Five Star to be distributed in North America by XLrator Media!

XLrator Media has acquired North American distribution rights to Keith Miller’s inner-city drama Five Star, which played at last year’s Tribeca Film Festival in the World Narrative competition. A summer release is planned on the indie distributor’s PACE label. The pic stars James “Primo” Grant and John Diaz. The East New York-set plot centers on a member of the notorious Bloods — both in the film and in real life — Primo takes John, the son of his slain mentor, under his wing, versing him in the code of the streets.



FREE SCREENING: The 400 Blows with Mosquito on April 6th

3-alex_landon3Alexander MallisApr 1, 2015

"Making Waves in Film, Then and Now"

François Truffau's THE 400 BLOWS

Brooklyn Filmmakers Collective has partnered with Brooklyn Historical Society to pair recent work from BFC filmmakers with landmark films from the The Criterion Collection and Janus Films that inspired them.

This month, François Truffau's classic New Wave film will be screened with BFCer Jeremy Engle's MOSQUITO. The screenings will be presented for FREE as part of the Brooklyn Historical Society's Movie Mondays.

Filmmaker Magazine's Sarah Salovaara will introduce the films and lead a discussion with Jeremy after the screening.

April 6th at 6:30pm
rsv! https://www.facebook.com/events/388316958038533/



Free Screening: Chronicle of a Summer with After Trayvon & Prince/William on March 2nd

56-chrisChris CaseyMar 1, 2015

FREE EVENT! March 2nd at 6:30pm at the Brooklyn Historical Society (128 Pierrepont St in Brooklyn)

Brooklyn Filmmakers Collective has partnered with Brooklyn Historical Society to pair recent work from BFC filmmakers with landmark films from the The Criterion Collection and Janus Films that inspired them.

This month, Jean Rouch and Edgar Morin's verite classic Chronicle of a Summer will be screened with Keith Miller and Alex Mallis' After Trayvon and Keith Miller's Prince/William. The screenings will be presented for FREE as part of the Brooklyn Historical Society's Movie Mondays.


BFC films with live scores on Brooklyn Independent Media

85-nick_kickstarterNicholas SantosFeb 19, 2015

Check out a couple films from BFC members with live scores from the Screen/Sounds event on 12/5/14, presented by Destination Moon and featured on Brooklyn Independent Media.

"Worlds We Created" by Nicholas Payne Santos, with a score by Star Rover


"I Remember" by Avi Zev Weider, with a score by Carson Moody & Anthony Vine



BFC Screens At Videology on Feb 23rd 2015

56-chrisChris CaseyFeb 18, 2015

Monday, February 23rd @9PM - Admission is Free!

Videology is the place to see the freshest homegrown cinema the city has to offer. Every Monday night, local filmmakers present their shorts, features, web series, and much more. Join us following the screening for the filmmaker after-party! This week, the Local Filmmaker Showcase teams up with the the Brooklyn Filmmakers Collective to present a series of short narratives, documentaries, and music videos by BFC members!

Dir. Paul Trillo. 3 min.
Music video for Sarh featuring a man and woman tempting
and multiplying through time and space.

Dir. Nathan Fitch. 2 min.
A celebration.

Mon Reve Familier
Dir. Jimmy Ferguson. 13 min.
A circus performer recalls a doomed passion in this stunningly captivating visual piece shot on 35mm. The images and words of the woman he loved haunt him as she eludes him in a sensual dance. The film, like Verlaine’s poem, becomes a subtle study evoking the mystery of love and of loss.

And Lo Guilharmenia
Dir. Maria Dyer. 16 min
Surrealist film that combines live action and animation.

Bruised and Diffused
Dir. Stavit Allweis. 3 min.
Aurelio Valle’s new single, Bruised and Diffused, gets another layer of meaning when coupled with desolate miniature sets from the director’s studio.

Double Happy
Dir. Shahir Daud. 15 min.
Set in 1990′s New Zealand, Double Happy follows Rory, a lonely teenager who’s plans to surprise his best friend for her birthday will take a turn for the worst.

When The Land Turned Black
Dir. Ashley Panzera. 4 min
When The Land Turned Black is a glimpse into the life of a third generation farmer in North Dakota, Donny Nelson, and the changes he’s seen to his land during one of America’s largest oil booms. He’s now surrounded by 25 oil wells, and documented spills, accidents and the release of dangerous gasses on his once-peaceful farm. Donny’s connection and love for his land is a powerful contrast to the oil industry around him.

Am I Next
Dir. Jeremy Levine. 5 min
Looting, chanting, tear gas, rubber bullets – these are the images from Ferguson, Mo. entering American homes. But the vast majority of protesters are armed with little more than chalk and paper signs, hoping to create a memorial for Michael Brown, the teenager killed by a police officer in the St Louis suburb on Aug. 9. We followed teenager Shane Flowers as he weaved through the protests, attempting to let his voice be heard and fight for change with darkness slowly falling on Florissant Avenue. As he moves through the crowds, he hears differing opinions from other protesters on the best ways to fight for change.
Shot as part of the feature documentary School of Last Resort

Between Partners

Chris Casey. 3 min
Story of a relationship through dance on film

Videology’s Local Filmmaker Showcase is a weekly screening series of works by NYC-based filmmakers. We celebrate and promote a media-making community that is as diverse as the make-up of New York City and provide a nurturing space for filmmakers to connect, learn and promote their work. Local Filmmaker Showcase is co-curated by programmer Austin Kim and filmmaker Dylan Stephen Levers.


Tune in Feb 14 2PM EST for Street Views LIVE from BERLIN, Google Glass performance by Annie Berman at Galerie Patrick Ebensperger

5-annie_berman_profile_photo_lesAnnie BermanFeb 14, 2015

Presented during Berlinale in association with Kassel Documentary Film and Video Festival and with support from Hardware Hack Lab. Aeon Magazine is now streaming the complete film version. In Twitter use #StreetViewsLive.

In a piece that plays with ideas of presence and live art, video artist Annie Berman will open her installation with a real-time broadcast from her Google Glasses. The broadcast documents her own live performance, as she occupies her installation and invites live and virtual interaction from her audience. She will also distribute special masks for viewers who wish to remain anonymous, or at least obscure their faces.

STREET VIEWS is an 8 minute projected video that explores how virtual mapping alters our experience of space, identity, and one another. Set in New York City’s famed West Village, but ‘shot’ within Google’s street view mapping application, STREET VIEWS attempts to navigate a surreal, disoriented new landscape. With humor and a light touch, Berman wanders through the streets of the big city frozen in timelessness, passing by pixelated faces, looking for something human on the digital display.

In its original conception, this piece utilizes a traditional disembodied voice of the narrator. When invited to install this piece in Germany, the artist decided to experiment with the idea of the disembodied narrator as another form of a virtual presence. Using a second monitor, she screens footage of herself delivering the narration, blurring her face to emphasize the virtual nature of this presence. The monitor also is given its own microphone as if it were a person reading at a conventionally staged live performance.

STREET VIEWS is now one of five featured media installations from Kassel’s Dokfest on exhibit at Galerie Patrick Ebesnperger, Berlin. The theme of the exhibition seeks to re-examine the scopes and realities of our present technological age.

On opening night, Berman will further investigate the reality of embodiment/liveness/the artist’s presence/performance/live film, by performing a live broadcast of the installation, wearing Google Glasses (‘Glass’). Her direct sight and interactions will be broadcast via Google Glass, streaming live via the global, commons-based peer produced HowlRound TV network at howlround.tv Saturday, February 14 at 8pm CET (Berlin) / 7pm GMT (London) / 2pm EST (New York) / 1pm CST (Chicago) / 11am PST (Los Angeles).

About HowlRound TV:
HowlRound TV is a global, commons-based peer produced, open access livestreaming and video archive project stewarded by HowlRound: A commons by and for people who make performance. The channel is at howlround.tv and is a free and shared resource for live events and performances relevant to the world's performing arts fields. Its mission is to break geographic isolation, promote resource sharing, and to develop our knowledge commons collectively. Follow and use hashtag #howlround in Twitter to participate in a community of peers revolutionizing the flow of information, knowledge, and access in our field. Our community uses the Creative Commons Attribution 4.0 International License (CC BY 4.0). Become a producer and co-produce with us by contacting @HowlRoundTV on Twitter, emailing tv@howlround.com or by calling Vijay Mathew at +(1) 917.686.3185. Host a watch party and let us know about it. Click here to see past programming.

- See more at: http://howlround.com/livestreaming-google-glass-performance-of-annie-berman-s-street-views-at-galerie-patrick-ebensperger#sthash.C15dSU0V.dpuf


Aeon Magazine hosts exclusive online premiere of STREET VIEWS

5-annie_berman_profile_photo_lesAnnie BermanFeb 13, 2015

I'm thrilled to announce that beginning this Friday the 13th, the London based digital magazine of ideas and culture, Aeon Magazine will host the exclusive online premiere of my recent short film STREET VIEWS. Aeon has recently branched into distributing short documentaries about society and nature - check them out, lots of video and stories worth discovering! And, did I mention it's free? ;)


STREET VIEWS is an 8 minute projected video that explores how virtual mapping alters our experience of space, identity, and one another. Set in New York City’s famed West Village, but ‘shot’ within Google’s street view mapping application, STREET VIEWS attempts to navigate a surreal, disoriented new landscape. With humor and a light touch, Berman wanders through the streets of the big city frozen in timelessness, passing by pixelated faces, looking for something human on the digital display.

Winner of Best Experimental Film, Rome Independent Film Festival. Screenings include Rooftop Film, Cucalorus, Currents, FIDBA Buenos Aires, ...


BFCer Donal Foreman' OUT OF HERE premieres online

3-alex_landon3Alexander MallisJan 12, 2015

BFCer Donal Foreman's winning Irish feature film, OUT OF HERE, is set to have an online debut January 16th on Vimeo. The film, shot in Dublin, follows Ciaran as he reluctantly returns to his hometown of Dublin, broke and stuck living with his parents. The film is a refreshing exploration of a angsty youth culture told through a lush, patient, and bold lens. Irish and American critics alike have nearly universal praise for the film, calling it "one of the best debut films this country has produced in many years, a film whose reputation will only build as the years go by" and "A picture-perfect framing of a time and place". Not bad.

Donal workshopped a rough cut of Out of Here with us at BFC back in 2013. Below, I asked Donal a few questions in anticipation of his VOD release.

Alex Mallis: First, a little about the film. Can you tell me about its inception?

Donal Foreman: I first conceived of Out of Here when I was an undergrad at the National Film School in Dublin. Since I was a teenager I'd been trying to find ways to make films about growing up in Dublin, exploring experiences that I'd gone through or seen play out in different ways among my peers -- dealing with feelings of alienation, displacement, struggles to express oneself and connect with others... This idea of a college-age Dubliner reluctantly returning home after a year's traveling seemed like the ideal vehicle to take on some of these concerns. I developed the idea over several years after graduation, while honing my skills on a series of shorts, and allowed new ideas and observations to accumulate and "stick" to the central concept until I felt ready to make it as my first feature. The series of shorts definitely served as a kind of training ground for developing my style and how I liked to collaborate with actors. They also ended up being "studies" of some of the ideas and themes of the feature, though that wasn't entirely conscious. Anyway, at that point, I started trying to attach a producer and production company to the project, which was a whole other saga.

AM: The film has a meandering quality - and yet that out-of-place feeling comes across exquisitely. How were you able to avoid the pitfalls of exposition while still feeling confident you would get your point across?

DF: For me, in every aspect of filmmaking, from working with actors to designing the visuals, the important principle is embodiment rather than illustration. To take an example: with actors, I encourage them to forget about making themselves understood from the viewer's point of view. Their job is to embody the character in that situation, to commit to and be present to that experience as it unfolds. You've got to have faith that that kind of embodiment and presence is what's going to make the thing compelling. This applies just as much to the way the narrative, imagery and sound is handled. When I see filmmakers or performers straining to be understood at the expense of this kind of honesty, it pains me.

In terms of exposition, my original script and rough assembly of the film had more upfront exposition, and in the editing process I started paring that down, trying to find the right balance between giving you sufficient bearings to engage while still keeping you a little lost and displaced, giving you space to make your own connections and judgements and bring some of your own experiences and emotions to bear on it.

AM: One thing that struck me was your bold camera placement. Your use of master shots allowed me to really explore the frame. And when you did go in for coverage, you seemed to resist the urge to cut. Did you know ahead of time you would rely on master shots, and then, how did you decide what to cover?

DF: I knew I wanted to avoid traditional coverage for the most part. There are exceptions, but often I feel like people fall back on traditional coverage because they don't have any visual ideas of their own. They're not trying to find new ways to see the world, they're just keeping it "covered".

In terms of what was shot, it varied day to day. Some scenes were looser than others and I felt I needed to keep some options open in the edit, so we shot a few angles (though sometimes this would turn out to be unnecessary, and I played the scene in one shot anyway.) Then other scenes I knew it had to be one and that's all we shot.

When I do use shot-reverse shots, I try to be very deliberate with the cutting, because I don't want to fall into the pattern of just cutting back and forth on lines of dialogue, and therefore undermining the rhythm the film has developed so far, as well as the expressive power of the cut itself.

AM: You captured great performances with really natural feeling dialogue. Did you script word for word?

DF: The film is more scripted than it looks. We had a workshop rehearsal process prior to shooting and the full script emerged out of that, with a lot of input from the cast. This created an investment and familiarity with the material that paid off on screen. My favorite quote about working with actors is from John Cassavetes: "The director creates an atmosphere and the atmosphere directs the picture."

AM: There's a moment in the film where the main character, Ciaran, perks up at the mention of New York City and I couldn't help being reminded of your own life as a filmmaker here in Brooklyn. Do you ever consider returning to Ireland full time?

DF: Not in the near future. I don't really have any job prospects there - the work I do in New York, as a teaching artist for the Tribeca Film Institute, doesn't really have an equivalent in Ireland - and I find the culture in NYC more inspiring, energizing and motivating at this point in my life. I think making Out of Here might have been a way of saying farewell to the city, in a certain sense. It sums up a time and a mood that I was just moving past when I made it (I was already living in New York for a year when I went back to shoot the film). But I still feel connected to and concerned with Irish culture, and it's definitely something I'm going to return to in my filmmaking.

AM: Besides the premiere on the 16th, what's next?

DF: I have script development funding for two scripts I'm working on, one set in Ireland and one set in New York, and I'm procrastinating by dreaming up a few others. And I'm teaching filmmaking to middle schoolers in New York for the Tribeca Film Institute, so that's keeping me busy as well.


OUT OF HERE premieres January 15th on Vimeo On Demand for rent and download. Check it out here: https://vimeo.com/ondemand/outofhere


BFC Winter Party

3-alex_landon3Alexander MallisJan 6, 2015

The Brooklyn Filmmakers Collective cordially invites you to a night of fun and merriment.

7p /// come mix

830p /// come listen
Glass Ghost
Time In County (http://goo.gl/uXJcL1)

1030p /// come dance
DJ Bruce (Razor N Tape)
Stewey Decimal (The Get Wild Five)
DJ Treatz

/// Also featuring video projections by BFCers!

/// suggested donation of $3-5 for the bands and DJs

/// RSVP!! \\\