Cineclube Animassa (Ongoing)
Cineclube Animassa is a film club focused on screening animated films from all over the world. It takes place at RV Cultura & Arte, an art gallery/comic shop located at Salvador, Brazil. In 2018, the film club is returning for its third season, with monthly screenings – always free of charge -, from March to December. For this season, besides animated short films, we’ll also accept animated feature films.
Moss Icon (Ongoing)
Moss Index is a bi-annual screening series that shows films/videos about looking at nature (“nature”), interacting with the environment (“the environment”), and investigating the border regions where the human and the not-human intersect. An invitation to look at the environment might usually imply a certain political goal, but we are interested in starting further back: decolonizing our ways of seeing and imagining alternative socio-ecologies. Plant-vision, inter-species encounters, unmapping, wet thresholds. This is not a green film fest. Moss Index is curated by a group of filmmakers and artists, based in San Francisco. Programs are selected from newly submitted and/or previously submitted work. Screenings take place at Artists’ Television Access in San Francisco.
Sunday Shorts 2/7/18 *see note below
SUNDAY SHORTS is a monthly short film festival and script competition in London. A great place for filmmakers and people interested in film to meet and discuss ideas. Each month, we select the 8 of the short films from around the world, and curate a program to be screened on the last Sunday of that month. *FEBRUARY SPECIAL – we’re offering FREE and discounted submissions to London filmmakers until 7th February!
Animafest Scanner 3/1/18
TOPICS FOR ANIMAFEST SCANNER V.Animating Horror. Characters in Animation. Animation and Sports. Animation at Large. Entries for the international symposium Animafest Scanner are open until 1 March, and all the film and media researchers are invited to present the latest findings from the field of animation. Terms and conditions of the public call can be found HERE, and you can submit your application HERE.
SUSTAINABILITY SHORTS FILM COMPETITION 3/16/18
You are eligible for one of 3 prizes ($500, $300, $200) if you: 1. Create a short film about sustainability (under 10 minutes) 2. Submit it by March 16, 2018. All entries will be screened as part of the UNCG Sustainability Film and Discussion Series at the Greensboro Project Space on Thursday, April 19, at 6:30pm, where winners will be announced and celebrated. Entries must address sustainability, which UNCG defines as the “enduring interconnectedness of social equity, the environment, the economy, and aesthetics.” Judging is based on relation to sustainability as well as concept, cinematography, acting, production quality, costuming, writing, etc. Submit films on DVD or in screenable online format (YouTube, Vimeo) together with your name, phone number and email address, and the title and length of the film by 5pm on March 16, 2018 to Sarah Dorsey email@example.com (if you have questions, contact Sarah via email or at 336.334.5610). By entering the competition, entrants agree to the following: 1) Films must be original work, must not infringe on any rights of others, and must have all necessary permissions. UNCG will not be held liable for any copyright infringements. 2) To claim prizes, winners must be present (in person or via audio/video connection) at the screening. 3) Entrants will retain all ownership rights to their films. 4) UNCG reserves the right to not screen any film(s) for any reason. 5) Prizes are not negotiable or transferable. 6) The decisions of the judges are final.
Canaltown Moving Movie Festival 4/28/18
No entry fee submissions are currently being accepted for the Canaltown Moving Movie Festival in Honesdale, PA. Films must be 15 minutes or less. All genres accepted. Entries are due by April 28th for consideration in the 2018 festival. Audience vote determines award winners.
Underappreciated Moviemakers Festival 7/1/18
A festival intended to pressent works by moviemakers who’ve been making movies for at least 30 years without receiving much attention; have a large body of work that you don’t get credit for; have seen younger, richer friends imitate them & go on to well-paying gigs at places where the original is more likely to be confronted by security forces wondering why you’re there; who’re still controversial after decades of dedicated work; who find it almost impossible for you to get a screening anywhere; & whose work almost never written about.