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Kenya Film Commission, African Union establish Audio Visual and Cinema body

The African Audio Visual And Cinema Commission Inaugurated In Nairobi

Hollywood filmmakers come to Charlottesville

Director Tim Story and cinematographer Larry Blanford were the special guests at the Meet the Filmmakers event.

D-Cinema | Filmfestivals.com

Travel & acc. | Filmfestivals.com

in this scenario, if there's a villain and a victim, you can name the villain and name the victim. who are you? and as an actor, i knew, as a working class actor, there were lots of very well—meaning progressive film—makers, middle—class film—makers who would tell me about the world being villains and victims but, actually, what they weren't aware of was their own narcissism, that they were the heroes of the story, not the victims. because, as a victim, if you try to change their definition of you, if you try to step outside of their definition of you, you destroy their own narcissistic narrative. and so, and so, i... when i approached mitch to play mitch... and you talked to him quite a lot. i met up with him about three orfour times and i asked him for... he was my main source of research. i asked for photographs. i asked him to record a song for me. i asked for a playlist of his favourite music. i asked what aftershave he wore.

but then it's like, "actually, i've done this," and i go, "wow, ok, let's go down that path and that route." i'm specifically looking to be surprised, surprised and delighted. i'm pleased if people are more confused than they were before, because i think the biggest problem is trying to deal with what i call the appetite for certainty. i think we normally want to have control as film—makers of every second, so there's a little bit of surrendering that control. but the result is things that i never would have thought to connect myself. when i see it when our generative system does it, you know, it's like, "oh, my gosh, i didn't even think about that connection." that could be making unusual story choices, likejumping around out of chronological order, orjuxtaposing two seemingly unrelated scenes. those choices can lead to wildly different versions of what is supposedly the same film. for example, gary says the audience

of extend what we could do. the system is trained by our intelligence as film—makers, not some artificial intelligence. a film like this gives us an opportunity to think about what cinema actually is, and where new technology fits into the process of how we make movies. for me, i enjoyed the version of the film i saw. it had all the hallmarks of a good music documentary, although the story did seem to meander a bit from time to time. but for the man the film is about, he's happy with that ambiguity. eno spoke to the audience at sundance from his home in the uk over the theatre's speakers. hustwit and his crew seem to be betting on this idea. in march, he and brendan launched anamorph, a generative film company that will aim to create more films like this one.

a normal documentary where we craft each scene and, you know, time it out. we're creating kind of a structure in software that will create our film. you can think of it like this. up here, we have a pool of pre—cut scenes, hundreds of hours of never—before—seen archival footage and exclusive interviews with eno. down here, we have an empty structure looking for pieces to fill up the slots. some parts of the film are always the same. pieces here are pinned in place, but for the rest, the software makes selections, slots them into place based on instructions from the film—makers, and edits together a new film that it will never generate again. it can make approximately 52 quintillion versions of the film, which is 52 with 19 zeroes after it. brendan dawes is a generative artist himself and the developer of the film's bespoke generative software. the way to think of it is kind of like a collaborator. i give it some direction,

do you know kim's video? among the recent documentaries shown here was kim's video, a film that explores a legendary now—closed new york video store. the co—editor of the documentary came to the dctv screening. to him, a big plus of microcinemas is they provide a space for film—makers like himself to interact directly with audiences. it's like a learning experience for both sides. i feel like it's rather unique to small cinemas in a way you would never get at a multiplex. so, i don't need to have an enormous audience, i'm not even that excited about a million people streaming at home as much as i am having a small dialogue with an audience who cares about movies. in the financially fragile world of independent film—making, micro—cinemas are being seen as a lifeline and a particular help to documentary film—makers. we are a part of the documentary ecosystem in the world. and when we opened, which was right after the pandemic, it was also just a really challenging time, that most documentary films were not being bought and we're one of the few cinemas in new york that can screen films that don't have distributors.