The best of the Sydney Underground Film Festival is heading to the Rosnay Winery, located near Cowra in Central West NSW, to celebrate independent filmmaking and organic wine with the local community.
Members of the public are invited to bring a picnic rug, sit back and relax with quality, independent films under the stars. Guests will also be invited to try Rosnay’s quality organic wines or their world-class olives and figs.
The Sydney Underground Film Festival (SUFF) showcases unique and entertaining films that challenge the conservative conventions of filmmaking and supports filmmakers who push their filmmaking practice in both form and content.
SUFF’s 2010 festival at the Factory Theatre recently screened 89 films to sell-out crowds over one huge weekend, and the Rosnay event will showcase a number of the award-winning films from the 2010 festival.
SUFF is a natural partnership for Rosnay who are long-time supporters of the arts and have previously sponsored events such as the Peats Ridge Festival as well as events for artists, galleries and musicians.
WHERE: Rosnay Winery - Rivers Road (4 km from the turnoff on the Cowra Road, outside Canowindra)
COST: $15 for films only. $30 for films and dinner. Tickets available at the door.
TIME: 5.30pm for music, drinks and dinner (RSVP only). Films commence from 7.00pm.
RSVP (for dinner): Monday 11 October
ALCOHOL: Cellar Door is licensed: No BYO
BRING: Folding chair, rug, cushions etc For more information contact: Belinda Worsley - Kabuku Public Relations T: 0415 686 014 E: Belinda@kabukupr.com.au
Wednesday 29 September 2010
THE SYDNEY UNDERGROUND FILM FESTIVAL TO SURFACE IN CENTRAL WEST NSW
The best of the Sydney Underground Film Festival is heading to the Rosnay Winery, located near Cowra in Central West NSW, to celebrate independent filmmaking and organic wine with the local community.
Members of the public are invited to bring a picnic rug, sit back and relax with quality, independent films under the stars. Guests will also be invited to try Rosnay’s quality organic wines or their world-class olives and figs.
The Sydney Underground Film Festival (SUFF) showcases unique and entertaining films that challenge the conservative conventions of filmmaking and supports filmmakers who push their filmmaking practice in both form and content. SUFF’s 2010 festival at the Factory Theatre recently screened 89 films to sell-out crowds over one huge weekend, and the Rosnay event will showcase a number of the award-winning films from the 2010 festival.
SUFF is a natural partnership for Rosnay who are long-time supporters of the arts and have previously sponsored events such as the Peats Ridge Festival as well as events for artists, galleries and musicians.
WHERE: Rosnay Winery - Rivers Road (4 km from the turnoff on the Cowra Road, outside Canowindra)
COST: $15 for films only. $30 for films and dinner. Tickets available at the door.
TIME: 5.30pm for music, drinks and dinner (RSVP only).
Films commence from 7.00pm.
RSVP (for dinner): Monday 11 October
ALCOHOL: Cellar Door is licensed: No BYO
BRING: Folding chair, rug, cushions etc
For more information contact: Belinda Worsley - Kabuku Public Relations
T: 0415 686 014 E: Belinda@kabukupr.com.au
Members of the public are invited to bring a picnic rug, sit back and relax with quality, independent films under the stars. Guests will also be invited to try Rosnay’s quality organic wines or their world-class olives and figs.
The Sydney Underground Film Festival (SUFF) showcases unique and entertaining films that challenge the conservative conventions of filmmaking and supports filmmakers who push their filmmaking practice in both form and content. SUFF’s 2010 festival at the Factory Theatre recently screened 89 films to sell-out crowds over one huge weekend, and the Rosnay event will showcase a number of the award-winning films from the 2010 festival.
SUFF is a natural partnership for Rosnay who are long-time supporters of the arts and have previously sponsored events such as the Peats Ridge Festival as well as events for artists, galleries and musicians.
WHERE: Rosnay Winery - Rivers Road (4 km from the turnoff on the Cowra Road, outside Canowindra)
COST: $15 for films only. $30 for films and dinner. Tickets available at the door.
TIME: 5.30pm for music, drinks and dinner (RSVP only).
Films commence from 7.00pm.
RSVP (for dinner): Monday 11 October
ALCOHOL: Cellar Door is licensed: No BYO
BRING: Folding chair, rug, cushions etc
For more information contact: Belinda Worsley - Kabuku Public Relations
T: 0415 686 014 E: Belinda@kabukupr.com.au
Friday 10 September 2010
'The Taint' review by Yasmin Vought screens 10 September
The Taint certainly is one of the most horrendously grotesque films of this year. Banned (or soon to be banned) in pretty much every state and territory that it was released in, it promises to shock, disgust, infuriate and disturb you to the core. The Taint is described as a satirical horror-comedy seeking to expose the misogynistic views of contemporary genre films, by being the most misogynistic film of all time.
My viewing notes for this film pretty much read as follows; “Penis…. Is that Corey, the social networking party dude? Human faeces… penis… severed penis… pinball music… penis… ahh that’s what ‘taint’ means… smashed heads… sperm explosion…” In light of this quite simplistic method of film analysis, please forgive me if I do not give you the usual run down on how tight the editing was and the details of fancy cinematography techniques, such as the depth of field in the face-mutilation scene. Because let’s face it, that would just be missing the point entirely. This is a trash film, best viewed trashed (responsibly and on SUFF wine of choice ‘Rosnay’ wine, of course!) or at least with your sense of humour intact and your mind firmly planted in the gutter.
Essentially this film is a horror comedy in the style of ‘Cannibal: The Musical’ and in my opinion, inspired by classics such as Dario Argento horror masterpiece, ‘Suspiria’ and countless John Waters trash flicks. The Taint’s film genre also borders on tacky romance at some points, with a few flashback scenes that are presented in a spoof soap opera style. Think ‘Mills and Boone’ meets ‘Passions’, only with mutilation and sexual violence. Ahh zombie love…
Drew Bolduc, the lead Actor and Director of ‘The Taint’ will be doing a Q&A after the SUFF screening of his film this Friday night at The Factory Theatre, Marrickville. His character, Phil O’Ginny, reminds me of a mutant cross between Matt Stone and Napolean Dynamite. Drew also acted in and directed a short film in 2008 called ‘The Godening’, in which a young man loses his religion and becomes a hedonist and an alcoholic. He then has to battle Satan to save his soul from eternal damnation. I must see this film! Until then, I’ll be heading to the Factory Theatre this Friday night to watch ‘The Taint’ with some like minded creeps and weirdos and to hopefully ask Drew what his fascination is with bodily fluids and smashed heads. Catch this film before it’s banned!
My viewing notes for this film pretty much read as follows; “Penis…. Is that Corey, the social networking party dude? Human faeces… penis… severed penis… pinball music… penis… ahh that’s what ‘taint’ means… smashed heads… sperm explosion…” In light of this quite simplistic method of film analysis, please forgive me if I do not give you the usual run down on how tight the editing was and the details of fancy cinematography techniques, such as the depth of field in the face-mutilation scene. Because let’s face it, that would just be missing the point entirely. This is a trash film, best viewed trashed (responsibly and on SUFF wine of choice ‘Rosnay’ wine, of course!) or at least with your sense of humour intact and your mind firmly planted in the gutter.
Essentially this film is a horror comedy in the style of ‘Cannibal: The Musical’ and in my opinion, inspired by classics such as Dario Argento horror masterpiece, ‘Suspiria’ and countless John Waters trash flicks. The Taint’s film genre also borders on tacky romance at some points, with a few flashback scenes that are presented in a spoof soap opera style. Think ‘Mills and Boone’ meets ‘Passions’, only with mutilation and sexual violence. Ahh zombie love…
Drew Bolduc, the lead Actor and Director of ‘The Taint’ will be doing a Q&A after the SUFF screening of his film this Friday night at The Factory Theatre, Marrickville. His character, Phil O’Ginny, reminds me of a mutant cross between Matt Stone and Napolean Dynamite. Drew also acted in and directed a short film in 2008 called ‘The Godening’, in which a young man loses his religion and becomes a hedonist and an alcoholic. He then has to battle Satan to save his soul from eternal damnation. I must see this film! Until then, I’ll be heading to the Factory Theatre this Friday night to watch ‘The Taint’ with some like minded creeps and weirdos and to hopefully ask Drew what his fascination is with bodily fluids and smashed heads. Catch this film before it’s banned!
El Monstro Del Mar! review by Yasmin Vought screens 10 September
Described as an Ozploitation genre film, Stuart Simpson’s El Monstro Del Mar is a tale of three foxy rockabilly babes - hired assassins hiding away in a seaside village after a big job. Amazonian goddess Beretta (Nelli Scarlet) appears to be the leader of the pack, and has a dominance and presence on screen that forces you to pay attention - or else she will probably slit your throat and feed you to her two sidekicks! Beretta‘s punk rock attitude (Nelli is the frontwoman of Melbourne band, The Scarlets) is reminiscent of Suburban Mayhem beauty Katrina Skinner (played by Emily Barclay) and is complimented by the more subdued nature of Blondie (Karli Madden)and the sexual allure of the Morticia-meets-Elvira raven haired vixen, Snowball (Kate Watts).
The leading ladies are quite believable in their parts, almost as though they were plucked straight from their crème Cadillac, cruising around the streets of Melbourne, cranking The Cramps on their stereo. After watching El Monstro Del Mar, I want to join their crew and drink whiskey with them and go on a sexy car stealing, killing rampage on the South coast.
However, it’s not all fun and cruising, because just when we think that the girls are indestructible, they get themselves into a bit of trouble in this apparently not so sleepy seaside town by swimming in the forbidden beach. Channelling The Mighty Boosh’s tale of Ol’ Gregg, there is something deadly and frightening that lurks beneath the sea, and it’s not happy about being disturbed. Without spoiling the plot too much, this film quickly becomes a monstrous revenge film that would make Tarantino and the residents of Tromaville equally proud.
The combination of ass-kicking babes reminiscent of Russ-Meyer femme revenge flick, ‘Faster Pussycat, Kill, Kill’ together with an amped up killer alt-country, rockabilly soundtrack to boot, make this film well worth your time and your pretty little pennies. If only to witness the sexy black and white opening title, or the frightening death skull dream sequence toward the middle. The cinematography is also quite exquisite and filmed almost entirely with an over saturated and highly contrasted film stock, giving the film a surreal and fantastical atmosphere. I half expected to see some Western clad Mermaids emerging from the waters, but let’s save that for the sequel (fingers crossed).
El Monstro Del Mar is showing this Saturday at the Factory Theatre in Marrickville at 4pm and will be followed by an exclusive Q&A with Writer and Director, Stuart Simpson and the Monstro crew.
The leading ladies are quite believable in their parts, almost as though they were plucked straight from their crème Cadillac, cruising around the streets of Melbourne, cranking The Cramps on their stereo. After watching El Monstro Del Mar, I want to join their crew and drink whiskey with them and go on a sexy car stealing, killing rampage on the South coast.
However, it’s not all fun and cruising, because just when we think that the girls are indestructible, they get themselves into a bit of trouble in this apparently not so sleepy seaside town by swimming in the forbidden beach. Channelling The Mighty Boosh’s tale of Ol’ Gregg, there is something deadly and frightening that lurks beneath the sea, and it’s not happy about being disturbed. Without spoiling the plot too much, this film quickly becomes a monstrous revenge film that would make Tarantino and the residents of Tromaville equally proud.
The combination of ass-kicking babes reminiscent of Russ-Meyer femme revenge flick, ‘Faster Pussycat, Kill, Kill’ together with an amped up killer alt-country, rockabilly soundtrack to boot, make this film well worth your time and your pretty little pennies. If only to witness the sexy black and white opening title, or the frightening death skull dream sequence toward the middle. The cinematography is also quite exquisite and filmed almost entirely with an over saturated and highly contrasted film stock, giving the film a surreal and fantastical atmosphere. I half expected to see some Western clad Mermaids emerging from the waters, but let’s save that for the sequel (fingers crossed).
El Monstro Del Mar is showing this Saturday at the Factory Theatre in Marrickville at 4pm and will be followed by an exclusive Q&A with Writer and Director, Stuart Simpson and the Monstro crew.
Tuesday 7 September 2010
Introducing Sydney Underground Film Festival's resident blogger Yasmin Vought
We're really pleased to welcome our second blogger to the pages of the SUFF blog.
Yasmin Vought is a Sydney based film critic, writer and entertainment journalist. Her work has been published in websites such as Rotten Tomatoes, IGN, Machete Girl and Carnival Askew, to name a few.
Yasmin's passion for underground cinema and her contempt for the everyday mainstream film goes hand in hand with the feel of the Sydney Underground Film Festival. The films that Yasmin is most looking forward to at this years festival are: 'Bill Hicks: The American Story', 'Biker Fox', and 'Trash Humpers'. Stay tuned for her upcoming pre-festival film rants on the SUFF blog later this week.
Yasmin Vought is a Sydney based film critic, writer and entertainment journalist. Her work has been published in websites such as Rotten Tomatoes, IGN, Machete Girl and Carnival Askew, to name a few.
Yasmin's passion for underground cinema and her contempt for the everyday mainstream film goes hand in hand with the feel of the Sydney Underground Film Festival. The films that Yasmin is most looking forward to at this years festival are: 'Bill Hicks: The American Story', 'Biker Fox', and 'Trash Humpers'. Stay tuned for her upcoming pre-festival film rants on the SUFF blog later this week.
Wednesday 1 September 2010
Why didn't my film make it into the Sydney Underground Film Festival's program?
Yes we're about to answer the burning question: 'Why didn't my film make it into the Sydney Underground Film Festival's program?'
We receive many films each year (this year over 800!) and we watch each and every one. The vast majority of these entries are very good films.
Duration and editing
So how do we narrow it down with so many great films? One factor is the length of the film. Not meaning to simplify it too much, but as you can imagine it’s a lot easier to include a short of 3 minutes than a film of 21 minutes in one of our short film sessions. Not that a longer film can’t be really good as we program them often - however, if your film is longer it really needs to be outstanding as the rest of the films in the session will need to be programmed around it. Also, longer films often fall in the trap of being too long unnecessarily. They could be something really unforgettable with some more editing and not just become an example of a filmmaker unable to lose some scenes. Sometimes, you just have to be ruthless and only keep in the scenes that are important to the story, or edit down scenes that are drawn out for no good reason.
The zeitgeist
Another big deciding factor is the theme - themes start to emerge when entries come in and we allow them to organically form, so if you’re in tune with the arty, the challenging, the creative, the marginal and the perverse collective consciousness – this could be a factor of getting in. Our 'Recycled Cinema' or ‘Mothers Milk’ or ‘LSD Factory’ short film sessions are good examples of this.
Is your film doing something different?
We do have an ethos to our festival and though the definition of ‘underground’ is constantly in flux there are some films that are just not underground, no matter how much you stretch the imagination. An example would be an instructional documentary on the production of berries. Now if the documentary had some subversive subtext, like they are grown specially to assassinate the president of the USA or they are franken-berries that are produced by Monsanto and have some crazy genetic mutation – that would qualify for SUFF, otherwise it would probably have a better chance if it is targeted towards a more appropriate festival, like a gardening film festival.
So how does a filmmaker increase their chances of success?
The best thing to do is to study what we've screened at past festivals and see if your film could be a good fit for SUFF. We're not saying don't enter if your totally awesome film goes longer than the average short (it may become one of our features / stand out films within a program) but just keep these points in mind. As with any festival entry, try to look at your film from a festival's point of view and give yourself an honest appraisal of whether you would be able to screen it if you were in their shoes.
Don’t be afraid
We encourage people to not be afraid, and reward cinematic risk, creativity and diversity. We are masters of sniffing out cinematic fear! Let me explain: there are two types of filmmakers in this world. First there are those who do it for the art, love, passion, creativity and experimentation. These people usually want to push and challenge consciousness through cinema and make their cinematic decision from a place of risk and potential gain. The second type are filmmakers who make their films based on what they think people want to see, what they think will get them the next gig, or what is ‘socially appropriate or acceptable’ to investigate as subject matter. Usually these people are afraid that if they do something different, they will hinder their chances of securing an ‘industry’ job of some description – they operate from a place of cinematic fear.
Show your film to someone who hates you.
Yes you heard me right - get people who don’t know you, don’t like you or even hate you to look at your film and give it a critique. That is where you’ll most probably find out what sort of impact your film really has. Let people talk. Don’t interrupt them and don’t tell them what you were intending by this or that. Just listen to their reactions and work out if you had intended to evoke that particular type of reaction with your film.
However, please remember to take feedback with a grain of salt. People might be offended by your film and it could be a good thing. People could be reacting negatively because you hit a nerve – and that’s one of the best things you could do. Assess the feedback based on the demographic of the audience member.
We receive many films each year (this year over 800!) and we watch each and every one. The vast majority of these entries are very good films.
Duration and editing
So how do we narrow it down with so many great films? One factor is the length of the film. Not meaning to simplify it too much, but as you can imagine it’s a lot easier to include a short of 3 minutes than a film of 21 minutes in one of our short film sessions. Not that a longer film can’t be really good as we program them often - however, if your film is longer it really needs to be outstanding as the rest of the films in the session will need to be programmed around it. Also, longer films often fall in the trap of being too long unnecessarily. They could be something really unforgettable with some more editing and not just become an example of a filmmaker unable to lose some scenes. Sometimes, you just have to be ruthless and only keep in the scenes that are important to the story, or edit down scenes that are drawn out for no good reason.
The zeitgeist
Another big deciding factor is the theme - themes start to emerge when entries come in and we allow them to organically form, so if you’re in tune with the arty, the challenging, the creative, the marginal and the perverse collective consciousness – this could be a factor of getting in. Our 'Recycled Cinema' or ‘Mothers Milk’ or ‘LSD Factory’ short film sessions are good examples of this.
Is your film doing something different?
We do have an ethos to our festival and though the definition of ‘underground’ is constantly in flux there are some films that are just not underground, no matter how much you stretch the imagination. An example would be an instructional documentary on the production of berries. Now if the documentary had some subversive subtext, like they are grown specially to assassinate the president of the USA or they are franken-berries that are produced by Monsanto and have some crazy genetic mutation – that would qualify for SUFF, otherwise it would probably have a better chance if it is targeted towards a more appropriate festival, like a gardening film festival.
So how does a filmmaker increase their chances of success?
The best thing to do is to study what we've screened at past festivals and see if your film could be a good fit for SUFF. We're not saying don't enter if your totally awesome film goes longer than the average short (it may become one of our features / stand out films within a program) but just keep these points in mind. As with any festival entry, try to look at your film from a festival's point of view and give yourself an honest appraisal of whether you would be able to screen it if you were in their shoes.
Don’t be afraid
We encourage people to not be afraid, and reward cinematic risk, creativity and diversity. We are masters of sniffing out cinematic fear! Let me explain: there are two types of filmmakers in this world. First there are those who do it for the art, love, passion, creativity and experimentation. These people usually want to push and challenge consciousness through cinema and make their cinematic decision from a place of risk and potential gain. The second type are filmmakers who make their films based on what they think people want to see, what they think will get them the next gig, or what is ‘socially appropriate or acceptable’ to investigate as subject matter. Usually these people are afraid that if they do something different, they will hinder their chances of securing an ‘industry’ job of some description – they operate from a place of cinematic fear.
Show your film to someone who hates you.
Yes you heard me right - get people who don’t know you, don’t like you or even hate you to look at your film and give it a critique. That is where you’ll most probably find out what sort of impact your film really has. Let people talk. Don’t interrupt them and don’t tell them what you were intending by this or that. Just listen to their reactions and work out if you had intended to evoke that particular type of reaction with your film.
However, please remember to take feedback with a grain of salt. People might be offended by your film and it could be a good thing. People could be reacting negatively because you hit a nerve – and that’s one of the best things you could do. Assess the feedback based on the demographic of the audience member.
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