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Film and Television Discussion
: CINEFANTASY got its winners!
CINEFANTASY got its winners!
1 year ago
(December 15, 2016 02:17 AM)
Member since October 2016
Among 168 valid submissions from 44 countries of the CINEFANTASY International Short Film Screenwriting Competition 2016, six outstanding works were selected as the finalists and their authors were invited to participate in the 1st International Film Festival & AwardÂ·Macau 2016 (IFFAM) and compete for the big awards. On the 10th December, these young writers stood up in a special public session in the Macau Tourism Center, presenting their works and narrating their dreams.
Amidst the closing ceremony of the IFFAM on the 13th December, the final results of the competition were announced in the press conference at MGM Macau.
The first prize embraced the talented sisters from India and co-writers of the work Legacy of Dreams, Ilashree GOSWAMI & Manassvi Nirupma GOSWAMI! Their screenplay tells the story of Sonica whose monotonous life gets a sudden jerk when she gets an anonymous call from a Dream Bank. Itâs not any ordinary bank but a bank where people credit their dreams. Though being enchanted with the Dream Bank and the history of her own colourful dreams, Sonica finds it difficult to dream again.
Meanwhile, Alessa ELLEFSON from Belgium won the second prize with her work The Seeker's Key. Charlie-Bot: The Little Cyborg with a Heart of Gold by Trevor HEWITT (USA) and Smile by Watchara INTRASOMBAT (Thailand) obtained honorable mentions.
The CINEFANTASY Project is organized by the IFFAM and the International Council for Film Television and Audiovisual Communication (ICFT) - official partner of UNESCO in order to encourage young people to engage in screenwriting as a way to inspire their creativity. During the IFFAM, the finalists had the opportunity to join in different activities, such as the Crouching Tigers Project which made parts of the Industry Hug and was a new place for industry professionals looking for original opportunities for co-production and co-financing of their feature length film projects, and the Forum on the Development of Genre Cinema in Asia whose discussion focused on the reasons why Train to Busan succeeded in connecting with audiences and its implications. Besides, there was a one-on-one consultation session through which the young writers could have a deeper understanding regarding their professional development and plannings.
Indeed, this is not the end. It's merely the beginning for all of us.
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