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Editor's Note
I normally write these newsletters first thing in the morning, and when they're good, they are usually based on thoughts I have had before going to bed that then ferment as I sleep. But, summer scheduling issues forced me to write this one late at night, and my thoughts aren't quite finished. I had thought I might write in this week's newsletter about all the terrible economic news that's coming out and wondering why it's not affecting film more. I'm not talking about business models but content. If structural unemployment and the collapse of the home as a source of financial security are reshaping the psyche of American society, when will our films reflect upon and engage with these issues? When will a new oppositional film movement, a new Dziga Vertov Group, perhaps, provoke us into considering our society anew? Or, I thought this afternoon, maybe I should write in this newsletter about this interview with novelist and screenwriter (28 Days Later) Alex Garland on KCRW's Bookworm. (You can find it on iTunes.) It went into an interesting tangent about autism as metaphor, and about how mental states like alienation that used to be considered philosophical problems have now been redrawn as medical issues. I started thinking about the importance of non-verbal cues and personality when it comes to dealmaking, and then about our over-belief in the effectiveness of electronic communication. We email, we chat, and we think we are connected, even if, sometimes, we haven't even met in person. But I think it's really hard to figure out if you can collaborate on things like a film in a meaningful way if you haven't had extended face-to-face -- if you haven't mentally assimilated the other's person's inflections so you can add nuance to the words you receive from them via email and text. Or maybe I should simply tell you that the next issue of Filmmaker will have a section on producing and ask you what you'd like to see in it. We've covered producers a bunch in the magazine, but we've never really done a section on producing itself. I want to find out from producers today how they are reshaping their practice to remain active and vital. And I want to answer the questions that those who want to become producers, or who want to work with producers, want answered. What questions do you have about producing? You can always email me at editor.filmmakermagazine AT gmail.com. As for other thoughts teased at above, I'm sure they'll be clearer in the morning.

See you next week.

Best,
Scott Macaulay
Editor
Upcoming At IFP
INDEPENDENT FILMMAKER CONFERENCE ADDS PANELISTS AND THE CHANCE TO PITCH YOURSELF Film and media makers who purchase a Filmmaker Conference pass by 9/3 will qualify for a chance to pitch their film, TV or new media project to execs live at the conference as part of the PITCH YOURSELF panel on Thursday September 23rd. As the panel description says - there's more to pitching than just selling a story - if you want your audience to buy, they have to buy into you! In other news, panelists from BMI, CollegeHumor.com, Crowdstarter, Fortissimo, HBO, IFC, Magnolia Pictures, National Geographic Films, New Video, Sony Pictures Classics, SXSW, This is That Productions, Tribeca Film Festival, Withoutabox and more have signed on to welcome the independent film community to take an active role in debating where filmmaking is going next - joining previously announced Keynotes Sheila Nevins (President, HBO Documentary Films). Liz Rosenthal (Founder & Director, Power to the Pixel) and John Sloss (Founder, Cinetic). The Filmmaker Conference: The Future of Film takes place during the 32nd annual Independent Film Week (September 19-23). For updates, schedule, and to purchase passes, go here.
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In This Newsletter
Editor's Note
The Milk of Sorrow
Centurion
Claudia Llosa, The Milk of Sorrow
IFP: Filmmaker Conference Adds Panelists
Fest Deadlines
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New In Theaters
THE MILK OF SORROW Nominated for Best Foreign Language Film at this year's Academy Awards, as well as a winner at the Berlin Film Festival, The Milk of Sorrow, written and directed by Claudia Llosa, is a remarkable story about a Peruvian woman's fight to overturn a possible fate. Fausta (Magaly Solier) is suffering from a rare disease called the Milk of Sorrow, transmitted through the breast milk of women who were abused or raped while pregnant. She becomes determined to break the cycle of abuse for the next generation. A stunning and emotionally-wrought film, The Milk of Sorrow mixes magic realism with political activism. Interviewed for this week's Director Interviews, Llosa talks about what she hopes the film will provide. "I share the idea that the task of opening spaces, to think, is the only way of facilitating the dialogue on a topic that brings so much pain, and this film was conceived as a search of healing," she says. Read our interview with Liosa below. CENTURION A brutal war epic, Centurion, directed by Neil Marshall (The Descent, Doomsday) portrays the true tale of the Ninth Legion, a band of Roman soldiers headed towards Caledonia (today Scotland) to get rid of the Picts, a Celtic tribe. Their journey is marked by captures and guerrilla warfare, with the troops' hope laying upon one man: Centurion Quintus Dias (Michael Fassbender), who has escaped being prisoner of the Picts. Marshall's films have been noted for their portrayals of warrior women and unrelenting violence, here he takes a switch directing a cast of mostly men... though he includes one more warrior woman, a mute Brigante fighter named Etain (Olga Kurylenko).
Recent Blogs
This week on the blog, producer Amy Lo reports from the Sundance Producer's Lab; filmmaker Gregory Bayne (pictured left) offers distribution advice during the tour of his film Person of Interest; and Scott Macaulay rounds up the best in his Sunday Morning Links.

To read more posts from our blog, click here.
Newest Web Article
CLAUDIA LLOSA, THE MILK OF SORROW By Brandon Harris

For Claudia Llosa, director of the Berlinale winning and Academy Award-nominated Peruvian film The Milk of Sorrow, magical realism isn't a literary genre or filmic device, it's an element of national identity and consciousness. Her film, easily the most critically lauded film to emerge from Peru, is set in the rough-hewn mountain settlements on the outskirts of Lima. read more

Festival Deadlines
SEPTEMBER
Boulder International Film Festival
Late Deadline: Sept. 1
Festival Dates: Feb. 17-20

Anchorage International Film Festival
Final Deadline: Sept. 1
Festival Dates: Dec. 3-16

Sundance Film Festival
Regular Deadline: Sept. 3
Late Deadline: Sept. 24
Festival Dates: Jan 20-30

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