Adelaide Film Festival Investment Fund

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Adelaide Film Festival
Investment Fund
Location Adelaide, South Australia
Established2003
FounderPremier Mike Rann
Operated by Adelaide Film Festival
Website adelaidefilmfestival.org/affif/

The Adelaide Film Festival Investment Fund was established in 2003 by the South Australian Premier, Mike Rann, to boost the local production of films.

Contents

When the American festival director Peter Sellars was director of the 2002 Adelaide Festival of Arts, he commissioned five films. Four of those films won awards, including The Tracker , Beneath Clouds and Walking on Water . [1] That success prompted the State Government to provide the Adelaide Film Festival (AFF) with a production investment fund, [2] which the AFF administers. Up to $1,000,000 is made available over a two-year period. [3] The Adelaide Film Festival Board selects projects, based on recommendations from the Festival Director, and the slate of pictures produced premieres at the event. [3] [4]

To date, the Investment Fund has invested in seventy-two projects, including features, documentaries, short films and new media projects. These projects have won 70 international and 130 national awards. Adelaide remains one of the few festivals worldwide with an investment fund. [4]

Purpose

The Adelaide Film Festival aims to support the projects of strong creative teams. It uses creative criteria such as bold and innovative storytelling, and also requires projects to contribute culturally and economically to South Australia. [5] These projects will bring development opportunities, branding opportunities, or partnerships with national and international organisations. They should have potential to raise the profile of South Australia. [3]

Museum of Modern Art (MoMA)

In 2011, the Museum of Modern Art in New York City hosted a week-long festival of Adelaide Film Festival Investment Fund films (from 7 to 13 April 2011). The MoMA week was a salute to the Adelaide Film Festival and the Adelaide Film Festival Investment Fund, "a testament to its vision and success in realising some of the most unique, creative, interesting, challenging and entertaining Australian films of the recent past." [6] [7]

The program included Look Both Ways , Ten Canoes , Samson and Delilah , Stunt Love, Boxing Day , Last Ride , My Year Without Sex and Mrs. Carey’s Concert. [6] [7]

Hive Production FUND + LAB

In 2011, the Australian Broadcasting Corporation TV Arts & Entertainment and the Adelaide Film Festival joined forces to create the Hive Production Fund. The inaugural FUND supported the projects The Boy Castaways by Michael Kantor, I Want to Dance Better at Parties by Matthew Bate, and Tender by Lynette Wallworth.

The LAB is run in partnership between the Australia Council for the Arts, Screen Australia, ABC Arts and South Australian Film Corporation. A unique workshop environment, it fosters new opportunities for artists working in theatre, art, dance and other non-cinematic fields to collaborate with traditional screen practitioners. The LAB encourages art form cross-pollination – between practitioners, and between processes and creative approaches. [8] The third and final LAB will run during the 2015 Adelaide Film Festival.

Sundance Institute

Adelaide Film Festival Investment Fund collaborates with Sundance Institute’s New Frontier program to identify potential opportunities for Australian artists and filmmakers to present new media work at future editions of the Sundance Film Festival. [9] [10]

New Frontier at Sundance Institute is a dynamic initiative intended to identify and foster independent artists working at the convergence of film, art, media, live performance, music and technology.

Since 2007, the New Frontier exhibition at the Sundance Film Festival has provided the highest level of curation in the emerging field, incorporating fiction, non-fiction and hybrid projects to showcase transmedia storytelling, multi-media installations, performances and films. It has a long presentation association of Australian work, including Lynette Wallworth’s Evolution of Fearlessness and Coral: Rekindling Venus; Matthew Bate’s Shut Up Little Man! ; and Closer Productions’ My 52 Tuesdays project.

Past projects

201820172016
―――――― FEATURE FILMS ―――――――――――― FEATURE FILMS ―――――――――――― FEATURE FILMS ――――――
Hotel Mumbai Cargo Ali's Wedding
I Am Mother Sweet Country
The Nightingale
―――――― DOCUMENTARY ―――――――――――― DOCUMENTARY ―――――――――――― DOCUMENTARY ――――――
She Who Must Be LovedAfter the ApologyDavid Stratton: A Cinematic Life
Guilty
―――――― SHORT FILMS ―――――――――――― SHORT FILMS ―――――――――― TV SERIES ――――
Lucy and D.i.C.Remembering AgathaDavid Stratton's Stories of Australian Cinema
The Art of the GameOddlands
DemonicMaking A Mark
The Woman and the CarBromley's Suitcase
Davi―――― TV SERIES ――――
A Stone's ThrowF*!#ing Adelaide
―――― IMMERSIVE ―――――――― ART AND THE MOVING IMAGE ――――
Running 62: The Arrival VRGeoff Cobham: Already Elsewhere
The Waiting Room―――― VIRTUAL REALITY ――――
The Summation of Force VR
201520132011
―――――― FEATURE FILMS ―――――――――――― FEATURE FILMS ―――――――――――― FEATURE FILMS ――――――
A Month of Sundays [11] [12] [13] 52 Tuesdays [14] Hail [15] [16]
Girl Asleep [17] [12] [13] The Boy Castaways [18] [19] Here I Am [15] [20] [16]
Spear [17] [11] [12] Charlie's Country [14] [21] Snowtown [15] [22] [16]
Tracks [20]
―――――― DOCUMENTARY ―――――――――――― DOCUMENTARY ―――――――――――― DOCUMENTARY ――――――
Highly Strung [11] [12] All This MayhemLife In Movement [15] [16]
Sam Klemke's Time Machine [11] [12] Tender [20] [18] Mrs Carey’s Concert [15] [22] [16]
The Darkside [14] Shut Up Little Man! [15] [16]
The Tall Man [15] [16]
―――――― SHORT FILMS ―――――――――――― SHORT FILMS ―――――――――――― SHORT FILMS ――――――
Michelle's Story [23] Muriel Matters!Magic Harvest [16]
Mood MachineI Want to Dance Better at Parties [18] [20] The Moment [16]
My Best Friend is Stuck on the CeilingWelcome to Iron Knob [24] Stunt Love [15]
Trent Parke - The Black RoseRingbalin: Breaking the Drought The Palace [16]
Upside Down Feeling―――――― CROSS PLATFORM ―――――――――――― CROSS PLATFORM ――――――
What We KnowMy 52 Tuesdays Danger 5 [15] [16]
―――― ART AND THE MOVING IMAGE ―――――――― ART AND THE MOVING IMAGE ―――――――― ART AND THE MOVING IMAGE ――――
Char SooDaniel Crooks, Pan No.11Rekindling Venus: In Plain Sight [15] [16]
The Way of the Ngangkari [13] Stranded
200920072005
―――――― FEATURE FILMS ―――――――――――― FEATURE FILMS ―――――――――――― FEATURE FILMS ――――――
Last Ride [25] [26] Boxing Day [27] [28] Look Both Ways [22] [26]
Lucky Country [25] Dr Plonk [27] Ten Canoes [22] [26]
My Tehran for Sale [25] [26] Lucky Miles [27]
My Year Without Sex [25] [26] The Home Song Stories [27] [26]
Samson and Delilah [22] [25] [26]
―――――― DOCUMENTARY ―――――――――――― DOCUMENTARY ―――――――――――― DOCUMENTARY ――――――
A Good Man [25] [26] Forbidden Lie$ [27] I Told You I Was Ill: Spike Milligan
Kalaupapa – Heaven
Words from the City [27]
―――――― SHORT FILMS ―――――――――――― SHORT FILMS ―――――――――――― SHORT FILMS ――――――
Necessary GamesCrocodile Dreaming Azadi
Schadenfreude Spike Up Fritz Gets Rich
Salt Sweet and SourNascent
The BullySwing
The Cat Piano [26] What the Future Sounded Like
―――― ART AND THE MOVING IMAGE ―――――――――― CROSS PLATFORM――――――
Duality of Light [29] [30] UsMob.com.au

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Nicole Newnham is an American documentary film producer, writer, and director known for the Oscar-nominated movie Crip Camp (2020) which she co-directed and produced with James LeBrecht, and the multiple-Emmy-nominated film The Rape of Europa. With the Australian artist/director Lynette Wallworth, she produced the virtual reality work Collisions, which won the 2017 Emmy for Outstanding New Approaches to Documentary, and Awavena, which won the 2020 Emmy for Outstanding New Approaches to Documentary. Both Collisions and Awavena premiered simultaneously at Sundance and the World Economic Forum in Davos, and Awavena was selected for the 2018 Venice Biennale.

References

  1. ↑ The Age (28 November 2006) Peter Sellars' legacy finally bears fruit
  2. ↑ Senses of Cinema (1 May 2007) More Please: Report on the 3rd Biennial Adelaide Film Festival. Retrieved 12 February 2015.
  3. 1 2 3 Adelaide Film Festival Archived 11 February 2015 at the Wayback Machine , About. Retrieved 10 February 2015.
  4. 1 2 Boland, Michaela (27 February 2009). "Adelaide festival accents Australia". Variety. Retrieved 12 February 2015.
  5. ↑ ScreenDaily (1 October 2014) Australia: The festive spirit. Retrieved 10 February 2015.
  6. 1 2 IF.com Archived 11 February 2015 at the Wayback Machine (24 January 2011) MOMA to host Adelaide Film Festival Fund films. Retrieved 10 February 2015.
  7. 1 2 MoMA Adelaide Produces. Retrieved 10 February 2015.
  8. ↑ Mumbrella (25 February 2011) ABC TV and Adelaide Film Festival partner to create production fund. Retrieved 10 February 2015.
  9. ↑ Adelaide Film Festival (5 February 2015) SUNDANCE INSTITUTE AND ADELAIDE FILM FESTIVAL TO COLLABORATE. Retrieved 10 February 2015.
  10. ↑ South Australian Film Corporation Archived 11 February 2015 at the Wayback Machine (5 February 2015) Sundance Institute and Adelaide Film Festival Collaborate to Support Australian New Media Artists. Retrieved 10 February 2015.
  11. 1 2 3 4 "Adelaide Film Festival: Directed by you". CityMag. 9 September 2015. Retrieved 21 November 2015.
  12. 1 2 3 4 5 Tiley, David (17 September 2015). "Adelaide Film Festival: surrenders film to hive mind, releases full program". ScreenHub. Retrieved 21 November 2015.
  13. 1 2 3 Bodey, Michael (9 September 2015). "Adelaide Film Festival to screen new films, old films and your film". The Australian. Retrieved 21 November 2015.
  14. 1 2 3 Screen-Space (29 August 2013) SOUTHERN COMFORT: THE 2013 ADELAIDE FILM FESTIVAL PREVIEW. Retrieved 12 February 2015.
  15. 1 2 3 4 5 6 7 8 9 10 BigPond Adelaide Film Festival Archived 12 February 2015 at the Wayback Machine (30 November 2010) Adelaide Film Festival Investment Fund Announces Fourteen Projects For World Premiere At The 2011 Bigpond Adelaide Film Festival. Retrieved 12 February 2015.
  16. 1 2 3 4 5 6 7 8 9 10 11 12 IF.com Archived 14 February 2015 at the Wayback Machine (2 December 2010) BigPond Adelaide Film Festival reveals 14 projects for world premiere. Retrieved 14 February 2015.
  17. 1 2 Debelle, Penny (15 October 2015). "Adelaide Film Festival has opened with the world premiere of local director Scott Hicks' documentary Highly Strung". The Advertiser. Retrieved 21 November 2015.
  18. 1 2 3 InDaily (18 July 2013) Margaret and David’s new role with Adelaide Film Festival
  19. ↑ ToneDeaf (18 July 2013) Megan Washington And Tim Rogers Star In New Aussie Film. Retrieved 10 February 2015.
  20. 1 2 3 4 IF.com Archived 14 February 2015 at the Wayback Machine (18 July 2013) Adelaide Film Festival unveils premieres. Retrieved 14 February 2015.
  21. ↑ Bulbeck, Pip (17 April 2014). "Cannes: Australia Celebrates Double Feature Selections". The Hollywood Reporter. Retrieved 11 February 2015.
  22. 1 2 3 4 5 Australian Centre for the Moving Image Archived 11 February 2015 at the Wayback Machine (11 December 2014) ACMI announces broadcasting executive and former film festival director Katrina Sedgwick as new Director and CEO. Retrieved 10 February 2015.
  23. ↑ Kornits, Dov (30 October 2015). "Local Stories Win Audience Awards At Adelaide Film Festival". Film Ink. Archived from the original on 21 November 2015. Retrieved 21 November 2015.
  24. ↑ Bluebird Productions Archived 11 February 2015 at the Wayback Machine Welcome To Iron Knob. Retrieved 10 February 2015.
  25. 1 2 3 4 5 6 Urban Cinephile (5 February 2009) ADELAIDE FILM FESTIVAL 2009 – PREVIEW . Retrieved 10 February 2015.
  26. 1 2 3 4 5 6 7 8 9 Arts Project Australia Archived 12 February 2015 at the Wayback Machine BigPond Adelaide Film Festival Launches Highlights. Retrieved 12 February 2015.
  27. 1 2 3 4 5 6 At The Movies Archived 20 February 2015 at the Wayback Machine Adelaide Film Festival Package. Retrieved 10 February 2015.
  28. ↑ Australian Screen Boxing Day (2007). Retrieved 10 February 2015.
  29. ↑ Sydney Festival 2010 Archived 11 February 2015 at the Wayback Machine Lynette Wallworth. Retrieved 10 February 2015.
  30. ↑ Forma Duality of Light. Retrieved 12 February 2015.
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