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ttff/20 industry programme

trinidad+tobago film festival is proud to announce the industry programme for this year’s edition! From the Caribbean to Latin America, Europe to North America, our masterclass and workshop facilitators, presenters and panelists are a diverse, international and award-winning group of filmmakers.

masterclass

the art of creative producing
with lee thomas
07–11 september, 2.30pm–4.00pm

tickets: $1,000 TTD/$150 USD
online via Zoom

In a world where all the gatekeepers seem to want to say “No”, it’s sometimes difficult to survive as a producer and get your projects out into the world. This intensive five-part masterclass on the art of creatively and sustainably producing your film will be facilitated by acclaimed UK film and television producer, Lee Thomas.

Click here for more information and click here to buy your ticket.

workshops

build your film’s website with the magic of WordPress
with shaun rambaran
10 september, 12.30pm–2.30pm and 3.30pm–5.30pm
tickets: $240 TTD/$35 USD
online via Zoom

Websites have become an essential tool in a film’s promotional kit, but they can often cost a fortune to produce. Join web developer Shaun Rambaran as he gives this essential wide-ranging lesson in preparing and running your own website using WordPress.

Click here to buy your ticket.

cost-effective lighting for film
with robert macfarlane
10–11 september, 9.30am–12.30pm
tickets: $360 TTD/$56 USD
online via Zoom

Lighting is fundamental to film: it creates mood and atmosphere, and adds to a sense of meaning. In this two-day online workshop led by narrative film director Robert Macfarlane, participants will learn how to cost-effectively achieve professional lighting systems for their projects.

Click here for more information and click here to buy your ticket.

edit your trailer like a pro!
with ryan c. khan
11 september, 9.30am–12.30pm and 2.30pm–5.30pm
tickets: $360 TTD/$56 USD
online via Zoom

In this all-day workshop, facilitator Ryan C. Khan will explore the key elements of a good trailer – what aspects of the story to leave in and leave out; graphics; the right music; and essential information to include in all trailers.

Click here for more information and click here to buy your ticket.

breaking it down: the role of the dp
with gabrielle blackwood
14 september, 10.00am–1.00pm

tickets: $180 TTD/$28 USD
online via Zoom

Understanding the role of the film’s director of photography, and the various departments the dp works with, is invaluable before beginning a project. This foundational three-hour workshop, led by Jamaican director and dp Gabrielle Blackwood, will discuss the role and process of the director of photography, both on and off set.

Click here for more information and click here to buy your ticket.

presentations

social media marketing for filmmakers
with neala bhagwansingh
10 september, 12.00pm–1.30pm
Online via Facebook Live @ttfilmfestival

Love it or hate it, social media has become a valuable tool for independent filmmakers. In this ttff/20 presentation, practitioner Neala Bhagwansingh will share invaluable tools and tips for harnessing the power of Facebook, Twitter and Instagram to drive interest and investment in you and your film projects.

navigating contracts and clearances with dionne mcnicol-stephenson and cindy f. daniel
10 september, 9.30am–11.30am

Online via Facebook Live @ttfilmfestival

If the words ‘contract’ and ‘clearance’ keep you staring at the ceiling at night, you’re not alone. This enlightening two-hour session led by facilitators Dionne McNicol-Stephenson and Cindy F. Daniel will guide listeners through the main types of film contracts including the often-misunderstood collection of music clearances and rights.

getting ready for distribution
with patricia martin
11 september, 9.30am–11.30am

Online via Facebook Live @ttfilmfestival

Sales agents, distributors and digital outlets expect more than just an HD master to release a film. ttff/20 is pleased to present this integral talk on distribution facilitated by Patricia Martin of Habanero Film Sales in Brazil, in which Martin will explain why filmmakers must start budgeting and preparing their team for distribution long before heading out to film.

ttff talk with Orlando von Einsiedel

ttff talk
with Academy Award-winning filmmaker, Orlando von Einsiedel
12 September, 10.30am–11.30am

Online via Facebook Live @ttfilmfestival

In this, our first ever ttff talk, we’ll be sitting down for a wide-ranging discussion with Academy Award-winning documentary director, Orlando von Einsiedel, on documentary filmmaking, curiosity and finding compelling stories in some of the world’s most dangerous places.

filmmaker panels

narrative filmmakers panel
with shola amoo, akkel “lee” charles, isabella issa, calyx passailaigue and héctor m. valdez

9 September, 11.00am–12.30pm
Online via Facebook Live @ttfilmfestival

documentary filmmakers panel
with henrique amud, gabrielle blackwood, sam lockyer, shari petti and michèle stephenson

12 September, 1.00pm–2.30pm
Online via Facebook Live @ttfilmfestival

workshop: breaking it down: the role of the dp

Understanding the role of the film’s director of photography, and the various departments the dp works with, is invaluable before beginning a project. 

This foundational three-hour workshop, led by Jamaican director and dp Gabrielle Blackwood, will discuss the role and process of the director of photography, both on and off set. Participants will be guided through the pre- and post-production stages of a film from the perspective of the dp. Blackwood will discuss everything from pre-production site visits, vision boards, shot listing and storyboarding, to post-production planning including colour grading and, where relevant, special effects.

This workshop will also delve into the working relationships you’ll enjoy as a dp, from collaborating closely with members of the creative team such as directors and production designers to liaising with the technical brains of the project – your gaffer, grips and camera department. In the last hour of the workshop, Blackwood will present a live colour-grading segment.

prerequisites

Participants should have an understanding of and grounding in film that includes a basic knowledge of cinematography.

logistics

date: 14 september
duration: three hours
times: 10:00am-1:00pm AST
book online now: Tickets are $180TTD/ $28USD. They are available here.

FILMCO members and filmmakers with a film in this year’s festival will receive a 20% discount on the ticket price. To receive a discount code, please email admin@filmco.org.

This workshop will be conducted online via Zoom, so we welcome participants from around the Caribbean.

about gabrielle blackwood

Gabrielle Blackwood is an award-winning Jamaican director and director of photography who has written, directed and shot short films, documentaries and commercials in both Jamaica and New Zealand. Her films have been screened at the Pan African Film Festival in LA, Diversity in Cannes (Audience Award, Best Short), American Black Film Festival, Festival International du Film Panafricain de Cannes (Best Short), LA Film & Script Film Festival (Best Short Doc) and the Trinidad & Tobago Film Festival (Best Doc Feature nominee) among others. Gabrielle is a recipient of the Geoff Evans Award for Excellence in Screen Production in New Zealand.

Her feature screenplay “Kendal” was shortlisted for a Sundance Lab and the ScreenCraft Drama Feature Writing Competition and was the winner of the Caribbean Tales 2019 Big Pitch Competition. Born in Jamaica, Gabrielle earned her Masters (Hons) and Post Grad Dip. in Screen Production from the University of Auckland, New Zealand and a BA (Hons) in Media and Communication from the University of the West Indies. She is the immediate past president of the Jamaica Film and Television Association (JAFTA), a co-convenor of Women In Film Jamaica and resides in Kingston, Jamaica where she works as an independent filmmaker.

in competition: feature-length documentaries

Chosen from the Caribbean section which comprises feature-length films from the Caribbean, the diaspora, and films by international filmmakers made in and about the region, the docs in competition for the Best Feature-Length Documentary award are:

501 Not Out, dir. Sam Lockyer
A Media Voz (In a Whisper), dirs. Patricia Pérez Fernández and Heidi Hassan
Servidão (Servitude), dir. Renato Barbieri
Stateless, dir. Michèle Stephenson

synopses

501 Not Out
Directed by Sam Lockyer/ 2019/ Trinidad and Tobago, United Kingdom/ 108 minutes

Over 25 years on from Brian Lara’s world-record-breaking innings for Warwickshire at Edgbaston in the UK, brand-new documentary “501 Not Out” tells the story of cricket’s first global superstar.

Exploring Lara’s remarkable ascent in 1994, the film celebrates his development in Trinidad and features interviews with iconic names from the world of cricket. These include his former international and county teammates from the historic treble-winning season, his friends and coaches in the Caribbean, fans who witnessed the marathon knock first hand and those inspired by his heroics. Notable contributions come from Sir Curtly Ambrose, Allan Donald, Dermot Reeve, Gladstone Small, Dennis Amiss, Jonathan Agnew, Ian Bell, Deryck Murray, Bryan Davis and Trini Posse Group co-founders Nikki Borde and Nigel Camacho.

Featuring rarely seen archive footage and stills, the film also examines the wider impact of Lara’s arrival and success at Warwickshire, coming so soon after his test record 375. “501 Not Out” brings an amazing story to life on the big screen for the very first time.

A Media Voz (In a Whisper)
Directed by Patricia Pérez Fernández and Heidi Hassan/ 2019/ Cuba, France, Spain, Switzerland/ 80 minutes

Two childhood friends entering their forties, facing the challenges of emigration, try to rebuild their lives far away from Cuba. An intimate and revealing auto-ethnographic documentary about uprootedness, motherhood, love of film, and freedom. Told through the audiovisual correspondence between two filmmakers and Cuban emigrants, it is a story of friendship and exile.

Servidão (Servitude)
Directed by Renato Barbieri/ 2019/ Brazil/ 72 minutes

A feature-length documentary about contemporary slave labour focusing on the Brazilian Amazon, “Servidão” follows the work of the Special Mobile Inspection Group of the Ministry of Labour. Through the testimony of modern abolitionists and rural workers it explores the links between contemporary slavery and a cruel slave-holding mentality that has existed in Brazil for five centuries. With narration by Negra Li, it is an important record of one of Brazil’s greatest ills. 

Stateless
Directed by Michèle Stephenson/ 2020/ Canada/ 95 minutes

In 1937, tens of thousands of Haitians and Dominicans of Haitian descent were exterminated by the Dominican army, on the basis of anti-black racism. Fast-forward to 2013 and the Dominican Republic’s Supreme Court strips the citizenship of anyone with Haitian parents, retroactive to 1929, rendering more than 200,000 people stateless. Director Michèle Stephenson’s new documentary follows the grassroots campaign of a young attorney named Rosa Iris, as she challenges electoral corruption and fights to protect the right to citizenship for all people.

Image: production still from Stateless’, directed by Michèle Stephenson

meet ttff/20 festival artist, mark king

Our festival artist for the 15th edition of the trinidad+tobago film festival is the talented interdisciplinary artist, Mark King, whose work combines fashion, surface design, sculpture and installation to name just a few of the tools he uses. FILMCO’s education coordinator, Catherine Emmanuel, spoke with King about his work, his interests and thoughts on being our ttff/20 festival artist.

ttff You work in many varied mediums such as photography, fashion and surface design. What drew you to this diverse combination of tools?
MK My curiosity and general interests are what pushed me to explore these mediums. A strong desire to communicate abstract concepts in different ways guide this approach. It is also through collaboration that I am able to experiment with a wide range of creative tools in both my fine art and commercial life.

ttff How do you use these mediums to explore the subjects that interest you?
MK Each medium plays a role in the expression and transmission of a concept. The decision to use any medium, whether independently or in a grouping, depends on many factors. I’m concerned with how people engage with my work. Lately, I have been thinking of the objects I create as artifacts that go on to be activated/animated by the owner, wearer, or viewer.

ttff Your work is focused on examining the ‘underlying forces that guide our behaviour’. Can you tell us what your work has allowed you to observe and learn about this in the last few years?
MK A great example is a recent collaboration called, ​Look on me and be renewed ​(2018). Commissioned by Up Projects and the Science Gallery of London for their HOOKED exhibition, the project enabled me to further expand my practice in this direction. It was a collaboration with Dr John Marsden, Professor of Addiction Psychology at King’s College London and Changing 7, a group of people with lived experience of treatment and recovery from substance use. ​Look on me and be renewed​ invited viewers to reflect on the interplay between human beings, objects and environments, highlighting how visual prompts from our surroundings are connected to the behavioural patterns and rhythms that govern or determine our decisions and experiences.

Empathic Loops/Ode to the Widow’s Walk, 2018
Archival inkjet print 16 x 22.4 in (40.64 x 56.9 cm)
Edition of 5
Kimono made in collaboration with fashion designer, Bregje Cox. 

ttff As a Caribbean artist who’s lived in the region as well as abroad, how do you think this has shaped and influenced your work?
MK I feel that my international experience has made me curious about what rests beneath the surface and how it shapes our behavior on a cultural level. Living in the region and internationally has expanded my network of friends and collaborators. This has inspired me to create work that speaks to many disparate groups of people.

ttff  Do you think your early childhood moves played a role in your development as an artist?
MK Most definitely! I started drawing as a toddler living in Barbados. I took my first after school art classes while growing up in Nassau, Bahamas and continued taking after school classes through middle school and high school in Brussels, Belgium. It gave me the confidence to know that it was possible to be a different kind of artist.

ttff Who and what are your major influences?
MK
Lately I’ve found the practices of artists Llanor Alleyne, Olafur Eliasson, Hella Jongerius, Nyugen Smith, the Third Horizon collective, and Rodell Warner to be a source of great inspiration.

Untitled, 2017

ttff What are you presently working on?
MK I’m working with Dutch fashion designer, Bregje Cox on our Enclothed Cognition collaboration. That’s me in the ttff artwork (​Untitled,​ 2017) wearing our VIRTUAL suit. We are currently developing new textiles and have a collaboration with site-specific dance company, Tori Lawrence + Co. in the works. Other than that, I have my personal studio practice and am working as a Creative Director in Pop-Up Magazine’s Brand Studio.

ttff  What are your thoughts on being ttff/20’s festival artist?
MK
I’m honored to be named this year’s ttff festival artist. I’ve wanted to participate in the festival for many years now. I’m not a filmmaker (yet) and being invited to contribute as a festival artist always seemed like an ideal way to participate creatively. I’ve admired ttff from next door in Barbados for many years but have yet to attend. It’s always been a standout festival in my mind.

ttff How do you view ttff and its role within the region?
MK
ttff is one of the most important film platforms in the region. That makes it significant to the global film industry. There aren’t many opportunities for Caribbean filmmakers to screen their films let alone network, attend workshops, update their skills through masterclasses. This is what makes ttff special and significant in the Caribbean arts/film community.

ttff What impact would you like your work to have?
MK
I want it to catch your attention and encourage you to think of a once familiar subject in a totally new way. It is my hope that my works get one to spark delight and thought long after I am gone.

ttff Has the (COVID-19) pandemic affected your work in terms of the topics and issues you want to explore?
MK It has instilled a sense of urgency following the initial shock of it all. The focus of my artwork hasn’t changed much since the pandemic is exposing the vulnerabilities of our current systems, many of which I have come to interrogate through my artwork. For example, our relationship with artifacts and the built environment are still important and have an impact on our well-being. That isn’t going to change. The pandemic provides new context and perspectives.

You can learn more about Mark King’s work by visiting his site:
markkingismarkings.com

in competition: trinidad+tobago films and youth jury

Every year, ttff highlights homegrown talent and excellence by awarding prizes for Best Trinidad+Tobago Film. In competition for this year’s prize are the following films:

Get Free!, dir. Akkel Charles
I Don’t Call it Ghetto, dir. Miquel Galofré
Mightier dan de Sun, dir. Trevon C. Jugmohan
Waiting In Strange Times, dir. Kristof West

The Youth Jury views and considers for award recognition, films which focus on young protagonists dealing with coming-of-age issues, challenges and triumphs. These are the films in competition for the Best Film as Selected by the Youth Jury:

Avatara, dir. Nadav Harel
Choosing Destiny, dirs. Angelo Berkeley and Shemaiah Trotman 
Isla Serena (Serene Island), dir. Leonel González
K.I.N.G, dir. Rashad Frett
Mortenol, dir. Julien Silloray
Yellow Girl and Me, dir. Isabella Issa

synopses

Best Trinidad+Tobago Film

Get Free!
Directed by Akkel Charles/ 2019/Trinidad and Tobago/ Narrative Medium/ 37 minutes

Twenty-one-year-old Iris’ life is endangered as her ex-boyfriend returns to seek unwanted closure. A series of events unfold as we see what was, and what still is, between them. A raw, realist exploration of violence against women.

I Don’t Call it Ghetto
Directed by Miquel Galofré/ 2019/ Trinidad and Tobago/ Documentary Medium/ 42 minutes

Single, divorced, mother-of-three, police officer Onika James-Turner has had a life filled with challenges, obstacles and heartache. In “I Don’t Call it Ghetto”, we see how her difficult past has only made her stronger, impelling her to reach for a different life, one in which she could help her community. We witness the great pride she takes in the work that she does, and how she is driven by the desire to be “part of the solution and not part of the problem”. Her three children are the centre of her life and a new husband gives her strength. But she still faces the challenge of raising a teenage son in an area known for crime and must work hard to build trust in her role as a police officer.

Mightier dan de Sun
Directed by Trevon C. Jugmohan/ 2020/ Trinidad and Tobago/ Narrative Medium/37 minutes

Ten years in the making and filmed in Trinidad and Tobago with a team of home-grown professionals, “Mightier dan de Sun” is the story of an Indian couple with nothing to lose. In combination with mental illness and supernatural forces, alcohol becomes a catalyst for unfortunate events.

Waiting In Strange Times
Directed by Kristof West/ 2020/ Trinidad and Tobago/ Narrative Short/4 minutes

Set in Trinidad during the lockdown imposed by the government to prevent the spread of Covid-19, “Waiting In Strange Times” explores space and time during a period of boredom, uncertainty, confusion and fear.

Best Film as Decided by the Youth Jury

Avatara
Directed by Nadav Harel/ 2020/ Israel/ Documentary Short/ 25 minutes

Set in the cultural frontier zone of the Hindu Himalaya, “Avatara” (from the Sanskrit, “descent”) explores the lived religion of goddess worship (Shaktism) in a remote pastoral valley. For her farmer and herder followers, the goddess’s presence is all too real; quick to anger and ever-thirsty for sacrifices, she haunts them in their dreams and rituals, demanding complete submission as both child-like friend and motherly-punisher. In this enchanted world of magical creativity, the encounters with the goddess are transient, intuitive events that hold the key to creation and, for those lucky enough to see her, a short-lived salvation.

Choosing Destiny
Directed by Angelo Berkeley and Shemaiah Trotman/ 2019/ Trinidad and Tobago/ Narrative Medium/ 35 minutes

Two high school students are faced with life-changing choices as they try to navigate their love and the difficult circumstances that surround them. Tackling the contemporary issues of teenage pregnancy, abortion, suicide and illegal drugs, “Choosing Destiny” follows young people at a crossroads in their lives.

Isla Sirena (Serene Island)
Directed by Leonel González/ 2019/ Bolivarian Republic of Venezuela/ Narrative Short/ 15 minutes

Vivi, a young inhabitant of a fishing village, takes a trip by road and sea with her friend Vale to get to an island where, according to the stories of her dead mother, the mermaids live.

K.I.N.G.
Directed by Rashad Frett/ 2019/ United States of America/ Narrative Short/ 12 minutes

In the aftermath of Hurricane Irma and Hurricane Maria, a troubled boy is sent to Connecticut from the Virgin Islands to temporarily stay with his paternal aunt. In hopes of seeing his deadbeat father after broken promises, he ventures out into an unfamiliar city to find him.

Mortenol
Directed by Julien Silloray/ 2019/ Guadeloupe/ Narrative Short/ 28 minutes

Eleven-year-old Dwayne wants to avenge his older brother who was killed by an enemy gang.

Yellow Girl and Me
Directed by Isabella Issa/ 2019/ United States/ Narrative Short/ 9 minutes

Set in the Jamaican countryside, a young child named Nicole waits for her sister, Yellow Girl, to teach her how to swim. Like the water, Nicole does not resist; she flows, and nothing can stand in her way. Circumstances escalate when Yellow Girl breaks her promise and Nicole realizes that she is next in line for a lifestyle of sexual abuse. Nicole is forced to decide how far she will go in order to protect herself and her sister.

Images: production stills from ‘Mightier dan de Sun’, directed by Trevon C. Jugmohan and ‘K.I.N.G’, directed by Rashad Frett

workshop: cost-effective lighting for film

Lighting is fundamental to film – it creates mood and atmosphere, and adds to a sense of meaning. Whether it’s dressing the film set or blocking your actors, every step of the cinematic process affects your lighting set-up and vice versa.

In this two-day online workshop led by narrative film director Robert Macfarlane, participants will learn how to cost-effectively achieve professional lighting systems for their projects. Macfarlane will explore the techniques involved in planning and executing lighting for various genres and how one maps movement around a lighting set-up. This course will take place over 2 three-hour sessions and will be of equal benefit to those with and without lighting equipment. Workshop segments will include: finding your lighting tools – how to creatively use what you already have; lighting set-up reviews; planning your lighting, and technical reviews.

prerequisites

Participants should have a basic understanding of film. Both film practitioners and film students are welcome to register for the workshop.

logistics

dates: 10–11 september
duration: two sessions/ 3 hours/ session
times: 9:30am–12:30pm AST
book online now: Tickets are $360TTD/ $56USD and will cover the cost of the two sessions. They are available here.

FILMCO members and filmmakers with a film in this year’s festival will receive a 20% discount on the ticket price. To receive a discount code, please email admin@filmco.org.

This workshop will be conducted online via Zoom, so we welcome participants from around the Caribbean.

course outline

session one: 3 hours

part a – finding your lighting tools, 1 hour

If you are a filmmaker without access to top-notch lighting equipment, do not fear. This module will explore how to achieve professional lighting using tools we may already have in our home. We will introduce the concepts of creatively producing lighting plans in conjunction with the genre of the scene to be shot.

part b – lighting setup review, 1 hour

Participants will be given the opportunity to view and discuss excerpts from a few films, paying particular attention to the lighting set up as it relates to the overall mood/tone and genre of the film. 

part c– planning your lighting, 1 hour

In this segment, participants will be encouraged to explore the “blocking” and genre of the scenes viewed. We will detail the process of building a well-rounded and informative lighting plan for your script after which participants will have the opportunity to draw their lighting plans. As this training is “hands-on” participants will be grouped and given home-tasks to complete.

session two: 3 hours

part a – review, 1 hour

Our second session will focus on discussing and reviewing the material curated by each group. In the feedback, we will place emphasis on the approach to lighting the locations based on the considerations placed on light intensity, technical issues, time of day, clarity of the action and most importantly the genre.

part b – freeze frame lighting review, 1 hour

Participants will be given the opportunity to view and discuss freeze-frames from a few films, paying particular attention to the technicality of the lighting set up, camera angles, time of day and as it relates to the way it guides visibility of the action.

part c – technical review, 1 hour

This module seeks to allow the facilitator to share a step by step process of all of the steps covered from day one and two, using examples in his own home. Participants would get the opportunity to view, discuss an action scene shown by the facilitator based on his own lighting plan diagrams. This is where we get into the specificity of using what’s available to convey motivation and action of our scenes.  This will be a very interactive segment where questions and feedback will be a key element.

about robert macfarlane

Robert Macfarlane is a narrative film director with over 15 years experience in the film, TV and commercial sectors in the UK and Caribbean. After completing his BA at London South Bank University, he started a production company, focusing his attention on directing narrative music videos, producing over 30 in three years for various artists across genres. He then moved to Trinidad and Tobago and expanded his style of directing. He worked in a variety of roles on feature films, commercials and corporate films. After returning to the UK, he worked as a creative director at a boutique production house directing over 40 high-end corporate and educational films before choosing to focus solely on narrative directing. His credits range from directing award-winning shorts to editing the multi-award-winning feature film, “Sally’s Way”, which was released in North America and the Caribbean. Broadcast credits include editor on TV shows for CTV in Trinidad and Tobago and the BBC as well as director of music videos which have aired on MTV Base, VH1 and the Box.

in competition: student films

Programmed as a separate category for the first time in 2020, Student films are narrative and documentary films made by student filmmakers (whether secondary or tertiary) from the Caribbean and the diaspora. The films competing for the Best Student Film award are:

Carmencita, dir. Nayibe Tavares-Abel
Carne e Casca (Meat and Shell), dir. Dani Drumond
Endless Love, dir. Duda Gambogi
La Pieza de Casseus (The Raging Dance of Casseus), dir. Camilo Mejía
Waiting In Strange Times, dir. Kristof West
Wicket, dir. Harsh Khurana

synopses

Carmencita
Directed by Nayibe Tavares-Abel/ 2020/ Dominican Republic/ 27 minutes

In this documentary short, filmmaker Nayibe Tavares-Abel sets out to make a film based on her great grandmother’s diary entries written in 1918. Incorporating stop motion animation and a silent film shot in 16mm, the filmmaker begins with the aim of poking fun at her great grandmother’s jealousy and conceit, but ends up revealing much about herself in the process.

Carne e Casca (Meat and Shell)
Directed by Dani Drumond/ 2016/ Brazil/ 16 minutes

In the bowels of the Recife mangrove is Ilha de Deus (God’s Island). There, José Joaquim Francisco Filho, known as “Mosquito”, the oldest sururu (mussel) fisherman of the region, battles on. In the Capibaribe river, one of the most polluted in Brazil, Mosquito fights for the survival and future of his grandchildren.

Endless Love
Directed by Duda Gambogi/ 2020/ Brazil /20 minutes

A series of characters experience the joy of performance, demonstrating that it is better to live than to dream.

La Pieza de Casseus (The Raging Dance of Casseus)
Directed by Camilo Mejía/ 2020/ Dominican Republic /16 minutes

Casseus is a young Haitian man who decides to enroll in a ballet academy in order to accomplish his dream of being a dancer, but his job as a bodega delivery guy in the Dominican Republic gets in the way of his goal.

Waiting In Strange Times
Directed by Kristof West/ 2020/ Trinidad and Tobago/ 4 minutes

Set in Trinidad during the lockdown imposed by the government to prevent the spread of Covid-19, “Waiting In Strange Times” explores space and time during a period of boredom, uncertainty, confusion and fear.

Wicket
Directed by Harsh Khurana/ 2020/ India/ 4 minutes

A young boy dreams of being a cricketer but, like almost everyone else, ends up having an ordinary job. Nevertheless, his passion never dies and he lives his dream every day for the rest of his life.

Imageproduction still from ‘Endless Love’, directed by Duda Gambogi

in competition: new media works

The new media section comprises avant garde and experimental film and video works from artists and filmmakers in the Caribbean and diaspora. These are the works in competition for best new media work at ttff/20:

Centella (Firefly), by Claudia Claremi
Looking for ‘Looking for Langston’, by Adam Patterson
Murciélago (Bat), by Claudia Claremi
The Whole World is Turning, by Adam Patterson

synopses

Centella (Firefly)
by Claudia Claremi/ 2019/Cuba/ 17 minutes

In Cuba the flight of fireflies, in the night, is said to be like a meeting of miniature spectres, weakened fires or wandering souls. Isabel invokes them and triggers the dance.

Looking for ‘Looking for Langston’
by Adam Patterson/ 2018/Barbados, Netherlands/ 16 minutes

A performative video work in search of Isaac Julien’s “Looking for Langston” (1989). A captain dreams of setting sail, in search of a mysterious, intangible, comforting vision that rests at the edge of the horizon. An exploration of desire and distance, pleasure and disappointment, secrets and surprise, “Looking for ‘Looking for Langston’” is a cruise of poetic correspondence, queering sailors and transgressing horizons.

Murciélago (Bat)
by Claudia Claremi/ 2018/ Cuba/ 12 minutes

A sensory essay told through body and sound. A composition made from the trance and the vibration of macroscopic figures seen at a millimetric distance from the skin of eight people in Cuba. Inside a black hole, rapid movements fill the void. Macroscopic corporal landscapes follow one after the other to percussion in crescendo. White skin pulsates serenely and black skin wiggles, showing a face. Bright discharges explode in the air. In a slow, swaying trance, a shining eyelid reveals and then hides a liquid eye. The swelling and contracting skin of an abdomen makes deep sounds to an unrelenting beat.

The Whole World is Turning
by Adam Patterson/ 2019/ Netherlands/ 21 minutes

A group of lovers is visited by a familiar guest. They remark on how this guest has turned, how they have turned and how the whole world keeps turning. How will they receive this turn of events?

Image: still from ‘Murciélago‘ by Claudia Claremi

in competition: short + medium length narrative films

We are delighted to announce the short and medium length narrative films in competition at ttff/20.

SHORT (up to 29 mins):
Ici C’est Paris (Paris Is Here), dirs. Léa Magnien and Quentin Chantrel
Irma, dir. Lisa Cruz
Ma Dame au Camèlia (My Lady of the Camellia), dir. Edouard Montoute
Mortenol, dir. Julien Silloray
Pure Service, dir. Reyda Gay
Timoun Aw (Your Kid), dir. Nelson Foix
Yellow Girl and Me, dir. Isabella Issa

MEDIUM (30-59 mins):
Get Free!, dir. Akkel Charles
Mightier dan de Sun, dir. Trevon C. Jugmohan
Zeen?, dir. Calyx Passailaigue

#ttff20 celebrating 15 years in 2020
#watchsomething#ttfilmfestival #15in2020
#caribbeanfilms #caribbeanfilmmakers 

Image: production still from ‘Yellow Girl and Me’ directed by Isabella Issa

in competition: short + medium length documentaries

We are delighted to announce the short and medium length documentaries in competition at our fifteenth edition festival.

BEST DOCUMENTARY SHORT FILM

Coast Land, dir. Alexander Arjoon
Our Own House, dirs. Vanessa Bergonzoli, Jeremy Kaplan and Tyler Robinson
Atordoado, Eu Permaneço Atento (Stunned, I Remain Alert), dirs. Henrique Amud and Lucas H. Rossi dos Santos 
The Onyx Butterfly, dir. Yasmin Evering-Kerr
Unbroken, dir. Gabrielle Blackwood

BEST MEDIUM LENGTH DOCUMENTARY FILM

I Don’t Call it Ghetto, dir. Miquel Galofré
No Island Like Home, dirs. Giulio Gobbetti and Jan Stöckel
Men Sa Lanmè Di (Thus Spoke the Sea), dir. Arnold Antonin

Join us as we celebrate the fifteenth edition of the trinidad+tobago film festival! ttff/20 will take place 09–15 sep 2020, with outdoor and online screenings, talks and presentations, training opportunities and even a few cinema screenings!

Featured image: production still from Gabrielle Blackwood’s documentary, “Unbroken”

#ttff20 celebrating 15 years in 2020
#watchsomething
#ttfilmfestival #15in2020
#caribbeanfilms #caribbeanfilmmakers