Returning for its 30th anniversary edition next year, Slamdance Film Festival has now unveiled its full film lineup for 2024. Kicking off with Oscar-winning filmmaker Carol Dysinger’s One Bullet, this year’s festival will showcase 32 features both in Park City and Salt Lake City from January 19-25 and online screenings will be available on the Slamdance Channel from January 22-28.
“Our 2024 Slamdance lineup is a testament to filmmakers who dare to push their stories to the very edge of filmmaking, making it deeply personal yet globally resonant,” said Festival Director Taylor Miller. “Their raw passion and risk-taking echo our commitment to exploring uncharted territories of cinematic expression. This year, we proudly host the most inclusive and accessible festival we’ve ever had, staying true to the core objectives I aimed to cultivate with our programmers when I took this job.”
The 2024 programming was selected from more than 9,000 submissions, 1,729 of which were features.
“Our 2024 Slamdance lineup is a testament to filmmakers who dare to push their stories to the very edge of filmmaking, making it deeply personal yet globally resonant,” said Festival Director Taylor Miller. “Their raw passion and risk-taking echo our commitment to exploring uncharted territories of cinematic expression. This year, we proudly host the most inclusive and accessible festival we’ve ever had, staying true to the core objectives I aimed to cultivate with our programmers when I took this job.”
The 2024 programming was selected from more than 9,000 submissions, 1,729 of which were features.
- 12/4/2023
- by Leonard Pearce
- The Film Stage
Festival runs January 19-25 in person, January 22-28 online.
Slamdance Film Festival has announced the roster for its upcoming 30th anniversary edition, which is bookended by Carol Dysinger’s previously announced post-Afghanistan War documentary One Bullet and Vanessa Hope’s IDFA closing night documentary Invisible Nation, a profile of Taiwanese first female president Tsai Ing-wen.
Running January 19-25 in person and January 22-28 online, this year’s event returns to Yarrow Hotel in Park City where the festival launched and will showcase 32 features, of which 17 are world premieres, as well as 75 shorts, and five episodics.
Festival organisers said this year...
Slamdance Film Festival has announced the roster for its upcoming 30th anniversary edition, which is bookended by Carol Dysinger’s previously announced post-Afghanistan War documentary One Bullet and Vanessa Hope’s IDFA closing night documentary Invisible Nation, a profile of Taiwanese first female president Tsai Ing-wen.
Running January 19-25 in person and January 22-28 online, this year’s event returns to Yarrow Hotel in Park City where the festival launched and will showcase 32 features, of which 17 are world premieres, as well as 75 shorts, and five episodics.
Festival organisers said this year...
- 12/4/2023
- by Jeremy Kay
- ScreenDaily
Yorgos Zois: 'I wanted to create an original cinematic world that the viewer could use all his senses and experience a journey to an unmapped world that blends the limits between life and art, fiction and reality, logic and absurdity' Yorgos Zois' debut feature Interruption is set within the confines of an Athens theatre and stars Alexandros Vardaxoglou, Maria Kallimani, Alexia Kaltsiki, Christos Stergioglou, Maria Filini. Midway through a performance, a group of gunmen take the stage and bring members of the audience up alongside them. They begin to direct a different sort of action, so that the lines of fact and fiction start to blur, both for those who have come up onstage and the others who remain watching in the auditorium. We spoke to Zois after his film had premiered in the Orrizzonti section of Venice Film Festival, where it is also available online as part of the Sala Web.
- 9/12/2015
- by Amber Wilkinson
- eyeforfilm.co.uk
Director refuses to accept trophies in protest over immigrant issues in Greece.Scroll down for full list of winners
Panos H Koutras’ Xenia swept the sixth Hellenic Film Academy Awards on Monday evening (March 30) including the top prizes for best film, best director and best screenplay.
The film, which played in Un Certain Regard at Cannes 2014, was also awarded best editing, best costumes and best supporting actor for Angelos Papadimitriou.
But in an emotionally charged gesture, the director and his team chose not to accept the awards until the left wing Syriza government passed a bill regarding second-generation, referring to more than 100,000 immigrant children born and raised in Greece who are being denied Greek citizenship.
Xenia centres on two teenage boys who cross the entire country in search of their Greek father, after their Albanian mother passes away. They hope he will identify them as sons and secure their citizenship.
Last year’s...
Panos H Koutras’ Xenia swept the sixth Hellenic Film Academy Awards on Monday evening (March 30) including the top prizes for best film, best director and best screenplay.
The film, which played in Un Certain Regard at Cannes 2014, was also awarded best editing, best costumes and best supporting actor for Angelos Papadimitriou.
But in an emotionally charged gesture, the director and his team chose not to accept the awards until the left wing Syriza government passed a bill regarding second-generation, referring to more than 100,000 immigrant children born and raised in Greece who are being denied Greek citizenship.
Xenia centres on two teenage boys who cross the entire country in search of their Greek father, after their Albanian mother passes away. They hope he will identify them as sons and secure their citizenship.
Last year’s...
- 4/1/2015
- by alexisgrivas@yahoo.com (Alexis Grivas)
- ScreenDaily
The Greek Weird Wave crashed onto the shores of Berlin this week, carrying Athanasios Karanikolas’ “At Home,” a film that owes a larger stylistic debt to Michaelangelo Antonioni than it does the other post-financial-debacle movies that have been arriving like belts of ouzo courtesy of an under-financed, over-stressed Greek film community. You get the sense that people there are pissed off. And there aren't many films more pissed-off than Karanikolas’.Karanikolas’ eye is coldly observant of the life of the people occupying his country’s upper reaches, both economically and geographically -- the family at the film’s center live in a home of glass, antiseptic surfaces, stables and a breathtaking view of the sea. The hypocrisy is pretty breathtaking too. Although rich in detail, “At Home” makes no sweeping statements, either in text or imagery; Karanikolas does a very clinical dissection of entitlement and privilege.The housemaid, Nadja (Maria Kallimani...
- 2/12/2014
- by John Anderson
- Thompson on Hollywood
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