TAKING A CLOSER LOOK AT THE 2011 NEW MEXICO INTERNATIONAL FILM FESTIVAL SCHEDULE

UPDATE, February 4, 2011: I have received an official response via email from the festival regarding the questions and concerns I expressed in this article, and that response has been added to the end of this article.

When I first heard about the New Mexico International Film Festival, I was moved by the ideas and ambitions behind the fest, so much so that I featured the festival as part of our Certified Film Threat in Progress column. Unfortunately, two days after running the column, the festival’s Kickstarter campaign was unceremoniously canceled. This caused confusion, a bit of anger and was eventually discussed at length in the comments section of the aforementioned column. And, honestly, that was the last time I thought of the NMIFF, until I received a Facebook message from a filmmaker that had submitted to the NMIFF and asked me to take a look at the festival’s schedule announcement.

Now, I’m just going to give you the details as I know them, what I don’t know and share what bothers me. You’ll be able to follow links so that you too can explore where I got the information, and form your own opinion/perspective. First, take a look at the film festival schedule as outlined on the fest’s Facebook event page:

The NMIFF is coming to Jemez Springs!

Tickets For Films & Lectures Are $10.00
Tickets For After Parties Are $5.00 (includes hors d’oeuvres by Make My Lunch, beer from Marble Brewery)

…
*****Friday, February 11th, 2011*****
3:00 PM Tickets Go On Sale For Friday, Free Trailers Play In Theater Two Until 5:00 PM
Location:
Box Office – Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025
Theater Two – Jemez Springs Conference Room, Highway 4, Jemez Springs, New Mexico 87025

5:00 PM Free Preview Night Mixer
Wine & Cheese, Announcements, Introduction of Filmmakers
Location: American Legion, 17691 Highway 4, Jemez Springs, New Mexico 87025

7:30 PM Screening
Preview Night Screening of “A Lonely Place For Dying” (feature narrative, 94 minutes)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025
Special Note: As a film associated with festival staff this movie is not an official selection, cannot use the festival laurels, is not entitled to 50% of the box office and cannot receive the festival prize package.

9:05 PM Q&A
Q&A with “A Lonely Place For Dying” writer/director/producer Justin Eugene Evans & visual effects artist Marc Leonard.
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

10:00 PM After Party
After Party With Filmmakers, Festival Staff & Guests (DJ Press Play, Super Sounds of the Seventies)
Location: American Legion, 17691 Highway 4, Jemez Springs, New Mexico 87025

12:00 AM Stargazing Hike
Location to be announced, enjoy a late night hike with our filmmakers! Email info@newmexicointernationalfilmfestival.com to sign up.

*****Saturday, February 12th, 2011*****

11:00 AM Tickets Go On Sale For Saturday, Free Trailers Play In Theater Two Until 5:00 PM
Location:
Box Office – Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025
Theater Two – Jemez Springs Conference Room, Highway 4, Jemez Springs, New Mexico 87025

11:30 PM Lecture
Star Wars On Laptops – Hollywood Visual Effects For Independent Films with Marc Leonard & Justin Eugene Evans
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 870255

1:20 PM Lecture
Directors Roundtable with Georgia Sugimura Archer, Justin Eugene Evans, Zak Forsman, Academy Award Nominee Gregg Helvey & Doron Kipper
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

2:40 PM Screening
Screening of “Misdirection” (short narrative, 18 minutes) & “Food Stamped” (feature documentary, 60 minutes)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

4:00 PM Q&A
Q&A with “Misdirection” director Doron Kipper & “Food Stamped” directors/producers Shira & Yoav Potash
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

5:00 PM Screening
Screening of Academy Award Nominated “Kavi” (short narrative, 19 minutes) & “Barbershop Punk” (feature documentary, 77 minutes)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

6:45 PM Q&A
Q&A with Academy Award Nominee Gregg Helvey (Kavi) & Georgia Sugimura Archer (Barbershop Punk)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

7:30 PM Screening
Screening of “I F*ing Hate You” (short narrative, 9 minutes) & “Heart Of Now” (feature narrative, 89 minutes)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

9:15 PM Q&A
Q&A with “I F*ing Hate You” & “Heart Of Now” writer/director Zak Forsman
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

10:00 PM After Party
After Party With Filmmakers, Festival Staff & Guests (Marc Leonard DJ, Ambient Electro)
Location: American Legion, 17691 Highway 4, Jemez Springs, New Mexico 87025

11:30 PM Free-Roll Poker Tournament
Compete with cinephiles & filmmakers for a fantastic prize package!
Location: American Legion, 17691 Highway 4, Jemez Springs, New Mexico 87025

*****Sunday, February 13th, 2011*****

11:00 AM Tickets Go On Sale For Sunday, Free Trailers Play In Theater Two Until 5:00 PM
Location:
Box Office – Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025
Theater Two – Jemez Springs Conference Room, Highway 4, Jemez Springs, New Mexico 87025

11:30 AM Table Reading
Table Reading of 2011 Award Winning Screenplay by Michael Tabb, directed by Chris Ranney, produced by Brent Tiano
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

2:40 PM Screening
Screening of “Misdirection” (short narrative, 18 minutes) & “Food Stamped” (feature documentary, 60 minutes)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

4:00 PM Q&A
Q&A with “Misdirection” director Doron Kipper & “Food Stamped” directors/producers Shira & Yoav Potash
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

5:00 PM Screening
Screening of “Kavi” (short narrative, 19 minutes) & “Barbershop Punk” (feature documentary, 77 minutes)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

6:45 PM Q&A
Q&A with Academy Award Nominee Gregg Helvey (Kavi) & Georgia Sugimura Archer (Barbershop Punk)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

7:30 PM Screening
Screening of “I F*ing Hate You” (short narrative, 9 minutes) & “Heart Of Now” (feature narrative, 89 minutes)
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

9:15 PM Q&A
Q&A with “I F*ing Hate You” & “Heart Of Now” writer/director Zak Forsman
Location: Jemez Fine Art Gallery, 17436 Highway 4, Jemez Springs, New Mexico 87025

10:00 PM After Party
Prize Package Presentations With Filmmakers, Festival Staff & Guests (DJ Press Play, Classic Eighties)
Location: American Legion, 17691 Highway 4, Jemez Springs, New Mexico 87025

WHAT WE KNOW AFTER LOOKING AT THE SCHEDULE

• The New Mexico International Film Festival has programmed seven movies over the course of three days (Friday, February 11, 2011 at 5:00pm – February 13, 2011 at 11:30pm). Four films are features, three are shorts. Except for the opening night film, all films screen twice. (Facebook Event Schedule (Click “See More”) and Twitter Announcements)
• The first film screening at the festival, and only screening on opening night, is festival director Justin Eugene Evans’s A Lonely Place For Dying. The film has a special note stating, “As a film associated with festival staff this movie is not an official selection, cannot use the festival laurels, is not entitled to 50% of the box office and cannot receive the festival prize package.” (Facebook Event Schedule (Click “See More”)
• Two of the films screening the festival, the short I F*****g Hate You and narrative feature Heart of Now, are directed by Zak Forsman (Facebook Event Schedule (Click “See More”) and Twitter Announcements)
• Zak Forsman was hired in 2010 to cut the trailer for Justin Eugene Evans’s A Lonely Place for Dying (Zak Forsman’s Website)
• CINEFIST screened Justin Eugene Evans’s A Lonely Place for Dying on April 7, 2010. Zak Forsman is the co-founder of CINEFIST (CINEFIST presents EPIC MOVIES ON MICRO BUDGETS)
• That’s three film program slots out of seven total between two filmmakers that have a prior association with each other.
• Festival director Justin Eugene Evans’s A Lonely Place for Dying and Zak Forsman’s Heart of Now are the only narrative features.
• The New Mexico International Film Festival received over 500 film submissions (Comment on January 5, 2011 from festival director Justin Eugene Evans)
• Submission fees ranged from $30-$60 for shorts (Discount range $25-$45) and $50-$80 (Discount range $45-$65) for features (New Mexico International Film Festival’s WithoutaBox page)
• Festival selection feature documentary Barbershop Punk world premiered at the 2010 SXSW Film Festival and short film selection KAVI was a 2010 Academy Award-nominee for Best Live Action Short Film (Facebook Event Schedule (Click “See More”), SXSW 2010 interview with Barbershop Punk and KAVI‘s homepage)
• If one representative of the selected films attends, not including festival director Justin Eugene Evans, in keeping with the festival’s filmmaker compensations, at minimum the fest will spend $1,500 total on all filmmakers’ travel ($300 per feature, $200 per short), cover one hotel room per selected film for the duration of the fest, reimbursement of submission fees per selected film and pre-pay for nine meals per selected film at a participating restaurant. Selected films also receive a split of 50% of the box office, as outlined in the Filmmaker Compensation, Rules and Regulations and 100% of film merchandise sales. (New Mexico International Film Festival’s Filmmaker Compensation, Rules and Regulations)

WHAT WE DON’T KNOW

• The final total number of submissions, and how they break down in the submission categories of Short Films (Documentary), Short Films (Narrative), Feature Films (Documentary) and Feature Films (Narrative) (New Mexico International Film Festival’s WithoutaBox page.)
• The percentage of the selected films that were submitted and programmed, curated and programmed or programmed via other considerations.
• The quality of the films submitted.
• How many films had submission fees waived.
• How much money the festival earned from submissions.
• The total cost of putting on the three day festival.

Some of you have read all of the above and thought, “so?” Believe me, I understand that. I think in 99% of the cases out there, I’d probably shrug and let the concerned filmmakers know that you really need to do your research on a festival before submitting, if the above are the types of things that could alarm you. That said, since this is the fest’s first year and I did give a lot of exposure to the festival early on by pointing out their Kickstarter campaign, I feel like I should also share what bothers me, based on the above, so when future filmmakers are researching fests, they can see it all.

WHAT BOTHERS ME

• If the fest truly got over five hundred submissions, why are three films slots (amounting to a total of three screening blocks) out of seven split between the festival director and a filmmaker that he has a prior working relationship with? Right there, that’s about 42% of all programmed films, and 100% of all programmed narrative feature films.
• Why, in a three-day festival, were only seven films programmed, and of those seven, six of them shown twice? Why not program and screen more films, instead of the lectures, parties and other events? Six films out of five hundred (ignoring the festival founder’s film) is 1.2% of films submitted that were programmed. According to Film Festival Secrets, that’s about on par with the seemingly ever-exclusive Sundance Film Festival, but below the more large-to-medium film festival average of 3%-8%. If the NMIFF had gone with more films over the three days, keeping the same one short/one feature format and only shown each block once, they’d have gotten at least six more films, bring the acceptance percentage to around 2.4%, and that could even be improved upon if just one block was a block of short films instead of just a short/feature.
• While the fest never claims to be for first-time filmmakers or for specifically programming newer films, why program, of the remaining 58% of the program, a film nominated for an Academy Award last year and another film that premiered at last year’s SXSW? Why not give some new films a shot?
• Why program two films from the same director, Zak Forsman?
• Why program your own film? Special screening slot or no, that opening night could’ve gone to someone else.

Now, the argument against what bothers me is an easy one: this is not a unique situation when it comes to film festivals. Internal festival politics, friendships and curating vs. programming considerations and debates abound for every festival. The submission fee money in does not necessarily equate to profit, as festivals cost money to put on. I don’t know what the films that were submitted looked like, and in the end, maybe this IS the best lineup the festival could put together (if that was their goal). Parties, panels and other events often flesh out the remaining time around the film screenings. In other words, this is nothing new.

But it was supposed to be.

From the New Mexico International Film Festival’s “Filmmakers Rights” post published on August 24, 2010:

The New Mexico International Film Festival believes filmmakers have rights. These rights have already been codified into law, both on the state and federal level. Basic contract law and civil case history serve as a stark contrast to how the festival circuit exploits filmmakers. But, the festival circuit is unregulated and the lack of oversight has resulted in a status quo rife with corruption, laziness, deceit and fraud.

We cannot change the system, not on our own. We cannot force the thousands of film festivals throughout the world to behave ethically. But, we can be the change we wish to see in the world. Therefore, the New Mexico International Film Festival will live by the followingFilmmaker’s Bill of Rights:

Article One: Filmmakers shall receive a portion of the money earned from the direct exhibition of a filmmaker’s motion picture.

Article Two: Filmmakers shall receive the opportunity to sell merchandise from their motion picture whenever their film is exhibited and retain the majority of any money earned from said sales.

Article Three: Filmmakers shall receive reasonable compensation for travel, lodging and food if an exhibitor intends for the filmmaker to attend the exhibition of the filmmaker’s motion picture.

Article Four: Exhibitors shall return submission fees to the filmmakers of any motion picture selected for exhibition.

These four articles are an excellent start. It doesn’t mean that filmmakers do not possess additional inalienable rights. We may expand these over the years. And, we are definitely open to hearing additional suggestions. But, for now, we believe adhering to these four basic rights is the beginnings of a revolution.

Are we being hyperbolic? Not at all. Consider this…by and large, the festival circuit has never given filmmakers adequate compensation for the exhibition of their motion pictures. A filmmaker raises anywhere from $5,000.00 to millions of dollars to create their art. If they are lucky a festival will offer them a hotel room (which was donated to the festival), a festival pass (which costs them nothing) and access to a filmmaker’s lounge (we admit that some filmmaker’s lounges are impressive…on the other hand, some are simply a room with donated granola bars and soda. Some kick out the non-famous filmmakers if a famous filmmaker wants to make the room private. And, if you don’t believe us, just call our festival director, who can tell you some of his personal horror stories.) Since the beginning of The Great Recession filmmaker compensation has declined tremendously. And, filmmakers have reluctantly accepted this.

But, contract law requires an equitable exchange from both parties. Just because a contract is signed doesn’t mean it is enforceable. Most festivals engage in a contract that is onerous. We will assume it is accidental. We will assume the other festival directors glanced at the status quo and didn’t bother to ponder if it was fair…just that it was. And, therefore, they emulated what they saw.

We are striving to be a different example.

So, to be the change we wish to see in the world, the NMIFF shall:

1.) Split the box office of each screening 50/50 with filmmakers. If the film is a feature playing by itself then the solo filmmaker shall receive 50%. If the feature is playing with a short film then the feature shall receive 40% and the short film 10%. If the exhibition is a block of shorts then the group of filmmakers shall equally divide 50%.

2.) Create opportunities for filmmakers to sell their merchandise, with the filmmakers retaining 100% of their gross sales.

3.) Compensate filmmakers for travel, lodging and meals. Since we are a new festival with few sponsors we currently have strict caps on compensation packages. It is entirely possible a filmmaker will still spend a small amount to attend the festival…but, compared to the overwhelming majority of festivals in the world, our compensation package is unrivaled and accomplishes exactly what we intend; to minimize the expense for filmmakers to attend the festivals that exhibit their work.

4.) Return festival fees to the filmmakers of motion pictures we select for exhibition. Applying to festivals is expensive. If we have selected a filmmaker’s movie it it is because we think it is a great film worthy of a packed audience. By returning a filmmaker their submission fee that is one more festival a filmmaker can apply to without going deeper into debt.

For details regarding the New Mexico International Film Festival’s filmmaker compensation packages, please click here.

Lastly, we believe in manners, courtesy and basic human decency. Filmmakers spend tremendous sums of money and thousands of hours on their motion pictures. They sacrifice careers and income in order to pursue this craft. The least we can do is thank them for their work.

How is this inaugural program for the New Mexico International Film Festival all that different from what has come before? How is it “striving to be a different example”? I know the fest “cannot force the thousands of film festivals throughout the world to behave ethically,” but what are the ethical considerations of the festival director programming his own film opening night, and then programming two films from another filmmaker he has a prior association/work relationship with? Sharing box office income? That’s been done. Putting up filmmakers and getting them to and from the festival? That’s been done. Merchandise revenue sharing? That’s been done too. In the end, what bothers me is how unsurprising the New Mexico International Film Festival’s program is, when I thought things were supposed to be different. Looks like the same old film festival song and dance to me.

As I finished this up, a post showed up on the New Mexico International Film Festival’s Facebook page, entitled “We Don’t Want To Be Your Friend.” Yeah, that’s fine by me.

NEW MEXICO INTERNATIONAL FILM FESTIVAL’S OFFICIAL RESPONSE

Dear Mr. Bell:

Thank you for giving us the opportunity to respond to your recent post about the New Mexico International Film Festival’s schedule and selection of this year’s program.

Since we announced our festival we’ve said our philosophy is: “Not Bigger . . . Just Better.” We have attempted to schedule only the best quality films from among those available and submitted to us. Could we have scheduled more films? Certainly. But, it would have forced us to include films that we considered to be substandard. While we hope the quality of submissions improves in the future, for our first year we frankly received a tremendous number of poorly made movies. And, we’ve been told that’s common for young festivals; inexperienced filmmakers strategically submit to young festivals hoping for higher acceptance rates and lower standards. We know that audiences, however, expect more from a festival. If we screen low quality movies they won’t come back. And, we’ll be stuck in the same cycle as most overly ambitious festivals; marginal screenings that result in smaller subsequent audience attendance which in turn continues to drive higher quality movies to the festivals with a large built-in audience . . . as this cycle continues, festivals cannot grow and ultimately become irrelevant or simply die.

We’re thrilled that Oscar nominees submitted to our first annual festival. And, we disagree with your conclusion. Although the NMIFF program is small, roughly 1/3rd of our schedule are festival favorites, while another 1/3rd are completely fresh material. This includes the short film “Misdirection” which another festival that you recently highlighted, First Glance Hollywood, has also programmed.

Regarding your observation that Justin Evans, a director of the Festival, has a prior working relationship with Mr. Zak Forsman, please note that Justin removed himself from consideration of Mr. Forsman’s films for this very reason. Rather, the question of whether any of Mr. Forsman’s films would be selected was left entirely to other staff members of the Festival who have no prior relationship with him. In addition, I think it is worth noting that the Festival received over 30 submissions from other filmmakers with whom Festival staff had a prior relationship, and none of whose films were selected. The assumptions in your post point to an almost impossible standard, and one that cannot be realistically achieved. Festival directors, filmmakers, and artist know other festival directors, filmmakers, and artists. Because of this, we have done what any ethical arts organization does; we have instituted checks and balances to ensure that no staff member is solely responsible for selecting a Film by a filmmaker that the staff member may know.

Like all startup festivals, we have a small staff. However, unlike most startups we intend to work within our means so that we can consistently deliver a quality experience for our audience…which in turn benefits the filmmakers we select.

As far as screening a film by a festival staff member (Justin Evans), there are several facts people may not be aware of. We had a seventh selection for the Festival that we were prepared to show, but the filmmaker dropped out two days before we were scheduled to announce our line up. Unfortunately, we didn’t have any other feature films that we felt strongly about, and the final version of Justin Evans’ motion picture which was made in New Mexico, has never screened in the State. While the film has played at 21 film festivals, been nominated for 27 awards, won 11 including 6 for best feature film, and has been invited to submit to an additional 47 festivals (and counting) it hasn’t played in its final form for the very people who made the movie; the New Mexican cast, crew & investors. Based on the situation, we chose to strip Justin Evans’ movie of any official status. It is simply a screening, nothing more. Significantly, Mr. Evans asked for and received the approval of the other three Festival directors to screen the film before our final schedule was announced.

Although your post has critiqued our schedule, it is important to note that in response to your article we offered you the opportunity to review our submissions and nominate a selection for the 2012 festival. We value outside input and thought this would give you an opportunity to resolve the assumption that good movies were ignored. Unfortunately, because of other commitments, you were not in a position to accept our offer.

Although we are unsure of the genesis for your post, you have told us that you had several sources. We are aware of at least one disgruntled filmmaker who had a personal relationship with Justin Evans who was not accepted into the 2011 festival. She assumed that being his facebook friend meant she’d get preferential treatment. She wanted to know why her film wasn’t accepted and our festival director gave her an honest critique; which frankly we believe caused her to decide to seek revenge by contacting several prominent independent film websites and blogs. You were the only one to publish a story. While we appreciate the opportunity to respond, we remain concerned that the damage may already have been done.

Once this year’s Festival is over, we would politely ask that you review our original promises. Then, interview the filmmakers who were selected to the 2011 festival. Ask them if the projection quality was in 1080p with 5.1 surround sound. Ask them if the color rendition, brightness, sharpness, and dynamic range represented their film accurately. Ask them about sound quality. Ask them if we paid them on time. Ask them if their accommodations were inviting and their meals satisfying. Ask them if we returned their submission fees to them, as promised. Ask them if we met our promises and delivered a robust prize package. And then, ask them if they’d come back.

That’s what we promised. That’s what we will deliver.

In sum, we take our promises and our ethical commitments here at NMIFF very seriously, and have worked hard and will continue to work hard to avoid any conflict of interest. We would invite any filmmaker who has a question about our selection process or criteria to please contact us directly, and we will be happy to talk to them.

Sincerely,

Angelo J. Artuso
Director, New Mexico International Film Festival

So, there you go. The only clarification I wish to make is that I wrote what I wrote, for the reasons I expressed, based on research I myself conducted, as set out in the above. The idea of a single, disgruntled filmmaker using me, or Film Threat, to take some sort of revenge against the festival, seems ludicrous to me and isn’t in keeping with anything I wrote. Unfortunately, despite my words to the contrary, that idea seems to persist. I heard from more than one filmmaker, at different points prior to the publishing of the post. None of them advised me, or even asked me, to write anything. I wrote what I wrote, based on what I saw in the schedule, as I explained above. If my word on that matter is doubted, that is beyond my control at this point.