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Today I come with a short review for a short film: World of Tomorrow.
Don Hertzfeldt’s latest project is currently getting attention since it’s nominated at this year’s Oscars for Best Animated Short Film and is seen by some as the frontrunner to win the category. It has earned accolades from many critics since it premiered at Sundance 2015, including from Rolling Stone writer David Ehrlich, who included it at the #2 spot on his annual “Best Films of the Year” video compilation.
But is World of Tomorrow worth the fuss? In the 16-minute film, Hertzfeldt introduces us to Emily, a very young girl who is taken on an unusual journey through time and space by a future version of herself. Sounds like a lot of lofty ideas to pack into one short, doesn’t it? However, one thing that I admired about World of Tomorrow is how its stylistic simplicity complements these grand ideas that Hertzfeldt explores. The animation is purposely crude (though often set on top of lush, abstract backgrounds), only highlighting the film’s emotional punch, which sneaks up on the viewer by the time the credits roll.
Hertzfeldt, whose roles on the film include (but are not limited to) directing, writing, animating, and producing, shows how a seemingly small idea can blossom. And for me, that’s one of the most impressive things about short films – the runtime may be restrictive, but those limited time resources can lead to a lot of creativity and original approaches to storytelling as a result. World of Tomorrow is a great example of the possibilities.
-Colleen
Don Hertzfeldt’s latest project is currently getting attention since it’s nominated at this year’s Oscars for Best Animated Short Film and is seen by some as the frontrunner to win the category. It has earned accolades from many critics since it premiered at Sundance 2015, including from Rolling Stone writer David Ehrlich, who included it at the #2 spot on his annual “Best Films of the Year” video compilation.
But is World of Tomorrow worth the fuss? In the 16-minute film, Hertzfeldt introduces us to Emily, a very young girl who is taken on an unusual journey through time and space by a future version of herself. Sounds like a lot of lofty ideas to pack into one short, doesn’t it? However, one thing that I admired about World of Tomorrow is how its stylistic simplicity complements these grand ideas that Hertzfeldt explores. The animation is purposely crude (though often set on top of lush, abstract backgrounds), only highlighting the film’s emotional punch, which sneaks up on the viewer by the time the credits roll.
Hertzfeldt, whose roles on the film include (but are not limited to) directing, writing, animating, and producing, shows how a seemingly small idea can blossom. And for me, that’s one of the most impressive things about short films – the runtime may be restrictive, but those limited time resources can lead to a lot of creativity and original approaches to storytelling as a result. World of Tomorrow is a great example of the possibilities.
-Colleen
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In January, Paul Bronfman, the CEO of William F. White International -- Canada's largest provider of movie production equipment -- announced that the company planned to pull its support from York University's Cinema and Media Arts programme due to a mural in the Student Centre that he believes promotes antisemitism. The mural, which has no affiliation with Cinema and Media Arts, depicts a Palestinian man holding a fistful of rocks, watching a bulldozer in the distance. In defense of the painting, Gayle McFadden, Vice President of Operations for the York Federation of Students and Chair of the Student Centre, told the Globe and Mail that "the painting is not antisemitic" but "merely critical of the state of Israel."
As a TYS programmer, I have a practical interest in the debate. We see a lot of great content submitted to the festival each year from York students. I hope they continue to have the resources they need to make good films. I also hope, though, that they continue to make the films they want to make -- whether overtly political or not -- without fear of biting the hand that feeds. Artists have always relied on the generosity of benefactors, whether patrons in the 19th-century or donors and crowdfunders in the 21st, and it remains important for us to be aware of how those relationships have the potential to shape the content we see.
I believe it's possible for us to have a more productive conversation about free speech and hate speech than the one demonstrated. I also believe the arts are one of the best ways in which we can contribute to that discussion.
-Paul
As a TYS programmer, I have a practical interest in the debate. We see a lot of great content submitted to the festival each year from York students. I hope they continue to have the resources they need to make good films. I also hope, though, that they continue to make the films they want to make -- whether overtly political or not -- without fear of biting the hand that feeds. Artists have always relied on the generosity of benefactors, whether patrons in the 19th-century or donors and crowdfunders in the 21st, and it remains important for us to be aware of how those relationships have the potential to shape the content we see.
I believe it's possible for us to have a more productive conversation about free speech and hate speech than the one demonstrated. I also believe the arts are one of the best ways in which we can contribute to that discussion.
-Paul
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I had a discussion over drinks with a few industry peers recently on the topic of film formats. For the past few years, we noticed a wider inclusion of various formats that are making their way into a short film block. TIFF premiered the latest episode of Shit Girls Say one year, music videos have been popping up in various festivals, and many student festivals include PSAs in their lineup. More than one person in the group proclaimed "but these are film festivals and they're not films!"
Personally, I don't see a problem with it. The idea of what is cinematic has now blurred even further with the way studios and independents are producing work and how the consumer behaves in respect to television, web, and film. The Marvel Cinematic Universe is a fine example of replicating television on film while many features are now bypassing theatres to go straight to VOD or a streaming service like Netflix. Popular music videos are now considered cinematic endeavours, with more and more videos featuring Katy Perry, Taylor Swift, and Justin Bieber amongst others featuring elaborate credit sequences. At the end of the day, it's starting to matter less and less how you label a piece of content because it does not determine how one consumes it.
Last year, we showed Phoebe’s Declassified Guide to Unwanted Pickups by Rebecca Gao starring Sara Waisglass of Degrassi and the animated Hunger's Core by Salwa Majoka and Christine Chung. These pieces would not be traditionally considered as short films but rather as PSAs. However, they work within the mantra of our programming and the audiences we serve. Not to mention they were really great watching experiences.
In essence, we do consider works labelled as web-series, music video, or any other format that is traditionally not considered "film" provided they work as standalone pieces - a television or web pilot that leaves the audience hanging with no closure might not be the best fit for us. But the great thing about Toronto Youth Shorts' compilation style is the flexibility in curating each screening block with an assortment of genres and formats. If you have a music video or other nontraditional format that you think can gel within a screening block of the festival, we'd love to see it.
Our early bird deadline is March 11. Save $10 by submitting early!
-Henry
Personally, I don't see a problem with it. The idea of what is cinematic has now blurred even further with the way studios and independents are producing work and how the consumer behaves in respect to television, web, and film. The Marvel Cinematic Universe is a fine example of replicating television on film while many features are now bypassing theatres to go straight to VOD or a streaming service like Netflix. Popular music videos are now considered cinematic endeavours, with more and more videos featuring Katy Perry, Taylor Swift, and Justin Bieber amongst others featuring elaborate credit sequences. At the end of the day, it's starting to matter less and less how you label a piece of content because it does not determine how one consumes it.
Last year, we showed Phoebe’s Declassified Guide to Unwanted Pickups by Rebecca Gao starring Sara Waisglass of Degrassi and the animated Hunger's Core by Salwa Majoka and Christine Chung. These pieces would not be traditionally considered as short films but rather as PSAs. However, they work within the mantra of our programming and the audiences we serve. Not to mention they were really great watching experiences.
In essence, we do consider works labelled as web-series, music video, or any other format that is traditionally not considered "film" provided they work as standalone pieces - a television or web pilot that leaves the audience hanging with no closure might not be the best fit for us. But the great thing about Toronto Youth Shorts' compilation style is the flexibility in curating each screening block with an assortment of genres and formats. If you have a music video or other nontraditional format that you think can gel within a screening block of the festival, we'd love to see it.
Our early bird deadline is March 11. Save $10 by submitting early!
-Henry
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This is my third year as a programmer for Toronto Youth Shorts, and at the risk of sounding cliche, I found this year’s films to be the best collection of shorts yet. The programming team and I were very happy to receive over 100 submissions, and we had a difficult time narrowing it down to just two programs. After much deliberating, we are excited to present this year’s line-up, as it offers a diverse range of genres, cultures and perspectives for the audience to enjoy.
When going through the submissions, I noticed that we received quite a few horror and sci-f- films this year. It’s great to see young filmmakers taking the risk of making films in these genres that are not always taken seriously. I was impressed with the sophistication that the filmmakers brought to these genres. For example the Korean Horror film Footprints, directed by Kevin Saychareun, tells a suspenseful story of family and guilt with a seamless blend of the supernatural and the real. The Sci-Fi short Dreaming is a Private Thing by AJ Smith presents a post-apocalyptic world from the unique point of view of a filmmaking robot; in this way, he shows the search for humanity within a futuristic society that any film buff would appreciate.
I was happy to see a good number of films showcasing different cultural backgrounds. FIlms such as Bosniak (directed by Kedj Kuqo) and Blue Eyed Drunks (directed by Abdul Malik) tackle themes that everyone can relate to (survival and acceptance) against the backdrop of the Bosnian War, and from the perspective of Pakistani-Canadian teenagers respectively. With the majority of North American films giving actors of different ethnicities minor roles, it is refreshing to see these young filmmakers showcasing stories and talent from all over the world.
Finally, I was delighted to see many submissions that focused on strong female characters and contemporary gender issues. I am proud to present to our program Who We Are and its collection of films dedicated to empowering women. The documentaries A New Reflection (Pauline Beal & Lindsay Fontatine), Being Tessa (Erin Harris), and Pretty Dangerous (Dan Laera) tell inspiring stories of young women overcoming physical differences and gender stereotypes to pursue their dreams. Phoebe’s Declassified Guide to Unwanted Pick Ups (Rebecca Gao), written and starring Degrassi’s Sara Waisglass, deals with the common issue of unwanted come-ons in a hilarious yet insightful way.
All in all, I thoroughly enjoyed programming this year’s festival, and can’t wait to share these wonderful films with you all!
-Julia
When going through the submissions, I noticed that we received quite a few horror and sci-f- films this year. It’s great to see young filmmakers taking the risk of making films in these genres that are not always taken seriously. I was impressed with the sophistication that the filmmakers brought to these genres. For example the Korean Horror film Footprints, directed by Kevin Saychareun, tells a suspenseful story of family and guilt with a seamless blend of the supernatural and the real. The Sci-Fi short Dreaming is a Private Thing by AJ Smith presents a post-apocalyptic world from the unique point of view of a filmmaking robot; in this way, he shows the search for humanity within a futuristic society that any film buff would appreciate.
I was happy to see a good number of films showcasing different cultural backgrounds. FIlms such as Bosniak (directed by Kedj Kuqo) and Blue Eyed Drunks (directed by Abdul Malik) tackle themes that everyone can relate to (survival and acceptance) against the backdrop of the Bosnian War, and from the perspective of Pakistani-Canadian teenagers respectively. With the majority of North American films giving actors of different ethnicities minor roles, it is refreshing to see these young filmmakers showcasing stories and talent from all over the world.
Finally, I was delighted to see many submissions that focused on strong female characters and contemporary gender issues. I am proud to present to our program Who We Are and its collection of films dedicated to empowering women. The documentaries A New Reflection (Pauline Beal & Lindsay Fontatine), Being Tessa (Erin Harris), and Pretty Dangerous (Dan Laera) tell inspiring stories of young women overcoming physical differences and gender stereotypes to pursue their dreams. Phoebe’s Declassified Guide to Unwanted Pick Ups (Rebecca Gao), written and starring Degrassi’s Sara Waisglass, deals with the common issue of unwanted come-ons in a hilarious yet insightful way.
All in all, I thoroughly enjoyed programming this year’s festival, and can’t wait to share these wonderful films with you all!
-Julia
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First off, I'd like to extend a heartfelt thanks to everyone whose time, energy and talent went into our submissions. I had the pleasure of working with the Toronto Youth Shorts team in selecting this year's films and we were given an embarrassment of riches to choose from. I can't wait to share these films with everyone at the festival. Before we pull the curtain back on August 8, I'd like to tell you a bit about what went into the programming process.
In February, we put out our open call for shorts from under-30, GTA-based filmmakers—but our work was just getting started. Throughout the spring, TYS sent representatives to nearly every high school, college and university student film showcase around the GTA. For every one film submitted, we saw another three or four. Each event had such a large pool of content that were so strong, we were constantly regrouping to discuss it. We looked for common threads, overarching themes etc. In our downtime, we scoured Vimeo and Youtube, reaching out to young filmmakers outside the academic stream. Perhaps most importantly, the work done by TYS staffers in years past continued to pay off. Many of our submissions came from filmmakers whose work we've showcased or considered before, and the growing strength of the TYS reputation helped us reach new eyeballs.
One of the luxuries of programming a film festival in 2015 is that we didn't touch a single DVD, thanks to the wonders of online submission portals. Technology blessed us in other ways, as well: the ubiquity of HD cameras and professional editing software meant that the production values of our submissions often rivaled those of professional films, allowing filmmakers' talent and vision to come through that much more clearly. And, they certainly delivered on that potential. A number of the selections you'll see on August 8 are BIG films despite their length. From sci-fi epics to animation, the films showcase an incredible amount of ambition, both within and beyond familiar genres. On the human drama and documentary side, our selections for this year contribute meaningfully to some of the most important discourses in 2015. Spoiler alert: we think you'll find these films very relevant.
Lastly, a note about the filmmakers themselves: in a place as diverse as Toronto, it was important to us to present work from as many voices as possible. But, the filmmakers made that job easy. We have stories and perspectives from around the world and around the city, all with one thing in common: they're Toronto Youth Shorts. As for that celluloid ceiling? We think you'll be pleasantly surprised.
We can't wait to share these gems with you at the festival.
-Paul
In February, we put out our open call for shorts from under-30, GTA-based filmmakers—but our work was just getting started. Throughout the spring, TYS sent representatives to nearly every high school, college and university student film showcase around the GTA. For every one film submitted, we saw another three or four. Each event had such a large pool of content that were so strong, we were constantly regrouping to discuss it. We looked for common threads, overarching themes etc. In our downtime, we scoured Vimeo and Youtube, reaching out to young filmmakers outside the academic stream. Perhaps most importantly, the work done by TYS staffers in years past continued to pay off. Many of our submissions came from filmmakers whose work we've showcased or considered before, and the growing strength of the TYS reputation helped us reach new eyeballs.
One of the luxuries of programming a film festival in 2015 is that we didn't touch a single DVD, thanks to the wonders of online submission portals. Technology blessed us in other ways, as well: the ubiquity of HD cameras and professional editing software meant that the production values of our submissions often rivaled those of professional films, allowing filmmakers' talent and vision to come through that much more clearly. And, they certainly delivered on that potential. A number of the selections you'll see on August 8 are BIG films despite their length. From sci-fi epics to animation, the films showcase an incredible amount of ambition, both within and beyond familiar genres. On the human drama and documentary side, our selections for this year contribute meaningfully to some of the most important discourses in 2015. Spoiler alert: we think you'll find these films very relevant.
Lastly, a note about the filmmakers themselves: in a place as diverse as Toronto, it was important to us to present work from as many voices as possible. But, the filmmakers made that job easy. We have stories and perspectives from around the world and around the city, all with one thing in common: they're Toronto Youth Shorts. As for that celluloid ceiling? We think you'll be pleasantly surprised.
We can't wait to share these gems with you at the festival.
-Paul
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In our festival's initial years, Lena Chun received awards and honourable mentions from the jury for her animated films Death of a Puppet, Folding City, To the Moon, and Beauty Queen. Since then she has worked for Cineflix as a Motions Graphic Designer, animating logos and titles for various TV programs. She now lives in London where she met her fiancee and works for Amazon Instant Video, a streaming service by Amazon, as a UX / UI motion designer creating promotional videos and motion demos for new features. Lena also supports UX designers on the Amazon team, doing research and motion study to make services better and richer for the customer experience on their mobile app and TV app design.
Stay tuned for more updates on past Toronto Youth Shorts winners!
Stay tuned for more updates on past Toronto Youth Shorts winners!
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Julia, Anna, and I sat on the jury for the 2015 Zoom Student Film Festival, this being my fourth time serving in this capacity. Can’t believe it’s been that long but it was great getting reacquainted with Addison Wyle, who has been covering Toronto Youth Shorts for quite some time and has since moved to Peterborough, and Joe Frankel, founder of Zoom. Elaine Poon (Ext. 5693, TYS2009) and Gesila Azorbo (Critics Panel, TYS2014) also served on the jury this year.
There were some personal highlights of the evening that ended up winning a few awards. Hunger’s Core is an experimental animated piece with powerful hand-drawn images resembling old water colour portraits that’s sharp and really resonates with the theme of the piece. Phoebe’s Declassified Guide to Unwanted Pickups is a how-to video in the style of a vlog with a YouTube aesthetic that’s light and a perfect way to engage their core audience on a serious topic. Straw is another fun piece that manages to bring inanimate objects, this case being cups and straws, to life. It’s also rare to see an animated piece at the high school level with story rather than just a backdrop for a concept or social message.
Award winners of the night include
-Best Picture: Hunger’s Core
- Best Director: Rebecca Gao for Phoebe’s Declassified Guide to Unwanted Pickups
-Best Performance: Sara Waisglass
-Best Animation: Straw
The festival’s programming was opened up for international selections this year. The lineup offered a variety of formats as well, including music videos and PSAs. This mishmash may be the result of an event that is student content-focused in nature, where most content stemmed from some kind of class assignment, but I wonder if this is truly the case anymore. I’ve often heard opinions that certain types of content do not belong in a film festival yet it’s interesting to see more and more festivals, including TIFF, reject this notion. We at Toronto Youth Shorts have certainly done so in the past. Television programs, webseries, and even short form social content are becoming more and more cinematic every day and having a festival include a television pilot, a webisode, or in Zoom’s case, a few PSAs is an interesting parallel to the ever-expanding way audiences are consuming content.
-Henry
There were some personal highlights of the evening that ended up winning a few awards. Hunger’s Core is an experimental animated piece with powerful hand-drawn images resembling old water colour portraits that’s sharp and really resonates with the theme of the piece. Phoebe’s Declassified Guide to Unwanted Pickups is a how-to video in the style of a vlog with a YouTube aesthetic that’s light and a perfect way to engage their core audience on a serious topic. Straw is another fun piece that manages to bring inanimate objects, this case being cups and straws, to life. It’s also rare to see an animated piece at the high school level with story rather than just a backdrop for a concept or social message.
Award winners of the night include
-Best Picture: Hunger’s Core
- Best Director: Rebecca Gao for Phoebe’s Declassified Guide to Unwanted Pickups
-Best Performance: Sara Waisglass
-Best Animation: Straw
The festival’s programming was opened up for international selections this year. The lineup offered a variety of formats as well, including music videos and PSAs. This mishmash may be the result of an event that is student content-focused in nature, where most content stemmed from some kind of class assignment, but I wonder if this is truly the case anymore. I’ve often heard opinions that certain types of content do not belong in a film festival yet it’s interesting to see more and more festivals, including TIFF, reject this notion. We at Toronto Youth Shorts have certainly done so in the past. Television programs, webseries, and even short form social content are becoming more and more cinematic every day and having a festival include a television pilot, a webisode, or in Zoom’s case, a few PSAs is an interesting parallel to the ever-expanding way audiences are consuming content.
-Henry
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3rd Year Screening
I had the pleasure of attending the York U Department of Film's 3rd Year Finish Line screenings at the Price Family Cinema this past week. Fellow TYS programmer Julia Crocco and I took in 7 (!) hours of video and film over the course of a two-night program that emphasized documentary and experimental narrative. Though we were consistently impressed by the talent on display, a few works in particular really excited us.
Emmerek Vanleur's documentary Cultivate which followed a young man seeking closure after his experiences on a fundamentalist religious farm, managed a rare feat in documentary filmmaking by telling a riveting story while remaining emotionally honest. The short kept us on the edge of our seats, developing a sense of suspense usually reserved for fiction film and long-form works. Following a different tradition in documentary filmmaking, Peter Howie's Pizzo (Extortion) investigated the fascinating and surprisingly shadowy world of the Windsor, Ontario pizza business.
At the other end of the spectrum, Daria Savic's experimental short Dynasties provided viewers with an immersive, almost meditative experience. By blending audio interviews with dreamlike images, the film offered a unique and complex take on what the program called “age-old themes of domestic abuse and family.”
As always, our hats are off to all the filmmakers who participated, and we can't wait to see them again at the 4th Year Finish Line.
-Paul
4th Year Screening
I went to York so it goes without saying that I attended York's 4th year film screenings. I love seeing what they churn out every year. As I tweeted right after it, some good stuff was seen!
This year in particular offered us a wider and more diverse range of stories. I was pleased to see a number POC stories and casts – the films were cohesive, intelligent, well acted and realized. We also noticed that York filmmakers this year experimented a lot with forms of digital communication depictions on screen. It's here! The trend of on-screen-messaging has officially hit York as well!
Blue Eyed Drunks by director Abdul Malik was one that particularly impressed me in that respect, with its unique use of typography and design in a story about two out of place immigrants dealing with their new world. In a similar vein there was Net Folk, which gave us a a look into the Millennials and the growing digital sphere, particularly the interaction of people on and offline.
Standouts in fiction from both nights were Muna, the story of a child soldier, and The Gift, a couple's strained relationship set at the time of the 2010 Haiti earthquake. Henry and I also really liked The Crocodile and the Capybara, which was a story of two brothers' doomed relationship, with shades of fairytale fantasy. Henry pointed out to me that he's coming to view these sibling stories as a permanent York fixture, and thinking back to my own screenwriting classes I have to agree. I even wrote one that was work-shopped. What can I say, sibling relationships are inherently interesting to me as an only child. Kristina Mileska (TYS2013 and 2014 award winner) and Andy Kloske's Asteroid was a highly anticipated film for us, having screened another film by them last year at the festival (Florence and the Fish) and I'm pleased to say our faith was rewarded.
There was documentary as well: I enjoyed Haunted by Presence for its rich visuals and deliberation on art and the process of creating, and A Woman Departed which was described as “a letter to a loved one, lost”.
There was also a larger number of alternative and experimental films this year. As they are not my forte, I feel my commentary should stay limited, but I did find Magician's Machina visually rich and arresting. Aforementioned Abdul Malik was the DOP and if he's reading this he knows to definitely include it in a future demo reel as he really shines here.
I hope we have the opportunity to offer some of these up for viewing again at our 2015 festival!
Submissions are still open and this year we've made it easier for our applicants – you can submit online with less hassle and paperwork. Click here to submit your film, or scroll up to find our submissions page!
-Sia
I had the pleasure of attending the York U Department of Film's 3rd Year Finish Line screenings at the Price Family Cinema this past week. Fellow TYS programmer Julia Crocco and I took in 7 (!) hours of video and film over the course of a two-night program that emphasized documentary and experimental narrative. Though we were consistently impressed by the talent on display, a few works in particular really excited us.
Emmerek Vanleur's documentary Cultivate which followed a young man seeking closure after his experiences on a fundamentalist religious farm, managed a rare feat in documentary filmmaking by telling a riveting story while remaining emotionally honest. The short kept us on the edge of our seats, developing a sense of suspense usually reserved for fiction film and long-form works. Following a different tradition in documentary filmmaking, Peter Howie's Pizzo (Extortion) investigated the fascinating and surprisingly shadowy world of the Windsor, Ontario pizza business.
At the other end of the spectrum, Daria Savic's experimental short Dynasties provided viewers with an immersive, almost meditative experience. By blending audio interviews with dreamlike images, the film offered a unique and complex take on what the program called “age-old themes of domestic abuse and family.”
As always, our hats are off to all the filmmakers who participated, and we can't wait to see them again at the 4th Year Finish Line.
-Paul
4th Year Screening
I went to York so it goes without saying that I attended York's 4th year film screenings. I love seeing what they churn out every year. As I tweeted right after it, some good stuff was seen!
This year in particular offered us a wider and more diverse range of stories. I was pleased to see a number POC stories and casts – the films were cohesive, intelligent, well acted and realized. We also noticed that York filmmakers this year experimented a lot with forms of digital communication depictions on screen. It's here! The trend of on-screen-messaging has officially hit York as well!
Blue Eyed Drunks by director Abdul Malik was one that particularly impressed me in that respect, with its unique use of typography and design in a story about two out of place immigrants dealing with their new world. In a similar vein there was Net Folk, which gave us a a look into the Millennials and the growing digital sphere, particularly the interaction of people on and offline.
Standouts in fiction from both nights were Muna, the story of a child soldier, and The Gift, a couple's strained relationship set at the time of the 2010 Haiti earthquake. Henry and I also really liked The Crocodile and the Capybara, which was a story of two brothers' doomed relationship, with shades of fairytale fantasy. Henry pointed out to me that he's coming to view these sibling stories as a permanent York fixture, and thinking back to my own screenwriting classes I have to agree. I even wrote one that was work-shopped. What can I say, sibling relationships are inherently interesting to me as an only child. Kristina Mileska (TYS2013 and 2014 award winner) and Andy Kloske's Asteroid was a highly anticipated film for us, having screened another film by them last year at the festival (Florence and the Fish) and I'm pleased to say our faith was rewarded.
There was documentary as well: I enjoyed Haunted by Presence for its rich visuals and deliberation on art and the process of creating, and A Woman Departed which was described as “a letter to a loved one, lost”.
There was also a larger number of alternative and experimental films this year. As they are not my forte, I feel my commentary should stay limited, but I did find Magician's Machina visually rich and arresting. Aforementioned Abdul Malik was the DOP and if he's reading this he knows to definitely include it in a future demo reel as he really shines here.
I hope we have the opportunity to offer some of these up for viewing again at our 2015 festival!
Submissions are still open and this year we've made it easier for our applicants – you can submit online with less hassle and paperwork. Click here to submit your film, or scroll up to find our submissions page!
-Sia
- Published on
On Wednesday night, I headed out to the Meadowvale Theatre to check out this year’s Mississauga Youth Film Festival. Designed to coincide with National Youth Arts Week and Mississauga’s own “Rebel ‘15” week-long youth festival, the night was a great celebration of young filmmaking.
After overcoming some early technical difficulties, the show got started and showcased its nine diverse short films, interspersed with a few musical performances along the way. One very intriguing film early on in the night was Golden Pages, directed by Haaris Qadri, which follows the story of a young man who finds a book containing the story of his entire life. Boasting a strong premise and beautiful cinematography, it was an inspired entry.
The second half of the night saw two interesting conceptual films from the Bananappeal filmmaking collective, including Edge, directed by Sina Dolati, a powerful and artistic portrayal of the effects of mental illness on one man.
However, the big winner of the night was the final film to screen, This is My Life, which ended up taking the first place prize both from the judges and the audience vote. This polished short about overcoming one’s past turned out to be the perfect, hopeful note to end the night on.
Thoughtfully curated and varied in its programming, I was impressed with the level of skill on display at the Mississauga Youth Film Festival. It was a nice reminder that there’s plenty of talent to be found all over Southern Ontario.
- Colleen
- Published on
DAY 1
The 18th annual Ryerson University Film Festival held in Ryerson’s very own theater, presented audiences with a very strong lineup of student made short films. From comedy, to sci-fi, to drama, the festival presented diversity in not only genre but content and subject matter. The quality of the films exhibited in this year’s festival exceeded all of any expectations we could have ever had. Each piece told an engaging and emotional story, enhanced by the high quality acting, cinematography and sound design. A large quantity of the films on Day 1 of the festival felt very raw with real people telling real stories in real worlds. Most notably, Bookends by Pia Abrahams, Dreaming is a Private Thing by AJ Smith, Menesetung by Kyle McDonnell and Mannish Boy by Ryan Tonelli stood out as films that could definitely be presented in professional industry festivals such as TIFF.
The overall highlight of the evening was undoubtedly Mannish Boy, a coming of age drama set in 1970’s Brooklyn, NY. This heartfelt piece explores the relationship between two brothers tied up in street crime while touching on topics of racism and police brutality relevant in the 1970’s. There are so many aspects of this film, which make it the incredible and impressive piece it is. Most notably, maintaining the illusion of 1970’s Brooklyn in 2015 Toronto requires a large amount of strategic pre-production research and planning. The art department did a phenomenal job in capturing the aesthetic of the 1970’s in a Brooklyn setting through costume, set design, prop and colour pallet choices. The cherry on top was the final twist at the end of the short, which left audiences on the edge of their seats wanting more (or maybe it was just us).
-Gabby
DAY 2
The second night of RUFF was exciting because after screening many more fantastic films, there was also an award ceremony. Ryan Tonelli's short film Mannish Boy took home several awards. My favourites of the night were Cafe Caveat directed by Tim MacLennan, Earth to Avery directed by Julianna Notten, and NrG Elite directed by Emmett Fraser. NrG Elite was my overall favourite because it struck all the right notes in terms of editing, humour and production design.
This was my first time at RUFF, and it was the best-run student film festival I've attended so far. I look forwarded to seeing future projects by each of the film-making teams . More information about all of the RUFF films can be found here: http://www.imagearts.ryerson.ca/ruff/
We wish the Ryerson Film Class of 2015 good luck as they culminate their education and enter the professional film industry.
-Alex
The 18th annual Ryerson University Film Festival held in Ryerson’s very own theater, presented audiences with a very strong lineup of student made short films. From comedy, to sci-fi, to drama, the festival presented diversity in not only genre but content and subject matter. The quality of the films exhibited in this year’s festival exceeded all of any expectations we could have ever had. Each piece told an engaging and emotional story, enhanced by the high quality acting, cinematography and sound design. A large quantity of the films on Day 1 of the festival felt very raw with real people telling real stories in real worlds. Most notably, Bookends by Pia Abrahams, Dreaming is a Private Thing by AJ Smith, Menesetung by Kyle McDonnell and Mannish Boy by Ryan Tonelli stood out as films that could definitely be presented in professional industry festivals such as TIFF.
The overall highlight of the evening was undoubtedly Mannish Boy, a coming of age drama set in 1970’s Brooklyn, NY. This heartfelt piece explores the relationship between two brothers tied up in street crime while touching on topics of racism and police brutality relevant in the 1970’s. There are so many aspects of this film, which make it the incredible and impressive piece it is. Most notably, maintaining the illusion of 1970’s Brooklyn in 2015 Toronto requires a large amount of strategic pre-production research and planning. The art department did a phenomenal job in capturing the aesthetic of the 1970’s in a Brooklyn setting through costume, set design, prop and colour pallet choices. The cherry on top was the final twist at the end of the short, which left audiences on the edge of their seats wanting more (or maybe it was just us).
-Gabby
DAY 2
The second night of RUFF was exciting because after screening many more fantastic films, there was also an award ceremony. Ryan Tonelli's short film Mannish Boy took home several awards. My favourites of the night were Cafe Caveat directed by Tim MacLennan, Earth to Avery directed by Julianna Notten, and NrG Elite directed by Emmett Fraser. NrG Elite was my overall favourite because it struck all the right notes in terms of editing, humour and production design.
This was my first time at RUFF, and it was the best-run student film festival I've attended so far. I look forwarded to seeing future projects by each of the film-making teams . More information about all of the RUFF films can be found here: http://www.imagearts.ryerson.ca/ruff/
We wish the Ryerson Film Class of 2015 good luck as they culminate their education and enter the professional film industry.
-Alex
