Interview: Cassandra Berry, Susan Carol Davis, Claire Blakeney DeJarnett - "The Take Away" rockumentary

ROFFEKE: What unique challenges did you face in the making of "The Take Away" that you did not face making the previous two short films in the series? What challenges were similar to those of the other two short films? How long was the filming process and the editing process? What interesting parts, if any, ended up on the cutting floor and why?

Susan Carol Davis:
The challenges for the three films that Claire and I have made together are very similar:
1) Amount of time available to film 2) Limitations in budget available to promote the film once they were made 3) Availability of subjects to interview in a timely manner. When we set a goal to complete a film project for a requested film festival premiere, that has sometimes meant wrapping up our shooting of the film before every single person is interviewed whom we wanted to include.

At the same time, we set a goal to keep the length of our films under 20 minutes generally and that does mean, some favorite moments are edited out of the final cut when those moments don’t drive the story forward or mean as much to an audience outside of Denton, Texas where our filmed subjects live. The filming process for The Take Away was a total of 12 months with editing being a 5-month process.

 

Cassandra Berry

Claire Blakeney DeJarnett:
Our trip to Palestine with Cassandra yielded many hours of interesting footage, stories, and interactions that were especially difficult to trim down. At Cassandra’s old high school she tells a couple of intense, heartbreaking, and eye-opening stories about her time there. Taking these moments out was a choice for time and tone. A challenge on site in Palestine was the heat! I believe we were filming in Texas in July and this made it difficult to film exteriors for extended periods of time.

ROFFEKE tackles the misconceptions that rock is "mzungu" (white man) music and devil music. Muddy Waters sang that "The Blues had a baby and they named it rock and roll". You sing The Blues and Gospel (and rock?) in neighborhood bars. How do you reconcile all that - white, devil music, etc - with your Faith and history?

Cassandra Berry:
I personally do not buy into the misconceptions of rock music. Most, if not all, music is influenced by African/African American spirituals and gospel music, which often offers messages of hope and a rhythm that promoted excitement. The music I sing are messages of love, hope and community. Messages that need to be shared inside and outside the walls of faith-based communities. My audiences know that I identify as a Christian, whose heart is to carry out the true meaning of love and unity.

I was once asked by a pastor if I was still singing in the bars and the eateries. I told him yes and that I tend to go where Jesus would also go.

If through music, I can help someone to feel better leaving, than when they came, then I feel I fulfilled by life’s mantra. That mantra is “if I can help somebody while on this life’s journey, then my living is not in vain”. And that’s how I reconcile my faith and history.

Susan Carol Davis

 

ROFFEKE: In addition to being the CEO of Curious Dog Creative LLC, a film/stage director, producer and actress, you are also an arts educator. a) What would you say is the importance of arts education?
b) As a juror for the Thin Line Fest, what makes a film (or screenplay) stand out for you?

Susan:
a) Arts education encourages openness to other cultures, other traditions and other lifelong interests. Whether young adults decide to graduate from high school or college then work as dancers, actors or visual artists, they can enjoy the arts as hobbies and support arts organizations as donors. Art education in large or small communities opens up opportunities for people of all ages with physical, emotional or mental challenges to thrive and nurture self-esteem.

b) The films or screenplays that stand out to me capture my attention and interest within the first minutes of watching or reading. One example is the contemporary film, Emilia Pérez, nominated for the Golden Globes and Oscars this year. The camera work, the visuals, the sounds and acting are intriguing. I want to know more. I want to watch more. A film can have a large budget or a small budget. What I look for in narrative and documentary films is the director or writer’s clear point of view and how valuable their stories are in impacting the modern world for positive change and tolerance.

 

Claire Blakeney DeJarnett

ROFFEKE: You are the director of Film Programming for Thin Line Fest. What steps, if any, do you take to ensure the film programme is diverse and inclusive? What challenges do you face in this attempt?

Claire:
We have a terrific film programming team that is dedicated to watching all submissions in order to curate an interesting, diverse, and inclusive line-up and work with a number of distributors that bring quality content from around the globe. We try to program content from multiple perspectives and cultures and engage the communities around these topics. Our biggest challenge is the amount of submissions to review and chisel down. We receive around 400 submissions a season and have a small program each year. That small program must be engaging, unique, and varying in its themes and perspectives.

ROFFEKE: All three of you wear many hats and encounter (I think) similar challenges that women in entertainment from all over the world face. How do you take care of your mental health?

Susan:
I keep a sales job in the retail industry (clothing) because I enjoy the staff teamwork and because I like helping people of all ages to have a healthy body image. I also enjoy my home and my two dogs where there is peace and quiet and a place to entertain others. I begin and end every day with 15 minutes of meditation and prayer.

Cassandra:
Music is one of a few things that helps my mental wellbeing; it’s my love language with the God I serve. Family is very important to me, so spending quality time with them promotes positive mental health.

Claire:
Unabashedly, this is something I struggle with on a daily basis. Sometimes, the stress of my “many hats” and state of the world can feel overwhelming, but I try to make time for the activities that feed my soul and instill a sense of awe. I find peace in nature, and even if the day is busy and I can’t make it out for a hike, looking up at the sky for a moment or admiring a flower grounds me.

Interview: IVA ("Run" producer/singer/performer) and Camilla Natta ("Run" music video director)

1. Camille, this is your directorial debut as a solo director. What would you say are the advantages and disadvantages of working as a solo director versus collaborating with another director (as you did with Erick Zonca on the Golden Bear nominated feature film "Julia")?

This is such an interesting question, because in film making, everything is collaborative.  You never make a movie by yourself, you rely on an entire team to make a film, and that's both what makes this medium so exciting to work with because you are supported in so many ways and it’s also what makes the role of the director so challenging because you have to choose the right people for each piece of that puzzle and then coordinate all those voices so that one single clear vision comes out of this teamwork process.  On “Julia”, Erick Zonca was really the main experienced director and I was getting my training wheels, so I’m eternally grateful for the opportunity I got to work with him and learn so much during the writing process, the shoot and the editing.  I was really supporting his vision and I carried that onto the set of “RUN” by making sure I surrounded myself with the best, most experienced people I could find.  In relying on me, Erick really taught me how to rely on others when I was at the helm of this project with IVA — understanding that there is no single person making the movie, but there is one person who takes on the responsibility for the project and being a director is really being willing to take on that responsibility.

2. IVA, what inspired your song "Run" and how much input did you have in the making of the music video?

Run was inspired by a friend who jogs in the north of Sweden in the winter when it is dark all day long. I remembered my winter days of feeling depressed, trapped indoors in dark, cold Sweden and felt this song was about overcoming what we were all feeling during the pandemic lockdown in the States. We were not allowed to leave our homes save for grocery shopping and caring for loved ones, and didn’t have contact with friends and family living close and further afield. That time was painful for so many. My friend Tracy reminded me that running in the darkness can help us find the spark of inspiration that we need in difficult times. I wanted to share that possibility through this song by showing how the act of running, and its symbolism of committing to something we love and seeing it through, can help us find our fulfillment.

Camille had been coaching me on my acting during the recording of the song, and we decided to turn it into a video. It was a complete collaboration so I could give as much input as I wanted to, yet Camille’s vision was well thought-out and I felt in good hands, letting her take the lead. She had the brilliant idea of making much of it about my eyes, as they are the windows to the soul. I’ve been through a great deal of loss in my life and have found a way to make it through with love and strength, partly thanks to friends and colleagues like Camille. She captures that spirit in the video.

3. Camille, the music video complements the song quite well. There is always a challenge regarding resources (time, money, etc) so if you had more time and money, what would you change about the music video? What would you not change?

Our superpower as humans is adapting to challenge.  The most creative part of being a film maker is figuring out how to meet challenge, so I love that part of the process.  Embracing it is what makes us grow as artists.  I like to remind myself of the pinnacle moment in Indiana Jones where he faces a bad guy wielding a saber and just as all seems lost, Indie pulls out a gun and shoots the guy down.  This quintessential moment filled with humor all came together because Harrison Ford was sick and they lost a couple days of filming so they had to cut the big sword fight number from the script and get creative with the scene, and it’s my favorite moment in the movie.  Limited time and resources force you to get creative.  I wanted to make an "in camera" movie as we were referencing classic 1980s music video making, so I didn’t want to use any special effects.  We shot one day on a sound stage and half a day guerrilla-style in the streets of LA and through my bathroom window to create the visual layers.  And we used mashed potatoes to create the effect of snow falling, with my ADs were furiously sprinkling IVA with mashed potatoes and moving branches above her to create shadows and the impression of wind.  IVA was very patient with us, getting mashed potatoes in your eyes is nobody’s idea of having fun! 

With more time and money I would have maybe wanted to tell a more narrative story, that we would have set in snow-covered landscapes in Iceland for example, but that would have been way beyond our budget!  But with analogue photography coming back to the forefront, I’m excited we got to work on this project with old school spirit.

4. IVA and Camille, how do you find your inner strength in a world and an industry that can be quite challenging for women?

CAMILLE: I’m excited to see things are changing in our industry, I think it’s an inspiring time to be a woman in our industry right now.  While only 22% of Hollywood directors are currently women, we’re still making changes faster than other industries like neurosurgery where less than 10% of neurosurgeons are women.  I have made an effort to surround myself with smart women in my industry (like IVA) who have been so generous in sharing their experience and supporting me.  Because of the importance of mentorship in our industry, we still have some way to go.  When you consider that twice as many main characters are male than female and then you break it down further, you see that in films with at least one woman director and/or writer, females comprise 57% of protagonists, whereas in films with exclusively male directors and/or writers, females only account for 19% of protagonists, it becomes very apparent that, as women, we still have great need of a greater pool of role models and it’s so important to support each other.  I’m grateful to be part of the female directors who can lead the way for the next generation of filmmakers, I want to be there for them, to encourage them.

The daily practice of showing up is also something IVA and I worked on together.  We’ve had a ritual of warming up our voices together every morning for the past 18 months and it just set us up for success.  It’s kind of like meditation, but we did it together, so it added a dimension of showing up for another person so you double up on your accountability and also your sense of achievement as a team.

IVA:  We had a beautiful, wild ride creating this video together, and we have collaborated many times, which made our working relationship even more powerful on this film, both when things went right and if things went wrong - like losing a much desired makeup artist at the last minute or facing a large budget and finding ways to make it smaller while holding true to the vision. We had inner strength from a mutual trust and respect for each other’s artistry, and from having each other to lean on. Camille and I have a very strong friendship. We lift each other up when our self esteem is damaged by the industry, and help each other navigate through when life and work becomes challenging. We have a pact to be fully honest with each other, and we can hash through differences and fight sometimes and then discuss openly what happened with no hard feelings. As a musician, I focus on sharing my truth in the most effective way I can, which I find is through my music, and Camille helped me emanate a deeper, stronger version of myself in this video. A few years ago I lost my mother suddenly, and was also in a romantic relationship where I was a victim of domestic abuse for many years. I was grieving for a long time and felt somewhat defeated, and Camille helped me feel ready to “Run” with passion again. Camille and I also provided firsts for each other with this video, she as lead director and I in having the creative direction of someone of Camille’s caliber and deep knowledge of me as an artist. I was able to look into the camera with my full being, unafraid of being seen. That has given me a new perspective on my artistry, and about who I am. I know most of all that standing together is our strength, and I am grateful to have a friend and colleague like Camille who gives it to me straight and loves me with all her heart, as I do her. I hope that as two women creating this music video together we will be able to reach many more people and inspire other women to realize their creative visions fully, and as often, as possible.

5. IVA, what advice would you give to musicians who want to make their first music video?

Find a director that you trust who also has the skills and vision necessary to make an effective music video. Also be sure to prepare yourself for the screen as it’s quite a different means of communication than through music. Most of all, enjoy the creative process. Camille and I absolutely did, and it was hard work! I have an even deeper respect now for all those who work in film and feel very lucky to know multi-faceted artists like Camille (who also did an incredible job editing the video.) And she respected our budget and did her best to keep things economical, which set my mind at ease. Also, work with the director to put together a great team who can help you realize the vision. And, if you can, raise a budget that allows you to take care of everyone well, making sure everyone has the equipment, space, and food necessary to do their best work. It makes a big difference for rapport on the set, and for the film itself.

6. Camille, what advice would you give to directors who want to make their first music video?

Have fun, take the time to experiment.  Music videos really allow for a lot of experimentation. 

Also, STORYBOARD.  I cannot underline how important storyboarding is, especially in short format story-telling.  I’m grateful to my first AD, John Claflin, for forcing me to storyboard the entire video, phrase by phrase, and really thinking through the musical changes, rather than just the broad strokes.  This was so helpful when I was editing, so I wouldn’t end up stuck because I was missing one tiny shot.  The moments where IVA is spinning for example are four different shots for each turn and she had to start and land those movements very precisely while singing the song and looking natural.  And the layers where multiple versions of her are floating or flying by her all had to be shot on exact moments of her singing and timed with the music and lyrics, every single one of those is a different shot with multiple takes, it you look closely at her lips, you’ll see none of them is a repeat shot.  All of this had to be precisely calibrated and storyboarded in advance, otherwise it would never have worked.  I also had to make the decision on set to cut several shots from our shoot day as we ran out of time and the precise storyboarding allowed me to make the decision of what cut very quickly in the moment, without compromising the editing. 

The other piece of advice I would give is make sure you have people on your team who really understand music, because you're cutting a film to support the music, to enhance the audience’s experience of a song, so it’s very helpful to have people in your crew who understand what’s going on musically.  RUN is a complex piece of music.  IVA makes it look easy, but there aren’t many pop artists who have the chops to do what she is doing musically in this song.  She’s a full on opera singer by training, so her voice and the musical choices are complex and mature.  So it was important to me to surround myself with a team who could really appreciate the complexities and challenges of the music.

7. Camille, what three things, places, events and/or people stood out for you on your trip to Kenya?

I was very young, I visited Kenya as a toddler.  I know my parents hiked up Mount Kilimanjaro and I am fond of this picture of me with one of my uncles, clearly excited to be coming along for the ride.  I have memories of the rain and dancing, and eating ugali and irio — which is dream food for a toddler as you eat it with your hands ;).  I hope to visit Kenya again soon, maybe I’ll be flooded with early childhood memories.

Watch 'The Making of "RUN"':

International Women’s Day, “Run” (Directed by Camille Natta) and “Earn the Day” (Written and Directed by Jane Shepard)

Happy International Women’s Day! 

According to UN Women, the 2023 theme is: “DigitALL: Innovation and technology for gender equality” It is aligned with the main theme for the 67th session of the Commission on the Status of Women: “Innovation and technological change, and education in the digital age for achieving gender equality and the empowerment of all women and girls.”

I subscribe to the e-newsletter of filmmaker Ela Thier and she recently recommended a short film titled “Earn the Day”. I watched it then I understood why she mentioned in her short commentary that she was halfway through the film and she was both laughing and crying. After watching the film, I wrote in the comment section: “Funny, fun and so inspiring!”

The music video for IVA’s beautiful song “Run” was directed by Camille Natta and is her directorial debut as a solo director. “This is an experimental music video about a woman finding her inner strength to run in the cold in the dead of winter in Northern Sweden.”

I would say that the essence of “Earn the Day” is about the protagonist finding her inner strength to run away from the cold, harsh criticisms of her inner voices. Two powerful images appear both in “Run” and “Earn the Day”: a carefree little girl running freely, joyfully, unencumbered, unashamedly. In “Earn the Day”, the little girl appears when the protagonist is in the flow, when she is being her authentic self, when she has silenced those inner critics, when she has given herself permission to rest. In “Run”, the little girl appears during the chorus of the song, a simple chorus, reminiscent of the chorus in that Sheryl Crow song (“Run, baby, run, baby, run, baby, run, baby, run”) but in IVA’s song, the chorus is made up of one repeated word: “Run, run, run, run, run, run…”

When we women can reconnect with that little girl, or at least, that little girl’s energy, optimism and hope, then we can be transformed and run further than we ever imagined.

At the end of both “Earn the Day” and “Run”, the protagonists are transformed into more powerful versions of themselves.

Interview: Daniel Lir and Bayou Bennett - directors of "Time is Eternal"

ROFFEKE: “Time is eternal” is a visually stunning work of art. The story behind the glory is usually inspiring so please share some of the challenges you faced as you were bringing this powerful film to life and also some lessons you learned?  

Daniel Lir and Bayou Bennett

DANIEL AND BAYOU: The performance genius of the film, actually, is that Berite Labelle plays five unique characters in "Time is Eternal". 

This challenge put our filmmaking to the highest test to show dialogue scenes where Cleopatra, Queen of Egypt seamlessly talks to women's rights activist and educator, Mary Wollstonecraft as well as elaborate dance scenes with Berite playing all roles. Bayou studied movies like Flashdance to see how to expertly work with body doubles and we perfected it in the film.  It took a great amount of technical skill, knowledge of lighting and correct composition and previsualization to make this flow together perfectly.   This taught us that exceptional filmmaking is about study, study, study, testing and an A list team

The second big challenge was in finding a location so stunning as to represent the world of the film.  It had to embody the worlds of both of these deep and fascinating historical characters.  The universe of the production really came together when we found the location of the Paramour which is a work of art. The owner traveled all over Europe and the world collecting high art paintings, furniture, design and art objects- it was naturally the perfect location for the home of the writer's character and the world of the film.  It was shocking for us as creators that some of the props that were in the script were naturally existing  at the Paramour-it was pure magic. 

For Daniel Lir having worked with fashion icons, Oscar de la Renta, Carolina Herrera, Bella Hadid, Patricia Field who does the clothing for the Netflix hit series, "Emily in Paris", it was a huge challenge to interpret Cleopatra in a novel way.  The film "Cleopatra" starring Elizabeth Taylor was such a work of art in the 1960's, how could we give her an imaginative modern twist and not be slaves to what came before?  It took the inspiration of Middle Eastern designer Zuhair Murad and a huge amount of visual research to re-imagine Cleopatra and interpret Mary in a highly memorable way.  With the genius of our stylist Wilford Lenov, we decided conceptually to represent both characters in gold. Cleopatra in a bold, shiny luxurious gold and Mary Wollstonecraft in a soft, delicate white gold with a custom gown co-created by designer Michelle Hébert.   We learned from all this again that study, study, study was key and working with the best and most talented artists allows you to reach the highest creative heights. 

Lastly, it was a big challenge as Directors to make every frame look like a painting which was our ultimate goal.  All with the purpose of alleviating the suffering of people from the pandemic through beauty. With the help of Michael Rizzi, our cinematographer, our art department team and the wardrobe styling of Wilford Lenov (Bebe Rexha, Saweetie), the visuals were awe-inspiring. 

 ROFFEKE:  “Text me” was your first film as a duo. If you had the experience and resources you had for “Time is eternal” what would you change about “Text me”? What would you not change?

DANIEL AND BAYOU: This is one of the very best questions we have ever been presented with.  Bayou feels she would have liked to film the characters in their own lives before they meet each other on their blind date so that we can better understand their journey and the pre-conceptions they had of each other before they met. 

We both would have liked to have a location that was a stable one for us to shoot in.  We loved the restaurant visually so much but there was something sketchy about the owner and we didn't really have money for a location fee along the lines of what is normally paid for location fees.  So during the production, the owner became really difficult to work with and put a lot of stress on the production which made creativity strained. The mafia theme of the film became real!!

"Text Me" is a film we still celebrate to this day and a film that has truly captured the texting and social media generation.  We are very grateful for having been the first ones to show texting on screen in a film and the minimalism of the film is perhaps what makes it so brilliant so in the final analysis, we love the film as-is. 

ROFFEKE: Bayou Bennett, in your Donut Princess interview “How to build your brand with your significant partner”, you said you were a teacher in Jordan, Amman. What did teaching teach you? What skills did teaching give you? What lessons did you learn?

BAYOU BENNETT: It taught me that all people have different needs, points of view and cultures and you have to really understand these aspects to do the best job as a teacher.  I arrived as a young WOMAN in a culture often dominated by men, there was inherent prejudice.  I learned to be the best I could be despite obstacles and deliver the best and most caring education I could and viewpoints shifted and changed.  I was accepted and loved and seen for who I am.  That is the magic of education in that you break down barriers and open minds to new ways, new methods of living and a bright new future. 

ROFFEKE: You are a couple, parents and co-workers. In the same Donut Princess interview, Bayou, you said that you navigate this situation by wearing different hats (mother, wife, co-worker) at different times. How else do both of you maintain your work-life balance? How do you take care of your mental health?

DANIEL AND BAYOU: Yes, this is so very important.  We do many things to achieve sanity and balance in this wild, rushing and demanding world.  We eat very healthy, nutritious food, we surround ourselves with a very inspiring, able and positive team and don't associate with negative "it can't be done people", we exercise frequently with Daniel doing martial arts and also follow the wonderful Way to Happiness which helps us to make the right choices in all areas of life. 

https://www.thewaytohappiness. org

ROFFEKE: Your thoughts on artificial intelligence, virtual reality, augmented reality, the metaverse and the future of filmmaking?

DANIEL AND BAYOU: This is an area we are just entering and are fascinated by it. William Gibson's novel "Neuromancer" changed Daniel's life and he also worked for legendary director Ridley Scott who directed "Alien" and "Blade Runner" after graduating from NYU Film School.  Ridley has been a giant influence on Daniel as a Director and successful business person.  I think in the next couple of years you will see a science fiction project from us but as with every project by the Dream Team Directors it will be thought-provoking, inspiring and open your eyes in new directions.  Thank you so very much for this interview and for featuring our film "Time is Eternal" in your amazing film festival. 

Clay Calloway of Sing 2 and Ellery Demarco of One-Hit Wonder (Directed by Amanda Dow)

One-Hit Wonder: “A cab driver takes a former pop star on a one way Twilight Zone-like ride.”

Together with Jane Petrov, Andie Ximenes produced “One-Hit Wonder” and also plays the main character, Ellery Demarco: “As a sci-fi, Twilight Zone–type short, featuring an original song, “Humma Humma Ding Dong,” composed just for the film, I believe that “One-Hit Wonder” will speak to both movie and music lovers, leaving them humming as they exit the theater and pondering what it means to be an artist.”

According to the Sing wiki: “Formerly a rock star legend, Clay isolated himself from the rest of the world after the death of his beloved wife. He later meets Buster Moon and his friends, who aim to persuade him to perform on stage again.” Director Garth Jennings talked about Bono playing Clay Calloway in Sing 2: “He plays this big, old lion called Clay Calloway who was a legendary rock star but has been a recluse for 15 years ever since his wife died. He has just vanished off the face of the Earth.” - New Sing 2 trailer: Director Garth Jennings on casting Bono and working through the pandemic (exclusive)

One-Hit wonder opens with the sound of applause. Emery appears, walking though what seems like the tunnel of a stadium but is probably just an alley. This scene is similar to the one in the Sing 2 trailer where Clay Calloway walks through a tunnel-like section on to the stage. This happens right after the crowd sings along to a U2 song, spearheaded by Scarlett Johansson’s character, Ash: “Johansson’s punk porcupine also comes back for the second film, playing a key role in coaxing Clay Calloway out of his reclusive state.”  

The U2 song is the anthemic “I still haven’t found what I’m looking for”

“In Ayn Rand’s ‘Anthem’, the protagonist, Equality 7-2521, lives underground in a darkened tunnel. However, he emerges, possessing both the symbolic light of his intelligence and an actual light bulb….” - “The Symbolism of Tunnels in Literature" by Linda Emma. When Emery walks through the darkened passage, there is a point of light behind him and he smokes a cigarette. (Check out this article I wrote in 2016 about cigarettes and cinema.) 

Andie Ximenes and Florin Penisoara

Linda Emma notes that: “in the novel and movie “The Perks of Being a Wallflower” the tunnel represents the protagonist’s growth. The movie director, Stephen Chbosky, said that “the tunnel scene is a symbolic rebirth, whether people look at it as a spiritual rebirth or a coming of age.”

Amanda Dow’s Director Statement: “While the film has adversity, it’s about beginnings and a man wanting to find his way back to his love of music at any or all cost to his own. As the director of One-Hit Wonder, I wanted to provide a window into the collision of these worlds.”

 

Amanda Dow, director of One-Hit Wonder

Satire in Horror Films: The Case of “Witchin” - directed by Christina Diamantara

“Both comedy and horror are often viewed by critics and the general public as “low brow” genres with little social relevance and few redeeming qualities.” - Dr. David Gillota, associate professor of English at University of Wisconsin - Platevlle. 2019.

On October 3rd, 2019, Dr. Gillota participated in a forum that examined “how satire in horror films exposes systemic societal issues.” He provided an analysis of Jordan Peele’s “Get Out” and argued that this film “straddles the line between humor and horror in order to critique systemic racism and expose the hypocrisy of white liberalism.”

It can be argued that Christina Diamantara’s short film “Witchin” does straddle this humor-horror line so as to critique systemic patriarchy and expose the hypocrisy of sexism and misogyn. Pallavi Prasad outlines the difference between these three intertwined concepts in her article “The Difference Between Sexism and Misogyny, and Why It Matters": “If patriarchy is the overarching social organization in which men hold the power, and from which women are largely excluded, then misogyny and sexism are the two drivers that uphold this system. If patriarchy is the state with a capital S, the sexism is the ideology, the legislative pillar….Misogyny, then, is the method. It is both the executive and the judiciary, in that it enforces the ideology and reprimands where there is a breach of law. It is the hostile policing of those women who violate patriarchal norms and expectations, thereby setting a precedent for the cost of feminist transgression.”

In her Director Statement, Christina Diamantar highlights the fact that her film is about “a young idealistic witch, on her quirky-spells-and-pink-glitter-filled quest to find the notorious and elusive Big Dick Energy ingredient…” Although the story is set in “the world of fantasy and make-believe” Christina insists that her short film “is deeply rooted in human reality, and more so by the current social context that first inspired it.”

The Instagram hashtag #bigdickenergy is one of the elements that inspired “Witchin”. Christina finds that “this idea - that your confidence is as big as the size of your penis - is not only perpetuating a toxic interpretation of masculinity, but is also inevitably suggesting that, yet again, confidence is a male thing. I thought it would be funny to use this term as a physical ingredient - and in a way create a satirical metaphor about women who do all the right things, in terms of working towards their goals, only to realize that the  most important step for their success is to find some way to capture the essence of male privilege.”

Christina Diamantar - Director of "Witchin"

In her article titled “Standing Up: What Men Can do to counter systemic sexism in the office”, Liz Elting writes: “With privilege comes power, and there are so many ways you can use that power for good: speak up and call out sexism and misogyny amongst your peers, stand up for and champion women, point out when a woman colleague came up with a great idea (especially when credit is misatrributed to a man), hire and promote women, and the big one I’ll focus on today, opt out of boys’ clubs and fratty workplace culture.”

Here is the trailer for “Witchin” plus two insightful interviews where Christina further expounds on “Witchin” and her overall filmmaking journey and explains more about the secret ingredient BDE.

Review: Sustainable Futures, Survivor Girls

ROFFEKE is honoured to welcome Rahma Rashid as a new intern. She graduated from Egerton University with a Bsc in Natural Resources Management. Rahma's personal statement can be read after her first ROFFEKE review below.

Director: Nicole Watson
Duration: 8 minutes 44 seconds
Location: Kolkata, India.
Reviewer: Rahma Rashid

Sustainable Futures, Survivor Girls is an inspiring story of hope and resilience, directed by Nicole Watson. It focuses on the issue of human trafficking and the contribution that people can make in societal matters.

India is a heavily populated country with not enough consideration on SDG 10 which focuses on equality. Economic status, caste, color etc... inequality in India - just like in many other countries - is a major issue. For a society existing within strong cultural morals, it is indeed a shame that man uses this as an opportunity to sexually exploit the girl child. The most painful bit is that this is done to a minor, using what would seem to be very 'righteous courses'. An 8 year old who has not even attained puberty! It angers me as much as it makes my heart weep.

In Nicole's short documentary, we also get to see how a centre like Sanlaap, commendably contributes to the rehabilitation of these girls and SDG 16. In a world where praise and support is granted to unworthy politicians, people do need to get their priorities straight and show support where it's due.

The film talks about the use of solar power as a form of renewable energy and its advantages, like it's facilitation in the accessibility of clean water, thereby contributing to both SDG 6 and 7. At a time when the world is mourning the loss of the Amazon Forest, it's a good assurance that people are paying attention to the environment. And hey, for anyone who didn't get the science behind the working of solar panels, this is your chance! A briefing of the same is made in the film! You are welcome.

All in all, it is amazing to learn that good still exists in this world. For women like Nicole, Sindhura, Indrani and Priyanka, we learn that aid comes from a single soul. It starts from the little input one gives. Let's not be ignorant of our surroundings. Just like the Survivor Girls, no situation is permanent, we all need a stretched out hand to give us hope where there is none.

***

RAHMA RASHID'S PERSONAL STATEMENT

Rahma is a result oriented female interested and ready to transfer her academic knowledge and professional experience into a challenging work setting while contributing to her own personal growth. She has a background in Natural Resource Management that makes her better understand the principle of sustainability to achieve the set sustainable development goals.

Reviews: The Riveters by Kate Felix

On 13th and 14th May and 20th and 21st May, I was privileged to conduct a Basics of Screenwriting Masterclass at Talanta Institute. On the 13th, we covered Differences between screenwriting and other types of creative writing, types of protagonists, types of antagonists, the logline and S.M.A.R.T goals. We went through the students’ loglines and critiqued them.

On the 14th, we begun by watching #ROFFEKEOFFICIALSELECTION2018 “The Riveters”, which was written and directed by Kate Felix.

"Fed up with her 'lame duck' status, The Upstart decides to face The Patriarch in a 1940's feminist throw-down"

DIRECTOR STATEMENT

"We have created this film to explore the barriers, historic and contemporary, to women making films. It was written, produced, and edited by an all-woman crew. All women, only women, start to finish (with the exception of the two male actors!). With it' s short run time and powerful, unapologetic message, this film would be an ideal piece to introduce or conclude a shorts program.

This is the Director/Screenwriter's first film. She is a mother of 3 with another full time job who still somehow manages to get awesome ideas on to the screen. All of the women in this production collaborated both in and outside of their traditional professional roles to make this program a success. This film is a testament to what women can do when they give themselves permission to go out and kick ass."

We used "The Riveters" to recap what we had learned on Day 1. I later asked the students five questions related to the short film. Below are some of their answers:

1.What did you like about the short film?

It was short and precise, straight to the point.
- Edminah Kanana M.

It was Clear and precise ,the protagonist, antagonist and goal was clearly brought out.
- Fredrick Kimani.

It was brief and to the point.
- Moses a.ka. Pinto.

I liked the short film on how they managed to tell the story in less than two minutes.
- Denzon Mau.

There is the protagonist, antagonist and one is able to know the goal because it's clear.
- Carol Kanyora.


2.What didn't you like about the short film?

They did not show us what next, what she planned to do when her proposal was rejected.
- Edminah Kanana M.

The suspense it left me with.
- Moses a.k.a Pinto.

I didn't like how the film ended. If one is not keen enough he/she may not know the protagonist’s final decision.
- Denzon Mau.

I didn't get know if she became a filmmaker.
-Fredrick Kimani.

Nothing. To me it's perfect.
- Carol Kanyora.


3.What does this short film remind you of?

The film reminds me some of the challenges that some film makers go through because not everyone especially the parents appreciate film as a career.
- Denzon Mau.

The day I told my parents that I wanted to engage myself in acting, out of the love I had for it. I wanted to be the next Natalie Portman (world famous actress) but they wanted me to be an engineer. It was a hectic time to convince them.
- Carol Kanyora.

My friend whose parents chose an engineering course for her, and that was not her passion. She did the course and took the certificate to them. She started hustling to help herself study for art and design.
- Edminah Kanana M.

There must be a protagonist,antagonist and a goal.
- Fredrick Kimani.

The lecturer on Act 1
- Moses a.k.a Pinto.

4. On a scale of 1 to 10, with 1 being very poor and 10 being excellent, how would you rate this film?

8/10...very good.
- Edminah.

On a scale of 1 to 10 I give it 5 because it was fair
- Denzon.

A 9
- Fredrick Kimani.

5
- Carol.

8
- Moses a.k.a Pinto

5. Any other thoughts you would like to add about the short film?

They should at least have shown us what they were going to do next now that the man had refused.
- Denzon Mau

Even though we can predict through her smile what will happen next,they should have shown us what happened maybe.
- Carol Kanyora

Act in 21st century style, to make it more attractive, capture attention.
- Edminah Kanana M.

It was interesting.
- Fredrick Kimani.

I enjoyed it.
- Moses a.k.a Pinto

'The Riveters' touches on SDG 5

What Happens Next?

Two weeks ago, I created a contest on allpoetry.com, inspired by “Rumours”, a short film by Katlyn Cuilla-Martinez. Rumours is “A dark comedy about a young rocker couple who go through a break up at an inappropriate time.” My rules for the contest were simple: “Using not more than ten lines, write a poem about what happens next in this story. I am looking for creativity, humour and use of poetic devices. Have fun!”

Third place went to “Busted” by Hearthrob. The “stash” adds an interesting dynamic to the story! Second place went to “Nightmare Stage Night” by Alexander Boukal. It was a dramatic take on the prompt and was full of lovely poetic phrases.

First place went to “Sour Rock” by Red Head 1. The poem clearly answered the question “what happens next?”. Below is a sample of some of the comments on the poem:

“im an alcoholic...it's hard to iterate...i don't drink anymore...but i feel this deeply…”

“Oh, what a dramtic and gripping story. Your sure are an expert in creating imaginative narration... They sound and appear so possible and natural and yet the element of drama is so entertaining.”

Red Head 1 replied: “My husband is in a band, so some of it comes from second hand experience….But not the alcohol poisoning. Lol”

Director’s Statement:
“When I wrote Rumours, I gave myself the challenge to write something that, with a slight change in direction, could be equally hilarious or tragic. And so it became an excruciating tale of a couple in a moment of complete turmoil. I was intrigued with the raw result. Are Mickey and Nance two soulmates that are victims of a harsh environment? Or are they just two drunk idiots that bring out the worst in each other? We callously laugh at their ridiculous break up, as we are deign to admit that love is not for the faint of heart.”

About the director:
“K.B. Cuilla-Martinez is a feminist writer, director & actor. Known for her fiery personality on- and off-screen, Cuilla-Martinez fuels her work with passion, angst and acerbic humor. She is best known for directing Rumours, a punk-rock dark comedy; and Now Searching, a bleak take on friendship and dating in the modern world. She is currently working on several projects, including a semi-autobiographical series based on her tragic-yet-hilarious time as a Lyft driver. Originally a hippie-punk from Boulder, Colorado; she now assimilates in Los Angeles.”

“Rumours” is a #ROFFEKEOFFICIALSELECTION2017

Read Sour Rock, Nightmare Stage Night and Busted HERE.

Review: Superfama

Reviewer: Josephine Koima

Director: Olga Osorio

Producer: Olga Osorio

Duration: 3mins 45 sec

Country of Origin: Spain

This music video, ‘Buscandia a Superfama’ which means ‘Looking for super fame’  is sang by a  Galician rock band ‘Herederos da Crus’. They started singing in Riberia, a town in Northwestern Spain. Though band members have changed since 1991, the current ones are Antonio  ‘Tuchino’  Novo Suarez (main guitarist),Antonio ‘Tonito’  Ageitos Ares (guitarist),Francisco ‘Fran Velo’ Javier Velo Cambeiro and Francisco ‘Javi’ Javier Maneiro as the lead singer.

The video set is a backstage dressing room with costumes, hair accessories, lighting , furniture and other elements that the band wanted to reflect their humorous and fun-loving personalities and spirit. The song talks about kids who want to be rockers and the musical whim they will need to get ahead in the music world by playing in an orchestra. The ‘special’ piece chosen for the single came as a result of a request made by the orchestra Panorama to the band, with the intention of including one of the band’s themes, on a charity album intended for the fight against cancer. What I enjoyed about the film is the excessively garish and sentimental art employed by individual members e.g having a toilet with oars, (Antonio Novo’s idea) which to me was funny, but weirdly appropriate.

One should appreciate the precision and coordination when it comes to the pace of costume changes for the members. Considering that there was minimal camera movement, only a fixed plane with a dolly-out, they achieved that technical aspect pretty efficiently.

When you look at the band’s previous works, there are certain elements that define them. They are fun, colorful and include a lot of fast paced movements in their videos. In fact, with regard to their themes, appearance and lyrics, they consider themselves more like AC/DC and infuse influences like The Rolling stones.

For me, the fun in the video and reading about their history made me appreciate the changes the band has made over the two decades they’ve been in the music industry. You certainly don’t have to understand Spanish/Galician to enjoy ‘Superfama'.

Interview: "Elemento" director Nina Paola Marin Diaz (Colombia)

Synopsis:

El hombre y el agua un solo elemento./Man and water one element.

ROFFEKE: What inspired you to make this short film?
NINA: The decrease in the flow of a large river in Colombia, which had enough water and in a summer time, practically dried up and remained a thread of water, that inspired me to make the short film and environmental reflection
ROFFEKE: What challenges did you face in the making of "Elemento"?
NINA: Make cinema from an environmental reflection and try to give every moment voice to the water.
ROFFEKE: What was the best part of directing this movie?
NINA: Sensitize me with the environmental theme, understand that we are part of the environment and above all we are who can transform things in a positive or negative.
ROFFEKE: What was the worst part of directing this movie?
NINA: None, everything was a joy, a delight, was a personal challenge.

SDG 6: CLEAN WATER & SANITATION
Ensure availability and sustainable management of water and sanitation for all

Review: Rock is not an attitude

Contributor: Josephine Koima

Director: Xiaoxiao Tang
Producer: Xiaoxiao Tang
Duration: 5min 9secs
Country of Origin: China/USA

This is a stop motion animation that tells the story of 4 band members discussing their lives before forming the rock band. The films uses instances of flashbacks, and the story is in form of an interview. It would seem they are talking to us, the audience. Each of them had an innate passion for music, and it shows at their previous jobs. For example, one band member was notorious for banging on plates and cups at the restaurant he was working, and, he becomes the drummer.

There’s humor mixed with passion both through their dialogue and actions, elements that effectively communicate their love for their rock band. The director/animator, Xiao Xiao Tang uses this film to live out her fantasy. She cannot sing, or play any instrument, though her characters are amazing.

Their advice: Our lives are a reflection of our attitudes, and we should settle to do what we love.

Review: An Angel's Tale (ROFFEKE OFFICIAL SELECTION 2015)

Review by Josephine Koima: Intern

Director: Sara Boix Grau
Country of origin: Canada
Category: Animation
Duration: 2:43 minutes

I personally really love animated films because they defy almost everything we are used to as being ‘normal’ and ‘ordinary’ For example ,characters in such films can stretch, tear, melt, explode, fall from very high places and still remain alive, creating humor in the process.

An Angel’s tale is of such a nature. An angel is kicked out of heaven, quite literally because he creates a disturbance among the other angles. I know that for most of people, when we think of heaven, we think of mellow, preferably exquisite harmonic sounds, beat-less melody and therefore any instrument far off from an electric guitar like the harps used by two angels. Then comes this different angel, who enjoys hard rock music. He is thrown out of heaven by an irate fellow angel and falls to earth, and then tries to find his way back.

This fallen angel is different, and not just his choice of music. His wings are shorter, not sturdy as with the other angels. Perhaps this is why he cannot easily fly back to heaven. Or when he tries to, he cannot leave behind his beloved guitar and amplifier.
Sara Boix’s character is true to the spirit of rock n’ roll; expressing sheer joy and energy to what he likes, and remaining non-conforming. This film teaches one that, there’s nothing wrong with being different, and not being ordinary.