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DEGNZ Announces Incubator Participants

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DEGNZ is thrilled to announce the selection of the Emerging Women Filmmakers Incubator participants for 2019.

Once again we have a stellar group of women directors who have shown considerable talent in their areas of endeavor. We look forward to welcoming them to the Incubator, which is designed to provide them with information, knowledge and networks so that they can advance their projects and professional skills, with the aim of seeing them go on to sustainable careers as directors.

This is the third year that DEGNZ has run the Incubator, made possible with the financial assistance of the New Zealand Film Commission and Vista Foundation.

The participants for 2019:

 

ANNA DUCKWORTH has a Bachelor of Communications Studies, Major in Video Production, Minor in Advertising from AUT University. She’s worked in film and television for almost a decade in both New York City and Auckland. Her focus early on was Producing, but she has recently moved her focus to writing and directing.

Anna wrote and directed three self-funded short films: Fomo (2011), Full Disclosure (2016) and Mum Jeans (2017), which screened at the 2018 New Zealand International Film Festival.

After working as a script advisor on not-safe-for-work feminist web series Psusy, Anna was invited to direct season 2, which went on to screen at New Orleans Film Festival, Seattle Webfest, DC Webfest, Melbourne Web Series Festival and won the Best Episodic Jury Prize at the 2018 LA Film Festival.

In 2018, Anna was granted production funding for two projects as writer/director. The first was an NZFC Fresh Short film Pain. The second was part of the TVNZ New Blood initiative, Butt Dial, a six-part web series.

Anna has twice won Best Director at 48Hours Competition, with her team being three time National Finalists.

Anna Duckworth

MARINA ALOFAGIA MCCARTNEY was born and raised in Manukau City, New Zealand. From a Geordie father, Samoan mother and Cook Islands step-mother, she is powerfully aware of her cultural heritage, how this affects the way we are viewed and how we view others.  After just over a decade in the fashion industry, as Miss New Zealand and one of the few fashion models of Pacific descent, she returned to the University of Auckland to study film and graduated with a MA (First Class Honours).

She is an award-winning filmmaker with films featuring in over 30 festivals, including Palm Springs ShortFest, NZ’s Best Short Film in the NZ International Film Festival, ImagiNATIVE, Hawai’i International Film Festival and the NZ Script Writer Awards.  Her latest film Vai, a portmanteau feature film made with another 8 Pacific female writer and directors, is currently doing the festival rounds, opening the NATIVe section at the 2019 Berlinale, SXSW and Māoriland with other festivals to follow.

Marina is an experienced teaching fellow, formally based at Pacific Studies, University of Auckland, and her academic areas of expertise are Pacific Studies, Pacific filmmaking, Pacific representation on screen and representations of the Pacific woman.  She is also a PhD candidate exploring Pacific filmmaking at AUT University, proud mother to her daughter, Alena Sevai, and is currently working on her feature film, The Return.

Marina McCartney

JESSICA SANDERSON is a director from a design and theatre background. Of Māori and Pākehā descent, the varied lives of her family influence the stories she tells – the majority of which are about the people of Aotearoa and the wider Pacific.

Jessica has a Bachelor of Performance Design, a joint degree from both Massey University and Toi Whakaari: New Zealand Drama School, which has influenced the strong visual and conceptual approach she applies to her projects. She has created music videos for some of Aotearoa’s most prolific artists, including; Aaradhna, Shapeshifter, Stan Walker, Tama Waipara, Ria Hall, Kora and more.

Jessica has recently finished her first short film Ways To See, funded by the New Zealand Film Commission and produced by her long-time collaborator Desray Armstrong (Sandy Lane Productions). She is currently directing an eight-part documentary television series called Moko produced by Velvestsone Media and is in script development for a feature film Wai.

JessicaSanderson

CLAIRE VAN BEEK is a writer/director from Banks Peninsula, New Zealand. After graduating from Toi Whakaari: NZ Drama School with a Bachelor in Performing Arts, Claire worked on TV commercials with Jake Scott (Alien, Welcome to the Rileys) and Garth Davis (Lion, Top of the Lake) as well as writing and acting for theatre. After becoming a “NZ Young Playwright of the Year” Claire moved into film.

Recently, Claire travelled to Portland to work with Debra Granik (Winter’s Bone) on Debra’s latest film Leave No Trace before returning to Aotearoa to shoot her NZFC Fresh Shorts funded film DANIEL, edited by Oscar winner John Gilbert (Lord of the Rings, Hacksaw Ridge).

Claire’s  focus is on female-centric, visually distinctive stories.  She is currently in preparation for her next films Black Camel (Fresh Short finalist), The Mill and The Milkman, and is in development for her first feature.

Claire van Beek

URSULA WILLIAMS gained a Bachelor of Communications (majoring in television directing) and Honours in Documentary Film at AUT University.

She went on to direct and produce  The King,  a short documentary film, as a part of her Master’s thesis (taking first-class honours). The King won the audience award at the NZIFF for best short and showcased at the Sydney Film Festival 2016. The same year, Ursula won the Inaugural Bright Sunday Emerging Pasifika Director Award with this film at the Wāiroa Maori Film Festival.

In 2017, Ursula produced and directed selected  Surreal Estate  for Loading Docs (2017), and for the WIRELESS Aupito – The High Chief, which picked up a bronze at the NZ Cinematographer Awards.

Ursula currently works for VICE New Zealand. Her most recent documentary  Deportees of Tonga: Gangster’s in Paradise, has so far been viewed by over five million people worldwide one month after release. The series Zealandia, which she also produced and directed, has been picked up by networks globally, and received more than 10 million views. Zealandia was nominated for an array of awards including  Best News Video, Best Feature Video, Best Editorial Feature  and  Best Team Video  at New Zealand’s 2019 Voyager Media Awards.

Ursula Williams

Call for Applications: DEGNZ Women Filmmakers Incubator 2019

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DEGNZ

DEGNZ is pleased to be able to offer the Women Filmmakers Incubator for a third year in 2019. We now welcome applications from female directors to be a part of this programme.

Background

The overall vision of the DEGNZ Women Filmmakers Incubator is to empower the participating directors with the confidence, knowledge and connections that they can use to go on and direct a feature film, drama or scripted series.

The Incubator is intended primarily for emerging debut directors of feature film (drama or documentary), but will also consider those wishing to establish careers in TV drama and scripted content.

Applicants must apply with a project, but the Incubator is primarily focused on filmmaker development, not project development.

The objectives of the Incubator are:

  • Improve writers and/or directors’ understanding of the business of film and television drama.
  • Increase the number of women directing features and TV drama.
  • Connect producers, broadcasters and funders with female directors with a view to getting more female-centric stories into and through development.
  • Create networking opportunities for women directors to further their projects and careers.
  • Inspire and encourage women directors to passionately pursue feature film and drama directing careers through interaction with successful women who serve as role models.

The Incubator comprises five one-day workshops across an approximate 12-month period with the first scheduled to take place in March 2019.

The workshops are individually themed to provide specific knowledge, networks, skills, and inspiration that enable participants to advance themselves and their careers.

The DEGNZ Women Filmmakers Incubator in 2018.

Eligibility

All applicants will be expected to have a good level of directing experience with scripted content such as acclaimed web series, shorts with festival success, TV commercials, or broadcast content.

Applicants must:

  • Have an active project (feature film, documentary feature, telefeature, TV or web drama or scripted series) in development that has NEVER been presented to a broadcaster or funder. It is preferable that the project is at least at first draft script, but if not available there must be a detailed treatment for the project.
  • Have experience as a director of scripted content (drama, comedy) or documentary in the form of the project they are submitting, i.e. if you are applying with a narrative drama project, you must have experience directing narrative drama or if it’s comedy, experience directing comedy, etc.
  • For feature film, be a debut director.
  • Be available to participate in all workshops.

Application & Selection Process

A selection panel comprising DEGNZ board members and senior industry practitioners will shortlist candidates. Shortlisted candidates must be available for a one-on-one interview either in person or via Skype to be held around the end of February/early March 2019.

If shortlisted, you will be expected to immediately supply prior to the interview a detailed treatment of your project (different to your 1-page synopsis). The treatment needs to be within a minimum of 5-pages to a maximum of 10-pages.

Decisions will be final and no correspondence will be entered into. The Incubator participants will be selected from the shortlist following the interview—getting an interview does not imply that you have been selected for the Incubator.

Every Incubator participant must be a Full DEGNZ member for the full duration of the Incubator course.

The workshops will be held in Auckland. A travel allowance will be available for those successful applicants coming from other regions.

Application Requirements

  1. Completed DEGNZ Women Filmmakers Incubator Application Cover Sheet. Available here (updated)
  2. A one-page synopsis of the project with the ending revealed.
  3. A maximum two-page letter stating what your career goals are and why you want to participate in this Incubator.
  4. A one-page bio (not a CV).
  5. A filmography and links to completed work that supports the project you are including with this application.

How to Apply

Application Deadline: 4PM, Monday 25 February 2019

Compile your documents into one single PDF in the order matching requirements 1 – 5.

Give the single PDF the following naming convention: (YourName)_DEGNZWomenFilmmakersIncubator_2019

Send your application to admin@degnz.co.nz with DEGNZWFI2019 in the subject line.

 

The initiative is made possible thanks to the generous support of the New Zealand Film Commission and Vista Foundation.

NZFC

Watch: In The Zone Q&A with Robyn Paterson & Terrance Wallace

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In The Zone film

Director Robyn Paterson and Terrance Wallace, founder of the InZone Project, share on the process of making their 2018 feature documentary In The Zone. The film follows Terrance’s journey to establish first a home for minority teens in New Zealand’s most sought after school zone, and then in his own community back in Chicago with political and racial tensions rising in the USA.

Throughout its powerful narrative, In The Zone raises poignant questions about education, privilege, diversity, and cycles of inequality across the Western world.

 

“You are pulling people together and having to get the trust and build the trust with people from really different walks of life, really different ends of the political spectrum, different ends of the socio-economic spectrum. For me, as a filmmaker, I think my biggest job was building those relationships.” – Robyn Paterson

 

This event was part of the Film Talk Series, presented by DEGNZ and Rialto Cinemas in Auckland.

 

Sexual Harassment & Disclosure Hui

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Sexual Harassment & Disclosure Hui

Why should you attend this important hui about sexual harassment & disclosure?

This practical workshop will help you to learn how to identify and most importantly deal with uncomfortable situations.

Everyone deserves to feel safe in their workspace or know how to respond when they don’t!

This presentation by Debbi Tohill, Executive Director of RPE (Rape Prevention Education) is a precursor to future workshops SWAG (Screen Women’s Action Group) will be organising. This will be a two-hour intensive covering the basics:

Exactly what is sexual harassment?
The continuum to sexual violence
Keeping yourself safe
Creating a safe environment
Knowing your rights
Reporting
Making your own decisions

WHEN  Wed 5 September, 6PM for a 6:30 start – 8:30PM
WHERE  St Columba Centre, 40 Vermont Street, Ponsonby, Auckland – carpark around the back

Free to attend!

Download flyer

 

NAW   NZWG   

NZFC +

View from the Top banner

The New Zealand Film Commission has just announced its Te Rautaki Māori strategy and that’s a great achievement, even though it comes 15 years after New Zealand On Air’s—better late than never.

It’s no secret that Māori films are New Zealand’s most successful both domestically and internationally. Pākēha producers certainly cottoned onto this a long time ago—John Barnett with Whale Rider, Robin Scholes with Once Were Warriors, and more recently Matthew Metcalfe with The Dead Lands.

There are a number of new initiatives to help drive the strategy with an ongoing fund of up to $2.5 million in investment for dramatic feature films made in Te Reo Māori, by Māori filmmakers; a Te Reo development fund; devolved funding supporting internships, mentoring and professional placements for Māori filmmakers; and rangatahi development in the form of wananga, workshops and programmes for young Māori creatives.

Additionally, a one-off $2 million investment for dramatic features in any genre where the director and at least one other key creative is Māori, which some critics might say is there to allow pākēha to keep dipping their toes in the Māori pie.

Criticism aside, Te Rautaki is a significant stake in the ground by the Film Commission that goes along with the changes they propose internally to address representation, protocols and capacity and capability.

Te Rautaki is warmly welcomed by my colleagues at Ngā Aho Whakaari who I’ve been speaking to. And by DEGNZ.

NZFC must also be complimented for continuing to address gender inequity with the announcement of the 125 Fund.

The fund is open to dramatic features in any genre and is offering an investment of $1.25 million each for up to two projects where the director and at least one other key creative is a woman. Critics would also undoubtedly say that this keeps men in the game, too.

With the Budget soon to be announced by the Government, we can only hope that additional funding will be allocated to NZFC as well as to NZ On Air and Radio NZ. Rather than cutting into the essentially static funding the Film Commish has been operating on in the last few years (Screen Production Grant aside), it would be nice to know that these dedicated initiatives are being resourced with new funds rather than taking from existing.

Congratulations New Zealand Film Commission on these efforts! We look forward to the films that will come from them.

Tui Ruwhiu
Executive Director