Skip to main content

GIFF Supports Short Film Creators, Mental Health Awareness

      


      Gandhara Independent Film Festival (GIFF) has recently announced their call for entries for their next virtual festival edition. GIFF 2021 is expecting to receive a volume of film submissions where unique stories from around the world will be chosen as official selections. 

      GIFF, a non-profit platform that aims to create a dynamic community for independent filmmakers in Pakistan and around the globe, has started showcasing selections of quality short films in 2020. 

       Also an advocate of mental health, GIFF has been regularly programming to spread awareness on this topic through their website www.gandharafilmfestival.com. Early this year, GIFF Founder Kamran Naseem, curated a mental health-themed program that includes "Munnu" by Shayhaq Balouch from Pakistan; "New Moon" by Neeraj Joshi from India; "Flamework" by Zoltán Krasznay from Hungary; "Muted" by David Nguyen from Canada; "Refugees" by Amin Fallah and Mahsa Takesh from Iran; "Our Redirected Hopes" by Carmina Cruz from Philippines; "Faded Memories" by Valentina Galdi from Italy; "Id" by Izabella Retkowska from Germany; "Mom, Dad and I" by Savkina Anastasia from Russia; "Verge" by Ivan Vynarchyk from Ukraine; "Girls Don't Like Purple" by Sebastian Pulido from Columbia; "Kettling" by Alan Del Castillo from Mexico; "Simon" by Nicolas Bacon from Canada; "Mostafa" by Alireza Teimoori from Iran; "Roberto" by Carmen Córdoba González from Spain; "It's Nothing" by Anna Maguire from United Kingdom; and " While That Happens" by Nacho Ozores from Spain.

       For their second edition, GIFF 2021 is accepting narrative films of any theme with a maximum length of 25 minutes (including credits), made in between 2018-2021, and with embedded English subtitles. Entries are accepted via Filmfreeway or Festhome until September 15, 2021.

#shortfilms #filmfestivals #noentryfeefilmfestival #mentalhealthawareness


Comments

Popular posts from this blog

Acting Journal: How to Keep Track of your Progress

         A year after going full-time in acting, a practice that I find really helpful was keeping a notebook dedicated to my acting work. I call it my acting journal where I list schedules, methods I plan to use during scenes, script analysis etc. And when I update my resume usually around July or August, it's easier for me to list and select works to include in it. (Photo by Marcos Paolo Prado, unsplash.com) So what do I write in my acting journal? Auditions. Once I book an audition, I write down the project name, date, venue, contact information and any specific instructions given. Then I write down things I need to prepare for the role I will be auditioning for such as character goals,  if I need to write a monologue or if I need to breakdown a script that was sent in advance. (More tips on what to do during auditions.) Acting Jobs. When I book a gig, I write down the important dates like rehearsals, workshops, meetings and shooting schedules. I also ta...

What is a Headshot, a Setcard, and an Acting Reel?

         (Photo by NordWood Themes, unsplash.com)    “What is a setcard?” is a question I see frequently on the comment sections of casting groups and so I thought it is best to talk about the materials we need to start a career in acting. Besides, before you can meet agents or casting directors face-to-face, these materials are what they will ask you to send them so they can decide if they will call you in for an audition. A.     Headshot        A Headshot is a close-up photo printed on 8R-size (8 x 10 inches) photo paper with your name placed on the bottom center or bottom corner and your 1-page resume pasted at the back. Things to consider when creating your own headshot: 1.      Do not overdo your make-up. The very first thing to remember is that your headshot should look like you so use minimal make-up. You will also be advised to update your headshot if there’s an obvious change in your hairstyle like...

How to Cry on Cue

    First, let me tell you that crying on cue is somehow a myth and some actors even find it ridiculous because we don't have press buttons for crying. It is not that simple. There are people who can easily cry and there are people who can't. And if you can, that does not guarantee that you're already a good actor. What will make a performance gain recognition is not the ability to cry but rather the honesty of the emotion.  (Photo by Aliyah Jamous, unsplash.com) Don't fuss about how to train your tear glands, put your time into studying the character instead. Focus on the character's goal, his/her needs and wants and memories he/she have based on what is written in the script. And sometimes you may also need to come up with memories that are not mentioned in the script but can support the scenes the character is in. (See a quick script analysis guide.) So instead of learning how to cry on cue, let's talk about practical approaches that can help ...