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Discover New Films
: Migdia Chinea.
Written by Migdia Chinea
Inspired by a real historical figure, this is the allegory of Yarini, a mysterious and powerful pimp who dominates Havana in 1910, a time when Halley’s Comet is passing through. When Yarini falls for the President’s wife, his childhood sweetheart, Manto, a mulatta who loves him, uses Afro-Cuban religion Santeria to get him back. But she is warned that she can’t call on the African saints to do harm because doing so can have bad consequences. When Manto’s plan backfires, she changes the course of events.
In 1910, Havana flourished as the new frontier for the European elite. Its harbor was “La Llave,” the key port of entry to the New World.
Drawn to its natural splendor, and unlimited resources, nobility, industrialists and people “with a past” come to its shores, seeking new opportunities or to reinvent themselves. The settlers, French, British and mostly Spanish colonialists imbued the city with all the creature comforts from their native homes.
But there was another element that set this world apart from theirs and that was the influx of Africans. Unlike North America, something different occurred in Havana. African culture with its wonderfully earth-bound rituals and unusual rhythms slowly infiltrated the upper echelons of society, until it was embraced, almost unconsciously. During this time, one man rose to great power. His name was Yarini, “the Pimp of San Isidro.” During his ten-year reign, he brought inexorable joy to many, but to others he presented a great threat. In a story based on the myth of the man, Yarini, the women he loved, and the beautiful city of Havana.
With the passing of Yarini also passed the end of a great era.
“Old Havana and the Great Pimp of San Isidro”.
Director: David Nerman.
This compelling documentary raises important and critical questions and highlights an incredible search for the truth, by one of America’s leading and acclaimed private investigators, William C. Dear, along with a team of internationally recognized experts in their respective fields. Each of these global experts in their fields has come to the same, independent conclusion.
The documentary includes references to high-level communication between the LAPD and agencies responsible for the original trial, among others, and the lead investigator William Dear, which makes the viewer wonder…Why the Overlooked Suspect was not more vigorously pursued? Was there a cover up?
The film’s Producers state: “We have distilled over 16 years and 5,000 hours of intense research and investigation into a one-hour, thought-provoking, viewer-friendly documentary that will empower the public to decide what they feel, in conclusion, about the case and whether there was a rush to judgment”. They add: “In the end, you be the Judge”.
Director: Anna Polibina-Polansky.
Poetic renditions (by Anna Polibina) of two best-known Russian prayers and the original prose by the author of the film are illustrated by vivid, all-by-hand pictures (also by Anna Polibina) of old-Russian houses, steeples, temples and town panoramas. This film is an excursion into the dark centuries of the core of Russia. The movie was created in two poetic versions, Russian and English. It was the idea by the author, to render two prayers in the new, versified form.
Director: Jennifer Sims.
A man has an enticing encounter in a library...
Director: Andrea Kreuzhage.
1000 blank journals are passed from hand to hand throughout the world, collecting stories, pictures, collages -- slices of the lives they touch. One came back, filled. Where are the other 999? 1000 Journals investigates their worldwide journeys, and chronicles the self-governed collaboration of thousands of random people who added to this global "message in a bottle."
Director: Atousa Bandeh Ghiasabadi.
Director: Csaba Bene Perlenberg.
A debt-ridden man takes advantage of his aging mothers Alzheimers to borrow money she doesn´t remember lending him. But how far is the man prepared to go before his conscience eats away at him? Who are we when the people we love the most, forget who we are?