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Battered
DIR: Louise de Prémonville France, 16 min. Live Action, North American Premiere
Director's Statement
Louise de Prémonville is a film Editor. She worked with Kartik Singh on the short film Saving Mom and Dad, and with Pierre Hodgson on many documentaries (Daddy, Daddy USA).
Her screenplay for Battered won the First prize of the Screenplay contest of Moulin d’Andé in 2007. Battered is her first film as director.
The Art of Drowning
DIR: Diego Maclean Canada, 2 min. Animation
Banana Bread
DIR: Barton Landsman USA, 9 min. Live Action
Director's Statement
This film comes from personal experience (the worried mother part, not the cold-blooded killer part). For most of my adult life, I’ve found charm and humor in the fact that my mom still worries about me and isn’t bashful about sharing motherly advice. And that’s true no matter how old I get and no matter what I do. So I thought it would be fun to extend that idea to a pretty absurd and bloody extreme.
Green Sea
DIR: Ignacio Busquier Argentina, 15 min. Documentary, U.S. Premiere
Director's Statement
Green Sea is a documentary about tea, but also on those small everyday aspects surrounding this crop. The documentary captures the essence of the work with the tea, as a way of life. The characters speak and present from their activity and the camera follows them into their routine. As the documentary progresses, the process of tea is being set aside, and come to front the characters and their expectations.
The Cow Who Wanted to Be a Hamburger
DIR: Bill Plympton USA, 4 min. Animation
Cigarette Candy
DIR: Lauren Wolkstein USA, 13 min. Live Action, Student
Director's Statement
Cigarette Candy tells the story of Eddie Van Buren, a traumatized teenage marine who is forced to play the role of 'the hero' at his homecoming party. In pursuing a rebellious, precocious sixteen‐year‐old girl, Candy, he sees an opportunity to numb his pain and connect to a fellow lost soul. This film is a contemporary story about the individual’s war that takes place emotionally and psychologically when subjected to physical war with the world. My father, Andrew I. Wolkstein, a colonel in the Air Force, was in charge of several teenage airmen when he served in Iraq. He witnessed firsthand how war not only affects the soldier, but the man inside the uniform. I wanted to tell this story through my own personal connection with how war affects loved ones coming home. The stories my father recounts, as many other voices in the 20th and 21st centuries, are not traditional “war stories” of explosions but rather stories of disembodiment, disengagement, and isolation. Each time my father tells me a story or I read of a new wartime iniquity, I am reminded that warfare is not just physical—it’s psychological, emotional, and visceral—and that war in the 21st century is a new strain of trauma and destruction. Cigarette Candy is not a war story, but a story of lost innocence – a boy forced too soon into adulthood. However, it is also about the hope that exists in unexpected places, even when it seems that all hope is lost forever. This story is for everyone who has ever been to war, for those whose loved ones have come back irrevocably changed, and for everyone who has ever given war a second thought.
Pigeon: Impossible
DIR: Lucas Martell USA, 6 min. Animation
*Filmmakers expected
Director's Statement
Production on the film spanned for nearly 5 years and is the first attempt at animation by writer/director Lucas Martell: “When the project started, it was really just an excuse to learn 3D animation, but by the end of the project I had spent so much time reworking and polishing the story that I just wanted people to laugh.”
The end result is a hilarious 6-minute romp through the streets of Washington D.C. as our hero fights to save himself, and the world from the chaos reigned down by a hungry pigeon. Breathtaking visuals and a sweeping soundtrack showcase the work of nearly one-hundred talented artists and musicians, and the film stands as a testament to what can be accomplished by a team of dedicated volunteers working for the love of their craft.
Is This Your Limb?
DIR: Michael Ramsey USA, 1 min. Live Action
*Filmmakers expected
Director Biography
Michael Ramsey began his film career in 1999 as an underwater cameraman filming bottlenose dolphins and bull sharks daily. His career has continued in atypical fashion. His company Spoken Image has produced network series, independent documentaries, branded content and commercials in 15 countries, often in very remote locations and under challenging circumstances.
Michael's company Spoken Image produces for clients that include The Discovery Channel, PBS, Comedy Central, AT&T, Continuity NY, MTV, Ambrose Video, and several independent documentary productions. Awards include Sundance Audience Award 2009 and the Academy Award for Best Documentary for The Cove (Michael was a producer and camera operator), First Place Best Animation at the USA Film Festival for Plato's Allegory of the Cave (this film has won almost 20 film festival awards to date), as well as several awards for branded content, television and advertising.
Roar
DIR: Adam Wimpenny United Kingdom, 16 min. Live Action
Wolves
DIR: Rafael Sommerhalder United Kingdom/Switzerland, 6 min. Animation, North American Premiere, Student
God of Love
DIR: Luke Matheny USA, 18 min. Live Action, World Premiere, Student
Director's Statement
As someone who has had more than his share of unrequited crushes on various unsuspecting girls throughout the years, I was eager to tell a story that celebrates unrequited love. But as someone who can now recognize his earlier crushes as – well, let’s be honest -- absurd exercises in delusion, I was also determined to critique the image of the lovestruck hero. I thought a dramatic simple triangle – boy likes girl, girl likes boy’s best friend, boy’s best friend doesn’t like girl – would afford me the chance to explore these themes in a compelling and entertaining way. Throw in some magic, some laughs, a jazz score and a stylish B&W look inspired by 1950s jazz photography and French New Wave, and you have the kind of movie that I, for one, would love to see. So now I present God of Love with the nervous hope that it’s the kind of movie that someone else might love to see, too.
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