, he also said that the techniques that the Police argue need to be protected were not sophisticated, and are already largely known about. He said the failure to reveal spy cover names would shield from public scrutiny the exact thing the inquiry was set up to examine.
The media were also represented, and they asked for Pitchford to allow their right to report on the Inquiry, and to continue their work to expose wrong doing.
Helen Steel was the only core participant to represent herself, and her powerful statement got a huge round of applause from the public gallery. She cut through the legal speak, shattered the police’s arguments around NCND (exposing it as a policy developed to protect them during the recent courtcase), and argued that victim’s had a right to know what had happened to it – no one should have to wait 24 years to hear the truth as she had.
Pitchford has now retired to deliberate on the decision, which he will not announce until April.Given its chronically small pockets, The Woodstock Film Festival counts on volunteers to keep chaos at bay. That ceaseless need for unpaid labor gave birth to the WFF intern program. Teens besotted by the film world get a taste of its upsides and downsides through the intern program, alternately learning basic skills, hobnobbing with big names and working punishing hours on a production.
One such resilient soul is 21-year-old Jeremiah Wenutu, who is operations intern for the Woodstock Film Festival, a catch-all term commonly known as “go-fer” in less professional circles. Wenutu, a student at C.W. Post on Long Island, shared his story and explained why the WFF intern program is the best summer camp for an aspiring film director.
“I first became interested in cinema at a very early age. Initially, I was interested in acting. But as I grew older, movie “magic” really intrigued me. The whole idea of creating worlds and characters to entertain and teach people fascinated me. I’ve been pursuing it ever since.
I didn’t know what to expect my first day as an intern. Truthfully, I don’t know what to expect any day here, but that’s the great thing about it. The people here are absolutely wonderful and the place and crew have a great energy so I just knew this was where I should be.
My tasks include running errands around town, such as picking up mail for the festival, organizing film submissions, screening films, pursuing ad sales with various companies, and what is probably the most important task around here, picking up chocolate and pizza for the office. That seems to be a high priority around here and I’ve heard my chocolate selections are superb.
Recently I actually worked on a short film by [WFF co-founder] Laurent Rejto. I was brought on as a camera intern but very rapidly became 2nd AC. I have worked on numerous student shorts and features but this was my first professional shoot. It was exhilarating. I applied everything I learned from school but still learned so much more.
Overall it’s been an amazing experience. Definitely a once in a lifetime opportunity that I’m blessed to share with all these people.
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If you are already playing Anime Planet and would like to contribute to this wiki, then register for a wikidot account and apply for membership below. If you are already a member, then please visit the members section for how you can help out. Thanks for your help and support!Cinema One Originals has made a name for itself as the film festival that breaks new ground and opens eyes to new modes of cinema, new forms of narrative, and new perspectives of storytelling. Consequently on its 12th year, the festival adopts a new tagline in “Anong Tingin Mo?”
Nathalie Hart and JC De Vera in ‘Tisay’
Literally translated as “What do you think?”, the question in many ways encapsulates how any one film can be many different things to many different people but also exemplifies the multi-layered diversity that has been the hallmark of Cinema One Originals. This year will be all about different ways of looking at the same thing.
For the first time, Cinema One Originals gave grants to three original feature documentaries. Teng Mangansakan’s Forbidden Memory lifts the veil on the events of September 1974 as it talks to the survivors of a gruesome mass murder that has been kept under wraps for decades. Paolo Picones and Gym Lumbera’s Piding traces the history of Oliver Carlos, a grieving ornithologist reeling from tragedy who comes back to his hometown. John Torres’ dreamlike, mysterious People Power Bombshell unearths a lost film by Celso Ad Castillo and probes its circumstances and implications.
Seven original narrative features were also given grants, three to Cinema One Originals alumni: Lily, about a woman who is rumored to be a half-monster, is Keith Deligero’s first foray into horror and myth. The quirky love story Every Room Is A Planet resumes Malay Javier’s fondness for juxtaposing science-fiction with youth culture. And Borgy Torre’s basketball crime film Tisay transposes his noir inflections onto a unique milieu.
Spanky Manikan in ‘Piding’
Four first-time filmmakers will also make their debuts this year; Petersen Vargas’ dark high school comedy 2 Cool 2Be 4gotten, Samantha Lee’s millennial love story Baka Bukas, Jose Abdel Langit’s ethnographic mystery Malinak Ya Labi and Jules Katanyag’s geriatric action film Si Magdalola At Ang Mga Gago.
This year’s festival will also screen a slew of acclaimed foreign films including some of this year’s world cinema highlights like Ashdar Fajardi’s The Salesman, Bruno Dumont’s Slack Bay, Xavier Dolan’s It’s Only The End of the World, Ciro Guerrera’s Embrace of the Serpent, Dan Kwan and Daniel Scheinart’s Swiss Army Man and Ken Loach’s I, Daniel Blake, critically-acclaimed documentaries such as Gianfranco Rossi’s Fuocuoammare, Noah Baumbach and Jake Paltrow’s De Palma and Pierre Film’s Close Encounters with Vilmos Szigmond; as well as a slate of the best horror films of the year: Na Hong-Jin’s The Wailing, Veronica Franz & Severin Fiala’s Goodnight Mommy, Robert Eggers’ The Witch and Kiyoshi Kurosawa’s Creepy.
Shaina Magdayao in ‘Lily’
Among the restored classics to be showcased this year are Mario O’Hara’s Tatlong Taong Walang Diyos, Danny Zialcita’s Nagalit Ang Buwan Sa Haba Ng Gabi, Lino Brocka’s Cain At Abel, and Ishmael Bernal’s Pagdating sa Dulo. There will also be special screenings of Lav Diaz’s Golden Lion-winning Ang Babaeng Humayo and Sherad Sanchez’s found footage horror Salvage.
At the finalists