Category: Film and Music


Sophie_banjoSophie Tapie is known for her work in music, film and television. On 9 April, she takes center stage at The European Independent Film Festival presenting her experience-based views on barriers and keys to success for women in film and music.

The purpose of this workshop is to further understanding of the barriers and keys to success through the personal experiences and observations of featured speaker, Sophie Tapie. In addition, the program is intended to facilitate the networking among people interested in issues related to participation of women in film and music and to suggest action points.

Sophie Tapie was born in Paris in 1988. At 17, she went to London in order to attend classes in music, dance, and comedy at “The Arts Educational School.” Following two years of study, she graduated and returned to France with the certainty that music will govern her life. She has met with and worked with different authors / composers / French interpreters, she seeks her style, her voice …

Passionate and hard working, in parallel to her music, she has performed in theater (Oscar) and made a film (24 days Alexandre Arcady), a TV series (Commissioner Valencia), and she hosts a TV show (Equidia TV).

In 2012, she participated in The Voice. Noticed by the Canadian label Vega Music, Sophie moved to Montreal for a few months to work with Steve Marino and a successful director from Montreal, Steve Marino. In 2015 she released her album, “Sauvage”: 12 tracks that make us look and travel in a world full of humor and lucidity, ideals and freedom.

Follow Sophie on Facebook and Twitter


Beau
Beau
That Thing Reality
Kitsuné / RED Music Solutions

Debut album from the NYC-Greenwich Village duo of Heather Golden and Emma Rose. Shades of ’60s folk and ’70s punk.

Visit Beau at Facebook and iTunes


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What’s The Buzz ?


ECU_2016ÉCU – The European Independent Film Festival is dedicated to the discovery and advancement of the very best independent filmmakers from around the world. We proudly provide a unique platform for risk-taking storytellers to reach the broadest audiences possible.

Our annual festival showcases films that demonstrate quality, innovation, and creativity in both form and content. These qualities are judged in 14 categories, 7 of which are open to non-European filmmakers (from the Americas, Australia, Africa, and Asia), and compete for 25 awards. Jury members come from around the globe, have a variety of backgrounds, and are all united in their desire to screen films that will truly impress and inspire attendees.

ÉCU has expressly established itself and is often referred to as the Sundance of Europe. As such, we are the perfect venue for bold and visionary filmmakers to present their work to the cinema-loving public who are actively seeking alternatives to commercial-hungry major studio projects. Our screenings of new and thought-provoking cinematic creativity attracts more than just the public, but agents, talent scouts, production company representatives, distributors, and established producers, all of whom are searching for inspiring projects and raw talent.

ÉCU – The European Independent Film Festival has a wide variety of events for attendees to participate in throughout the weekend. Following every screening session, there are Q&A’s where audience members can pose questions directly to the directors. Directors then have the opportunity to respond and speak about their work and process. An assortment of workshops focusing on a number of subjects and hosted by industry professionals are available to all attendees. ÉCU is also a strong supporter of musicians and live music can be heard throughout the entirety of the weekend. Every evening there are amazing after parties were attendees and filmmakers can unwind, ideas can percolate, and a general good time can be had by all.


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Not everyone is able to make it to Paris to ÉCU’s annual film festival. So, every year after the main event ÉCU travels around the world making sure its “Official Selection” directors and films are made known. This demonstrates ÉCU’s active commitment to cultivate and encourage the new and inspiring talent that comes its way.

Last year over 10 countries around the globe were showing ÉCU films. This was made possible through the help of film commissions, film schools and our partner festivals. This action alone makes our storytellers voices heard, their creativity made known and allows them possibilities they would otherwise might not have had.

As a festival for filmmakers, it is extremely important for ÉCU to go on the road and tour our films. Through our road series, we have the ability to changes lives, forge relationships, further artistic expression, and most importantly, encourage a new generation of filmmaking and film-goers.

WHERE ARE WE GOING:

Vault Film Festival, London

February 7th,14th,21st,28th , 2015

We are very proud of ÉCU’s partnership with the first edition of Vault Film Festival. The festival will take place in central London on Sundays between 14:30 – 16:00 on the 7th, 14th, 21st and 28th February 2016. The Film Festival is the newest addition to the Vault Festival of Arts, which will see it’s fourth festival taking place in the edgy underground location of The Vaults, Waterloo for six weeks in 2016: January 27th – March 6th. The best of ÉCU will go to London soon and we are super excited! Check here for more information.

NDU International Film Festival, Beirut

November 15th-22nd, 2015

At its 9th edition, NDU was celebrated at Notre Dame University – Louaize, between November 15 and November 22. In this last version the Festival decided to honor the Lebanese Legend Abdel Halim Caracalla for his lifetime achievements. As a great example of an artist who gained success after years of persistence and belief in the artistic gifts of his team, he well represents the independent type of filmmakers the Festival aims to promote and reward.

The Clare Valley Film Festival showcases Australian and international independent film, as well as informing and inspiring a new generation of filmmakers, meanwhile raising the profile of this vibrant and diverse area – the Clare Valley. This year, the theme of family, friendship and life as seen through the eyes of the young and the old have played a big influence on many of the films.

HorizonVU Music is proud to partner with ÉCU, Paris, 8-10 April 2016. For more details concerning The European Independent Film Festival go to http://www.ecufilmfestival.com/


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Kering and Sundance Institute announce a collaboration to support women in the film industry.

∞ Kering launches its collaboration with the ‘Women at Sundance’ Fellowship Program at the 2016 Sundance Film Festival, to provide year-long support to six female filmmakers. Kering will develop a special training workshop for this year’s Women at Sundance Fellows.

∞ In addition, Kering and Sundance Institute will co-host a ‘Women in Motion’ panel discussion in NYC in April 2016.

Kering is thrilled to announce its collaboration with Sundance Institute’s ‘Women at Sundance’ Fellowship Program. The objective of the program is to help talented filmmakers overcome any obstacles they may face in building a career in film. This year, the program matches six women filmmakers from Sundance Institute’s acclaimed programs with industry leaders and decision makers for a year-long, individualized fellowship program, including one-on-one mentorship, coaching and access to learning and networking opportunities. Over the past three years, the Fellowship has supported 29 filmmakers, including Ava DuVernay (director, Selma), Sydney Freeland (writer/director, Drunktown’s Finest), Aurora Guerrero (writer/director, Mosquita y Mari), Marielle Heller (writer/director, The Diary of a Teenage Girl) and Tracy Droz Tragos (director/producer, Rich Hill).

As a global business leader committed to women’s empowerment, Kering will team up with Sundance Institute to further develop its ‘Women in Motion’ program and host the Fellows for a customized training session with inspiring women to develop their leadership skills.

Additionally, Kering and Sundance Institute will present a ‘Women in Motion’ Talk to continue to promote openness and diversity in the film industry. The workshop and the panel discussion will take place in April 2016 in New York City.

Women’s empowerment is at the heart of Kering’s vision and social commitment. Last year, in partnership with the Festival de Cannes, Kering launched the ‘Women in Motion’ program to celebrate female talent in cinema and their contribution to the film industry. Notable actors, writers, directors and producers, both men and women, attended the 2015 ‘Women in Motion’ Talks to exchange views on the gender gap in Hollywood and the film industry at large. Jane Fonda and Megan Ellison received ‘Women in Motion’ awards, which recognized their significant contributions to the industry.

François-Henri Pinault, Chairman and CEO of the Kering Group, said: “Women make up 50.8% of the U.S. population and yet only 4.2% of the 100 top-grossing films are made by female directors. However, each year for the last 13 years, 25% of American directors at the Sundance Film Festival have been female. I am thus very excited and proud about Kering supporting ‘Women at Sundance’ Fellows. Empowering women to succeed and encouraging a more diverse film industry is essential when we consider the impact that films have on our ways of thinking and behaving. Sundance Institute is doing this in a very pragmatic and exemplary way.”

Keri Putnam, Executive Director of Sundance Institute, said: “We have always believed that diverse artists and perspectives are critical to the health and vibrancy of independent storytelling. We are grateful for Kering’s support in helping us raise awareness of the importance of gender equality in entertainment and empowering women filmmakers.”

About Kering
A world leader in apparel and accessories, Kering develops an ensemble of powerful Luxury and Sport & Lifestyle brands: Gucci, Bottega Veneta, Saint Laurent, Alexander McQueen, Balenciaga, Brioni, Christopher Kane, McQ, Stella McCartney, Tomas Maier, Boucheron, Dodo, Girard-Perregaux, JeanRichard, Pomellato, Qeelin, Ulysse Nardin, Puma, Volcom, Cobra and Electric. By ‘empowering imagination’ in the fullest sense, Kering encourages its brands to reach their potential, in the most sustainable manner.
Present in more than 120 countries, the Group generated revenues of €10 billion in 2014 and had more than 37,000 employees at year end. The Kering (previously PPR) share is listed on Euronext Paris (FR 0000121485, KER.PA, KER.FP).

About Sundance Institute
Founded in 1981 by Robert Redford, Sundance Institute is a nonprofit organization that provides and preserves the space for artists in film, theatre, and new media to create and thrive. The Institute’s signature Labs, granting, and mentorship programs, dedicated to developing new work, take place throughout the year in the U.S. and internationally. The Sundance Film Festival and other public programs connect audiences to artists in igniting new ideas, discovering original voices, and building a community dedicated to independent storytelling. Sundance Institute has supported such projects as Beasts of the Southern Wild, Fruitvale Station, Sin Nombre, The Invisible War, The Square, Dirty Wars, Spring Awakening, A Gentleman’s Guide to Love and Murder and Fun Home.

Press Contacts
Kering

Marie-Laure Vaganay +1 646 650 3424 marie-laure.vaganay@kering.com
Maryam Ayromlou +1 703-474-5685 ayromloum@RuderFinn.com
Sundance Institute
Emel Shaikh +1 310 360 1981 emel_shaikh@sundance.org
Websites:
www.kering.com
www.sundance.org
Social Media
Twitter: @KeringGroup; @sundancefest
LinkedIn: Kering, Sundance Institute
Instagram: @kering_official; @sundanceinstitute
YouTube: KeringGroup, SFF


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Danny Says’ features interviews with Iggy Pop, Alice Cooper and Judy Collins

Reposted from The Hollywood Reporter http://www.hollywoodreporter.com/news/magnolia-pictures-nabs-danny-fields-854984

by Mia Galuppo

Magnolia Pictures has acquired the worldwide rights to Danny Says, a documentary that chronicles the life of rock and roll music industry exec Danny Fields. Fields was responsible for managing Iggy and the Stooges, MC5 and the Ramones.

Named after the Ramones song and directed by Brendan Toller, the doc features commentary from Iggy Pop, Alice Cooper, Judy Collins, Tommy Ramone, Jac Holzman, Lenny Kaye, Wayne Kramer and Fields himself.
“In spite of the fact that Danny helped introduce to the world some of the most transformative artists and scenes in rock and roll, his accomplishments take a backseat to the hilarity of the man himself,” said Magnolia president Eamonn Bowles. “Brendan Toller has fashioned a fantastic tribute to a true icon.”

Danny Says was produced by Pamela Lubell.

The deal was negotiated by Submarine Entertainment on behalf of the filmmakers.


September is coming to an end and here at ÉCU we’ve been extremely busy getting back into the swing of things. While our summer interns may have gone off back to their studies, off to live with monks or eskimos or have just gone off to pursue the usual other things that humans do, a wave of fresh blood has flooded into the office bringing in with them even more exciting ideas that we will be bringing to you over the following months! Say hello to Tommaso, Georgia, Habiba, Christian and Geidre and Mathilde!

As well as our amazing new interns, ÉCU are very happy to announce that we have established two new partnerships this month with two great European festivals, the Sgaurdi Altrove Film Festival in Milan and Arouca Film Festival in Arouca, Portugal. Both are very exciting and promote creativity and innovation through independent film. We are glad to have them on board and look forward to working with them with our ÉCU-ON-THE-ROAD events.

ÉCU-ON-THE-ROAD reached far and wide this month with both ÉCU-in-NAPPERVILLE and ÉCU-in-INNSTRASSE screening films from our collection. Twenty award winning films from ÉCU’s 2015 edition were screened at the Naperville Film Festival in Illinois, USA from 12th to 19th September 2015. Two films from ÉCU’s 2015 Official Selection, Border Trafficking and One Thousand and One Teardrops were screened at the Sommernachtskino open air cinema in Walther’s park in Innsbruck, Austria as part of the Tyrolean Independent Film Festival on September 18th. The adventure doesn’t stop there, as our films will be making their way to Egypt for the Qabila Film Festival from 8th to 10th October, Denmark for the Aarhus Independent Pixels from 16th to 18th October and Morocco for the 8th Tangier International Film Festival from 20th to 24th October.

This month we are also very pleased to announce the launch of our ÉCU movie review, with an article each week dedicated to one of the latest releases of indie films. The first film we have chosen to review is La Vanité by Lionel Baier. Keep checking our website to say up to date with the films we have been creeping into the cinemas late at night to see.

Whilst you are doing that also have a look at our spotlight articles. We are constantly searching for interesting characters in the film world to write about and this month an eclectic mix of Tippi Hedren, Quentin Dupieux (also known as Mr Oizo), David Lynch and the wonderful Bill Murray have made it onto our list.

Submissions keep rolling in and we have had a lot of interest this month so you will have a lot of films to look forward to during our festival from 8th -10th April 2016. In the mean time you can keep up to date through our social media channels (Facebook, Twitter, Tumblr, Instagram) and watch the latest submission trailers on our Youtube page. October is approaching and we are sure there is a lot more to come, so keep your eyes peeled for our latest escapades!


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What’s The Buzz ?


2 September 2015

Reposted from The Deli Magazine San Francisco
http://sf.thedelimagazine.com/22524/music-video-premiere-katie-garibaldi-lock-door-lose-key

Music Video Premiere: Katie Garibaldi – Lock The Door, Lose The Key

We’re excited to premiere a new music from the San Francisco based country artist, Katie Garibaldi. Garibaldi is another local artist who chooses to express herself in a more traditional music genre. With her beautiful voice and talent for musical arrangement, we always respect Katie for her hard work and well written country ballads.

I’ve kind of nicknamed “Lock The Door, Lose The Key” the ‘newlywed song’ because it’s basically about newlywed business. When I go through big life moments, including falling in love and getting married, those subjects infuse themselves into my creative mind and are reflected in my songwriting. I wrote a lot of the songs on my album, Follow Your Heart during the period of my life when I was engaged and newly married. “Lock The Door, Lose The Key” is about that honeymoon phase my husband and I were in when we basically just wanted to lock ourselves away in a blissful nest and forget the rest of the world. It’s become one of my favorite songs to perform live from the album because I’ve noticed how happy it makes people who are listening. It’s a really fun story and a staple song off Follow Your Heart that contributes to the record’s signature sound, so I chose this song for my first official music video to celebrate the album’s one-year anniversary as a celebration of what an absolute blast this past year has been touring with these songs, and as a personal thank you to my supporters. – Katie Garibaldi on writing Lock the Door, Lose the Key

Check out Katie’s “newlywed song”, Lock the Door, Lose the Key exclusively on The Deli Magazine San Francisco!

Photo Credit: Cultura/Steve Prezant

By Amy Zimmerman

Originally Posted 26 August 2015 at http://www.thedailybeast.com/articles/2015/08/26/women-s-music-industry-horror-stories-abuse-sexism-and-erasure.html

Women’s Music Industry Horror Stories: Abuse, Sexism, and Erasure

Women took to Twitter to share their tales of music biz struggles. Their heartbreaking stories paint a disturbing portrait of an industry rife with misogyny.

On Monday, Pitchfork Senior Editor Jessica Hopper asked the Twitterverse: “Gals/other marginalized folks: what was your 1st brush (in music industry, journalism, scene) w/ idea that you didn’t ‘count’?” What followed were hundreds of responses, mostly detailing the tragic timeline of any chick who dares to like music, thus infringing on the safe spaces of country bros and alt-rock dudes. Hopper’s retweets tell a pretty predictable story: girl develops interest in a music scene, girl is endlessly scrutinized and told that her fandom is illegitimate/invalid, girl is mistaken for a groupie or a girlfriend, girl is harassed/groped/assaulted at shows.

Various tropes are repeated over and over again, like a riff you’ve heard too many times before: an aspiring bassist being told by a music teacher that bass is for boys, or a teenager being asked by her dubious male classmates to recite a band’s entire discography in order to prove her fan cred. The narrative gets even more disturbing and specific when you start charting the testimonials of women who pursued careers as musicians, sound engineers, executives, and journalists. The recurring message is that, for women, the music industry is a Banksy-designed Choose Your Own Adventure book, with each career path containing its own lady-specific land mines.

Rampant misogyny is the music industry’s worst kept secret. Recently, legendary rapper—and the richest musician on the planet—Dr. Dre finally apologized for a lifetime of physical and emotional abuse against women. The apology stemmed from outrage over Straight Outta Compton, the N.W.A biopic, which topped the box office without addressing Dre’s problematic past. In her essay “Here’s What’s Missing From Straight Outta Compton: Me and the Other Women Dr. Dre Beat Up,” rapper and television personality Dee Barnes described the night in 1991 when Dre “straddled me and beat me mercilessly on the floor of the women’s restroom.” Dre later told Rolling Stone, “It ain’t no big thing—I just threw her through a door.” He pleaded no contest to Barnes’s assault charges and settled with her out of court for an undisclosed sum.

Dre’s history of violence against women was similarly uncontested. Everyone knew that Dr. Dre beat up women—they just didn’t really care. Michel’le, an R&B singer and Dr. Dre’s former girlfriend, explained, “I’ve been talking about my abuse for many, many years, but it has not gotten any ears until now,” before detailing how her relationship with one of hip-hop’s greats left her with “black eyes, a cracked rib and scars.” Singer Tairrie B is Dre’s third known music industry victim—the rapper punched her twice in the face at a Grammys after party in 1990. Straight Outta Compton director (and Barnes’s ex-cameraman) F. Gary Gray explained away the exclusion of these incidents by insisting that “we had to make sure we served the narrative… it wasn’t about side stories.”

The injustices that women face in the music industry range from micro (“no, I’m not dating someone in the band, and no, I don’t want to date you”) to debilitating (assault and/or constant fear of violence).

After decades of having his assault history dismissed as extraneous, Dr. Dre’s short New York Times apology feels like an insultingly small price to pay for his barely blemished legacy. Dre is currently enjoying the success of his new album Compton; the sale of his unfortunately named music company, Beats by Dr. Dre, made him the self-proclaimed “first billionaire in hip-hop.” Meanwhile, Dee Barnes was “blacklisted” from the industry by hip-hop insiders who didn’t want to jeopardize their relationships with the all-powerful D-R-E.

Straight Outta Compton doesn’t just erase Dre’s female victims—it also denies the influence of his female contemporaries. Female artists like J.J. Fad, Jewell, The Lady of Rage, Michel’le, and Tairrie B are notably absent from the biopic. Apparently, any woman who isn’t a half-naked groupie or a video girl is chopping block fodder in F. Gary Gray’s interpretation of the hip-hop world. While the history of women in hip-hop runs parallel to the story that Straight Outta Compton tells, it’s effectively silenced. When N.W.A’s swagger is so amplified, and Dr. Dre’s apology so well-executed as to appear almost sincere, it’s easy to ignore the female artists and victims who have spent decades screaming to be heard. Imagine an industry where the presence of women is not only discouraged, but also flat-out denied—that’s the vision that earned F. Gary Gray a $24.2 million opening day.

In her essay, Barnes writes that, “Accurately articulating the frustrations of young black men being constantly harassed by the cops is at Straight Outta Compton’s activistic core. There is a direct connection between the oppression of black men and the violence perpetrated by black men against black women. It is a cycle of victimization and reenactment of violence that is rooted in racism and perpetuated by patriarchy.” That being said, labeling hip-hop culture (i.e. black men) as the main source of music industry misogyny is a gross misreading of the cycle that Barnes is describing. No, black men are not inherently more violent—no, movie theaters, you do not have to request increased security in preparation for black fans at Straight Outta Compton showings.

Obviously, hip-hop is a handy scapegoat for #AllLivesMatter advocates and their similarly addled forebears. Making America great again all too often seems to involve chastising rappers for violent videos, while ignoring the deeply dysfunctional music cultures flourishing just left of the dial. What Hopper’s Twitter disruption does so well is highlight how misogyny plagues the music industry at large. As any college-aged girl will tell you, a penchant for alternative scenes and liberal politics can often mask some abhorrently outdated ideas about gender. A Bikini Kill T-shirt does not a male feminist make. The initial betrayal comes when a female outsider leaves mainstream scenes on a quest for a more niche set of sounds and sites—only to find that even in the big wide alternative world, women are still ostracized as other and less than.

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What’s The Buzz ?


The holiday fever is already halfway through. Paris seems to be more relaxed than ever, though things never stop buzzling around. There are many exciting activities to indulge yourself into – all the culture events, or simply drinks and sun at the Paris Plage. This year fireworks on the National Bastille Day were spectacular as always, but don’t forget- on chilly and quieter nights you can always choose to cosy up and watch some cool indie films on our channel euroifc.com. So as it‘s been said, summer is a perfect time to visit.

Seeing everyone taking it a little bit easier, ÉCU team also sneaks out sometimes into the streets of Paris. Still, we always keep our eyes wide open, look for inspiration, try to be creative and involved, all for making the upcoming XI edition of the ÉCU Film Festival happen again on April 8-9-10, 2016.

parrot droneThe month of July was hectic but exciting; we received loads of new and cool indie film submissions, also our partner’s network keep on expanding; festivals from all around the world are welcome to join and unite the forces! We feel that it is one of best way to help talented filmmakers, screenwriters to show their work to as many innovative and international audiences as possible. This is what we all work towards! For the same reason we are always excited to reward the hardest working- we recently sent out the Parrot Drone for the winner of the Best Director award at ÉCU 2015 – Tannaz Hazemi. Hope it is flying high and making some great shots! Thus it is a small reminder to you all that even on holidays amazing ideas can be born and award-winning movies can be made. Submit them early and stay calm; ÉCU team will handle it from on-wards.

Lastly, don’t forget to stay in touch with ÉCU through our social media channels: Facebook, Twitter, Tumblr and more… We will make sure to keep you updated with the latest cinema news and events in Paris and other interesting and amusing stuff: interviews with filmmakers, spotlight articles about directors and movie-makers, as well as all the short videos our interns have been creating.

Have a great summer,

ÉCU team.


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