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Official Press Release: Ted Hope To Curate Lincoln Center’s “Indie Night” Series

Official Press Release: Ted Hope To Curate Lincoln Center's "Indie Night" Series




New York, NY – (February 22, 2012) The Film Society of Lincoln Center is proud to announce two new monthly series spotlighting up and coming directors. Art of the Real, is a new monthly documentary showcase that will take audiences on a tour of the most innovative and consciousness-raising, non-fiction filmmaking being made in the world today. The series kicks off with March and April documentary selections, SHAKESPEARE HIGH and THEY CALL IT MYANMAR: LIFTING THE CURTAIN.

“Documentary filmmakers are the investigative journalists of cinema – showing us extraordinary feats, taking us places we’ve never been and introducing us to characters that could change our world. We’re proud to bring their untold stories to our screens and introduce them to audiences each month,” says Film Society of Lincoln Center’s Associate Director of Programming Marian Masone, who is programming Art of the Real with Programming Associate Isa Cucinotta.

Indie Night will spotlight the best and boldest new wave of independent cinema. In keeping with the tradition of supporting and showcasing emerging filmmakers, this new series will also be shaped by notable guest curators who hail from the American indie vanguard.

“The American indie film scene is going through a major renaissance right now, thanks to the low costs of digital filmmaking and the emergence of new distribution platforms,” says Film Society Associate Program Director Scott Foundas. “At the same time, this series can be seen as the latest permutation of the Film Society’s longstanding commitment to emerging artists, which dates back to the creation of the New Directors/New Films festival more than 40 years ago.”

Award-wining producer Ted Hope (MARTHA MARCY MAY MARLENE, ADVENTURELAND) has been announced as co-curator’s of the series for the next year, alongside FSLC Associate Program Director Scott Foundas. Hope will curate the upcoming 2012 series. Additional co-curators confirmed for the future include producers Christine Vachon (FAR FROM HEAVEN, BOYS DON’T CRY), Jay Van Hoy and Lars Knudsen (BEGINNERS, THE LONELIEST PLANET, OLD JOY).

“It’s just not true that all great movies get seen.  Filmmakers have never been more generative, ambitious, and skilled than they are today, but for all their talent, good work still slips by.  We are in the midst of a film revolution & we all must occupy the seats if we want the culture we love to not only survive, but also to thrive. The Film Society of Lincoln Center is one of the most prestigious and best programmed screens, and it is an honor for me to be part of it,” says Hope. “Now with a re-born Indie Night, we have the potential to bring artists and fans together to create an engaged community that will work together to make sure all of this unique, thrilling, and exciting work will not be overlooked.  The directors will be in the house, the films will shine, igniting our passions and mind, afterwards we will talk and debate, rant and rave, and the drinks will flow.  The Elinor Bunin Munroe Film Center will be an indie film salon once a month — and if people are fed up with film as usual, this is where the next fires will all get started.”

Both series will include additional in-person filmmaker appearances, panel discussions and more to engage audiences in discussion. Look out for additional announcements and updates on guest programmers and films for the year ahead.  


Films, Descriptions & Schedule

Shakespeare High. Alex Rotaru, USA, 2011, Digital; 80m

Every year a wide cross-section of high school students prepare for the Drama Teachers Association of Southern California Shakespeare Competition. The unwieldy name of this contest belies the energy and excitement of the event, as well as the enthusiasm of the students who take part. Director Alex Rotaru’s lively documentary follows the ups and downs of many of the participants of this annual tournament, which claims such luminaries as Kevin Spacey, Sally Field and Richard Dreyfus as alumni (Spacey and actress Mare Winningham appear in the film giving some teens a pep talk). The tournament is team building at its finest, and the groups Rotaru follows are an appealing multicultural mix from former gangbangers to girls from a Catholic high school, who perform scenes from Othello, A Midsummer Night’s Dream, Macbeth, and other masterworks with gusto. While the tension of who will win is compelling, there is a larger story of how theater can save kids living on the edge. As arts education is being assailed as a luxury in schools, Shakespeare High proves that it is a necessity, and the students who perform–win or lose–are proof positive of that. A Cinema Guild release.

*March 7 at 6:30pm at the Elinor Bunin Munroe Film Center

**Q&A to follow with director Alex Rotaru and subjects from the film

They Call it Myanmar: Lifting the Curtain. Robert H. Lieberman, 2011, USA, Digital; 90m

A rare glimpse behind the scenes of one of the most isolated countries in the world, Burma (or Myanmar, as the ruling military junta renamed it in 1989). Writer and filmmaker Robert H. Lieberman secretly filmed the everyday lives of ordinary citizens over a period of two years – lives defined by food shortages, power cuts, and a lack of health care and education. This land of countless golden pagodas that not so long ago was renowned as the “rice bowl of Asia” is now a place of terrible poverty, which has led to widespread child labor and trafficking. In a remarkable interview, opposition leader Aung San Suu Kyi talks about the recent history of Burma and her many years under house arrest for her political activities. Anonymous commentators talk about the character of this regime, which has absolutely no communication with its population, but uses physical repression to hold the country in its iron grip. The film explores how Buddhism has influenced the way in which the Burmese deal with difficult living conditions. This film is a portrait of a land where beauty and decay, and fear and courage, closely coexist.

*April 3 at 6:30pm at the Elinor Bunin Munroe Film Center
**Q&A to follow with director Robert H. Leiberman


Film, Description & Schedule

Without. Mark Jackson, 2011, USA; 88m

Longing is one of the most powerful emotions in both life and cinema, altering the perception and interpretation of our experiences.  Few films of any scale have captured the essence of longing as well as Mark Jackson’s debut feature, Without, does in both its form and content.  The film’s economy of means helps to deliver a rare truth throughout its beautiful images, quiet tone and the mesmerizing introduction to star Josyln Jensen. Long after it has ended, this multiple prize-winning film still resonates: did we just live a love song, a ghost story, or a quiet thriller? Jackson delivers with his first outing what filmmakers strive for decades to achieve: the realest of real, the beauty of beauty and the sweet pain of a never-ending early love.
* March 6 at 8:00pm at the Elinor Bunin Munroe Film Center
**Q&A to follow with director Mark Jackson

Film Society of Lincoln Center

Under the leadership of Rose Kuo, Executive Director, and Richard Peña, Program Director, the Film Society of Lincoln Center offers the best in international, classic and cutting-edge independent cinema. The Film Society presents two film festivals that attract global attention: the New York Film Festival, currently planning its 50th edition, and New Directors/New Films which, since its founding in 1972, has been produced in collaboration with MoMA. The Film Society also publishes the award-winning Film Comment Magazine, and for over three decades has given an annual award—now named “The Chaplin Award”—to a major figure in world cinema. Past recipients of this award include Charlie Chaplin, Alfred Hitchcock, Martin Scorsese, Meryl Streep, and Tom Hanks. The Film Society presents a year-round calendar of programming, panels, lectures, educational programs and specialty film releases at its Walter Reade Theater and the new state-of-the-art Elinor Bunin Munroe Film Center.


The Film Society receives generous, year-round support from Royal Bank of Canada, 42BELOW, American Airlines, The New York Times, Stella Artois, the National Endowment for the Arts and New York State Council on the Arts. For more information, visit

This Article is related to: News


Dylen Bradford


Brad Langfeld

Regarding the lawsuit against Sundance (2012 Abbinante vs. Sundance H12S00037)
The lawsuit alleges that Sundance is committing fraud by not returning submission fees to filmmakers whos films were not screened and evaluated by Sundance.
"Because Sundance has prior knowledge of the unmanageable volume of films received (11,700 films for the 2012 festival) and did not return fees to filmmakers whos films were not screened and evaluated, Sundance is guilty of fraud." quoted by Darryl Abbinante and continued to state "It's simply not humanly possible for any committee to screen and evaluate 11,700 films." Sadly, the judge ruled in favor of Sundance stating "Sundance is not legally required to screen and watch every film submission in it's entirety." The judge also stated
"if you can not prove Sundance is not watching at least 30 seconds of each and every film submitted, then you can not prove fraud."
So the mystery behind Sundance has been discovered. Sundance is not liable to watch every film submission from start to finish and evaluate them. This is information that would've been very useful to the over 11,700 filmmakers prior to them submitting their films and submissions fees to Sundance for the 2012 festival, bringing Sundance an additional income revenue of $500,000 to $625,000 for the 2012 season.
Sundance is a well polished money making machine. They have found loop hole in the system and are exploiting filmmakers by the tens of thousands. I was one of them. I feel sorry for next year when (estimated) 13,500 filmmakers will blindly send in their films and submissions fees chasing a dream that no longer exists.
Kudos to Sundance and their staff for effectively creating a business that thru the years grows larger every year, despite the recession, by continuing to dangle the carrot of success in front of every filmmaker's face with promises of discovery and a film sale. Pure Genius.
Darryl Abbinante
Indy Filmmaker
Over 7000 film festivals require filmmakers to submit their film to 'without a box'.
'Without a box' is owned by another business (IMDb), which is in-turn owned by an even larger corporation (

Filmmaker Magazine, Indiewire, Film Threat, and most all other Independent Film News sources are all being bought out, controlled and monopolized by one big corporate entity, there soul existence is to sell you a "dream" not to report truth or anything against Sundance, this is where most of their money comes from, advertising, film schools, and film festivals.

Sundance does not in fact watch the 12,000 film submissions, they have gone 'on record' to admit that watching 15 seconds or more of your film, is in fact legally within their obligations.

Sundance has made many millions, of dollars off of film submissions in over 25 years of existence.

Filmmaker Magazine, Indiewire, or Film Threat does not and will not report this, they cant.

The filmmakers do NOT own their films that they submitted anymore.

Did you know you "gave up that right" when you signed or clicked the agreement?

You didn't read.
Use Withoutabox (WAB) = Surrender Content Rights
Withoutabox's Terms of Service agreement (by signing into your account you are agreeing)

Under Item 13 it states that while Withoutabox (WAB) 'does not acquire any right or ownership' of your work when you use their service YOU AGREE TO GRANT Withoutabox IRREVOCABLE, non-exclusive, ROYALTY-FREE, perpetual and fully sublicensable right to use, reproduce, modify, adapt, publish, create derivative works from , distribute and display ANY MATERIAL YOU SUBMIT TO WITHOUTABOX INCLUDING CONTENT throughout the world IN ANY MEDIA. You further grant WAB and their sublicensees the right to use the name you submit in connection with the material.

Did you know that? In short, the moment you log onto WAB you give them permission FOREVER to sell your film anywhere in the world. They keep all money earned from your film (and anything else you upload or add to their site).

WAB is stealing all the content they can from naive and vulnerable filmmakers.

In years to come your film will be free to be uploaded, or small fees required to watch it, and you won't receive a dime, and who would want to pay for your film now?

Sundance Film Festival has cleared their reputation, Adam Montgomery has cleared Sundance's reputation, as also John Cooper. The festival has no legal obligation to watch your film.
This means that Sundance Film Festival is NOT A SCAM, IS NOT FRAUDULENT, AND IS NOT CORRUPT, all postings are therefore removed, the film Scam Fest is irrelevant and will not be eidted or completed, because our "burden of proof is irrelevant, all videos, all protest videos against Sundance have been removed

We encourage all filmmakers to keep submitting their films.

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