Tag Archives: DCIFF

Share the Love for Film and Theater


Washington, DC is on the map in the international film and theater world. Groups, clubs and societies have been formed in recent years to support the cinematic interests of Washingtonians. We had the opportunity to speak with members of The World Bank / IMF Theater and Film Society to discuss their involvement with DCIFF and the independent film industry.

What is the The World Bank / IMF Theater and Film Society?

Society Members: We were founded by a World Bank staff member about 3 years ago, and recently revamped the group after a diversity event to try to get people interested in joining. We currently have around 100 members from all different cultures and backgrounds that are interested in film and theater. We try to meet a couple times a year in addition to attending plays, screenings and participating in local film events. We always take opportunities to watch films such as reviewing submissions for the DCIFF.

What is your interest in films?

Society Members: Some of our members have experience producing, directing and acting, and then others just like watching films and going to the theater. It’s wonderful to have such people from so many different international backgrounds, but all with a like-minded interest in learning about other cultures through film and theater. We love sharing within the community.

How does the DCIFF group reviewing process work?

Society Members: Once we review the films, we like to meet and discuss what we learned, our personal thoughts about the film and our overall ratings over wine, cheese and chocolate.

What was the reviewers’ overall impression of the films?

Society Members: ‘Where is the love?!’ [laughs]. Most of these films are very dark. They’re filled with death, torture and horror. Although they could be hard to stomach at times, it was interesting to see how you could end up giving the film a high rating based on an intriguing storyline and technical application. The dramatic storylines did make it hard to judge fairly at times. Maybe next year we’ll see more romance and comedies!

Was there anything else that caught your attention about the films?

Society Members: It was interesting to watch foreign films coming from different cultural backgrounds because there were several mistranslations or simply inaccurate elements to some of the stories that took place in some of our native countries. On one hand, it was distracting and frustrating to see the inaccuracy, but it was also fascinating to think about why the filmmaker would include it in the first place. It just got us thinking whether the director did it on purpose or is even aware of the mishap at all. We love that our group is made up of such diverse members. It’s very fascinating to hear the reviews from different cultural opinions. The perspective was completely different and refreshing to hear.

Would you participate in the DCIFF reviewing process again?

Society Members: Definitely! We love having the opportunity to watch movies from around the world and discuss it with our fellow film lovers. The topics are often related to what we do for work with a special interest in international development and communities. It’s really a great way to have a work-life balance that brings us together through a common and fun interest.

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Going to the Movies, An Oral History Project


As part of DCIFF’s inaugural Oral History Project, Going to the Movies, we have invited bloggers to share stories about their neighborhood theaters and the role they play in their community. Starting us off is Jen G. Pywell, a DCIFF alumni, profiling the funky and independent Darkside Cinema theater in her hometown of Corvallis, OR.


As the owner, Paul Turner, notes, “Two people got married at the Darkside. That and the numerous times people stayed after the shows to talk about the movies. The times where people tell me they could come to the Darkside when they felt there was nowhere else to go when they were depressed, experiencing a loss, upset, etc. because we always treated them the same.”

Click HERE to read the full article.

Going to the Movies, a project of DCIFF, draws on oral histories to connect individual movie-going experience to collective memory, place-making and local knowledge. We are dedicated to capturing, preserving and sharing the memories of the community and historical experiences around an important part of American life. Learn more about the project on our Website and follow us on Facebook.

Stay updated on DCIFF news and events by visiting our website and following us on Facebook, Twitter and Instagram.

It’s a Bird! It’s a Plane! … It’s a DRONE!

We recently caught up with our On The Hill Summit coordinator, Russell Imrie, after a congressional hearing to discuss Congress’ current stance and future concerns regarding the federal regulation of drone activity. According to Imrie, legislators are angry and hyper-concerned about the safety of drones flying over restricted areas, especially about near-misses with passenger aircrafts. The Transportation and Infrastructure Committee hearing heard that about one million UAVs (drones) are expected to be in the air by January 2016. The FAA is overwhelmed by these numbers. Everyone is frustrated trying to find a happy medium between filming rights and safety precautions. There seems to be no easy solution in sight.

Since the February 2015 DCIFF On the Hill Summit, there has been little to no change to the drone dilemma, although the number of exemptions to FAA regulations granted allowing people to use drones has soared from 8 to 1,891: that is 1,883 in 7 months.  All of these “333 Exemptions” derive from a rule that was supposed to be finalized by September 2015 but is still non-existent. According to a recent FAA update, the ruling should be completed by Fall 2016. Meanwhile, the federal government has just announced that all recreational drones must be registered… while the FAA toils away at its rules.

How will this impact the film industry? Aerial footage is an essential point-of-view in so many films, but the process of getting a cameraman in the air on a helicopter or airplane can be extremely expensive and not independent-film-friendly. Unmanned cameras such as drones seem like a natural alternative for low-budget filmmaking, but is it really legal? Yes, and no. There are currently 243 film companies that can legally film using drone cameras in the United States. Although they may have federal permission, the laws are very ambiguous and highly regulated by height restrictions, communication with airport control towers and visibility of the drone. This troubling grey area, coupled with overly complicated regulations, often discourages filmmakers from obtaining a proper license. Imrie recommends filmmakers take a close look at the Federal Aviation Administration and consider partnering with an already approved production company that has been granted the 333 waiver. Partnering with a pre-approved company can significantly lower your risk of flying in the wrong place at the wrong time and jeopardizing your film.

Imrie concludes that, unfortunately, regulations are going to be a mess for a long time and primarily dealt with by complaints and court rulings. Aerial shots don’t need to be eliminated from low-budget films due to cost, but it is important to be up to date on the current regulations to protect yourself and your film.

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WILDLIKE: Interview with Writer, Director, Producer Frank Hall Green

WildLike Production Stills

Wildlike is a thrilling coming-of-age adventure! A troubled teen must face the dangers of the Alaskan wild, as well as her own past, in order to find her way home. We had an opportunity to speak with writer, director and producer Frank Hall Green to discuss his feature film’s public release. Wildlike, which stars Ella Purnell and Bruce Greenwood, screened to acclaim at the DC Independent FIlm Festival in March 2015.

Be sure to catch Wildlike in theaters starting Friday, September 25th!

Where did you find inspiration for to make Wildlike?

GREEN: The origin of Wildlike came from several aspects of my life and interests. The social issue in the film had become important to me over time and I became dedicated to presenting the events of Mackenzie’s assault in a truthful and effective way. As an issue, it’s under-represented and too easily discarded as a plot device in film and television storytelling, especially when you consider the scope of how many girls and women are affected and the grave damage done to a person in all related circumstances. I had an inherent desire to tell a story about a person on a trajectory into the outdoors of the out-of-doors. I realized I really wanted the landscapes to speak to this, and Alaska popped into my mind and stuck. So over time I married the idea of adventure, being lost in Alaska and healing in nature with the social issue of the film, which in turn would be the cause of Mackenzie running away, allowing me to explore deeper characters and present issues important to me in the movie.

What challenges did you face at different stages of production?

GREEN: Two distinct difficulties with Wildlike were developing the story and writing the script. As I wove the images, characters and environments together into a story, I then had to translate a very full head of what I thought I understood down onto the page, where suddenly it was a mess with little structure and many holes. So when I began to write each moment and realize I need moments in between, suddenly I needed to know what an action of a character means, what decisions will be made, how will the character develop, what exactly will they say or not say, and then I was stumped. I especially had to take frequent breaks and spoke to a close confidant on a daily basis while writing the Uncle’s part. Brian Geraghty had a similar difficulty in playing Uncle, and we shared that, and I commend him for stepping up and portraying Uncle with vigor.

WildLike Production Stills

What was your favorite aspect of making this film in particular?

GREEN: For me there is something precious and singular about accomplishing one’s first feature narrative film. Naturally, one would do the best one could with a feature, but I think there is a perspective of humility, care, awareness and perfection that is crucial. In relation to this, the film has to be worth it, which to me means different, fresh, original and with meaning. Directing and completing a feature is a beautiful thing for a writer/director because you are forced to rework the screenplay all the way through into the editing room. You realize a final product that was once a kernel of an idea or image. This is a tremendous benefit for a director who is also a writer, and who counts himself or herself as a practicing and learning filmmaker.

Do you have any advice regarding independent film distribution?

GREEN: Recently, several filmmakers have asked about our festival strategy and distribution.  To be fair, I did not have a plan for distribution different than the typical ‘go to big festival, sell the movie,’ but I was diligent and that has paid off. My advice would be to begin building a network of audience and collaborators. Every aspect of the filmmaking process should be to gather people into the fold of those who know your film and will support it.  This starts with family, crew, crew’s family and friends, all who helped on the production and and in post.  Add social media to that, during pre-production, and keep it going.  Then that circle can grow at film festivals, screenings, special events and anyone you meet in the meantime.  A distributor may or may not be willing to take on your film for any number of reasons, but you can prepare for the distribution conversation and offer by telling them you have been working on outreach and you’re ready to continue. They can distribute your film, but no one can market it grassroots-fashion like yourself.  For better or for worse, that is what indie films need.

What’s next for you? Any projects in the works?

GREEN: I have a development and production company with producer Tom Heller: Catch & Release Films. Tom and I have several books and materials that we have acquired for adaptation, so those are underway on the producing front.  For writing and directing, where does one go after Alaska? The pressure! No, seriously, I have several scripts, but I have not determined which is #2 yet. Rest assured the location will play a role. I hope I can arrange a great journey, physical and emotional, with poignant characters and restraint. I look forward to starting the independent film process over again!

Stay updated on DCIFF news and events by visiting our website and following us on Facebook, Twitter and Instagram.