PJ Raval
Filmmaker, Educator, Cultural Worker
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Kasamas! Join us this afternoon at SXSW!#Repost Cinema Sala ・・・TODAY!! Cinema Sala will be at SXSW, hosting Kabataan Culture The Barrio’s filmmaker panel ARTIS’YAN: FIlmmakers as Cultural Workers. This artist-to-artist panel will discuss the filmmaker’s role as a cultural worker and why it is crucial to be a filmmaker in today’s landscape. Check out our link in bio for event tickets, location, and filmmakers’ full bios.Moderated by PJ Raval with Kayla Abuda Galang, Michele Josue and Giovannie EspirituPJ Raval (WHO WE BECOME, BEFORE YOU KNOW IT), named one of Out Magazine’s OUT 100 list of most impactful and influential LGBTQ+ people, is an accomplished director, producer and cinematographer whose documentary CALL HER GANDA anchored an impact campaign with over 150 community screenings and resulted in a closed door meeting with the US State Department. Giovannie Espiritu is an actor, writer, producer and director who has starred in Amazon’s LGBTQ+ series DYKECENTRAL, Tubi Original’s TITANIC 666 and Fox’s 911: LONE STAR and has directed a Silver Telly award-winning short documentary LEGACY with other directing projects like LOVE AND KARMA and INTO THE MOTHERLAND in the works. Michele Josue (NURSE UNSEEN, HAPPY JAIL, MATT SHEPARD IS A FRIEND OF MINE) is an Emmy award-winning Filipino American documentary filmmaker who is passionate about creative, inclusive, and empathic storytelling that can inspire crucial societal discussions and meaningful change.Austin based filmmaker Kayla Abuda Galang was named as one of Filmmaker Magazine’s 25 New Faces of Independent Filmmaking and her latest film WHEN YOU LEFT ME ON THAT BOULEVARD received the Short Film Grand Jury Prize at the 2023 Sundance Film Fest.#filipino #texas #atx #austin #film #filmmaking #bario
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Seedpod Capital Africa
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One the things we enjoy most about people who understand what film can do for the African markets and industries, is that it stands to benefit all. From the countless job creation it generates across all sectors (architects for set design, engineers for set construction, cosmetic manufacturers + artists alongside fashion designers for character curation, accountants for the $$$ , lawyers for the IP, and many other professionals and vocations) before we even count actors. The potential for film to enliven a market and draw customers is the turnkey glue that can help sustain many a type of business. An investment in the range of audio-visual products and services by investors, and its use by entrepreneurs and growing businesses is key for economic development in ways we have already witnessed for the existing range of products and services we have grown attached to due to the media we consume.Why not do it for African products to permeate African markets?This is the reason why we are proud partners of the Action For Jobs movement... our journey with them has been nothing but growth on growth! Watch this space, cause there is much more coming from this. #seedpodcapital#realimpact#seedpodcapitalbw#seedpodcapitalafrica #ProudlyAfrican#BuildBackAfrican #AfJ #BlackFidelAI #StrategicPartnerships
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Jia H. Jung
Journalist | Producer | Pulitzer Center Fellow | California Local News Fellow
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Exciting development for the American film and entertainment industry, and for Asian, Southeast Asian, South Asian, Native Hawaiian, Pacific Islander, Indigenous, women, LGBTQ+, and other underrepresented independent filmmakers: Dave A. Liu has joined Robert Coppola Schwartzman and Cole Harper's Utopia media company as strategic advisor to the CEO and Board of Directors. Utopia is the company that has been outputting indie box office successes like Iranian drama Holy Spider (2022) by Ali Abbasi and Meet Me In The Bathroom (2022), which chronicled the heyday of the The Strokes, Yeah Yeah Yeahs, and LCD Soundsystem in 1999/2000s NYC.Liu will work toward the success and growth of this film buying and distribution company that has been specializing in independent films and documentaries since 2018, and has also developed the Altavod content discovery platform where filmmakers and people who want to support films can find one another. Importantly for the "AANHPI" fam, the company and Liu will also work together to ramp up its acquisition of films made by Asian and Pacific Islander creators. Looking forward to more and better films from all makers that we laypeople never usually get to see just because there isn't a Hollywood studio backing them.Best congratulations to advisor Liu and Utopia!Full disclosure: Dave A. Liu happens to be a major AsAmNews supporter as well as a member of its board of directors. But I wrote this announcer and am putting it on my * personal, * * professional * LinkedIn feed because I'm genuinely stoked about this and think an Asian film executive at a forward-looking media company is something that should be known and as virally celebrated as Asians receiving Golden Globes and Oscars. Also, I think that this is the first time in my life that I wrote and published something within the same day, so this piece represents a journalistic milestone for me, a serial longformist. 😆
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Renuu Tandon
ChangeMaker || Systemic Team & Leadership Coach || ICF ACC ] || Fellow at Institute of Coaching, McLean/ Harvard Medical School || ICF Pune Chapter Leader
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The2024 Academy Awards nominations (popularly known as the Oscars) are out.Barbie doesn't get a nomination for the Director Greta Gerwig and its lead female actor Margot Robbie.One can say it's a trivial movie, more fluff, so let's talk business, * As of January 10, 2024, Greta Gerwig's very pink fantasy-comedy "Barbie" has collected :- more than 636 million U.S. dollars at the North American box office, - and garnering a total of1.45 billion U.S. dollarsworldwide.If the movie is so trivial then how did Ryan Gosling get a nomination for the Best Supporting Actor, shouldn't he get snubbed as well?So much so for embracing #diversity #inclusion and supporting pathbreaking women in Hollywood.#DEI #oscar #diversityequityinclusion #findyourwhy #equality #womenleaders #diversity #biases #careercoaching #Renuual
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Jane Sanger
Award Winning Film Director, Writer, Producer, and Content Creator for Social Media. With 70 awards across all areas of film making
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In Cannes I saw so many vibrant, knowledgeable, mature women; writers, producers, directors, actresses and other creatives. Of course I saw a lot of interesting and powerful men too but women are fewer. Interestingly there were quite a lot of influential women who liked my projects and saw their potential. Women supporting women. As you know I also ran a women’s only villa at Cannes Film Festival with Faith Elizabeth who is already doing stellar work with Yes She Cannes, She Squad and teamed with two other creative groups to make a huge, successful event called Her Club Cannes with Herflix and Female Film Club (a French initiative) plus Sisterland at a soirée at Villa Forbes. So my group will be called CREATIVE QUEENS (COLLECTIVE) on insta and will be to promote and support all women but in particular Women over 40 who get less roles, can be less visible in the work place for all roles in film, theatre, arts. Men are called experienced, powerful, women are called “past it” as if just seen as useful for their looks(when in fact many older women can still be sassy, well dressed and sexy) their experiences sidelined . We will try to bring roles as cast and crew to your attention and create more opportunities. I myself will in future ensure a strong mature woman is in all my script writing and have just finished my film Every Day’s A Bonus featuring Dame Maureen Lipman (78)And Amanda Abbington (52) a two handed story about 2 mature women and written by a man, Jamie Hogarth. I find it demeaning that the title emerging directors, actors, artists, producers are considered 18-30. Women put their careers on hold often to bring up a family and can reemerge at any age but particularly 50 plus when their family have grown. We need to change perceptions, older women do not just feature as “mum”, “granny” “witch” “madam” but need nuanced roles where they are the love interest, the boss, the explorer, the inventor, the detective. Of course we need men too but we need them and us to also write roles and cast mature women more often. Older women have a wealth of knowledge and experience that could be put to use. They need to tell their stories and I for one want to hear, watch and see them. Let’s support, guide, empower, elevate and green light each other. Besides that we make up part of a section of society that often or sometimes has time and money on their hands. So if you believe in this initiative please join my fb page and or insta as https://lnkd.in/ekdwY_XR . Put your showreels, achievements up on there. Female forward or female led. Arranged met ups for creatives so you don’t have to go alone to festivals, theatre, films in different locations. Villas and apartments to share at all budget levels for the major film festivals of the world. Click this link below to join us https://lnkd.in/ecnKjXWbA yearly membership is just £25 til June 17.Look on the webpage to see all the benefits. Normal membership is £40/yr.
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Sam Liddell
Freelance Photographer and independent Filmmaker based in Manchester
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What do you do when you leave University and no longer have access to thousands of pounds worth of equipment? You embrace it.I have just released my new film “Indigo memories” which i wrote , directed , shot and edited. It was filmed in one night with two actors , two lav mics and a shitty digital camera and locations that we definitely were allowed to film in (shush!).Limitations are the birth of creativity, when you can’t hide behind fancy lighting set ups, expensive lenses and artsy camera movement you have to rely on a good story and good characters.The one thing i hate the most in low budget short films is when they try so hard to look expensive, like the filmmakers are embarrassed of the small budget. Use it to your advantage! A small budget can feel so much more engaging and authentic, like a barrier has been removed between the audience and the characters. Being creative with a limited budget and looking at what you have access to can make your short film inexpensive and unique for example;- Two of your good friends who can act and are already in a relationship with each other so therefore have built in chemistry? Use it.- A personal perspective on the LGBT community that you feel never gets discussed? Use it.- A small digital camera that gives the overall look of the film a grainy memory like aesthetic? Use it.The budget for this film ended up being a few yagerbombs and a bottle of poppers and yet…i am extremely proud of it.You can watch the finished film here:
A Night Out In Manchester’s Gay Village - Indigo Memories (2024) | Short Film https://www.youtube.com/
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28,661 followers
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𝐈𝐧𝐝𝐢𝐚𝐧 𝐂𝐢𝐧𝐞𝐦𝐚 𝐆𝐞𝐭𝐬 𝐚 𝐒𝐩𝐞𝐞𝐝 𝐁𝐨𝐨𝐬𝐭: 𝐅𝐚𝐬𝐭𝐞𝐫 𝐂𝐞𝐫𝐭𝐢𝐟𝐢𝐜𝐚𝐭𝐢𝐨𝐧, 𝐀𝐧𝐭𝐢-𝐏𝐢𝐫𝐚𝐜𝐲 𝐏𝐮𝐬𝐡 𝐔𝐬𝐡𝐞𝐫𝐬 𝐢𝐧 𝐍𝐞𝐰 𝐄𝐫𝐚The Cinematograph (Amendment) Act, 2023 and the Cinematograph (Certification) Rules, 2024, were introduced in India to improve the film certification process and combat piracy.The new rules introduce age-based certification for films (UA 7+, UA 13+, UA 16+) and require films edited for television to be recertified. The Cinematograph Certification Board (CBFC) will now have more women members (increased representation from 1/3 to potentially 1/2), and certification will be valid indefinitely.These changes are expected to benefit filmmakers (faster certification, protection from piracy), promote gender equality in the CBFC, and create a more inclusive environment for the Indian film industry.Read this article by Abha Shah & Nitika Nagar: https://lnkd.in/gC2Wx34q#IndianCinema #FilmCertification #GenderEquality #StopPiracy #BollywoodUpgrade
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Sphesihle Gxotani
Filmmaker and Conceptual Copywriter | Strategic Creative | Film, Television, and Digital Audiovisual Multimedia Content Production | Film Director, Producer, Manager, Editor and Casting | Open to new work opportunities.
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South African Cinema and Its Depiction of Race, Gender, and Class: Portrayals of Black Women in Post-Apartheid South African Films 🎞📽🎦"The history of film production in South Africa shows that films made during the periods of colonialism and apartheid generally served as tools to further the ideals and consolidate the hegemony of the colonial and apartheid governments of the time. These films were characterized by portrayals of Black people in general, and Black women in particular, in ways that can be considered problematic. Keyan Tomaselli notes that most films produced in South Africa during the apartheid era showed very little emphasis, if at all, on grass-roots problems experienced by South Africans. However, there was also a significant anti-apartheid film tradition that was sup-pressed inside South Africa. Any film that attempted to challenge the status quo or deal with “the lives and the struggle of the people” (Botha 185) was banned, and the producers were harassed or exiled. For instance, Gibsen Kente, a Black filmmaker who produced the film How Long Must We Suffer (1976), was arrested in the year of the film’s production. Films produced by Blacks were generally banned, as was the case with Mapantsula (1988) which was “one of the first truly South African films made from a Black point of view” (Botha 94). The dissuasion of an active Black film industry in favour of films produced by Whites for Black audiences was, according to Botha, one of the significant devices used to restrict any form of content that challenged the hegemony of apartheid. It is therefore important to examine the new waves of post-apartheid films that appear progressive in terms of their portrayal of and reflections on South Africa, in order to determine whether these films challenge the stereotypical images of Black women that were promoted during the colonial and apartheid periods. This article focuses on three of the most popular commercial films that seem to provide the lens from which to examine post-apartheid issues in South Africa: Tsotsi , Yesterday, and Jerusalema. These films were produced between 2004 and 2008, the five years following the first decade of democracy in South Africa. This interregnum period provides an indication of South Africa’s success, or lack thereof, in tackling post-apartheid issues such as inequality and oppression, including gender, class, and race relations, and how these relations are envisioned on film within a framework of the country’s violent past."Source, credit, citation: Authored by Motsaathebe, Gilbert. (2018). South African Cinema and Its Depiction of Race, Gender, and Class: Portrayals of Black Women in Post-Apartheid South African Films. Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée. 45. 10.1353/crc.2018.0036.#Film #Filmmaker #Filmmaking #FilmDirector #FilmProducer #FilmCasting #FilmTheory #FilmRepresentation #AfricanCinema #SouthAfricanCinemaPicture Box Films (Pty) Ltd
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Radhika Sharma
Producer @ Unnayan Productions Film Production, Creative Ideation, Concept/ content development, vendor Relationship
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The 77th Cannes Film Festival is upon us, and while initiatives like "Women In Motion" shine a light on phenomenal female filmmakers, a sobering reality remains: the number of women-directed films selected is still far from equal. This underrepresentation isn't confined to Cannes. As the Indian film fraternity, we must confront the gender gap within our own industry.Let's move beyond mere platitudes. We need to actively champion female storytellers. Mentorship programs, funding dedicated to women-led projects, and fostering a culture that celebrates their unique perspectives are crucial steps. Indian cinema boasts a rich tapestry of stories waiting to be told. We must break free from stereotypical portrayals and showcase its true diversity - both on screen and behind the camera. Women's narratives are an integral part of this tapestry, and their inclusion is essential.The magic of Cannes lies in its role as a platform for global exchange. Let's leverage this opportunity by building bridges with international filmmakers. Collaborative ventures, and co-productions that showcase the best of Indian talent alongside global voices, are a powerful way to elevate Indian cinema on the international stage.By working together, we can create a thriving film industry in India,one that celebrates the power and artistry of women's voices. This, in turn, will allow us to captivate a global audience hungry for authentic Indian stories. It's time to #BreakTheBias #UpliftIndianCinema #morewomenrepresentation
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