The #buffblog (May 2014)

On the 3^rd of March 2013, it was reported in the Sunday Telegraph that Revolver, at one point the UK’s most prominent urban theatrical and home entertainment film distributor, had entered into administration. Commentators had cited that the West London outfit (established in 1997), which brought iLL Manors, Anuvahood and Exit Through the Giftshop (to name but 3) to the masses had failed to keep up with the cultural shift in how their content was being consumed and appreciated. A lot has happened since then as the wheels continue to turn and the face of distribution takes on a different look.

Fortunately for those who associate themselves within the British Urban Film fraternity, as one door remains firmly shut (literally), another door digitally opens. And although the traditional windows of distribution still remain a lucrative avenue for filmmakers (albeit via the middlemen) self-distribution then becomes a tempting proposition. Cometh the hour, cometh Ross Bispham. If there’s one individual (who previously worked at Revolver) who can put their finger on where we go from here regarding distribution and more importantly how everybody gets well paid in the process – then it’s most probably going to be Ross. With a team including Tom Westgate (who previously worked for the London Film Festival), Ignite Film Fans has been set up to fill the void which many believe to have existed in the 14 months since the house of cards that was Revolver, folded. So why should we care about Ross and his gang? Probably for the same reasons you continue to read this blog in your thousands. Writing exclusively for the British Urban Film Festival, here is this month’s edition of the BUFF blog from Ross Bispham… 

The British film industry is currently in a very exciting place that is evolving at an incredible rate, presenting the perfect opportunity to introduce new production, distribution and audience involvement initiatives. For years, there have been many obstacles, which have kept film a virtually closed-off industry, available only for people with cash, the right connections or an indomitable obsession for success, but effectively closed to a huge number of highly talented people desperately attempting to nose their way in any which way they can.

However, I believe that trend is now changing and is no longer the norm. With the increasing popularity of open castings, crowd funding and fan development websites throughout the movie world, there are more independent films in production today than ever before. And all of them want a shot at the big time. 

Working at Revolver Entertainment was an exciting and eye opening experience. With an abundance of arthouse and indie productions on its slate, Revolver won many awards for diverse and innovative release campaigns and strategies on films such as Mum and Dad, Iron Sky and Ill Manors. Through courage or fearlessness, some releases were highly successful, others not so. Yet my time there offered me an invaluable lesson when it comes to film distribution - timing is key, placement is important, but understanding and meeting the needs of your audience is paramount.

The rise of two aspects in the independent film world are particularly fascinating at this moment in time. The first is the phenomenal success of and response to crowd funding, not only as a concept, but also in its execution. The way in which it has been accepted and embraced by film makers and, of course, the general public has been pivotal to the ongoing development of film making as we know it. Secondly, it is incredibly refreshing to witness a new era of varying and daring release strategies across the board. From multi-platform releases to self-distribution, it never ceases to amaze each and every time someone is brave and determined enough to attempt a completely unique approach.

Crowd funding has come up with some unbelievable success stories in recent years. In 2012, the release of Iron Sky, which began life as a trailer in jest, raised in the region of £10million from a combination of crowd funding, contributions from private investors and the pre-sale of its distribution rights. It went on to become a global sensation, having sold in thirty three different territories to date and became the biggest straight to DVD release of the year in the UK, supported by a small multi-platform release. The resounding success of this film was predominantly thanks to the simply staggering amount of awareness and support it gathered while it was merely a concept and then throughout pre-production. This just goes to show how a great idea can pick up an absurd amount of steam. 

Iron Sky was merely the beginning and this method of film financing has spread rapidly - now even utilised by the already rich and famous. Less than a year ago Zach Braff successfully raised over £2.7 million from over forty one thousand contributors for his new film Wish I Was Here.

This could be a sign that the public and movie lovers understand some of the plights faced by independent film makers and are keen to help. Crowd funding is possibly the first time in history that the man (or woman) in the street has been given the opportunity to get involved with productions at such an early stage in its development; an opportunity that many have shown to be willing to seize with both hands.

We already know that the landscape of film is drastically changing and it doesn’t stop with production. The way in which we all view our films is constantly evolving thanks to a host of new and innovative distribution strategies. From services such as the Netflix binge viewing culture to immersive cinema experiences the public are accepting of and relating to the opportunity to view content in new and innovative ways. 

This is good news for the plethora of UK film makers who are desperate for their films to reach the audiences they deserve. The birth of self-distribution presents film makers with a fantastic abundance of different opportunities to get their work seen. Importantly, most of these new methods are very cheap.

With the rise of digital distribution, directors and producers no longer need to secure a distribution deal to allow them to showcase their film to the public. Red State was a prime example of this. The film was touted to be auctioned off to distributors at Sundance until director Kevin Smith instead announced he would hold on to the rights for it and take it on a national tour securing cinema runs and university screenings across America. The film was later released through the Lionsgate video on demand service, proving a film doesn’t need to follow the accepted norm to achieve profit and gain international sales.

Does this suggest an end to traditional cinema? No, not at all. We can all rest assured that the demand for seeing films on the big screen will not diminish - at least not for the time being. Studios will continue to produce and distribute blockbusters and independent distributors will continue to pick up and release arthouse films. Will the box office continue to bring in substantial profits? That remains to be seen. It would be fair to argue that film makers face a bigger battle with illegal downloading acting as a drain on their monetary success. And let us not forget that the cost of digital distribution is considerably less than that of traditional methods. All we can be certain of is that the times are changing, and if film makers do not keep up with and adhere to current technologies and trends then they will be sure to lose out. 

The undeniable potential of digital distribution does not come without its risks however. As previously mentioned the number of independent films in production is currently higher than it has ever been. If all of these seek a digital release could that spell disaster? Film fans and movie goers are anything but in short supply, but how do you find your audience in a saturated market? And as a film buff yourself, how do you find a film you will really enjoy in an endless and confusing sea of potential alternatives? These are just two of the many questions to which Ignite Film Fans hopes to provide the answer to.

Ignite Film Fans’ mission is to help independent producers and film-makers across the United Kingdom to connect with their audience and build a dedicated fan base for their projects during development and production stages. In doing so, they will be able to translate this accumulated support into a tangible value and driving force to help them achieve their long term goals, be that film festival selection, obtaining further funding, or securing distribution. But there is a vital flip side to this. It is also essential that the fans get something back in return.

By signing up to Ignite Film Fans free service and offering their support to individual films and concepts, members of the public will be rewarded with exclusive content, fantastic offers and exciting competitions direct from the film-makers themselves. These include signed scripts, behind the scenes footage and exclusive artwork, as well as winning set visits, the chance to appear as an extra and tickets to screenings and premieres. Through creating this mutual relationship, film fans can get involved with the UK’s very best, exciting and innovative productions in a way never before possible and enjoy the drive and enthusiasm of a new generation of talented film-makers.

Ignite Film Fans are dedicated to supporting and showcasing the very best emerging talent and independent productions across the UK. By facilitating and mediating beneficial relationships between film makers, audiences, financiers and key industry figures it is possible to help them achieve their long term goals.

www.ignitefilmfans.com

Twitter: @IgniteFilmFans

Facebook: IgniteFilmFansUK

(c) Ross Bispham/British Urban Film Festival 2014. All rights reserved. Final submissions for the 2014 British Urban Film Festival close at 5.00pm on Monday 9 June. For full details go to www.britishurbanfilmfestival.co.uk/BUFF-SUBMISSIONS-2014 

The #buffblog (April 2014)

The Easter holidays. For many it will be one of the first dates in the diary to look out for at the start of the year when it comes to taking time out and getting away from the hustle. For most filmmakers (who are always on the hustle), it will also mean that the Cannes Film Festival is just weeks away. At last year’s event, there was only 1 British film in competition for the prestigious Palme d’Or and Un Certain Regard. Even then, it’s arguable whether a film directed by an American and produced by an Englishman with an English lead actor can count as British (‘Only Lovers Left Alive’). British movies have also had scant recognition at recent Berlin and Venice festivals. 

So how does one get noticed at these festivals if you’re not Ken Loach or Mike Leigh. BUFF board member Nadia Denton has been working in the film industry for the past 10 years in marketing, exhibition and distribution. She released her first book ‘The Black British Filmmaker’s Guide to Success: Finance Market and Distribute Your Film’ in 2011. The guide, the first of its kind internationally is available as a FREE download at http://www.nadiadenton.com. She is currently writing her second title ‘The Nigerian Filmmaker’s Guide to Success: Beyond Nollywood’ which will be released later this year. Nadia was at Cannes last year and is well placed to provide insight as to what to expect from these festivals (and many others) as a filmmaker. You can add ‘Nadia Denton’ as a friend on Facebook who at present is sampling the sights and sounds from the Tribeca Film Festival in New York. Here’s her blog…

 

Whilst Cannes is undoubtedly the monster of all international film festivals, indie filmmaker should not lose sight of the smaller, more boutique festivals that will help them to achieve their aims at a more realistic level.

Those of you that have attended Cannes will know that the chances of meeting an exec that will green light your project at first sight, or even mingling with the top Directors and stars is remote. Chances are you will spend more time walking up and down the croisette than inside the various film companies and sales agents offices that line the strip. Big business is done in Cannes but only for the very lucky 10% and this is often predetermined before they get to the festival.

Where the business of striking deals at festivals are concerned, it would be well worth you considering other platforms such as the Dubai Film Festival, the American Film market, Berlinale, Sheffield Doc Fest, Tribeca, Durban Film Mart or even Rotterdam Film festival. These events offer an opportunity to present your projects to execs in an environment that more accessible and less frenetic.

Over the next 12 months, where distribution is concerned it’s all about VOD. Filmmakers will help themselves greatly by better understanding who the main players are, how the platforms work and can be used to their best advantage. Filmmakers will need to put themselves in front of content aggregators and inform themselves of the deals before jumping in foot first. In addition to spending time in VOD platforms themselves, filmmakers should compile a list and research who the main players are, which films are doing well and why. They need to consider their budgets in relations to VOD and the likely recoupment. It will additionally be necessary to plan in the time, costs and resources needed to market a VOD release.

Filmmakers need to be wise about their distribution plans at the early stages of their project, ideally at the script development stage. The days of making a film, having a great VIP red carpet and then waiting for the offers to flood in has long gone. Instead, some realism needs to be applied, which in this case means developing a distribution strategy (and marketing plan) alongside the writing of the script. The ideal scenario would be to solicit the interest of a distributor and/or sales agent who can review the script and give some guidance about its place in the market so that it can be positioned appropriately.

Overall, independent filmmakers will increasingly be relying on hybrid methods of distribution where they sell some of their rights (i.e. DVD, TV, VOD) and retain others which they will be responsible for themselves.

There are other strategies that filmmakers may find particularly useful over the next 12 months;

1. Collaborate, collaborate, collaborate. Collaborate across sectors i.e. technology, science, fashion, music whatever floats your boat really. Extend beyond the film industry itself. Think about mixed media projects and exciting ways that you can tell your story through the prism of another discipline. Collaborate across nations. Think about parts of the world where you can shoot with the benefit of tax rebates, or countries which are more likely to be receptive to the films that you want to make. Pool resources and skills even more than you currently are doing. Consider working with a collective of filmmakers where you rotate and share skills on each other’s projects.

2. Learn as much as you can about EIS and SEIS and use it to your best advantage. Talk to your accountant and people in the city. Consider attending an angel investment event. Reconfigure your business so that it is not just about filmmaking, but the creation of products and selling of skills/expertise. Create a business structure that will be more attractive to EIS and SEIS type investment.

3. Shoot outside of London. Explore locations beyond the M25 area. Think about regionalism. There are still swathes of the English heartland that are crying out to be shot in a compelling way and which will bring new perspectives to the story that you are telling. Forget about London. Head outwards.

4. Return to e-mail marketing as a significant way to create public awareness for your campaigns. Social media is great, but don’t forget about your mailing lists. Develop and grow them. Occasionally step aside from the ‘noise’ of social media to a marketing method that is more personalised and in some instances more effective.

5. Reduce the budget of your current project by a quarter, Get tighter with your budgeting. Less is more.

© Nadia Denton/British Urban Film Festival 2014. All rights reserved. Early bird submissions for the 2014 British Urban Film Festival close at 5.00pm on Friday 9 May. For more information go to http://www.britishurbanfilmfestival.co.uk/BUFF-SUBMISSIONS-2014

British Urban Film Festival unveils new line-up of script judges for #BUFF2014

The British Urban Film Festival can announce today that the climax to this year’s live script reading competition will take place once again at Channel 4 headquarters on Thursday 4 September. The event will be presented by actress and TV presenter Shereen Miranda who presided over the inaugural event last year.

The British Urban Film Festival can also announce the 5 script judges who will be presiding over this year’s competition entries from which 3 will be shortlisted. They are Fiona Lamptey from Film4/FruitTree Media, Enrico Tessarin from Pinch Media, Gemma Lloyd from Actup Courses, the actor Patrick Mckenzie and Siobhan Callas, editor-in-chief of Britflicks.com. In addition to shortlisting the final 3 scripts, the judges will have a say in casting decisions and script direction in the lead-up to and during the live performances.

Last year’s winning scripts covered female genital mutilation, office politics and gang wars, themes which embody the diverse range of content which the festival receives year after year from both scriptwriters and filmmakers across the country.

Emmanuel Anyiam-Osigwe, director of the British Urban Film Festival, said: “After successfully launching our scriptwriting competition in 2012, we’ve teamed up with some of the best brains in the business to deliver a competition in 2014 which is worthy of stature in its own right”.

Submission Guidelines:

• Scripts:  must be no less than 20 pages and no more than 60.
• Films must be no less than 3 minutes and no more than 120.
• The early bird deadline for submissions is 5.00pm, Friday 9th May 2014 (Fees are non-refundable at £25).
• The final deadline for submissions is 5.00pm, Monday 9th June 2014
• Submission Fees double from Saturday 10 May onwards.
• All forms of narrative style and all genres are accepted - the definition of an urban film... is down to you!
• Payments can only be accepted via www.paypal.com using the email address: screeniq@yahoo.com
• Films & trailers can only be submitted via private digital links to info@buffenterprises.co.uk
• *DVD masters will be requested if submissions make the shortlist.
• EPK's must include 5 publicity stills (film submissions only), a synopsis and a cover letter with at least 1 social network point of contact
• Scripts must be submitted via PDF to pressoffice@buffenterprises.co.uk

British Urban Film Festival launches new viral ad

The British Urban Film Festival has launched a new online advertising campaign with creative that parades the films, filmmakers, personalities and brand ambassadors who played their part in the biggest British Urban Film Festival to date.

Watch the ad by clicking here: http://youtu.be/y2Old18UbDg

The ad, which aired December 25, features a montage of photographs scattered across the screen, each photograph having the hashtag #BUFF2013 to identify that photo’s significance to the festival. During the 150-second ad, the screen displays colour photographs which ‘stand out’ to further illustrate their significance to the festival. The screen then zooms in on the last colour photograph which features the official ident for the 2014 British Urban Film Festival. The ident comprises of the BUFF logo (circa 2010) emblazoned on the union jack flag. The hashtag #BUFF2014 is also displayed in the photo.

The spot carries the strapline “From the home of urban film coverage in the UK” and was created in-house by BUFF.

It has recently been announced that Channel 4 have extended their partnership deal with BUFF meaning that the opening 3 events of BUFF 2014 will once again be hosted at Channel 4 headquarters. The deal also includes an option to screen a selection of films from the festival in the ‘Shooting Gallery’ slot on its main network.  

Channel 4 have said the following in a statement: “Channel 4 has a World-Class reputation for innovation and is ready to invest in the next generation of creative content. Channel 4 are happy to support the opening day of BUFF 2014 because in order to remain relevant in an ever changing world we must ensure that we continue to seek out the very best creative voices. Voices that represent the diversity and cultural richness of contemporary British life”.

See more about submissions at: http://bufffilmfestival.wordpress.com

#BUFFBLOG (December 2013)

BUFF Tidings! And what a great time of the year it is to be at the pictures. Christmas round the corner, Oscar-bait movies ten-a-penny, what’s not to like? Digital distribution perhaps? We’ll save that for next month’s blog. At the time of writing, yours truly will be in attendance at a pre-Christmas preview screening of ’12 Years A Slave’ – it’s one of the perks of running a film festival though one could say the same thing about this month’s guest writer of the BUFF blog. Those of you who follow the festival will either recognise the name Larushka Ivan-Zadeh or indeed her profile picture in the Metro – and that’s because not only is she the film editor for that newspaper, she’s also one of our esteemed board members meaning that she gets to see a vast cornucopia of films – mostly on your behalf. So why should she have this privilege you may ask? Why should you care what she thinks about a big-budget movie or otherwise? Well there’s only one way to find out? Read her BUFF blog right here…

Why does anyone care what film critics think? The answer increasingly seems to be: they don’t. For 2013 marks the year the professional (i.e. paid) critic became an endangered species. The cull that started in the US finally arrived in the UK. Increasing numbers of my colleagues in the mainstream press have been axed, retired or told they can only continue if they take massive pay-cuts. Obviously I think this is a bad thing. But is it? What are we losing here? And what is the role of a film critic anyway?

In the old, pre-Internet days seeing the point of a film critic was simpler. We were news-bringers and gate-keepers. A hatchet job critique can be an entertaining read, but, as a force for good, we helped – and still do help – to introduce audiences to new, often challenging work. But then, so do film festivals. BUFF is a shining example. It provides a valued platform to filmmakers whose work can struggle to be heard in the mainstream media. Festivals are a chance for audiences to see films unprejudiced by reviews, marketing slants or hype. BUFF-goers don’t use reviews to choose what to see – indeed they can’t, as some of the films in the programme have never been screened anywhere before. So what’s the role of a critic at festivals? To acquaint themselves on the cutting edge of film making, to spread the word of what they’ve seen outwards and to take the critical temperature of how the film is likely to be received outside the supportive and nurturing festival nest.

 

It is at festivals we see that critics, industry and audiences share a level playing field. Often a festival will have an ‘Audience’ award as well as an award voted for by a jury. Filmmakers will value both, but also the praise or constructive criticism of the professional reviewer. Why? Because what differentiates the professional reviewer, as well as, hopefully, a skill for insightful analysis, is that they give an informed context for their opinion. One based in an extensive knowledge of cinema and wider film history. Added to that is the fact we see a heck of a lot more movies than you do. I see about 6 new films a week, for example.

That said, criticism is subjective. And no critic is an ultimate authority. Film festivals, more than anywhere, are where critical objectivity can fly out the window. At Cannes, for example, passions run particularly high: films are routinely booed or given standing ovations and this is reflected in the reviews. Here, even broadsheet critics can over-excitedly shower films with stars that, if viewed outside the festival hothouse, they might have appraised more coolly.

So, why should you trust a critic to tell you if a film is any good, or not? Studios are starting not to. Posters may still have critics’ star ratings on them as a badge of pride – but tweets from ‘normal’ punters have begun to be used on publicity, even for ‘serious’ dramas like the Oscar-nominated ‘The Impossible’ which opened earlier this year. You can see why marketing companies would use quotes from the public when advertising big, so-called ‘critic-proof’ multiplex crowd-pleasers – the films that we critics insist are rubbish and give no stars to, but audiences still flock to in their millions. But, even so, who are these random Tweeters on the posters? What weight does their opinion hold? You could probably find a Twitter-user who loved the Diana movie if you looked hard enough.

Thanks to social media the phrase ‘everyone’s a critic’ has never been truer. Anyone can set up a reviews site online and shout their opinions – as long as they don’t expect to be paid for it. Which is great for non-elitism. And, on the upside, social media has proved a revolutionary facilitator in allowing independent filmmakers to create a word-of-mouth buzz for their films without the need for a prohibitively expensive marketing campaign. But, to me, the professional critic still has a role. To me, a critic is a guide. A guide you may not always agree with, but who entertains you, occasionally enlightens you and one whose opinion you respect. A guide who is comprehensive, who has the time to see everything from tiny festival movie to massive blockbuster and, ideally, give them equal consideration. To do that properly is a full time job – and should be valued with a living wage. And in our non-stop, ever-expanding media Babel, a guide is more essential than ever. But then I would say that, wouldn’t I?

© Larushka Ivan-Zadeh

Follow @Larushka_iz on Twitter.

For all the latest BUFF breaking news follow @buffenterprises on Twitter.

Click here to watch and share BUFF’s 1^st ever Christmas promo http://youtu.be/pkVaLbVkHX0

The BUFF Blog (November 2013) in association with Jilali Argan Oil UK #JILALITIME

 Image courtesy of Jonny Guardiani

And so it all begins again. We welcome you to the home of urban film coverage in the UK and another 12 months of insight from those in the know – telling it how it really is. So in time-honoured BUFF tradition, we introduce this month’s guest blogger and whilst he’s not yet a familiar face in the grand scheme of things, he will have been a familiar face to the 1400-odd people who came through the doors over the 4 festival days. Not many people can say that they attended every event and saw every film which was screened at this year’s British Urban Film Festival – but this man did (and why not?) So here to give his considered take on the festival that was #BUFF2013 is the writer and director of the award-winning boxumentary @BloodyLip and honorary member of the famed BUFF alumni, it’s Mr Adriel Leff… 

I first met BUFF founder Emmanuel Anyiam-Osigwe in November of 2012 when he attended an industry screening of my debut film.  I’m ashamed to admit that at that time I had precisely zero experience of attending (let alone participating in) film festivals – which sadly is the case with a large proportion of the British public.

To my delight, Emmanuel asked to include my film in the 2013 British Urban Film Festival.  After talking at length with him I found the concept, and the man behind it, to be both fascinating and seemingly a perfect fit for my film, so naturally I enthusiastically agreed to be a part of the festival – and what a festival it turned out to be…

Before the film screenings began there was a day of free events at the Channel 4 building.  This included well-received live readings of the winners of BUFF’s inaugural scriptwriting competition (of which I was fortunate enough to be on the judging panel), an informative discussion on film distribution in today’s ever-changing digital world, and most notably an extremely lively and relevant debate about the portrayal of the black community in film and television.  

This was a topic that clearly the majority of those present cared very deeply about and the palpable energy in the room as the subject was explored in an open, eloquent and intelligent manner was testament to the fact that this was an extremely necessary and worthy debate and one that felt like it very much needed to happen.  Needless to say I’m sure all the participants are very thankful to BUFF that it did, because I can’t think of another arena where such an event would have been possible.  When time ran out and the debate came to an end there was an audible groan of disappointment from the attendees who I’m sure could have quite willingly carried on with the fascinating discussion all day.

The screenings themselves couldn’t have kicked off in better style than with “Calloused Hands”, which turned out to be my own personal favourite film of the festival.  Screened in the plush surrounds of the Odeon Leicester Square, I found it to be the most enjoyable cinematic experience I can remember having in a long while.  The film itself was funny, exciting, and moving – but most importantly the audience was clearly engaged and responsive.  

Usually someone sitting in a neighbouring seat talking throughout a film is a real annoyance, but when it’s an audience member struggling not to vocalise their response to the emotional journey they’re being taken on it is hard not to view it as anything other than a compliment to the film and the environment in which it is being shown – and when you’re aware that your own work will soon be included in the very same festival this has to be taken as an extremely encouraging sign.

The Q&A session following “Calloused Hands” was equally entertaining, with the director and stars all proving very generous with their time and anecdotes, and an afterparty at a nearby club proved to be a fitting end to a very successful and promising opening night.

The highlight for me of the following day’s screenings was “Latvia”, a cautionary tale about the British criminal underworld – a theme that of course we’ve all seen time and again, but the wholly original twist here was that, instead of the usual high-octane, glamorising approach to the genre, the film highlighted the mundaneness and zero-purpose of living a life comprising of nothing more than ending other people’s existences while waiting for someone to end your own.  I found it very refreshing to see the restrained performances and obvious moral standpoint that we are simply not used to witnessing in the majority of our homegrown films.

Next up was the shorts block.  My expectations were high as I was fortunate enough to have had my film featured in festivals in New York and LA this year and I’d seen some very impressive short films at both, but one characteristic I couldn’t fail to notice at the American festivals was a lack of consistency – there was a feeling of “if you don’t like this short film don’t worry, there’ll be another one along in a few minutes”.

However I can honestly say that out of nearly a dozen shorts featured at BUFF, there wasn’t one that I didn’t thoroughly enjoy, which I see as a huge endorsement of not only the talented filmmakers who submitted their outstanding entries but also of the board’s insightful judgement when it comes to film selection.

Of course I had my favourites, but it was the overall quality on show that really surprised and delighted me.  It is also worth noting that, whereas the American shorts blocks had featured films from all over the world, each of the BUFF shorts was British-made – testament to the often maligned fact that we really do have a huge amount of domestic talent in our country that desperately needs to be nurtured.

Again, I have to mention the audience who were without doubt the best crowd I have ever seen at any cinematic event – laughing so loud at the comedic moments that at times I’m sure secondary jokes were missed, while maintaining an attentive silence when a dramatic piece required it, and of course freely showing their appreciation with generous applause after every gratifying short.

I could single out several shorts for special praise (as Emmanuel insisted I did on the night!) but to do so would be a disservice to each I neglected to mention, as I would recommend any and all of them to everyone.  I understand that a small sample will be broadcast by Channel 4 at some point, but I sincerely hope that those not lucky enough to be selected will be available for public viewing in some other manner.

As Day Four of the festival arrived I had a bittersweet mix of excitement (as my film was due to close the festival) but also a touch of sadness that the event was coming to an end.  It really had been a memorable and enjoyable experience and I had met so many lovely and interesting new people – both participants and attendees, within the industry and beyond.

 

The final day began with “The Fade”, an informative and fun documentary focusing on four hairdressers – from Britain, America, Ghana, and Jamaica.  It was a simple concept executed perfectly, highlighting the differences and similarities of both the men’s work and their fascinating personal lives. 

The Q&A with the film’s director and cinematographer that followed featured an unusually large amount of audience interaction, reflecting the degree to which that the film had both gripped and intrigued its viewers who clamoured to find out more about the subjects and their documenters.

The film also looked fantastic and, after the screening, I felt the need to ask the cinematographer a question myself – whether he had done much work in post-production to bring out the vivid colours, especially evident in the film’s African and Caribbean locations.  In fact, he told me, if anything he’d had to tone the colours down, such was the natural vibrancy of the florid environment.

Following “The Fade” was “Traveller”, a world premiere featuring both David Essex and his son, drawing a very large audience comprised in the main of an unusual mix of Essex fans and members of the traveller community, with both disparate factions receiving the film very well.

Finally it was time for the UK premiere of my own film, “Bloody Lip”, a comedy mockumentary revolving around a struggling boxer in the build-up to the biggest fight of his life.  It was a fantastic experience to see my work presented in such a professional and yet inclusive environment, with the relaxed audience being so receptive and responsive, laughing heartily throughout and reacting with genuine warmth to the film’s unexpectedly uplifting conclusion.

 

Ending the proceedings was a Q&A session with myself and some of the actors which proved to be a great opportunity to give a few insights into the production and creative process behind the film, as well as to hear feedback from the audience who were very quick to put forward their universally positive comments and insightful questions.

Such was the feeling of good humour and playfulness in the room that the Q&A even featured an impromptu boxing lesson from one of the stars of the film (a real-life boxing trainer), much to everyone’s enjoyment.  Without wishing to sound like a gushing voiceover on a TV advert for Disneyland, it truly was a magical evening.

One serious point that I felt obliged to make during the Q&A was that without BUFF none of the audience would have been able to sit there and enjoy my film, just as I wouldn’t have had the pleasure of being able to show it in such fantastic surroundings.  The festival is all about celebrating films and filmmakers and it is only natural for an audience to focus on what they are seeing on screen – but it is equally, if not more important to remember that none of us would be experiencing these wonderful films if it wasn’t for the festival and its generous organisers’ hard work behind the scenes.

To me, this is an equally poignant thought not only due to how much we owe to people such as Emmanuel and those behind BUFF for selflessly dedicating so much time and effort to such a worthy endeavour, but also because of the sad fact that if they didn’t do what they do, nobody else would.  Outside of festivals like BUFF there simply isn’t a platform or arena supporting public screenings of the sort of films that really should be available to everyone but simply are not – and that’s a fairly sobering thought.

The latest Hollywood blockbuster plays in every cinema, on every internet streaming site, you can buy it at your supermarket and, soon enough, watch it on broadcast television.  But most of the films that BUFF shows – well, miss them and you may never get another chance to catch them again.  And if perhaps you are indeed lucky enough to, it certainly won’t be in as friendly and stimulating company, or such exceptional and historic circumstances; by definition, a premiere can of course only occur just one time.

I began this blog by saying that before I made a film myself I had no experience of film festivals.  If I had only known what I was missing then I would’ve done something about that poor state of affairs – so I now feel that it is my duty to let other people know what they are missing, and I hope you will do the same. 

A huge section of the public, and especially young people, who could be getting a great amount of enjoyment and inspiration from seeing these personal stories, these pieces of art, these exciting adventures, are not doing so, simply because they aren’t aware that film festivals exist, or have a sadly misconstrued opinion of what they involve.  And no one is going to make an effort to inform them otherwise, besides film festival organisers and those, such as yourselves, who have already discovered this unfortunately often neglected world.

 

So if you attended BUFF this year then tell someone about it - not just on Facebook or Twitter, but face to face.  Tell them how much you enjoyed it.  Tell as many people as you can.  And tell them they should come along themselves next year, because if they don’t they'll be missing out on being included in something unique and momentous and very special.  We, the audience, should be the ones promoting these festivals and their films – not the festival organisers or filmmakers. 

And if you saw one film this year then next year go see two.  Or three.  Or do what I did and just watch them all – after all, you never know when you might have another opportunity to see them again in the future.  Chances are, quite possibly never.

(c) Adriel Leff

Images courtesy of David Bevan Photography, Yvonne Philip (@Impact10TV), Way Out Films, BUFF Enterprises.  

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