New York City Independent Film Festival (NYCIndieFF) will hold a physical festival this year. We will celebrate the Independent Filmmaker, documentaries, short and feature-length films and animation. Whether a submission is comedic, dramatic, or something in between, The NYCIndieFF is eager to embrace fresh ideas and storytelling.
Home of the NYC Indie Awards the festival aims to discover the Artist Filmmaker, showcasing them to the entertainment industry and the NYC public. All NYCIndieFF screenings take place in the historic center of NYC, Time Square which is the perfect home for an event geared toward creating incredible opportunities for independent voices.
NYCIndieFF honors the Best in Category which includes Best Narrative Feature, Best Documentary, Best Short Documentary, Best Short Narrative, Best Super Short, Best Covid Diaries, as well as Best Director.
NYCIndieFF provides a showcase for the best in independent cinema, including short films, feature films, music videos, and animated works. With panels, parties and a week-long gathering of fellow indie filmmakers NYCIndieFF is the place to be June 3 to June 7, 2026 This dates may move to accommodate any and all government regulations.
Submit now to be a part of all the excitement and join our community of Filmmakers from around the world. See in this year in NYC in 2026!!
映画が社会を変えるきっかけとなるフェスティバル・プロテスタをご覧ください。
この国際イベントは、挑戦し、疑問を投げかけ、インスピレーションを与える映画を称えるものです。 長編と短編映画フォーマットのドキュメンタリー、フィクション、アニメーションの多様なラインナップを取り揃えているプロテスタは、現状に疑問を投げかけ、挑戦することを目指す映画製作者にとってのるつぼです。
私たちは創造性、ポジティブな社会的インパクト、革新的なストーリーテリングを大切にしています。 11以上のエディションがあるPROTESTAは、カタルーニャ州の主要なソーシャル・インパクト・フェスティバルであり、スペインのソーシャル・シネマの主役でもあります。 来年10月、文化的に活気あふれる街、ヴィックで開催される、豊かさ、教育、インスピレーションを目的とした一連の並行アクティビティにご参加ください。
毎年8月、世界中の映画製作者がインディーギャザリング国際映画祭に集まります。 インディーギャザリングは単なる映画祭ではなく、映画製作者が観客と集まって素晴らしい週末を過ごせる場所です！
私たちは、インディペンデントやアンダーグラウンド、実験的な映画やビデオのオルタナティブです。 「インディーズ」ギャザリング映画祭は、インディペンデント映画製作者を紹介するために開催されます。
私たちの使命は、競争の激しいショーケースを通じて映画製作者を鼓舞し、励ますことです。
映画製作者は上映会に参加し、映画の後に観客と話し合い、制作プロセスを詳しく調べようとしています。
映画、脚本、映画のスコアリング、特別なFXメイク、演技/モノローグのコンテストなど、インディーギャザリングには誰もが参加できる場所があります！ 週末は、3つの上映室、コンベンション/ベンダールーム、映画セミナー/レクチャー、コンペティション、ネットワーキングパーティーなどで構成されます！ 映画制作のあらゆる側面に関わっている、または興味があるなら、このフェスティバルはあなたにぴったりです。
以前、MovieMaker Magazineの「ベスト・フェスト・フォー・ネットワーキング」として映画祭トップ25に選ばれました！
「アイデンティティと文化の多様性」。
アイデンティティとは、文化的多様性を育み、伝統的なアイコンに疑問を投げかける変化と絶え間ない探求のプロセスだと理解しています。 そして、映画は人々、その文化、アイデンティティを反映したものだと理解しています。
私たちは、文化の多様性を、地域社会への共感を促進し、人々の日常生活を豊かにする力だと理解しています。
CINEFIESTA, our internationally recognized Festival, is a project that impacts culture and the economy. Over the years and with the support of multiple public and private entities, CINEFIESTA became one of the most important Short Film Festivals in America, and it would not be an exaggeration to say that it is one of worldwide relevance.
The Cinema Monster is an international festival of films and animations, and it has become one the largest cinema event in the American East.
The Cinema Monster Film Festival is open to competitors from all-over the world with no exceptions. The Festival accept short films, animated films, experimental films and documentary films. All topics are welcome!
The Madrid International Film Festival is an English speaking film festival held in the capital of Spain, as the festival grows we will continue the film experience and work with filmmakers from around the world. We are unique group of International film festival and offer filmmakers the possibility of a wider experience as we have had great success for filmmakers for many years.
Part of one of the greatest festival in the world to help filmmakers find a market to support their aims with people attending that can give good solid advice to work with established film industry professionals if you wish, screening, meetings, networking, world famous international awards ceremony,
We have built a small but exceptional professional network of industry professional that will look at all films entered and will give business and commercial advice, in some cases the distributors attending will make offers to the filmmakers for their work and to work together to put your movies in the market place, we have the people and skills in our professional team to make this happen, if the professional attending feel there is a market for your movie, they will as with many films over the years of our other festival make it happen.
We are unique in the amount of platforms and festival we offer filmmakers, we can create a ripple for your movie to be seen around the world, it all starts here by entering your movie.
Carl Tooney
Festival President
Brainwash, since 1995, has delighted audiences with a selection of the bizarre, the unique, and just plain old well-made movies from independent producers all over the world. With an eye toward the abstract, the innovative and the weird, Brainwash saluted it's 25th Silver Anniversary in the 2019 season, and, we're still going strong. We have consistently attracted entries we curate to be able to display some of the most cutting edge cinema from up and and coming directors, actors, producers and crews consistently year after year. So please send us yours this year!
アバンカ映画祭は、ICA/文化省が主催する2011年のサポート映画祭コンテストで第1位に選ばれました。
ここ数年、テーマ別のプログラムも実施され、懸案事項や明確な目標に基づいて適切に構成された現代映画の重要な作品を上映する場を設けている。
アヴァンカは、世界の映画界の著名人が率いるワークショップの場として知られており、「マスタークラス」という枠を超えて、独自の映画制作が可能になっています。 毎年、ヨーロッパ各地から参加者が集まるワークショップを開催しています。 メディアによると、ここはヨーロッパ最大の映画分野のプロフェッショナル・ワークショップの開催地域だそうです。
アヴァンカは、映画界の作品、映像、マルチメディアの新たな分野を集めたシネマ・インターナショナル・コンペティションを開催する唯一の映画祭で、各カテゴリーで制作された世界最高の作品が展示されることを特に重視している。
第1回以降、同映画祭はポルトガルで前例のない映画のみを受け付けています。
ワールド・プレミア・コンペティションは我が国でも類を見ないもので、アヴァンカが未発表の作家や質の高い映画の通過点になったからこそ可能になったのです。 映画祭でワールドプレミアされた作品は、応募されたカテゴリーとは無関係に、ワールド・プレミア・コンペティションにも参加します。
アヴァンカはポルトガルの映画祭で、世界で未公開映画のうち、初上映されるものの割合が最も高い映画祭です。
2010年からは、国際映画カンファレンス「AVANCA | CINEMA」を開催しており、イベリア半島の映画界で最も重要なカンファレンスとなっています。 この会議には、世界中から講演者と参加者が集まります。
アバンカのこの10年間は、テーマ別の展示会、書籍のエディション、書誌のプレゼンテーション、さまざまなプロジェクトにより、アバンカのこの10年間は、このフェスティバルにふさわしく、参加者が当然求める品質が実現しました。
PANSPORT Cinema e Esporte Ltda. promotes and organizes the RIO DE JANEIRO INTERNATIONAL SPORTMOVIES FESTIVAL (FIFE), which will be held in Rio de Janeiro, Brazil, from September 9th to 15th, 2015, with free entrance for the audience.
Single Paragraph – The screening program of the FIFE can be exhibited in until 15 (fiftheen) other cities of the State of Rio de Janeiro.
The end of ideologies has left two words, social and capital, as a pair of twin archetypes, social/kapital, which is strangely guiding our time now. That strangeness (in fact is a mere fairness because of accumulation of those two words’ ideological histories) is located on the interpretation position of both which inevitably are inseparable anymore since have turned into mutational forms of knowledge of how we appropriate all activities and cultural production in that context. This mutated knowledge is the meaning of both words in its similar proportion namely, social / capital.
The context plays its role in the transitional period now, which is on the pragmatic pressures rather than symbolic desires. Only seems both words repel each other although they actually equally inherent in mutual dependence and to their implications on our reality these days.
As a manifest of the archetypal fall, both concepts are merely placed into grand discourse throughout the centuries of cultural production on the top of ivory tower, a place where comprehensions of cultural production is likely to be seen and interpreted centrally–monoconsentric—through intricacy and sophistication of powers (political) and technologies (aesthetic). In other words, the language that articulates practices to imagine social and capital at that time and became our legacy of thinking, only allowing a value obtained from contemplation, while a variety of performativity which is celebrated in it sublimated as myths about World View. However, as the withdrawal of modernism, a shift in the understanding and meaning occurs when the concepts of geography and anthropology transformed most phenomenally by massive presence of new life habituation through the media that we are using now. social/kapital reduces those myths and coexist or along together with our performativity celebrations today.
Reduction of those myths seems in this circumstance: A productional milieu from vertical experience symbolically into horizontal experience pragmatically. In other words, the quest for suprasensory concept shifted to the quest for visible interpretation alias everyday.
A new literacy was stretched in front of the most present opportunities of cultural productions. Thus, the end of ideologies, which can be read as globalism nowadays has directed the production structure into contemporary guilds through the most advanced concept of the meaning existence of social and capital. This latter reality results in social reproduction produced by capital markets certainly everywhere either in the economic context or anthropological. Avoiding the strongest possibility of sloganistic assumptions to emerge about the revolutions of ideologies when writing this term, SOCIAL/CAPITAL are arranged in inductive letters, social/kapital is about to put perspective on peripheral domains.
Practices imagine anthropocentric into the concepts of citizenship or citizens as units of community—either as a representation of what would be ideal, either as a sheer performativity celebration, now it is common that the behaviors in a new world (global) when socialism and capitalism become mere of ‘world view’ concepts from the past and no longer sturdy as the two dominant poles which were constructed and applied throughout history by various powers to codify its inhabitants.
Idea and concept about social/kapital citizens have been merging various cultural activities of their existence in a new world (global) without—or only vaguely— memories of the state except local identity as a nation and their differential statuses. Individualism in the body of citizens is imagined almost as closely as shadow of something collective (collectivity). Is there a so-called global citizen complete with attributes and identity really exist apart from geographical and societal changes in which the capital motive is its creator?
第18回シチリアアンビエンテ映画祭は、2026年7月13日から18日に開催されます。
シチリアンビエンテ映画祭の目的は、インディペンデント映画とドキュメンタリー映画を促進し、監督間の創造的な交流とネットワークを促進することです。
この映画祭は、Demetra Produczioni SASとCANTIERE 7 Cultural Associationが主催、後援し、映画祭と同じ倫理原則を共有する官民のパートナーとスポンサーによって実現されています。
「環境」、「人類学」、「人権」、「生物多様性」、「戦争」、「統合」、「公民権」、「持続可能な開発」、「人間と環境の関係」をテーマにした映画が参加する可能性があります。
映画祭は複数のセクションに分かれています。
-ドキュメンタリー映画コンテスト（最低上映時間：31分）
-フィクション長編映画コンテスト（最低上映時間：70分）
-フィクションとドキュメンタリー短編のショートフィルムコンテスト（最長：31 分）
-短編アニメーションコンテスト（最大アート時間：31 分）
ドキュメンタリー、フィクション、短編映画、トリビュート、回顧展、セミナー、パネルディスカッションの概要
選考委員会は、文章や画像の質に加え、芸術的なドキュメンタリー映画を特徴づける創造的な言葉の一般的な使用法に基づいて選考する。
Zapoteco Group: Cinema, Music and Independent Arts, Bad Taste Filmzine, TimeCode Media, Inferno Pictures and El Imperio Negro are pleased to present INTERNATIONAL FESTIVAL OF MUSIC ON CINEMA in its third edition to be held July 29th, 2015 – August 5th, 2015.
Rubber: International Festival of Music on the Cinema, has as goal give a space for the promotion of documentary and fiction films about the musical diversity of the world cultures, the importance of the soundtrack on the cinema, also the revalidation of work and life of classic composers and bands that have been mandatory benchmark of the popular culture.
For its third edition in 2016, RUBBER FIMC invites directors of national and international cinema, to be part of our call for entries for official selection for Competition and Exhibition.
The Reno Tahoe International Film Festival (RTIFF) is joining a long list of world class events hosted in northern Nevada, and showcases community support for filmmakers & screenwriters from around the globe.
The winning combination of superior world-class facilities, ground breaking cinema, savvy themed parties, and the dazzle of celebrities captivates thousands of willing visitors and locals alike. Along with an atmosphere aimed at making deals, attracts distributors and content producers alike, RTIFF has it’s sites set on becoming the next mega popular must-attend entertainment event. And you’re invited to get in on the ground floor.
In recent years, Reno has grown into a haven for anyone with an entrepreneurial spirit. As a result, companies such as Microsoft, Apple, and Tesla have selected Reno as a place to open up extensions of their companies. And with the launch of the film incentive fund, more and more filmmakers are discovering how easy and profitable it is to produce in northern Nevada!
So it only makes sense that we create a world class event to showcase you, the filmmaker, the screenwriter, the actor, the artist. RTIFF will screen 101 films over five days in the Reno Tahoe region. The films will be Narrative Features, Shorts, Documentaries, & Foreign Features. Some of our programs are: Silver State Sensations (featuring films, documentaries, and shorts filmed with Nevada talent - can be a local Director, Cinematographer, Actor, Writer, etc.), World Perspectives (films/documentaries that broaden understanding through storytelling), Thrill Seekers (featuring Thriller/Horrors features / shorts), Faith-based shorts, features, and documentaries & Leading Ladies (films with strong female characters leading the way), & Student Films.
Every film will be assigned their own Twitterati to get the word out during their screenings about audience reaction, stunning set pieces, and more to help build the filmmakers platform and attract film buyers.
In addition, the RTIFF offers screenwriters a screenwriting contest where the top ten winners will be shared with vetted industry producers and the top three winners will receive cash awards. So take advantage of the early submission and submit your screenplay today!
With a projected audience of over 7,500, RTIFF will attract an affluent, local, national and international consumer base, while attracting professionals in the entertainment industry in Los Angeles & San Francisco to come and experience the new Reno Renaissance that’s underway. They’ll come for the films & speakers and stay to play with all the fun filled actives aimed at the high impact tourist economy RTIFF will attract. Hotel discounts & special perks available to all flimmakers & screenwriters in the festival.
“Diritto al Corto” aims at promoting a discussion about topics that play a central role in the public debate and that imply a strong relationship with juridical, conceptual and linguistic instruments.
The end of ideologies has left two words, social and capital, as a pair of twin archetypes, social/kapital, which is strangely guiding our time now. That strangeness (in fact is a mere fairness because of accumulation of those two words’ ideological histories) is located on the interpretation position of both which inevitably are inseparable anymore since have turned into mutational forms of knowledge of how we appropriate all activities and cultural production in that context. This mutated knowledge is the meaning of both words in its similar proportion namely, social / capital.
The context plays its role in the transitional period now, which is on the pragmatic pressures rather than symbolic desires. Only seems both words repel each other although they actually equally inherent in mutual dependence and to their implications on our reality these days.
As a manifest of the archetypal fall, both concepts are merely placed into grand discourse throughout the centuries of cultural production on the top of ivory tower, a place where comprehensions of cultural production is likely to be seen and interpreted centrally–monoconsentric—through intricacy and sophistication of powers (political) and technologies (aesthetic). In other words, the language that articulates practices to imagine social and capital at that time and became our legacy of thinking, only allowing a value obtained from contemplation, while a variety of performativity which is celebrated in it sublimated as myths about World View. However, as the withdrawal of modernism, a shift in the understanding and meaning occurs when the concepts of geography and anthropology transformed most phenomenally by massive presence of new life habituation through the media that we are using now. social/kapital reduces those myths and coexist or along together with our performativity celebrations today.
Reduction of those myths seems in this circumstance: A productional milieu from vertical experience symbolically into horizontal experience pragmatically. In other words, the quest for suprasensory concept shifted to the quest for visible interpretation alias everyday.
A new literacy was stretched in front of the most present opportunities of cultural productions. Thus, the end of ideologies, which can be read as globalism nowadays has directed the production structure into contemporary guilds through the most advanced concept of the meaning existence of social and capital. This latter reality results in social reproduction produced by capital markets certainly everywhere either in the economic context or anthropological. Avoiding the strongest possibility of sloganistic assumptions to emerge about the revolutions of ideologies when writing this term, SOCIAL/CAPITAL are arranged in inductive letters, social/kapital is about to put perspective on peripheral domains.
Practices imagine anthropocentric into the concepts of citizenship or citizens as units of community—either as a representation of what would be ideal, either as a sheer performativity celebration, now it is common that the behaviors in a new world (global) when socialism and capitalism become mere of ‘world view’ concepts from the past and no longer sturdy as the two dominant poles which were constructed and applied throughout history by various powers to codify its inhabitants.
Idea and concept about social/kapital citizens have been merging various cultural activities of their existence in a new world (global) without—or only vaguely— memories of the state except local identity as a nation and their differential statuses. Individualism in the body of citizens is imagined almost as closely as shadow of something collective (collectivity). Is there a so-called global citizen complete with attributes and identity really exist apart from geographical and societal changes in which the capital motive is its creator?
