Craig Gafoor

SSFF & ASIA Open Submissions for Kodansha Cinema Creators' Lab 2025 https://ift.tt/L8a9VKn As filmmakers, our imagination is key to our success. Through the medium of visual filmmaking that imagination can in many ways be endless, fueled by our creativity to adapt the stories swirling in our minds to the screen. The only true limitation? Funding. There are endless ways you can tell your story, and Short Shorts Film Festival & Asia wants to celebrate your creativity. Asia’s largest international short film festival, Short Shorts Film Festival & Asia, is teaming up with Kodansha to celebrate talented new filmmakers and visual creators. Kodansha Cinema Creators’ Lab, the Kodansha project, was launched at the SSFF & ASIA 2022 and began accepting pitch submissions. This ambitious project’s goal is to fully support the art of filmmaking, from discussions on a film’s production to funding and publicity. They announced the winners for this second edition in 2024 festival; out of a total 1,126 submissions, (885 Japan / 241 overseas), 3 projects (2 from Japan and 1 from overseas) were selected after document screening and multiple interviews. The first Cinema Creators Lab’s selected pitches became five short films and screened at the SSFF & ASIA 2024 each competition. They were: "Warmth in a Puddle" (Director: Sorao Sakimura) "what YOU eat" (Directer: Ryo Sena) "Draw me." (Director: Kohei Kiyasu) "SAGE" (Director: Max Blustin) "A Dream for My Daughter" (Director: Mauricio Osaki) "A Dream for My Daughter" by Mauricio Osaki, one of the short films produced from the selected pitch(SSFF & ASIA) What Is Kodansha Cinema Creators' Lab? SSFF & ASIA has been supporting filmmakers worldwide since 1999. SSFF & ASIA aims to introduce a new film culture from Asia while supporting young filmmakers from every corner of the world. Winners in the festival's Live Action/Animation/Non-Fiction Competitions are even eligible to be nominated for an Oscar at next year’s Academy Awards. Kodansha, which was founded in 1909, is a publishing company aimed at finding interesting and informative entertainment. The company truly believes that everything they do is in service of the creator, and wants to expand its collaborative spirit to all filmmakers and creatives. The Creators’ Lab is a department in Kodansha that was established in 2021 to discover and support new creators in a wider range of genres. Together for the first time, SSFF & ASIA and Kodansha Cinema Creators’ Lab want to award the best three pitches ¥10,000,000 (about $72,745) to fund the complete cost of the short film’s production. Selected pitches will also work closely with an experienced editor from Kodansha who will oversee the project until the short film's completion. “Our editors will support the production of not only games but also films through a 'one-on-one dialogue' with the creators,” Kodansha’s President and CEO Yoshinobu Noma said in a statement. “Kodans...

How Cinematographer Leung Ming-Kai Brought Emotion to the Indie Drama 'All Shall Be Well' https://ift.tt/iTs2Sur Cinematographer Leung Ming-Kai, or Kai to his friends, is someone working at the top of his game. His images are soulful, and his process of getting them from the script to his brain and then onto the screen is a thing to study. Kai has been shooting all over the world. His latest project, All Shall Be Well, is a heartfelt drama with deep, emotional shots that help contribute to the film's tone and staying power. We got the chance to sit down with Kai and talk about his process and the film. Let's dive in. - YouTube www.youtube.com 1. Hey Kai! All Shall Be Well marks your second collaboration with director Ray Yeung. How has your collaboration evolved since Suk Suk? Aesthetically, there are similarities between the two films: each employs realism with restraint, yet is deeply emotional. I think this sensibility is inherent in Ray’s storytelling, so the second time around, a lot of decisions between us were able to go without saying. Our usual process of exchanging visual references and storyboarding or shot-listing was the same, but I think we were more confident, and our planning was more about the broad strokes. Also, this time, Ray is tackling broader social issues. Not only is All Shall Be Well about sexual minorities, it also deals with traditional family values, the clash of social classes, and the housing crisis. The film also involves many more characters. So he and I talked more about these characters and locations. We wanted to show their differences, but we were also confident in our ability to keep a consistent aesthetic, because we know each other well. 2. How does your background at Columbia University with Ray impact your creative process? We put emphasis on narrative, context, and subtext, and how they can inform the visual aspects of a movie. Each shot has to be for a story or character purpose, instead of just being pretty. This is kind of in Columbia’s DNA. The way we read a script, and tactics like breaking scripts down into emotional beats, all come from our Columbia education. 3. All Shall Be Well, like many of your films, is uniquely attuned to notions of class and social rank. How did this emphasis shape your approach to the cinematography in All Shall Be Well? In the script, Ray already skillfully put in locations that give opportunities for the audience to feel the difference in social ranks. The upper-middle-class apartment of Angie and Pat, the public-housing apartment of the brother’s family, the super-cramped apartment of the daughter, the subdivided flat, the flower shop, the garage, etc. Our amazing production designer Albert Poon, whom we worked with before on Twilight's Kiss, also dressed each space nicely with the different social classes in mind, without being obvious. When we were shooting, one important element was of course the light source in each location. For Angie and...

================================== Pitch Catalog of Film Projects, Presented for Participants of the San Sebastian International Film Festival (SSIFF) 2024. =================================== This exclusive catalog features detailed presentations of film projects showcased during the pitching sessions at the San Sebastian International Film Festival 2024. Each project is thoroughly presented over 8–10 pages, offering in-depth insights into its concept, narrative, and market potential. The catalog is not only a valuable resource for festival participants but also an excellent template and educational guide for filmmakers preparing pitches to secure funding. Key Features: Language: English Length: 52 pages Visuals: Full-color illustrations Interactive Content: Links to trailers for featured films and projects Perfect for filmmakers, producers, and industry professionals aiming to refine their pitch presentations or explore innovative film projects. Regular Price: € 25 Black Friday Offer: -35% BUY NOW: https://lnkd.in/ekjNF9-n