Poland, if the print is transported from and to the lending company (Producer/Sales Agent);
b/ one way (to Poland only), if the print is transported along a chain of festivals.
9.4. The Festival is responsible for the prints from the moment of pick-up from the shipper (when importing) to the moment of giving them to the shipper (when re-exporting). The Festival’s responsibility for damage or loss of the print is limited to the cost of making a new print according to the present laboratory rate for making a standard print. The festival’s liability in case of whole or partial destruction of a print during the festival cannot exceed the value of 3.500 Euro.
9.5. Damage to the film print must be reported to the Festival Office in writing within one month of its return and before the following screening. All claims will be judged by the reported state of the print.

10. OTHER ISSUES
10.1. Participation in the Festival implies acceptance of the Festival regulations.
10.2. Once the invitation has been accepted, the invited film cannot be withdrawn from the Festival programme.
10.3. Cases not covered by these Regulations will be considered in compliance with the International Regulations. In case of dispute, only the Polish language version of the Festival Regulations is considered legally binding.
Mailing address: Warsaw Film Festival, P.O. Box 816, PL-00-950 Warszawa 1, Poland
Office (couriers’) address: Warsaw Film Festival, ul. Lwowska 11/11, 00-660 Warszawa, Poland
Other co-ordinates: tel: (48-22) 621 4647, fax: (48-22) 621 6268, e-mail: films@wff.pl, http://www.wff.pl.

IMPOTRTANT! When sending a DVD screener, please write on the package: “For cultural purposes only, no commercial value,” and declare customs value of no more than 20 euro, or the equivalent, to avoid customs fees. Please note the WFF will not pay customs fees for DVD screeners of the submitted films.

St. Louis International Film Festival

21 Annual November 08, 2012 to November 18, 2012

Cinema St. Louis


MISSION & OBJECTIVE
The mission of Cinema St. Louis is to promote the art of cinema and to expand the variety and availability of cinema experiences by presenting the St. Louis International Film Festival, screenings, programs, and educational opportunities.

ABOUT THE FESTIVAL
The St. Louis International Film Festival Inc. was established in 1992 for the purpose of producing, promoting, and presenting annual film events to advance film as an art form in St. Louis. In the first year of the Festival, 25 films were shown during the last week of April. Under the direction of Festival co-founder Barbara S. Jones, the tradition of a daring and eclectic array of American and foreign films began. First-year attendance was estimated at 4,500, and critics were surprised and impressed at the level of sophistication achieved during the first year of the event.

The second year, the Festival incorporated as a Missouri not-for-profit organization. The number of films grew to 33, and attendance grew by 20 percent. By the third year, the Festival had expanded into a 10-day event at three theaters, and 11 film directors attended their St. Louis premieres, greeting festival-goers and fielding questions from the audience about their art. Filmmaker attendance has been an important aspect of the St. Louis International Film Festival since its inception, furthering part of the Festival’s mission as a forum for young filmmakers to show and discuss their films. The third year also saw the founding of Cinema/St. Louis, now known as Friends of the St. Louis International Film Festival, the membership society of the Festival, which contributes financially and provides critical volunteer support.

By its fourth year, the Festival had become a St. Louis tradition eagerly anticipated by film audiences. The Festival moved from April to November and grew to include the St. Louis premieres of more than 50 films. Two annual awards were initiated: the juried Fox Theatre First Feature Award and the Audience Choice Award. The fourth year also saw the debut of the Spring Sampler, an April event that included 10 screenings and several visiting filmmakers.

Growth of the Festival has continued to be tremendous in recent years. The St. Louis International Film Festival has ambitiously challenged itself to grow with special-interest sidebars, including the popular New Filmmakers Forum, introduced in 1996. By 1997, attendance at the Festival had topped more than 10,000. Twenty-eight guest filmmakers attended, and a special feature included an opening weekend Star Tribute to screen legend Tony Curtis at the Fabulous Fox Theatre, where the Distinguished Hollywood Film Artist Award was presented.

In 1998, Delcia Corlew was named the Festival’s managing director, and the offices moved to its current headquarters in St. Louis’ Central West End. The Seventh Annual Festival in 1998 included a very special sidebar titled “A Separate Cinema,” which featured films dating from 1915-1965 featuring all-black casts for African-American audiences. A poster exhibition and seminars accompanied the sidebar screenings. Films by and about African-Americans remain an important component of the Festival, which strives for inclusiveness by featuring films that address issues of race, age, ethnicity and sexual identity.

In 1999 and 2000, the Festival continued to expand the range of its offerings, especially in the areas of documentary and short films. The number of awards the Festival presents has also grown; in 2003, they included the Charter Communications and Starz Encore Group Audience Choice Awards, the Leon Award for Best Documentary, the Interfaith Award for Best Feature and Best Documentary, the Sundance Channel Emerging Filmmaker Award, the Best of Fest Short Film Award, and the Emerging Actor Award.

The 2003 12th Annual edition of the Festival marked the fourht consecutive year for double-digit attendance growth for an all-time high of 18,500. A record number of submissions was also recorded for that year. The Festival has been recognized as one of the Top Ten International Film Festivals and Short Subject Film Festivals in the United States by Chris Gore in his 2004 3rd edition of the “Film Festival Survival Guide.” Festival Director Chris Clark recently was honored as one of the “Festival Directors/Programmers to Know” in the Winter 2004 edition of Film Festival Today magazine.

The 2009 edition featured visits from director Jason Reitman, director Dan Ireland, actress and first-time director Connie Stevens, and director Joe Berlinger. The festival kicked off with a sold out screening of the opening night film An Education, and with dueling closing night features Me and Orson Welles and Young Victoria. 265 films competed for awards in 15 categories with guests from all across the United States, plus over 150 visiting filmmakers.

The 20th Annual SLIFF took place in November, 2011 and featured more than 400 films from over 40 countries.

The Festival staff now consists of Executive Director Cliff Froehlich, Artistic Director Chris Clark, and Operations Supervisor Brian Spath. Under their leadership, the Festival is increasing its year-round presence with screenings, special events, and educational outreach.

The St. Louis International Film Festival is a not-for-profit organization that emphasizes film as an art form. Its mission is to enhance cultural diversity by bringing American independent productions, horizon-expanding international films and high-quality studio films to audiences before their commercial release. The Festival is especially concerned with providing filmgoers the opportunity to see works that would otherwise never screen in St. Louis.

For more information regarding the St. Louis International Film Festival, call 314-289-4150

ORGANIZERS
Brian Spath (Operations Supervisor) ; Brian Spath (Operations Supervisor) ; Brian Spath (Operations Supervisor) ; Chris Clark (Artistic Director) ; Chris Clark (Artistic Director) ; Chris Clark (Artistic Director) ; Cliff Froehlich (Executive Director)

GENERAL RULES
Conditions for Eligibility:
ALL FILMS MUST: 1) be completed by entry deadline (NO works-in-progress); 2) be a St. Louis theatrical premiere; 3) be submitted with English subtitles if in a language other than English; 4) be submitted with a completed entry and appropriate payment; and 5) not be widely commercially available on video/DVD in the U.S. before the festival dates. Please contact Cinema St. Louis for questions and clarifications.

Entry Procedure:
For preview purposes, films must be submitted on DVD (regions 1 or 0, NTSC or PAL) or secure online screener . If you want your screener returned, you must include a self-addressed, stamped, padded envelope. Nothing will be returned otherwise. Payments may be made by check, money order, or credit card. If your film is selected, publicity photographs, posters, and a press kit must be sent immediately. Photos, slides, and 300 dpi or higher electronic images are acceptable. Please read and understand the agreement at the end of form before signing and submitting. All entrants will be notified of the status of their submission by e-mail no later than Sept. 30, 2012. Notification of acceptance or rejection will not include criticism or feedback specific to your entry.

MEMAH INTERNATIONAL FILM AND MUSIC FESTIVAL

 

Agoura Hills, California – USA
September 28 to 30, 2012

The MEMAH INTERNATIONAL FILM AND MUSIC FESTIVAL brings together those working in visual and music arts for a full-bodied exploration of the creative spirit. Kicking off with an opening night gala at Paramount Ranch, Memah Fest will present a two-day, multi-venue festival packed with panels, celebrity guest appearances, networking opportunities, and plenty of treats for the eyes and ears.

All submitting filmmakers will receive four festival passes, granting access to a one-of-a-kind experience. Memah Fest is also proud to feature an invite-only, exclusive red carpet gala at Los Angeles’s famed Academy of Television Arts & Sciences. Celebrity judges from the film and music industries will be on hand throughout the festival, ready to evaluate the program of exciting, independent creative works and meet with up-and-coming artists.

Memah Fest benefits from an impassioned and diverse online community eager to embrace fantastic films and music. This network offers the opportunity for filmmakers and musicians to have their works enjoyed and promoted well beyond the closing night of the festival.

UPCOMING DEADLINE
August 2, 2012 – Late Deadline

MORE ABOUT THE FESTIVAL
Memah Fest’s April pre-party set a high-energy tone for this fall’s festival, featuring music by Big Bang, the debut of an independent music video by director Steven Soria, a screening of the feature film PASSENGERS starring Cameron Daddo and Bruce Davison, and the opportunity for talented artists of today and tomorrow to mix and mingle.

Submit your work now to join the fun at the first-ever Memah International Film and Music Festival!

 

WEYAUWEGA INTERNATIONAL Film Festival

 

Weyauwega, Wisconsin – USA
November 8 to 11, 2012

The 2nd Annual WEYAUWEGA INTERNATIONAL FILM FESTIVAL (WIFF) invites you to picturesque Weyauwega, Wisconsin for a celebration of original and personal filmmaking. Hosted in the breathtaking Gerold Opera House, WIFF welcomes a diverse array of films that each celebrate the independent voice of the filmmaker and take audiences off the beaten path.

WIFF is pleased to provide housing and transportation to visiting filmmakers during their stay in Weyauwega. In addition to receiving festival passes, selected filmmakers will take part in discussion groups, be recognized at the WIFF grand finale party, and will be invited to participate in interviews with press. WIFF will also host a young filmmaker’s workshop during the festival; participants will receive hands-on experience and gain knowledge from working filmmakers.

Cash prizes will be awarded to the top films in categories including Narrative Feature ($250 USD), Narrative Short ($100), Documentary Feature ($250), and Documentary Short ($100). Films lauded at last year’s festival featured such stars as James Gandolfini (“The Sopranos”) and Tony Shalhoub (“Monk”). ED GEIN: THE MUSICAL, now touring the United States, was a highlight of the inaugural program.

UPCOMING DEADLINE
August 3, 2012 – Late Deadline

MORE ABOUT THE FESTIVAL
Author Robert Bloch wrote Psycho while living in Weyauwega, where the Lakeshore Motel sign still stands at the edge of town. Nearby cities Green Bay, home of the Packers, and Appleton, known as paper valley, provide eager festival attendees. Neighboring Waupaca is a beautiful resort town with a variety of lake activities, offering visitors much to see and do while in town.

For the chance to enjoy a Midwest festival experience and discover new voices and ideas, submit your film to the Weyauwega International Film Festival today!


Sundance Film Festival

29 Annual January 17, 2013 to January 27, 2013

Sundance Film Festival 12!

 

MISSION & OBJECTIVE
Sundance Institute is a non-profit organization that actively advances the work of risk-taking storytellers. Founded in 1981 by Robert Redford in the mountains of Sundance, Utah, the Institute secures a space for independent artists to explore their stories free from commercial and political pressures. Through year-round programs, the Institute seeks to discover and develop independent artists and audiences and to provide a platform for artists to present their works to a global audience—the Sundance Film Festival.

ABOUT THE FESTIVAL
The Sundance Film Festival is the premier showcase for U.S. and international independent film, held each January in and around Park City, Utah. Presenting dramatic and documentary films from emerging and established artists, innovative short films, filmmaker forums and panels, live music performances and film composer events, cutting-edge media installations, engaging community and student programs, the Festival brings together today’s most original storytellers in a vibrant community.

ORGANIZERS
Adam Montgomery (Senior Manager, Festival Programming) ; Adam Montgomery (Senior Manager, Festival Programming) ; Caroline Libresco (Senior Programmer) ; Charles Reff (Coordinator, Programming Department) ; Charlie Reff ; David Courier (Senior Programmer) ; Emily Doe (Shorts Programmer) ; Emily Doe (Shorts Programmer) ; Ernesto Foronda (Shorts Programmer) ; Heidi Zwicker (Programming Associate, World Cinema) ; Jessica Buzzard (Director of Marketing, Sundance Institute) ; Jill Miller (Managing Director, Sundance Institute) ; John Cooper (Director, Sundance Film Festival) ; John Nein (Senior Programmer) ; Jon Korn (Shorts Programmer) ; Katie Metcalfe (Programmer, Short Films) ; Katie Metcalfe (Shorts Programmer) ; Keri Putnam (Executive Director, Sundance Institute) ; Kim Yutani (Programmer) ; Landon Zakheim (Coordinator, Programming Department) ; Lisa Ogdie (Coordinator, Programming Department) ; Miguel Rodriguez (Filmmaker) ; Mike Plante (Shorts Programmer) ; Sarah Pearce (Director of Operations, Sundance Institute) ; Shari Frilot (Senior Programmer) ; Trevor Groth (Director of Programming, Sundance Film Festival)

GENERAL RULES
The following is an explanation of rules and regulations (“Rules and Regulations”) governing the submission of a film (hereafter called the “Film”) to Sundance Institute (hereafter called the “Institute”) for consideration for the 2013 Sundance Film Festival (hereafter called the “Festival”).

All information below shall supersede the contents of the FAQ document, located at http://www.sundance.org/pdf/submissions/2013_Submissions_FAQ.pdf.

I. GENERAL RULES AND REGULATIONS FOR SUBMISSION OF A FILM TO THE SUNDANCE FILM FESTIVAL:

NOTE: The submission categories and program categories that are referenced and identified as capitalized terms in this Section I of these Rules and Regulations, and the eligibility requirements for each, shall be understood as having the definitions and descriptions assigned to them in Sections II and III of these Rules and Regulations below.

1) If 50% or more of the Film’s financing originated from sources within the United States, the Film may only be submitted as either a U.S. Narrative or Documentary Feature Film, or as a U.S. Short Film.

2) If more than 50% of the Film’s financing originated from sources outside of the United States, the Film may only be submitted as either an International Narrative or Documentary Feature Film, or as an International Short Film.

3) If the Film’s final running time is projected to be less than 50 minutes, the Film may only be submitted as a U.S. or International Short Film.

4) If the Film’s final running time is projected to be 50 minutes or more, the Film may only be submitted as a U.S. or International Narrative or Documentary Feature Film.

5) U.S. Narrative and Documentary Feature Films that have been released theatrically or screened at more than two film festivals anywhere in the world are not eligible for submission to the Festival. In order to qualify for our U.S. Narrative or Documentary competition categories, the Film must retain world premiere status. This does not include “work-in-progress” screenings in which an incomplete version of the film was previously screened.

6) International Narrative and Documentary Feature Films that have been released theatrically, broadcast on television, or screened at any number of film festivals within their country of origin are eligible for submission to the Festival and all Festival program categories.

7) International Narrative and Documentary Feature Films that have been released theatrically, broadcast on television, or screened at film festivals outside of their country of origin are not eligible for open submissions. This does not include “work-in-progress” screenings in which an incomplete version of the film was previously screened.

8) U.S. and International Narrative and Documentary Feature Films that have previously been exhibited theatrically at one or more private screenings for which tickets were not available to the general public retain eligibility for submission to the Festival.

9) Short Films do not have any premiere requirements. U.S. and International Short Films do not forfeit their eligibility for submission to the Festival if they were previously released theatrically or on DVD, broadcast on television or the internet, or screened at any number of film festivals in the world.

10) U.S. and International Narrative and Documentary Feature Films that have previously been theatrically exhibited at a “work-in-progress” screening at which tickets were available to the public are only eligible for the Festival if the version submitted is significantly different from the version previously screened. The Institute reserves the right to determine a previously screened project’s eligibility, without refund of any or all submission fees previously collected from the Applicant, based on the content of the submitted version of the Film as compared with the previously screened version.

11) U.S. Narrative and Documentary Feature Films that have been previously released on DVD or broadcast on television or the internet in any country are not eligible for submission to the Festival unless the version submitted is significantly different from the version that was previously released or broadcast. The Institute shall have the sole authority and discretion to determine whether a Film that was previously released on DVD or broadcast on television or the internet has been changed significantly from the previously released or broadcast version. The Institute reserves the sole and exclusive right to determine a previously released or broadcast project’s eligibility, without refund of any or all submission fees previously collected from the Applicant, based on the content of the submitted version of the Film as compared with the previously released or broadcast version.

12) Films completed prior to January 1, 2011, are not eligible for consideration for the 2013 Festival.

13) Films that have been submitted for Festival consideration in previous years are eligible for submission for 2013 Festival consideration, but only if the Film has been changed significantly since the last time it was submitted. The Institute shall have the sole authority and discretion to determine whether a Film that was previously submitted has been changed significantly from the previously submitted version. The Institute reserves the right to determine a previously submitted Film’s eligibility, without refund of any or all submission fees previously collected from the Applicant, based on the content of the newly submitted version of the film as compared with the previously submitted version.

14) It is the sole responsibility of the Applicant to secure authorization and permission from the copyright owner(s) of any and all copyrighted content or materials included within the submitted Film. The Institute expressly disavows any responsibility for, and will not be held responsible for, any unauthorized inclusion of any copyrighted content or materials within or relating to the submitted Film, including any content or materials that are or may become the basis for any third party claims for copyright infringement. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film with any unauthorized inclusion of copyrighted content or materials. In the event that any claim, dispute, action or proceeding shall be brought or asserted by any person or entity that alleges that the Film makes unauthorized or unlawful use of any copyrighted content or material, Applicant shall fully indemnify and defend the Institute, the Festival, and each of their representatives and affiliates from any liability in connection therewith and from any fees and expenses, including but not limited to attorneys’ fees, that any of them may incur in connection therewith.

15) It is the sole responsibility of the Applicant to secure authorization and permission from the owner(s) of any and all trademarked content or materials included within the submitted Film. The Institute expressly disavows any responsibility for, and will not be held responsible for, any unauthorized inclusion of any trademarked content or materials within or relating to the submitted Film, including any content or materials that are or may become the basis for any third party claims for trademark infringement, trademark dilution or unfair competition. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film with any unauthorized inclusion of trademarked content or materials. In the event that any claim, dispute, action or proceeding shall be brought or asserted by any person or entity that alleges that the Film makes unauthorized or unlawful use of any trademarked content or material, Applicant shall fully indemnify and defend the Institute, the Festival, and each of their representatives and affiliates from any liability in connection therewith and from any fees and expenses, including but not limited to attorneys’ fees, that any of them may incur in connection therewith.

16) It is the sole responsibility of the Applicant to clear all content of the Film from any and all actual or potential legal claims and issues, including, without limitation, claims based upon theories of libel, defamation, invasion of privacy, violation of rights of publicity, theft of trade secrets, breach of confidence, breach of confidential relationship, and breach of express or implied contract (“Third Party Claim(s)”). The Institute expressly disavows any responsibility for, and will not be held responsible for, any unauthorized inclusion of any content or materials within or relating to the submitted Film that are or may be the basis for any Third Party Claims based upon any of the foregoing legal theories or others. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film that is or may become the subject of any Third Party Claims. In the event that any Third Party Claim(s) shall be asserted by any person or entity, Applicant shall fully indemnify and defend the Institute, the Festival, and each of their representatives and affiliates from any liability in connection therewith and from any and all fees and expenses, including but not limited to attorneys’ fees, that each of any of them may incur in connection therewith.

17) Applicants submitting Films that contain significant non-English spoken dialogue must provide on-screen English subtitles. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film that contains significant non-English spoken dialogue that does not include accompanying on-screen English subtitles.

18) All Films must be submitted to the Institute on a single DVD (DVD-R, DVD+R, DVD-R DL, or DVD+R DL) or uploaded via the Secure Online Screener function of Withoutabox. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from Applicant, any Film that is not submitted using one of these two formats. If the Film is submitted in multiple parts on multiple discs, the Institute reserves the right to judge the Film based on the first disc included, with no further obligation to view the contents of the remaining discs.

19) It is the sole responsibility of the Applicant to ensure that the submitted DVD plays in its entirety on an industry-standard DVD player prior to submitting it to the Festival. In the event that a submitted disc does not play in an industry-standard standard DVD player, the Institute will attempt, but is under no obligation, to contact the Applicant using the contact information provided on the submission form in an effort to obtain a replacement copy of the Film. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film whose initially submitted disc does not play on an industry-standard DVD player.

20) It is the sole responsibility of the Applicant to ensure that the submitted disc arrives at the shipping destination provided to the Applicant upon completion of the submission form. In the event that a submitted disc does not arrive at the designated shipping destination within the deadline window selected by the Applicant, the Institute will attempt, but is under no obligation, to contact the Applicant using the contact information provided on the submission form in an effort to obtain a submission copy of the Film. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film that does not arrive at the designated shipping destination within the deadline window selected by the Applicant.

21) In the event that the Applicant remits an updated version of the Film to the Institute after having submitted a previous version of the Film to the Institute during the same calendar year, the Institute is under no obligation to view any or all of the updated version.

22) In order to be considered for the Festival, the Applicant must fill out the Festival submission form located at http://www.sundance.org/submissions or http://www.withoutabox.com. The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film that is not submitted through one of these channels.

23) The Institute reserves the right to disqualify, without refund of any or all submission fees previously collected from the Applicant, any Film with a submission form that is considered to be delinquent due to the non-payment of any or all submission fees. The Institute may attempt, but is under no obligation, to contact the Applicant using the contact information provided on the submission form in an effort to bring the payment status of the account up-to-date. The Institute disavows any responsibility for, and will not be held responsible for, any failure to contact the Applicant and inform the Applicant of any payment delinquency or other deficiency of a submission form.

24) Upon completion of the Festival selection process, the Institute will attempt to contact the Applicant using the contact information provided on the submission form to notify the Applicant of the Film’s acceptance status. The Institute disavows any responsibility for, and will not be held responsible for, any failure to contact the Applicant using the contact information provided on the submission form. It is the sole responsibility of the Applicant to ensure that the contact information provided on the submission form is correct throughout the entirety of the submission period (May 7, 2012 – November 30, 2012).

25) The Institute is under no obligation to provide to the Applicant or any other representative of the Film any comments or feedback regarding the submitted Film, any information relating to the manner in which the Film is, will be, or was reviewed; any views that the Institute or any reviewers of the Film may hold concerning the Film; any reasons why the Film, should it not be accepted for exhibition at the Festival, was not accepted; or any other information relating to the Festival’s review, consideration and/or selection process regarding the Film specifically or submissions generally beyond the information set forth in these Rules and Regulations. The Institute disavows any responsibility for, and will not be held responsible or liable for, the contents of any internal comments or feedback regarding any Film that are or may be obtained by the Applicant or any other representative of the Film; any communications by any representative of the Institute or the Festival relating to the Film or the Festival selection process; the manner in which the Film shall be, is or was considered and reviewed; the identity or identities of any specific reviewers of the Film; and/or any failure on the part of the Institute or the Festival to provide the Applicant or any other representative(s) of the Film with information concerning the Institute’s consideration and/or review of the Film.

II. SUBMISSION CATEGORIES & ELIGIBILITY REQUIREMENTS:

Films submitted to the Institute for consideration for the Festival may apply in one of six submission categories. The following is a description of each submission category, along with eligibility requirements for each:

U.S. NARRATIVE FEATURE FILMS Any narrative work of fiction with a running time of 50 minutes or more, including films that are shot in a “mockumentary” style. In order to qualify as a U.S. Narrative Feature Film, the submitted project must be either scripted or improvisational fiction, and at least half of the project’s financing must originate from within the United States. Only films that are World Premieres are eligible for our U.S. Dramatic Competition program, but U.S. Narrative Feature Films that have previously played at up to two other festivals anywhere in the world are still eligible for one of our out-of-competition programs.

U.S. DOCUMENTARY FEATURE FILMS Any non-fiction film with a running time of 50 minutes or more WITH THE EXCEPTION OF, and NOT INCLUDING, entirely scripted or improvised fictionalizations of actual events. If your documentary contains some dramatization of actual events, you may submit in this category, but we will ultimately decide which program is best suited for your project, if accepted. In order to qualify as a U.S. Documentary Feature Film, at least half of the submitted project’s financing must originate from within the United States. Only films that are World Premieres are eligible for our U.S. Documentary Competition program, but U.S. Documentary Feature Films that have previously played at up to two other festivals anywhere in the world are still eligible for one of our out-of-competition programs.

INTERNATIONAL NARRATIVE FEATURE FILMS Any narrative work of fiction with a running time of 50 minutes or more, including films that are shot in a “mockumentary” style. In order to qualify as an International Narrative Feature Film, the submitted project must be either scripted or improvisational fiction, and more than half of the project’s financing must originate from outside of the United States. International Narrative Feature Films that have been exhibited theatrically, broadcast on television, released on DVD or screened at any Film Festival outside of their country of origin are not eligible to submit to the Institute for Festival consideration, though we reserve the right to include in our Festival program International Narrative Feature Films that have previously been exhibited outside of their country of origin.

INTERNATIONAL DOCUMENTARY FEATURE FILMS Any non-fiction film with a running time of 50 minutes or more WITH THE EXCEPTION OF, and NOT INCLUDING, entirely scripted or improvised fictionalizations of actual events. If your documentary contains some dramatization of actual events, you may submit in this category, but we will ultimately decide which program is best suited for your project, if accepted. In order to qualify as an International Documentary Feature Film, more than half of the project’s financing must originate from outside of the United States. International Documentary Feature Films that have been exhibited theatrically, broadcast on television, released on DVD or screened at any Film Festival outside of their country of origin are not eligible to submit to the Institute for Festival consideration, though we reserve the right to include in our Festival program International Documentary Feature Films that have previously been exhibited outside of their country of origin.

U.S. SHORT FILMS
Any narrative or documentary film of U.S. origin with a running time of less than 50 minutes. In order to qualify as a U.S. Short Film, at least half of the submitted project’s financing must originate from within the United States. Short Films have no premiere requirements or prior screening restrictions– they may have had any number of public theatrical exhibitions, been released on DVD, and may have been broadcast on television or the internet and still retain eligibility.

INTERNATIONAL SHORT FILMS Any narrative or documentary film of International origin with a running time of less than 50 minutes. In order to qualify as an International Short Film, more than half of the submitted project’s financing must originate from outside of the United States. Short Films have no premiere requirements or prior screening restrictions– they may have had any number of public theatrical exhibitions, been released on DVD, and may have been broadcast on television or the internet and still retain eligibility.

III. FESTIVAL PROGRAM CATEGORIES & ELIGIBILITY REQUIREMENTS:

Please be advised that the information listed below is subject to change at any time, as our Festival program categories vary from year to year. Films accepted by the Institute into the Festival will be placed, at the sole and absolute discretion of the Festival Programming department, in one of twelve program categories. Applicants may not submit their Films directly to any specific category.

The following is a description of each program category, along with eligibility requirements for each:

U.S. DRAMATIC COMPETITION (16 U.S. Narrative Feature Films)
For over 25 years, Sundance’s U.S. Dramatic Competition has offered a first look at groundbreaking new voices in American independent film. Fueled by fierce creativity and vision, these 16 films are guaranteed to leave a lasting impact on the next generation of cinema.

Films must be WORLD PREMIERES in order to be considered for this program. If your Film has screened at any other film festival, been released on DVD, broadcast on television or the internet, or had a public theatrical screening anywhere in the world, it is not eligible for this program. In order to qualify, the submitted project must be either scripted or improvisational fiction and must have a total running time of 50 minutes or more, and at least half of the project’s financing must originate from within the United States. Films selected to play in this category will compete against one another for jury prizes and an audience award.

U.S. DOCUMENTARY COMPETITION (16 U.S. Documentary Feature Films)
From human rights to popular culture, these 16 films confront the subjects that define our time. Stylistic diversity and rigorous filmmaking distinguish these new American documentaries.

Films must be WORLD PREMIERES in order to be considered for this program. If your Film has screened at any other film festival, been released on DVD, broadcast on television or the internet, or had a public theatrical screening anywhere in the world, it is not eligible for this program. In order to qualify, the submitted project must be a non-fiction documentary subject (“mockumentaries” do not qualify) and must have a total running time of 50 minutes or more, and at least half of the project’s financing must originate from within the United States. Films selected to play in this category will compete against one another for jury prizes and an audience award.

WORLD CINEMA DRAMATIC COMPETITION (12-14 International Narrative Feature Films)
From all corners of the globe, these emerging filmmaking talents offer fresh perspectives and inventive styles. We present these exceptional works as a way to honor the independent spirit in filmmakers everywhere.

Submissions must be INTERNATIONAL PREMIERES in order to be considered for this program. If your film has screened outside of its country of origin, whether at a film festival or other public theatrical exhibition, it is not eligible for this program. It is also ineligible if it has been released on DVD or broadcast on television or the internet in any country. In order to qualify, the submitted project must be either scripted or improvisational fiction and must have a total running time of at least 50 minutes, and more than half of the project’s financing must originate from outside of the United States. Films selected to play in this category will compete against one another for jury prizes and an audience award.

WORLD CINEMA DOCUMENTARY COMPETITION (12-14 International Documentary Feature Films)
Made by some of the most courageous and extraordinary filmmakers working today, these films from around the world poignantly examine issues that range from the personal to the universal.

Submissions must be INTERNATIONAL PREMIERES in order to be considered for this program. If your film has screened outside of its country of origin, whether at a film festival or other public theatrical exhibition, it is not eligible for this program. It is also ineligible if it has been released on DVD or broadcast on television or the internet in any country. In order to qualify, the submitted project must be a non-fiction documentary subject (“mockumentaries” do not qualify) and must have a total running time of at least 50 minutes, and more than half of the project’s financing must originate from outside of the United States. Films selected to play in this category will compete against one another for jury prizes and an audience award.

SHORTS COMPETITION (70-80 U.S. & International Short Films)
Limited only by runtime and driven by innovation and experimentation, short films transcend the rules of conventional storytelling. From cutting-edge animation to the best in Native and documentary cinema, these Shorts Programs call out filmmaking’s most original imaginations.

All short films are selected to play before features or in one of eight Shorts Programs, and all accepted shorts are eligible for awards in our Shorts Competition. Short Films must have a total running time of less than 50 minutes, including credits. There are no premiere or prior screening restrictions for short films. Shorts may have been released on DVD, broadcast on television or the internet, and/or publicly screened anywhere in the world and still remain eligible for our Shorts Competition. All short films at the Festival are eligible for the Short Film Grand Jury Prize. Short films will also compete for jury prizes within their specific categories (U.S. Fiction, International Fiction, Non-Fiction, and Animation). Additionally, Special Jury Prizes may be awarded to short films at the discretion of the jury.

SPOTLIGHT (10-12 U.S. & International Feature Films)
The Spotlight category is a tribute to the cinema we love. Regardless of where these impressive films have played throughout the world, the Sundance Film Festival is thrilled to light a marquee for them. We are confident you’ll love them, too.

In order to qualify for this out-of-competition category, films are not required to retain any sort of premiere status, and are allowed to have been screened at up to two other film festivals prior to Sundance. However, they may not have been released on DVD or broadcast on television or the internet in their entirety.

NEXT (8 U.S. Feature Films)
Films selected for this category stretch a low budget to create big art. < = > (less than equals greater than) is our speak for the creativity that limited resources can inspire. Although these films share a Festival category, there is nothing categorical about them. By nature, they embody the spirit of indie filmmaking.

Films must be WORLD PREMIERES in order to be considered for this program. If your film has screened at any other film festival, been released on DVD, been broadcast on television or the internet, or had a public theatrical screening anywhere in the world, it is not eligible for this program. In order to qualify, the submitted project must be either scripted or improvisational fiction and must have a total running time of 50 minutes or more, and at least half of the project’s financing must originate from within the United States. Films selected to play in this category will compete against one another for the “Best of NEXT Audience Award.”

PREMIERES (14-18 U.S. & International Feature Films)
The Premieres program showcases some of the most highly anticipated dramatic films of the coming year. Catch world premieres and the latest work from established directors at the Sundance Film Festival before they create a splash at local theatres.

Acceptance into this out-of-competition category is by invitation only, but films that are selected must maintain a U.S. or World Premiere status.

DOCUMENTARY PREMIERES (8-10 U.S. & International Documentary Feature Films)
Reflecting the growing impact and popularity of documentaries in our world today, the Documentary Premieres section furthers our commitment to this important form of storytelling. Expect to see the debut of new docs about big subjects from established filmmakers.

Acceptance into this out-of-competition category is by invitation only, but films that are selected must maintain a U.S. or World Premiere status.

PARK CITY AT MIDNIGHT (8 U.S. & International Feature Films)
A treat for true cinephiles and casual filmgoers alike, this out-of-competition section presents an eclectic mix of horror, sci-fi, over-the-top comedies, surreal tales, explicit animation, and bizarre stories that defy categorization. Raucous, rowdy, and rebellious; softies need not enter!

Films selected for this section do not need to retain any sort of premiere status, and are allowed to have been screened at up to two other film festivals before Sundance. However, they may not have been released on DVD or broadcast on television or the internet in their entirety.

NEW FRONTIER FEATURES (5-6 U.S. & International Feature Films)
The New Frontier category celebrates experimentation and the convergence of film, art, and new media technology as an emerging hotbed for cinematic innovation, highlighting work that pushes the limits of traditional aesthetics and structures of filmmaking.

Films selected for this out-of-competition category do not need to retain any sort of premiere status, and are allowed to have been screened at up to two other film festivals before Sundance. However, they may not have been released on DVD or broadcast on television or the internet in their entirety.

FROM THE COLLECTION (1-2 U.S. & International Feature Films)
Rediscover classic works of independent cinema as the Sundance Film Festival presents films from the vaults of the Sundance Collection at UCLA. A unique archive devoted to preserving indie film, the Collection exists not only to save important works that would otherwise disappear, but also to make them accessible to new audiences and show them as they were intended to be seen: on the big screen. Formed in partnership with the UCLA Film and Television Archive, and growing through the support of donor companies and individual filmmakers, the Collection now contains more than 800 films.

Acceptance into this out-of-competition category is by invitation only. Open submissions will not be considered for this program.

HERO FEST – MY HERO INTERNATIONAL FILM FESTIVAL

 

Los Angeles, California – USA
December 8 to 10, 2012

 

The 8th Annual HERO FEST – MY HERO INTERNATIONAL FILM FESTIVAL (MHIFF), is a showcase that sends messages of hope, inspiration, and courage to the most treasured and promising of audiences – young people. In an effort to promote positive media and activism across the globe, MHIFF proudly honors the work of passionate storytellers and heroes from all walks of life. By engaging in such stories, MHIFF audiences explore diverse cultures, take transformational emotional journeys, and glean a better understanding of social and environmental issues, as well as of their own capacity to create positive change.

Held annually at the prestigious School of Cinematic Arts at the University of Southern California (USC), MHIFF grants monetary awards to narrative, documentary, animated, and experimental shorts that convey the concept of heroism in artful and memorable ways. The festival has separate competitive categories for student and professional films, recognizing that filmmakers at every experience level should be encouraged in the process of creating socially conscious media. Special awards are also presented in honor of slain photojournalist Daniel Eldon and anti-war activist Ron Kovic (author of Born on the Fourth of July ), both of whom embody the spirit of curiosity and unity that drives MHIFF.

The festival proudly provides selected filmmakers with transportation and accommodations during their visit to Los Angeles. MHIFF also facilitates opportunities for finalists to be interviewed by film and print media and to network with filmmaking professionals. In addition to being showcased in a beautiful state-of-the-art venue at USC, winning films are available year-round in MHIFF’s online screening room which provides world-wide exposure to a broad audience.


UPCOMING DEADLINE
August 1, 2012 – Regular Deadline

MISSION AND OBJECTIVE
Through its website and festival, MHIFF showcases thousands of stories about remarkable individuals, as told by children and adults alike. These stories serve to remind viewers that we each have the potential to overcome great obstacles and achieve our dreams by following in the footsteps of our heroes.

MORE ABOUT THE FESTIVAL
Last year’s Best of Festival Award went to the father-and-son creative team at MacGillivray-Freeman Films for their environmental campaign, “One World, One Ocean.” Special Hero Awards were presented to Grace Lee Boggs, a 95-year-old philosopher and peace activist, and Sasa, a young Burmese doctor building a medical training facility in Myanmar.

All work submitted to MHIFF should be appropriate for audiences of all ages and should not promote hatred, violence, or intolerance. MHIFF maintains a tradition of developing young talent and securing an appreciation for cinema by all young people through Media Arts Education, an essential program of MHIFF’s parent organization, The MY HERO Project.

If your film depicts the story of a unique and inspiring person, or discusses heroism in an artful way, submit to Hero Fest – MY HERO International Film Festival today!