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Antalya, Turkey: Outdoor Film Festival Has Mixed Reviews

Outdoor Movies in Antalya, TurkeyThe 45th Golden Orange Film Festival- ’s premier outdoor movie event- failed on organization and security on its first day by leaving the city’s locals locked out of the opening ceremony. While the famous faces of the silver screen – cinema critics, artists and directors – walked the red carpet and saluted to cameras and people waiting to see them as they exited their limousines, the locals who were invited were left waiting at the back door of the Konyaaltı Open air theater, where the opening ceremony was held Friday night.

The shuttles took press members and guests who were invited to the ceremony and brought them to the back door, which has traditionally been open for them to enter the outdoor movie venue without having to weave through the crowds on the red carpet. This year a closed, guarded door greeted locals in lieu of a welcoming committee.

“We cannot let you in from this door,” said the security guard, whereas the locals objected, shouting that the entrance was the one used for entering the theater for the opening of the outdoor film festival for many years. Some locals left in disappointment, while others waited until they were let in – 40 minutes after the start of the ceremony.

“I have attended all the opening ceremonies of the festival for the past 10 years and I have never experienced anything this rude,” said Sıdal Işık, one of the guests who stayed out. “I hate telling this kind of things, but I am the wife of one of the founding members of this festival, Melih Işık. I attend the festival every year and we are always invited to the opening ceremonies of the Antalya Golden Orange Film Festival,” said Işık, standing next to a close friend with disappointment written all over her face.

She was not the only one who was outraged. An elderly woman with an injured leg was told by a security guide to walk to the main gate, where the red carpet leads the guests inside the open air theater. A guest from Cyprus, Murat Obenler, was surprised that such a thing could happen at one of the biggest festivals in Turkey. Having been invited for the first time, Obenler said, “This is an unbelievably rude attitude toward the guests.” Obenler, who is organizing film festivals back in Cyprus, emphasized that no organizer listened to what they were saying. “The door was shut to our face, and from the other side of the fences we heard the security guards saying, ‘We cannot let you in; you have to walk to the main gate.’”

İsmail İzgi, who is responsible for security, told the Turkish Daily News they were instructed not to let anybody in the back door this year. Saying there was no one responsible for warning the guests or the shuttle drivers not to come to the gate, İzgi acknowledged there was a lack of communication.

Most of the guests left the venue saying they would never attend to the festival again, and others were let in by İzgi later. He apologized after the ceremony started.

Int’l Eurasia Outdoor Film Festival kicks off

The opening of the Golden Orange Film Festival was followed by the opening ceremony of the fourth International Eurasia Film Festival. The ceremony was held in the beautiful outdoor film venue: Festival Palace Atatürk Culture Center, or AKM. After the ceremony the Turkey premiere of celebrated director Ferzan Özpetek’s latest film “A Perfect Day” took place. Presented by actress and beauty queen Azra Akın, the ceremony started with a performance delivered by renowned musicians Barbaros Erköse and İlhan Erşahin. The president of the festival and the TURSAK Foundation, Engin Yiğitgil, presented the festival’s honorary award to composer Zbigniew Preisner, famous for the original scores he composed for Krzysztof Kieslowski’s “Three Colors” trilogy and “Dekalog.” The presentation of the awards continued with actor Michael York, who is celebrating the 44th year of his performing career. The president of the fourth International Eurasia Film Festival Grand Jury, storyteller and master director Paul Verhoeven, presented the honorary award of the festival along with Antalya’s mayor, Menderes Türel, and Engin Yiğitgil. Saluting the audience in his speech, Verhoeven said he had been working on a film set in Turkey and had perused locations in Antalya and Istanbul. Before the launching of the festival’s opening film, film director Özpetek, star of the film “Isabella Ferrari” and producer “Domenico Procacci,” greeted the audience.

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Outdoor Movie "Alfresco" Series in Barcelona, Spain

Outdoor Movies in Barcelona, SpainIn BCN (as local expats call it) I’ve experienced some of the hottest, stickiest Summer nights. That kind of weather doesn’t stop Spanish partiers, but sometimes the best way to cope is to do nothing but lounge outdoors screen-side. Cine Sin Techo is a free alfresco outdoor film series held in Barri Gótic, a section of narrow streets and tall, crumbling buildings that is part of ’s “old town.” Most every Thursday through September 1st, a bar and seating for 400 are set up for filmgoers to watch outdoor movies projected on the walls of Plaza Isidre Nonell. The films, screened in their original language with Spanish subtitles, are indie 90s breakout hit-heavy, including Wayne Wang’s Smoke, Jim Jarmusch’s Night On Earth, and and Tom DiCillo’s meta-Indie, Living in Oblivion.

For a dramatic setting (next to a castle on a hill), live music, a three-euro pricetag, and some classic picks, Sala Montjuïc kicks-off this Wednesday and Friday and every week thereafter through August at Castillo de Montjuïc. Michel Gondry’s Eternal Sunshine of the Spotless Mind (laughably translated to Spanish as “Forget About Me”) inaugarates the event and is followed by other English language films like Joshua Marsten’s Maria Full of Grace, Sofia Coppola’s Lost in Translation, and Billy Wilder’s The Apartment.

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Provo, Utah: Outdoor Movies at the Bridal Veil Film Festival

Outdoor Movies at the Bridal Veil Film Festival; Provo, UtahIf you’ve driven north on I-15 recently, you’ve probably noticed Open Air Cinema, a fairly new business located to the west in Lindon, and thought to yourself, “How is that a surviving business in ?” While Open Air Cinema is based in , it’s a worldwide company that we’re privileged to have here.

Open Air Cinema supports outdoor movies by providing high quality outdoor film-viewing equipment that’s a thousand steps above hanging a sheet on your garage door and using your dad’s digital projector from work. They’ve been used all around the world, from the L.A. and Tribeca Film Festivals to Sundance’s summer movies under the stars. Currently, they’re putting on a local charity benefit for the Rwanda Cinema Centre (RCC) by hosting the Bridal Veil Film Festival.

“Bridal Veil Falls is a beautiful, unused and forgotten-about monument,” says Open Air Cinema owner Stuart Farmer. “During winter it’s too dangerous … but we can put good use to it in summertime. … We spoke to the owners of the property and they were more than willing to let us put this charity event on there.”

Open Air Cinema has taken a unique angle for their festival. The titles being shown are the best of the best when it comes to foreign films and documentaries. So far, they’ve shown films like Life is Beautiful, Amelie and Warner Herzog’s harrowing documentary Grizzly Man. The festival will close next week with the best title of them all, Brazil’s City of God. (See the full list of screenings below.)

Though admittance to the festival costs $8, it is well worth it knowing that all proceeds will go straight to the charity. As if that weren’t good enough, you’ll see great films with high quality projection and sound in a stunningly gorgeous location. And after Saturday night’s screening of 2001: A Space Odyssey, there will be a special space-themed dance.

What: Bridal Veil Film Festival

Where: Bridal Veil Falls Cost: $8 per person

Info: “http://www.bvfilmfest.com” and “http://www.openaircinema.us”

When: 8:00 p.m. each night

Screenings: Sept. 25 – Wings of Desire (Germany) Sept. 26 – Wardance (Uganda) Sept. 27 – 2001: Space Odyssey Sept. 28 – City of God (Brazil)

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Riverside Screenings: Outdoor Movies at the Cambridge Film Festival

Outdoor Movies at the Cambridge Film FestivalPunting on the Cam is jolly fun, they say. Well, yes, it is. Especially at night, with outdoor movies thrown in. Last week, after filming an interview for ITV Anglia, the Film Fest organizers dragged us off, along with some press, on a mystery punt tour along the Cam. Every so often, we slowed alongside a screen, and watched a short film, then floated off into the darkness to the sound of owls and waterfowl. The films themselves were a slightly odd choice, but it all added up to a unique film-watching experience.

It’s well worth considering if you’re around during the festival, especially as they throw in champagne and nibbles. Two words of advice though:

(1) Wrap up warm. It gets bloody cold on the river at night.

(2) Don’t have two pints of beer just before getting on board. There are no toilets on a punt, no convenient landing stages until the end, and peeing in the river is generally frowned upon in mixed company.

The Cambridge Film Festival has always been keen on taking cinema into the great outdoors and this year is no different. So, on four nights before and during the Festival we invite you to enjoy two great Cambridge traditions: watching innovative and compelling outdoor movies presented by the Festival, and punting on the Cam at dusk. We will meet at the Red Lion in Grantchester where you can take advantage of promotional offers for ticketholders or even enjoy a pre-punt supper. Then, as the sun sets, a flotilla of punts, kindly provided by Scudamores, will set off from Grantchester Meadows, stopping at regular intervals in front of screens along the riverbank.

Outdoor Movie Screenings

Screening will start from Grantchester Meadows, below the Red Lion, with chauffeured punts departing at ten minute intervals between 8.00pm and 8.50pm. There will be four screens spaced along the river, each showing specially curated programmes lasting approximately 90 minutes. Punts will pause to allow the audience to watch a range of shorts and excerpts before continuing on along to the next location.

The post-programme disembarkation point is at the Newnham end of the Meadows, a 15-minute walk from the Red Lion car park and a three-minute walk from the Newnham car park.

Customers can also choose to start and/or finish the evening at Scudamores’ Main Boatyard in Mill Lane, Cambridge, as chauffeured punts are available to get to and from Grantchester.

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Outdoor Movies Shown at the Cambridge Film Festival

Outdoor Movies Shown at the Cambridge Film FestivalOutdoors seems to have become the new fourth wall for film festivals trying to make a splash in a crowded marketplace. This summer I’ve watched films al fresco in the company of thousands in the town squares of Bologna and Locarno – whose festivals make these public screenings their nightly centrepieces. Edinburgh gathered a clutch of classic crowd-pleasers for its weekend under the stars, and next month’s London Film festival will take over Trafalgar Square to unveil some long-lost apparitions of the capital on film. With screens growing ubiquitous at home and in the pocket, outdoor movies allow festivals to stress their selling points of scale and community.

Last Sunday night the Film festival took its turn with not one but three screens adorning Quayside and Magdalene Street, the city’s oldest shopping street. Like London’s, these were screening old silent films, well suited to the acoustic vagaries of the outer world.

To the left of the bridge, flowers blossomed in time-lapse, their reflections dissolving on the waters of the Cam. To the right, punters and land lubbers watched Buster Keaton busting several guts. Up at the top of the road, old archive footage of Cambridge unfolded and the street reflected back on itself. Bicycles, buses, students and shoppers of yore rose up to spook us: the encounter was moving and beautiful, until it turned ironic. The second half of the programme featured a lot of footage of the city’s ’70s panjandrums touring Princess Margaret around the soulless mess they’d made of the old Petty Cury quarter, now a particularly characterless shopping centre called Lion Yard. A small crowd stood under the stars and watched this little memoir of enclosure.

Neil Brand sat in front of them, tinkling his electric ivories. It seemed anywhere there was a screen, he was playing beside it. Two hours earlier I’d seen him accompany Luke McKernan’s presentation of archive footage of the early modern Olympics on film; the night before he accompanied a screening of Erich von Stroheim’s Blind Husbands. The silent-film conductor-composer Carl Davis also swung by, though I’m not sure what I learnt from his masterclass beyond the fact that he used to work in the epic mode (during the two decades when the Thames Silents series kept him busy writing scores for the big classics of the late silent era), but more recently has taken the fun approach to a complete cycle of Chaplin’s Mutual films. Davis showed us a showreel of the former and a complete example of the latter, Behind the Screen, with Chaplin as a stage hand bouncing around the various sets of a film studio.

The festival carries on until this Sunday, with retrospectives on Derek Jarman, Ulrich Seidl, Boris Karloff, Polish cinema and the golden age of Warner Bros, as well as new features and documentaries and a strand of new-fangled videos made with computer-game software. I’ll be back for more.

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Bridal Veil Film Festival Comes to a Close

Bridal Veil Film Festival Outdoor Inflatable Movie Screen

Bridal Veil Film Festival Inflatable Movie Screen

This past weekend marked the end of the Bridal Veil Film Festival, as we closed with the films “Wings of Desire”, “Wardance”, “2001: A Space Odyssey”, and “City of God”. “Wardance” was something of a theme-movie for us, as all the proceeds from the festival were donated to the Rwanda Cinema Center. “2001” brought in a good crowd as one of the more well-known films shown in the past 3 weeks, and hundreds of people came out for the dance after the film.

I must say I’m sad to see the festival go. In an era of Netflix, YouTube, and home theaters, I think we have lost something in the community-cinema experience. Sure, DVDs provide convenience: no lines to wait in, no sold out shows, no annoying kids kicking the back of your chair. But there was a time when local cinemas were the only exposure to film available, and all films were watched in the company of neighbors, friends, and strangers. You’d laugh together, cry together, and discussions would naturally rise regarding the various issues posed in each film. I know that the group experience probably isn’t enough to draw people out of the comfort of their homes and DVD players, but I am glad that events like the Bridal Veil Film Festival give us the opportunity to once again experience movies as a community.

And the festival was much more than a movie: we got the opportunity to see movies we probably wouldn’t see otherwise, from cultures very different from our own. I can’t imagine a better venue in which to watch a movie than at the foot of a waterfall, under the stars. Outdoor films are sometimes far and few between, but it’s always fun when one comes along. The Bridal Veil Film Festival is an experience of cinema and nature, a melding of art that we as humans have created and art we could never replicate. It is an opportunity to come together as a community and experience culture in a new way. These international films give us a glimpse into a different world, and in the process we too reach out to these far-away lands and give something back.

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Maritime City Film Festival's Outdoor Movies

Outdoor Movies at the Maritime City Film Festival in Gig Harbor, Washington moviegoers gave a big thumbs-up to last weekend’s inaugural film festival with rave reviews about both the films and the idea in general.

“We got a lot of positive feedback,” Paula Lillard, festival planning committee member, said Monday. “The film festival was successful on a number of different levels. By and large the most successful film, other than the ones at the park, was ‘Her Best Move.’ ”

“These were more intellectual films,” Tom Watkins said. “This could be the start of a good thing for Gig Harbor.”

Hank and Bunny Searles were also impressed with “Life Among Whales.”

“This is the best thing I’ve seen in a long time,” Bunny Searles said. “It was so magnified — so intimate.”

“I was most impressed with the beauty of this production and highly recommend it,” Hank Searles said. “You could feel Payne’s intensity resonate off the screen.”

Dr. Roger Payne is the activist and biologist who created the film.

Moviegoer Bill MacKay said that of the two films he had seen so far, he enjoyed one but didn’t care for the other.

“But the idea of the film festival is absolutely terrific,” he said. “It’s nice to see something other than the standard film fare.”

“They make you think,” Nancy MacKay said. “It exposes you to movies you wouldn’t normally see.”

Galaxy Theatres manager A.J. Witherspoon said that, even with a multiplex theater, showing independent films on a regular basis is not as easy as it may sound.

“It’s not that we don’t want to, but securing the product is difficult,” he said. “They won’t let you just cherry-pick their films. There’s so many mainstream films out there, and sometimes we can’t even show all of them. It’s hard to pass up on the studio stuff for something you’re not sure is going to work.”

Witherspoon said Galaxy Theatres has shown independent films in the past when it had an open time slot, and they’ve “done OK.”

“Normally theaters that show independent films have cultivated relationships with the indie film industry — we have relationships with the major film industry,” he said. “It’s not that we don’t want to run the small stuff — we would love to do it. But with all the major films out there, we usually have more movies than we have screens to show them on.”

During the festival, Witherspoon noted the reactions of film viewers were different than those during regular movies.

“People were moved by what they saw,” he said. “They were coming out of the theaters having discussions about the movies. I don’t see that with many major films. It’s kind of nice to bring that stuff in. It’s not easy, but we’ll do anything we can to keep trying.”

For now, the festival’s committee members are taking a breather after all the hard work and planning it took to bring the show to town.

“I’m sure as the weeks unfold, we will continue to move forward,” Lillard said. “There’s a number of things we’re talking about creating that will be exciting to many people who enjoyed this festival.”

The inflatable screens used for the festival were provided by Open Air Cinema.

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Haiti's First International Film Festival Held Outdoors

Jakmel, Haiti Outdoor MoviesOne moonless inky night this week, 4,000 Haitians gathered along their town’s waterfront, sat down and spent the next three hours lost in a large window of light.

A giant outdoor movie screen flickered before them, transporting them into other people’s lives and to faraway places they’d never otherwise see.

might be in its darkest, most anarchic hour, with murderous gangs besieging its capital and its economy in shreds, but in this peaceful seaside city, a cultural awakening is under way. Every day this week, films from and the world have been screened around the city as part of a wildly ambitious international film festival that has already achieved its founders’ most basic aim: to infuse a stricken people with hope.

The Jacmel International Film Festival, which began July 9 and ends today, was different from most festivals of its kind. Films were shown three times daily in makeshift theaters, their crumbling walls patched with plywood, and at nighttime on a 18-by-25-foot screen on the city’s wharf. Every screening was free, and without exception, packed by locals.

The incongruity between this movie festival in Jacmel and the horrors two hours north in Port-au-Prince, where a Haitian journalist’s mutilated body was found Thursday, was lost on no one.

”There’s always a looming sense of disaster from Port-au-Prince, and at some points, some members of our team were questioning whether we should do this,” said David Belle, 33, one of the festival’s founders. “But I felt it was more important than ever.”

Belle, an American filmmaker who was romanced by Haiti 13 years ago, dreamed up the idea of hosting a festival here with a Jacmel native, Patrick Boucard, 49, in 2003.

Boucard is from a prominent Jacmel family that still owns some of the largest buildings in town. After hopscotching around the United States in his youth, Boucard returned home with his wife, Kate, two years ago to open an arts center by the sea.

”I love this area, and I love the people, and I want to expand the horizons of Haitians,” Boucard said. “In a selfish way, I’m preserving my environment.”

AN OASIS

If Port-au-Prince, with its kidnappings and bloodthirstiness, is Haiti at its most hellish, Jacmel is its oasis. The city is impoverished but beautiful in its near ruin, lined with grand, decrepit French colonial buildings that give it the feel of a lost New Orleans. Whenever Port-au-Prince descended into chaos, as it has again now, Jacmel kept its peace, largely because its people closely watch newcomers and manage to keep any probable troublemakers out.

Boucard’s art center offers training to self-taught artists, but Boucard and Belle yearned to bring the world to Jacmel. Fifty percent of Haitians are illiterate; few can afford televisions, and even fewer can afford the luxury of a movie. Anyway, few theaters are operating.

For the first film festival, held in July 2004, Boucard and Belle scraped together $120,000 and corralled 85 Haitian documentaries, shorts and feature films. They convinced American companies to rent them equipment and rigged up a screen at the town’s crossroads.

Half the town showed up for opening night, but the next day, the festival’s smaller venues were curiously vacant. After some sleuthing, Belle discovered locals couldn’t fathom entering a private venue without paying. ”They didn’t know what a film festival was,” Belle said. So he visited key people in each neighborhood to invite one and all. From then on, the screenings overflowed, and after the festival ended, locals dogged Belle and Boucard, asking when the festival was coming back.

It nearly didn’t. As Port-au-Prince’s violence spun out of control, Belle and Boucard worried about visitors’ safety and feared that the thousands of locals gathered for the nightly film would provide an easy target should the capital’s gang warfare bleed out. But Jacmel had opened its tiny airport, which meant outsiders could avoid the often perilous road from Port-au-Prince to town. In April, as Haiti’s prospects plummeted, the pair decided the festival was a go.

Help poured in. After some persuading, such major studios as HBO, Dreamworks and Lions Gate lent the festival major releases — among them Hotel Rwanda and The Motorcycle Diaries — for free. Friends threw fundraisers and showed up in Jacmel to work without pay. A young local theater group dubbed a dozen movies in Creole, recorded in a hastily erected sound room. Fat donations came from the French and Spanish embassies, Haiti’s Ministry of Culture and Crowing Rooster Arts, which Belle runs with filmmaker Katharine Kean, who also owns Tap Tap Restaurant in South Beach.

In the end, the festival offered 100 films from 30 countries and, at least in the daytime, couldn’t match local demand.

”We cannot travel; we don’t have the passports or money or visas to get to those places,” said Fenton Stevenson, 27, a festivalgoer from Jacmel. “This way, these places come to us.”

Directors from the Caribbean, South Africa and New York flew in to host free filmmaking and acting workshops that immediately ran out of space. Others, though, stayed away, fearing for their safety. By late this week, security guards were installed at the smaller daytime venues, because too many people were trying to shoehorn themselves in. Near bedlam ensued outside a jammed screening of Sometimes in April, a film about Rwanda by the Haitian filmmaker Raoul Peck.

SOME RISKS

”This is very new for Haiti, and I am surprised they had the guts to do it,” said Peck, who hosted a filmmaking workshop. “It’s like a giant public school. It’s another kind of food.”

But with every advance comes risk. One of co-founder Belle’s greatest fears is that after bringing the world to Jacmel and teaching its youth to make films and project their realities on screen, people here will feel even more trapped and limited by their country’s deepening failures.

Yet for one young Haitian at least, the festival offered sorely needed, if temporary, liberation: It lifted him out of the beleaguered Haiti of now into the Haiti that could be.

”There are young people here who are full of hope, and every day, at every moment of their lives, they think about what’s to come for Haiti,” said Jean Auguste, 22, a student who drank in the festival workshops.

”This helps to forget their daily life problems and helps them imagine what they can do tomorrow, for their families and their country,” Auguste said.

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