Our goal was simple. Or at the time, it seemed to be. All we really wanted to do was to create a place where people could find out where indie films were playing. The idea came to me one day, after a long day at work at a place where every day I was trying to help indie filmmakers to get their films made. However, despite the filmmakers' efforts and sometimes success in getting their films made, the way to get these films to audiences was the same--spend huge amounts of money on advertising and pray that you will be able to get some buzz if you got into a film festival.

How could we change the market so that "regular" audiences would be able to find indie films? Could we make it affordable for indie filmmakers to market their films directly to those audiences? This idea kept running around my head for a while. I ran it by Julie and here we are. This journey began about four years ago. At that time, MySpace was just a new competitor for the already popular,Friendster. Filmmakers only method of marketing their film was postcards and chain emails. Netflix had just begun to make a name for itself. YouTube, Joost, and Jaman, and all of the other movie download companies did not even exist.

Earnest and eager, we set out to try and build our little website that we believed would at least put a dent in the divide between filmmaker and audience. Much like an independent film, we had very little funds but great supporters. Some people believed in us. Others laughed. But we stood by our dream. And that's why it pains us to say that although we had a little success, our journey has come to an end.

Looking back now, I realize the one thing that kept us going was our belief in independent and foreign films. Just this past week, I found myself completely moved with excitement and anticipation of seeing an indie film while at a movie theater, and that was just during the trailers. I don't know what it is that makes these films different. The definition of an indie film is constantly changing, but the thing that people usually agree on is how it is made. The money. But with indieIN, we wanted to focus on much more than that.

Indie films represent personal stories that dare to look at the world in a different way, or sometimes, even just as it is. The characters in an indie film have faults, they sweat, they lie, they cheat and are often not at all glamorous. They are alive. The stories of these films can make you think, leave you hanging, anger you, and move you to say, what the fuck? To me, my favorite place in the world is still third row center of a movie theater, just as the lights go down. It's the only place I feel free.

It's been almost four years and although many people were excited by the idea of indieIN, we were unable to find the resources to expand the site to a full online magazine. As a result, indieIN will be "closing its doors." But even though we won't be around, we ask you to continue to support indie film, because--as our tagline states--there is more out there.

Go support your local film festival. Check out your independent theater and see a movie that you don't know anything about. Or, add some new indie and foreign movies to your DVD queue. If you have cable, spend a weekend watching IFC and Sundance or check out their INDemand section on Comcast and HDnet. The movies are out there if you know where to look. By supporting even one independent film, you are supporting many, many more. You can make a difference in how many independent and foreign films get made and released. If you live within the two coasts, we especially encourage you to support this work. Box office numbers mean wider distribution so you will not have to drive miles to see the next Michel Gondry film.

We'd like to give a special thanks to the following people who have supported and contributed to the success of indieIN.

Kurt Neumann, Quimbik Inc., P. David Ebersole and Todd Hughes, Justina Krakowski-Gruettemann, Kelly DeVine, Dan Edelman, Cari Beachump, Tara Veneruso, Scott Ahlberg, Arianna Bocco, Michelle Byrd, Louis Dienes, Eugene Hernandez, Michael Lawson, N. Bird Runningwater, Elizabeth Stanley, Joan La'Bassiere, Nicholas La'Bassiere, Susan La'Bassiere, Gary Phillips, Mark Vennis, Claire Battersby, Fred Nelson, Paul Howson, Sharon Swart, Barclay Butera, Julie DuBrow, Johanna Schaetzke, AFI Film Festival, Brian Newman, Maxyne Franklin, Moira Griffin, Jacques Thelemaque, Thomas Ethan Harris, Elizabeth Gilcreast, Daniele Neuharth, Debra Maniscolo, Mia Villanueva, Greg Lontok, Melissa Bella, Debra Balamos, Diana Williams, Michael Harrison, Kate Tremills, Ellen O'Donnell, Andrea Dudley, Jennifer DeFilippo, Dino Ladki, Susannah Bridges, Elizabeth Liput, Rebecca Wiegand, Colan Mehaffey, Bruce Lynch



Long live indie film,

Michelle and Julie

Years ago in the independent film world, the documentary, though great admired for the "truth" that it brought to audiences was seen as the smart but not that pretty middle child. With few exceptions - the Mayles brothers and Errol Morris, there were few documentary filmmakers or documentaries for that matter that the average moviegoer could name. In recent years, with films like BOWLING FOR COLUMBINE, FARENHEIT 9/11, AN INCONVENIENT TRUTH and MARCH OF THE PENQUINS, audiences have become more and more familiar with the "stars" of the documentary film world - Michael Moore - as well as the films and their subject matter. There are probably a number of reasons for this - and I am not saying this as though I think that docs dng better at the box office or more being made is a bad thing - historical timing, mass media, Harvey Weinstein's PR genius, and celebrity endorsement.

September 11th, unlike any other event in US history, was a tragedy that we watched unfold as it happened. It was not like Vietnam where a) it was thousands of miles away and b) it was footage shot already. It was not a live television event. September 11th put us in the story as it unfolded. It was not only a document of the world's history but of our own. It is this connection that laid the groundwork for the success of a film like Farenheit 9/11 and others like it. Those films whether well made or not put us back to a place that we remember. Though I was not alive at the time, I would think it is the same phenomenon that occurs when people see footage of JFK being assassinated - the footage brings back time and space and places us the audience in it. If you take a look at the stats of the box office success of docs since 2001 - the numbers back this up.

Mass media, Harvey Weinstein and celebrity endorsement can not really be separated as they in effect are part and parcel of the same phenomenon. As the numbers of people who do everything online - shop, date, get news, watch - the connection between reality and fiction or the acceptance of reality as fiction increases. We are so used to seeing everything, knowing everything about everyone - those we think we know and those we don't. The acceptance of knowledge through a documentary film form is just another way to know. A PR genius like Harvey Weinstein understands this and uses it to his and his films' advantage. Whether it is about making Michael Moore a celebrity rather than a filmmaker starting from his campaign for Bowling... up to the recent contention that the US government was investigating Moore in connection with his new film SICKO all before anyone has even seen the film. The other genius thing is that Moore's film NEVER premiere in the US and mostly always at Cannes. That would be France - a country notorious for hating Americans and specifically the US government.

Finally, our good old trusty celebrity endorsement for a doc. Whether it is Al Gore, George Clooney, Ben Affleck, or Leonardo DiCaprio - a celeb saying that a doc is good is a surefire way to get butts in seats. Again, I am not knocking the films or the celebs for that matter. I am just pointing out the facts with the hope that it pushes audiences to think for themselves a bit more, to want to know because we should all know as human beings about each other - even those we do not see or understand. Knowing in a thoughtul manner through the art of cinema as opposed to via television shows like Big Brother, Tori and Dean: The Inn, The Real World or Newlyweds. Reality is only too much when it is meaningless and ruled by advertising dollars.

Keeping it indie,

Julie

If you see something, say something...

Ever since I was young, I've wanted to open up a movie theater. My dream theater. This is how I imagined it. It'd be a huge warehouse with a screen from ceiling to floor. The floor itself would be slanted and moviegoers would be able to choose seats, moving recliners, and put them anywhere they wanted to sit. The recliners would be equipped with cupholders on one side and food trays if you wanted a meal. But most of all, there would be a bouncer, a lifeguard of sorts. If people talked too much or acted obnoxious. They were out. If the sound or picture went out, they were on it.

Well, I still have yet to open my theater, but Regal Cinemas have taken strides of making their own patrons "bouncers" in their theaters. This new device is called Regal Response and was introduced in their 114 theaters across the United States. There are four call buttons on the device: sound, picture, piracy, and "other disturbances," which is meant for their noisy guests. Instead of turning around and hushing the rude guest, moviegoers with this device simply push a button and a manager will come to remedy the situation.

Because so many moviegoers are so many options to watch films in the comfort of their own homes, this is exhibitors way of trying to make the in theater movie experience better for patrons. I have to admit, it drives me nuts when someone talks in the theater. But I couldn't help but notice that it is usually in the box office studio films. When I am watching indie films, the audience is quiet (except for maybe someone catching up after a bathroom break), and I can't help but wonder why. Is it respect for the artistry and craft of the film? Could it be that the stories "pull in" their viewers more than the car chases and explosions? Or maybe they are so depressed they can't bring themselves to talk? I guess there's no real way to know but I'll be curious to see if these devices also make their way into the smaller theater houses. What do you think?

Long live indie film,

Michelle

Though summer is traditionally the season of the big budget studio blockbuster a la Spiderman 3. Pirates of the Caribbean 3 Shrek the Third - I hope that you see the pattern here - , there are, of course, some fantastic indie and foreign films coming to a theater near you in the next few months. So when you are sick of seeing Spiderman 3 for the third time, take a chance on some of the following titles that will scare you, make you think, make you laugh and make you much more wary of sheep.

A MIGHTY HEART- Based on the book A Mighty Heart: The Brave Life And Death Of My Husband Danny Pearl. The film is written by John Orloff, directed by Michael Winterbottom, and stars Academy Award Winner Angelina Jolie. Just coming off its successful world premiere at Cannes, this film is a must see this summer. JUNE

CRAZY LOVE - Dan Klores' CRAZY LOVE tells the astonishing story of the obsessive roller-coaster relationship of Burt and Linda Pugach, which shocked the nation during the summer of 1959. The film examines the human psyche and the concepts of love, obsession, insanity, hope and forgiveness. JUNE

ANGEL -A - Directed by Luc Besson (LA FEMME NIKITA) - his first film as director since 1999's THE MESSENGER: THE STORY OF JOAN OF ARC - ANGEL A is an arty black-and-white film about two suicidal Parisians who pull themselves out of the Seine and set out to oppose a gangster. JUNE

BLACK SHEEP - The debut feature from New Zealander Jonathan King. The film describes itself as "Baa baa, black sheep, have you any…fangs?!!! The sylvan pastures of New Zealand, home to forty million sheep, are the setting for gory mayhem when a mutant strain of the normally placid fleecy ones runs amok in this endearingly funny horror romp" and I can't do better than that. JUNE

JOSHUA - directed by George Ratliff and starring Sam Rockwell and Vera Farmiga was one of my favorite films from Sundance this year. The film is the story of how a 10 year old boy reacts to the newest addition to the family. Taking sibling rivalry to a whole other level, JOSHUA takes us into the psychosis of a little boy and his need to truly be the first born son. Gripping, funny, and terrifying, the film is a must see - especially for all of you new parents of a second child out there. JULY

SUNSHINE - Director Danny Boyle's homage to 2001: A SPACE ODYSSEY, this sci-fi fantasy film starring an international cast headed by Cillian Murphy takes place in the future when the sun is about to die. A crew is sent into to space with the mission of launching a nuclear warhead into the sun to give it a much needed kickstart. Fantastic effects and great morality play. JULY

THIS IS ENGLAND - Shane Meadows - one of my all time faves - is back with an incredibly poignant film about a boy who finds "family" with a group of local skinheads after his father dies in the Falklands War. JULY

PARIS J'TAIME - Twenty-one directors are credited for this omnibus of short film whose remit was to show the true Paris, the one that is off the tourist beaten track. Each short focuses on an "unusual encounter" in one of the city's neighborhoods. Directors include the Coen brothers, Olivier Assayas, Gurinder Chadha and Wes Craven and the films star such actors as Juliette Binoche, Willem Dafoe, Gerard Depardieu, Nick Nolte, Natalie Portman and Elijah Wood. SUMMER TBA

SMILEY FACE - Indie bad boy director Greg Araki (MYSTERIOUS SKIN) is back with a comedy about a young actress (Anna Faris) who accidentally eats her roommate's pot brownies and has a tripped-out day. SUMMER TBA

Remember to check your local listings as some release dates vary by city.

Keeping it indie,
Julie

First Sundance Cinema opens in Madison, WI

Last weekend, I had to go to Madison, Wisconsin, for a short business trip. It was also It was my first time visiting this quaint little university town so I was excited to explore the city. Turns out, the same weekend, Sundance Cinemas was opening its first official theater, Sundance 608, located at the Hilldale Mall in Madison.

I have been looking forward to the opening of Sundance Cinemas ever since they made the announcement a few years ago, but hadn't heard much lately. So it was great for me to hear about this grand opening, not from the film community, but from the citizens of Madison itself. Without even knowing about my cinephile tendancies, almost everyone one I met brought up this new addition to the city.

The idea behind Sundance Cinemas was to create a moviegoing exprience that was different from the mainstream. The Madison theater, and each theater that will be built in other cites, will be designed with that city in mind, creating a sense of place that matches the city. The theater has stadium seating, a bar and bistro, and will sell artwork from local artists, in an attempt to create a place where new audiences can not only see new films but discuss them and meet other indie film lovers.

Sundance Cinemas will play films that played at their festival, but will also use this venue as a way to feature the shorts and features that are looking for exposure. The next Sundance Cinema set to open will be the newly remodeled Kabuki Theater in San Francisco. So stay tuned!

Long live indie film,

Michelle

Though some might view this as "selling out," I think that it is not only an incredibly smart marketing move but also a business one. No one can doubt the rise of success of Mexican directors over the past few years. The very fact that someone like Alfonso Cuaron can make low budget indie Y TU MAMA TAMBIEN and then go on to direct a multi million dollar franchise movie such as HARRY POTTER illustrates this. With not only the box office but critical success of Guillermo del Toro's PAN"S LABYRINTH and Alejandro González Iñárritu's BABEL, it is extremely forward thinking for these filmmakers to "strike while the iron is hot" and use their collective celebrity to gain access to financing for their films. They have the track record to back it up. The interesting thing about this group is that though they have spent their early careers dipping into the same pot for money for "foreign films," they have remained very supportive of each other. They read each other's scripts, bounce ideas, share crew, etc. It is very reminiscent to me of how some of American indie filmmakers like Allison Anders, Todd Haynes, Alexandre Rockwell and Rose Troche used to work. Helping each other out when someone needed it, reading each other's work, being supportive of each other, etc.

I would love to see a move back to collaboration in indie film as opposed to what I think is competition now. Though I am thrilled that there is more money and more access and more audience out there for indie film, this has made the competition for all of it much more fierce even on the low end of spectrum where young filmmakers are becoming less and less likely to collaborate than in years past. Everyone seems to be about themselves and how they are going to "make it." The only place where I have not seen this, is with marketing and outreach. More and more I am seeing filmmakers get together to publicize their screenings at festivals - short filmmakers all in the same program or the short filmmaker and the feature filmmaker getting together and doing an after party, etc. This is great to see. I would love it to happen and be encouraged to happen on the production side.

There is a possibility, though unlikely, that the offer to the studios by the Mexican filmmakers may be rejected. Even if it does, there is a great lesson to be learned for filmmakers at every level - sometimes together you are much more powerful and have much more control and access than you would have if you go at it alone. Collaboration with other filmmakers does not mean you lose. It often can mean that you gain - seeing how others work, banding together to share information or crew and getting perspective on your own work, can only make you as an individual filmmaker better.

Keeping it indie,

Julie

True to the international scope of this year’s festival, the top award winners at the 2007 Tribeca Film Festival represented films from around the world. This year’s Festival included 157 features and 88 short films from 47 countries. The world competition winners were chosen from 18 narrative and 16 documentary features from 25 countries.

The Founders Award for Best Narrative Feature was given to My Father My Lord (Hofshat Kaits). Directed by David Volach (Israel), in this heartbreaking film, a respected rabbi in an ultra-Orthodox community--who is also a father and husband--is forced to come to terms with the demands of his faith and the welfare of his own family.

Best Documentary Feature was given to Taxi to the Darkside, directed by Alex Gibney (U.S.A.), the filmmaker behind Enron: The Smartest Guys in the Room. This documentary murder mystery examines the death of an Afghan taxi driver at Bagram Air Base from injuries inflicted by U.S. soldiers.

Best Screenplay and Best Actor in a Narrative Feature Film went to Making Of (Akher film),directed by Nouri Bouzid (Tunisia, Morocco). Lofti Edbelli stars as Bahta, a 25-year-old breakdancer in Tunisia who, after the eruption in Iraq in 2003, falls in with a group of fundamentalists whose brainwashing is intended to make him a suicide bomber. In the
framing story, the actor playing Bahta doesn't know how the film will end, and he and the director have conflicts of their own.

On Saturday, Tribeca presented the Cadillace Award (chosen by the festival audience) to We Are Together (Thina Simunye), a documentary film from the U.K. directed by Paul Taylor and produced by Paul Taylor and Teddy Liefer. The film tells the story of children in the South Africa Agape Orphanage, most of who have lost their loved ones to AIDS.

For a complete list of winners, go to www.tribecafilmfestival.org!

Long live indie film,

Michelle