Straight Up | Feb 21, 8:00pm | TIFF Bell Lightbox BUY TICKETS
Starring Katie Findlay (The Killing), Randall Park (Aquaman), Betsy Brandt (Breaking Bad), James Scully (You Season 2) and the uber-talented James Sweeney, this film is a winner. It’s hilarious, and one of the best-written films we saw all year. Check out this trailer about a dramedy featuring the couple-of-the-year: Todd, a guy who may or may not be gay, and Rory, an actress who may or may not care.
Saint Frances | Feb 22 9:30pm | TIFF Bell Lightbox BUY TICKETS
This film deservedly won the Audience Award at SXSW last year, and it’s absolutely one of the best films at Pendance 2020. Some films split our team. This film was a unanimous no-brainer for everyone. It’s heading to theatres in March, so here’s a great chance to watch it before the rest of the world. Saint Frances, written by and starring the positively charming Kelly O’Sullivan follows Bridget, a woman who accepts a nanny position weeks after ending her pregnancy. It’s a coming-of-age story like we haven’t seen. It’s funny. It’s heart-warming. It’s everything we’ve ever wanted to see from a film.
The Short History of the Long Road | Feb 21, 4:00PM | TIFF Bell Lightbox BUY TICKETS
One of the biggest emerging stars in Hollywood, Sabrina Carpenter, leads a star-cast featuring Danny Trejo. Maggie Siff (Sons of Anarchy) and Steven Ogg (The Walking Dead) in a positively heart-warming story about Nola, a nomad who must confront life on the road once tragedy strikes. Writer & Director Ani Simon-Kennedy and cinematographer Cailin Yatsko in attendance.
The topic of inclusion and diversity has been something that has come up for Pendance many times. We’ve had long debates over it. People have left over it. I’ve personally shed tears over it twice. It would be a good time to mention that as the festival director, I’m sharing only my own views on this subject and I’m absolutely positive that they’re not identical to anyone else’s on our team. We all think differently, and yet we all try to agree.
We have never placed a diversity mandate for our own festival, and yet so very many times over the last two years we’ve seen women, LGBTQ stories, and people of color represented and celebrated at our festival.
Two years in a row, the Jury Award for best short has gone to women of Spanish descent. 2018 winner Clara Lezama (Emma) and 2019 winner Carlota Pereda (Piggy) both had, in our opinion, the best overall short film. They didn’t win because they were women. But we do acknowledge as programmers that the path to making a film in the first place was harder for them than their male counterparts. Did it impact how we voted? No. Did it impact how proud we were when they won? Absolutely. Bonus? They’re both on our short film jury for 2020.
So is King right? Do we just try to be as unbiased as possible, cross our fingers, say our prayers, and hope that the pool will just become more diverse over the long haul?
This argument is so complex and has so many layers to unpack, it warrants a deeper dive into each issue.
1. Can we just vote for quality?
No. Art is highly subjective. Any assessment about the quality of said art is thereby not objective truth about said art, but rather an interpretation by the viewer of the art’s perceived merits. In a sense, King would be right in a perfect world. But this isn’t a perfect world. And King among others need to realize that.
Much of cinema and the enjoyment of cinema comes down to subjective viewpoints, and assuming that Stephen King is going to have the same ability to identify with a story about a black woman as Ava DuVernay is ambitious, if not ludicrous.
Does viewing a film with subtitles take away from the overall experience of viewing the film? Sure. As one focusses on the “one-inch-tall-barrier” as Parasite director Joon Ho Bong called it, it would be easy to understand that subtle performance notes may slip by on first watch. It would be hard to argue in a vacuum for instance in 2012 that ‘The Artist’ was objectively better than Asghar Farhadi’s ‘A Separation’ which took the Oscar for Best Foreign Language Film. I’d love to hear the argument for the merits of the former over the latter. Actually, I’d pay to hear someone explain why ‘A Separation’ didn’t get a nomination for Best Picture. It might be one of the ten best films of the decade.
Asghar Farhadi’s ‘A Separation’ deserved a Best Picture nomination in 2012.
And that’s when you start to agree with Ava DuVernay by default. You need a reason for people to start celebrating someone other than CIS white men. But maybe this is a symptom of a larger problem? As Randy Pausch once argued, systemic problems require systemic solutions.
2. Why is inclusion important?
This is something that is often lost on most people. Diversity has become a buzz word of sorts with very little understanding of why it’s important, and why it’s dangerous to ignore the problem any more than we already have.
It’s not just a matter of writing female roles. The history of cinema is littered with forgettable female roles, objectifying women, forcing actresses to read God-awful dialogue, settling for stereotypically secondary roles. How many times can you see a woman introduced in a screenplay who has little purpose other than to serve as an object for two competing men? How inherently uninteresting are these roles to watch, and how difficult are they to act for the women asked to play these characters?
“Just blush darling. Look down, blink, and just blush. It’s what women do when they get nervous” said an unnamed Hollywood director 500 times a year for the last 100 years. I’m sure Harvey Weinstein is out there somewhere nodding his stupid head.
How many times can Asian men be the awkward best friend or comedic relief? How many times can we see African American actors being lit using the same practices designed for white skin tones? How many times can we see a white actor play a non-white character because “you know, marketing purposes”?
And why does it matter? They’re just movies. Right?
This is popular culture. If you only ever see black people in prison on screen, or only ever make films about white protagonists, or fetishize Asian women while mocking the sexuality of Asian men, or soften LGBTQ sexuality, you’re hurting the collective psyche of people who identify with those demographics.
It builds a complex to only ever see yourself represented one way. To ignore this is to ignore the realities of human experience. Go ahead and tell me the last time you saw a Muslim man depicted as something other than a terrorist or a side character in a film? It’s hard. You have to think about it. It’s one of the biggest demographics in the world and yet we don’t really see Muslim men often depicted as leads in romantic comedies. It’s just an unspoken rule. Don’t do it.
I’ll take you through a personal story. In 2002 it was awkward to be Serbian. Those plane rides were long and awkward back then. CNN portrayed the entire country as a band of genocidal maniacs after wars ravaged Yugoslavia throughout the 90s. Serbs were held by the Western viewpoint as aggressors, and there was no counter-movement or mass-consumed other-side-of-the-coin movie. We waited for a while and by 2012 when you told someone you were Serbian, the narrative had changed. Why?
As one British woman sitting next to me on a plane exclaimed in 2013 “Oh! Like Novak Djokovic!!” That’s right. A tennis player was able to change people’s minds by hitting a tennis ball better than his peers and being a generally affable and lovely person. He didn’t have a beard. He wasn’t holding a gun. He didn’t look mad or crazy. He smiled a lot. If I ever speak with Novak, I would ask him if he was ever aware of what he was doing. I’d also thank him for making that plane ride way less awkward than it had been eleven years prior.
Novak Djokovic should be in charge of Serbia’s PR department.
Movies are important. Sports are important. In the wake of Trump, and all the complex emotions his presidency has stirred among women and minority groups, it isn’t hard to see why the Oscars lineup is pissing a lot of people off. Seeing people represented on screen should be something we champion. But there’s an elephant in the room.
A big one.
3. How do you achieve real diversity?
I’ll try to tell you how we did it. Between our jury and our team, we are 26 people. The demographics break down to: half women on the features jury, 75% women on the shorts jury, just over 75% people of color on the shorts jury, a 50/50 male to female ratio in shorts and features programming departments, and a 50/50 male to female split between the two chair positions of artistic and festival director. Among the 14 people on our core team, we pushed for as much diverse talent as we could possibly find.
The importance here is talent. We didn’t put anyone up to fail. We didn’t bring in underqualified people because of the color of their skin or what gender they identified with. And critics may cite that our team isn’t diverse enough. Our core team features 14 people under the age of 40. No Aboriginal voices among 26 people. And you know what? Time and time again, it has bit us in our asses.
Diversity isn’t a good thing just because. People have different experiences and if you’re willing to hear them, they allow for richer perspectives and better decision-making.
So what’s the problem?
The people in control aren’t changing.
I mean don’t get me wrong. They are changing slowly. And I’m happy to see the changes that are happening with pioneers like Ava DuVernay pushing for inclusion and festivals like TIFF and Sundance pushing for diversity across the board. But the real reason to have diversity mandates is to serve as a check against biases. For our shorts jury, we would never dare to tell them that they need to nominate a woman, a person of color or an LGBTQ film. And why would we? We selected a jury that’s as diverse as any jury we’ve ever seen, most of whom hold views that champion inclusion and diversity. What we didn’t do was reverse engineer diversity by selecting an all-white-male jury and telling them they had to champion diversity.
Stop seeing diversity as a buzz word to gain likes on social media and get government grants. Start seeing it as a competitive advantage to have different perspectives included at the very top of your organization. And start understanding diversity on a deeper level. It isn’t enough to just cherrypick. Selecting 6 ethnicities to a jury who all grew up in the same upper-middle-class neighborhood isn’t enough. You need to get people in the decision rooms who truly think differently and have grown up differently. And you need to allow these ideas to merge together to create the better tomorrow we’re all pushing for. We tokenize diversity when we should be striving to understand it. Five black voices on a jury out of ten doesn’t mean the jury is diverse. Not on its own anyway.
Stop selecting women to film festivals just so you can make the headline that you selected 50% women to your festival. Change your festival’s leadership. Stop asking Steven King to vote for stories he can’t identify with. Start removing the barriers to entry that stop people of color from rising to his spot.
This is a problem that is so complex it would warrant an anthology of scientific research to properly assess. You shouldn’t nominate ‘A Separation’ for best picture in 2012 because it’s a film from Iran. You shouldn’t do it because it would make a huge impact on future Iranian filmmakers seeking funding for projects. You should nominate it because it was worthy of a nomination. And if it wins, don’t pat yourself on the back and think you solved the problem. Just be proud and acknowledge that Asghar Farhadi’s road to prominence has been different than Michael Bay’s.
In 2020, we have ‘Parasite’ up for Best Picture. If it loses, there will be those citing a white-lash. If it wins, people will say it won because of a diversity mandate and the Academy doing damage control after the recent backlash. But maybe it wins because it was a masterpiece? Wouldn’t that be something beautiful.
What’s the point? Be fair. That’s the point. It’s time to stop asking the gate-keepers to think differently. It hasn’t worked. The logical move is rather obvious: change the gatekeepers.
The Pendance Film Festival is excited to announce a new partnership with Via Rail Canada to create the new Rise Canada program. Rise Canada is a program open to all Canadian filmmakers 30 or under. The program provides full travel to Toronto for the Pendance Film Festival from anywhere in Canada provided by Via Rail Canada and complete enrolment in the Pendance Film Festival’s first Director Lab program.
The lab program provides 10 Canadian filmmakers complete access to Pendance workshops, conferences, panels, screenings & mentorship opportunities with top directors and producers from across the globe.
Applicants may apply to the lab program by submitting a resume, a few lines about why they got into filmmaking, and a sample of their work. Samples may be a link to a previous short film completed after 2015 or scenes from a work-in-progress. Submit all materials to firstname.lastname@example.org by January 31, 2020.
1. Via Rail agrees to cover travel only in Canada, coast-to-coast. For any applicants who are based outside of Canada, Via will only cover travel expenses within Canada.
2. Pendance agrees to grant all 10 selected directors complete access to the festival between February 20-23, including all screenings, conferences, galas, workshops, networking events, panels, and 2 passes to Pendance Music.
3. Applicants must be 30 years old or under at the time of submitting.
We’re pleased to welcome the first 6 short films selected to Pendance 2020.
The Van – Erenik Bequiri (Albania)
The Van finally stops, the doors open and Ben comes out alive. A few more fights and he will be able to pay his way out of Albania, and hopefully, take his father with him.
Solar Plexus – David McShane (UK)
Noah battles to overcome his grief at the death of his mother, a journey that takes him from his flat to beyond the stars.
La Maman des Poissons – Zita Hanrot (France)
On the day of their grandmother’s funeral, Sacha gathers her cousins to write a tribute to her, but nothing will happen as planned.
Bonobo – Zoel Aeschbacher (Switzerland)
When the elevator of their public housing breaks down, the fates of Felix, a disabled pensioner, Ana, a single mother struggling with her move and Seydou, a young man passionate about dance, intertwine towards an explosive ending where their limits will be tested.
She Runs – Qiu Yang (China/France)
In an ordinary Chinese winter, a small city junior high student, YU, tries to quit her school aerobic dancing team.
Heroes – Pablo Manchado Cascon & Santiago Cardelus Ruis-Alberd (Spain)
An average guy driving his car comes across a woman being assaulted. He is torn between his instinct to ignore the scene and drive on, or sum up his courage and become a hero.
Programmers Masha Litvinava & Robert Misovic have taken shorts programming to a new level this year. These films are a mixed bag of some fresh discoveries and some of the most decorated shorts of 2019. Pendance fans may remember Qiu Yang’s 2017 Gentle Night which won Best Director at Pendance and Palme d’Or at Cannes. She Runs won the Leitz Cine Discovery Prize at Semaine de la Critique. Bonobo by Zoel Aeschbacher won the Audience Award at Clermont-Ferrand. The Van premiered at the Cannes Film Festival as an Official Selection in 2019.
Solar Plexus becomes the fourth film selected to Pendance from the Cannes Cinefoundation showcase – the first 3 being last year’s Rubber Dolphin, Inanimate, and Equally Red & Blue.Heroes & Speechless are wonderful films by extremely talented emerging directors. Speechless director Zita Hanrot is best known as an actress, and she won the Cesar Award in 2016 for the film Fatima.
So much of what made Pendance 2019 successful was about the films. But so much of it wasn’t. Who could forget Mark Raso’s filmmaking workshop? Or Quest director Santiago Rizzo’s heart-felt skype Q&A about youth in crisis? And what would Pendance’s opening-night feature ‘Age Out’ have been without the eye-opening Q&A by OnBuzz CEO and Social Impact advocate Alan Elias?
“We’re trying to be more than a place people go to watch films. We’re trying to bring new ideas and important stories to the forefront and share them against the backdrop of Toronto winters. We want Pendance to become as synonymous with big ideas, important conversations, great music, innovation, and learning as it is with great cinema” stated festival director Robert Misovic.
Doctrina Leaders Maria Fomina (left) and Kristina Zabelin (right)
Pendance Doctrina features 5 components; social impact initiatives, documentaries, workshops, panels and conferences. Doctrina is Latin and is tied with learning, knowledge, or teaching. It is also feminine. And it’s no accident that an initiative entitled ‘Doctrina’ which aims to empower youth is led by two of Pendance’s youngest members; Kristina Zabelin & Maria Fomina leading the workshops and conferences respectively.
For Pendance Workshops, the festival has spent over a year researching how people learn. These free-to-attend workshops feature industry leaders teaching core topics in an engaging way, implementing student participation, audio-visual tools, and hands-on learning. These aren’t merely lectures or how-to instructionals.
Alan Elias speaks on the American Foster Care system at Pendance 2019
The Panels feature lively debates exploring topics from multiple angles and unique perspectives. The team has sought out the brightest and most credible minds in the industry to speak at these panels and by allowing free access to students and partnering with film schools, Pendance is hoping to ignite a deep curiosity among youngsters breaking into the film and television industry.
Pendance conferences follow the format of lectures or talks from key speakers on issues the festival feels are worth exploring. Finally, Pendance will begin to feature documentary features as a means of diversifying its narrative-heavy selections from the first two years.
“Rob Stewart was a big inspiration to me growing up, and documentaries like Sharkwater have sparked global movements. With so many conversations that are best explored through the documentary medium, we look forward to making documentaries a big part of what we’re doing at Pendance and our Doctrina arm going forward” stated festival director Robert Misovic.
Finally, social impact is a means of engaging community involvement year-round. This means youth-driven initiatives and support for charities and causes the festival holds in high regard. In 2019, the festival will be re-launching the ‘Warming the Streets’ initiative in which volunteers take a night to walk through the city with gift-wrapped coats, jackets, sweaters, socks, gift cards, and vouchers and break bread with the city’s underprivelged population.
There could have been no home finer than The Velvet Underground. Pendance’s new Music Director Walter Noseworthy had visited and researched every concert venue in Toronto and when it came down to where he wanted to host the opening night concert to launch the Pendance Film Festival, it came down to Velvet Underground v.s nobody.
“It’s the perfect venue. Velvet has a rich history of hosting amazing musicians, a great atmosphere for an intimate concert, and it is located so close to the festival’s film screenings and workshops” said festival director Robert Misovic.
Who is coming to Pendance Music? Well, that’s a surprise. The scouting process to find the best artists to bring to Pendance’s first official concert started in August and everyone on the team internally seems optimistic that they’ll find 3-4 of Canada’s best musicians to headline the event.
Pendance Music takes place at 8:00 PM on February 20, 2020. Velvet Underground is located at 508 Queen Street West in the downtown Toronto core. Tickets should be on sale in January.
Asghar Farhadi at Berlinale as Iranian Cinema thrives.
This is an unspoken rule — not all languages are judged equally. As much as we’ve focused on representation and diversity on the lines of gender and race, we’ve often glossed over age, culture and language in our quest for an even playing field.
This has been our mission at the Pendance Film Festival — that a film be judged without consideration for the director’s age, gender, race, cultural background or the spoken languages in the film.
Film is an audio-visual medium, and it would be hard to argue that films in Farsi, Dutch, or Turkish are viewed by English-speaking programmers the same way that English language films are.
How does one judge an acting performance if half the attention is on the subtitles? This is specifically true for languages which aren’t rooted in Latin. Some languages simply don’t convert well to English— subtext and meaning is lost in translation.
North American film festivals may opt against an Albanian or Serbian film for a Spanish or French one of lesser merit citing demographics. This is rooted in the thinking that North American audiences tend to prefer not reading subtitles to begin with, and would be even less likely to do so in a language they’re completely unfamiliar with.
And as a festival that programmed a Dutch feature last year which had our lowest attendence among thirteen screening blocks, we’re not going to argue that it makes a lot of sense financially.
But if a film festival exists predominantly as a cultural event, it must be about more than dollars and cents.
Where would Iranian cinema be on the world stage without the Berlinale? If we merely reduce our concept of diversity to include race and gender, we’re missing the larger picture.
As an English-speaking filmmaker, I hardly realized this problem until we started the Pendance Film Festival in 2017.
Filmmakers from the Netherlands, Austria, Serbia, Greece, Turkey, the Middle East and South Asia have all referenced that they feel they face a significant disadvantage with international film festivals — and looking at the programming of most small-to-mid-sized North American Film Festivals, they certainly aren’t wrong.
Austrian Director Peter Brunner wins Best Director for ‘To the Night’
The Trickle-Down Effect
Some countries are severely underrepresented on the world stage and the trickle-down effect this has on the funding available to filmmakers in these countries is worth noting.
Major film festivals are hunting grounds for distributors searching for content, and if films from Uruguay, Poland, Sri Lanka, or Greece face a barrier to entry, then filmmakers from these countries face barriers to funding within their own countries because of it.
We urge film festival directors and programmers to re-think diversity. We believe the world is absolutely full of stories worth sharing. To know that a filmmaker in Sudan or Turkey can’t make their film in their native language because their governing bodies believes the film won’t find a place on the world stage is pathetic.
The world is bigger than North America and Western Europe. Large festivals like TIFF, Berlin and Cannes have broadened their horizons to give a serious platform to world cinema. It’s time for everyone else to do the same.
We’re so proud to announce that the Pendance Library is now live. Check it out here. We love the films we select so much and stand behind these films forever. As they go online or become available on streaming platforms, you can expect to see our library grow.
For now we start out with 15 films – 12 shorts available online and three features from our 2019 festival available on demand. Check out the link above, and check back each month as more titles become available!
Features: Age Out (Best Picture 2019), Anywhere With You and In Reality (Audience Award Winner 2019)
Shorts: Catastrophe, All These Creatures, A Handful of Dust, Space Girls, Jitters, Inland Freaks, Curfew, Botanica, Nightshade, Dog in the Woods, The Replacement, Fake News.
Age Out (formerly Friday’s Child) launched online on Google Play, ITunes and various other platforms on November, 22, 2019. After winning the Jury Award for Best Picture at Pendance 2019, a world premiere at SXSW and a great festival run, the film is finally getting some recognition ahead of its release. Reviews for the film have been overwhelmingly positive and we expect that audiences will truly enjoy this beautifully poetic Waco-Texas-shot work of cinema.